Art-led districts: an in-depth study of their structure and development, vis-à-vis the recent history of the curation of visual art in their dedicated spaces

This thesis examines the curation of visual art within art and cultural districts, analyzing their governance models, sustainability mechanisms, and social and economic impacts on contemporary cities. It explores how curatorial practices shape the identity, organization, and evolution of art districts, positioning them as strategic instruments of urban regeneration and cultural policy. The research develops a conceptual framework grounded in theories of industrial and cultural districts (Marshall, Porter, Santagata, Sacco), integrating perspectives from art, architecture, sociology, and economics. A mixed-method approach was adopted, combining literature review, fieldwork, interviews, and qualitative analysis. Ten international cases, including DumBO (Bologna), Wynwood (Miami), M50 (Shanghai), and Fabbrica del Vapore (Milan) were examined to identify recurring typologies and governance models. Two cases, M50 and Fabbrica del Vapore, were analyzed in depth as paradigmatic examples of bottom-up and top-down development. M50 emerged organically from artists’ initiatives in a post-industrial context before gaining semi-institutional recognition, while Fabbrica del Vapore represents a municipally driven regeneration project embedded in Milan’s cultural strategy. Findings indicate that art districts operate along a continuum between grassroots creativity and institutional control. Bottom-up districts encourage authenticity and experimentation but face precarity and gentrification pressures. Top-down districts ensure stability but risk bureaucratic rigidity. Hybrid governance models, combining public oversight, private initiative, and community participation, prove the most sustainable. Curation functions as both cultural and managerial practice, influencing visibility, economic orientation, and civic engagement. Sustainable districts integrate curatorial innovation, inclusive governance, and adaptive reuse, demonstrating that art districts are dynamic socio-cultural ecosystems whose viability depends on balancing artistic autonomy, institutional flexibility, and social inclusion.