XXI. MEZINÁRODNÍ KOLOKVIUM O REGIONÁLNÍCH VĚDÁCH. SBORNÍK
PŘÍSPĚVKŮ.
21ST
INTERNATIONAL COLLOQUIUM ON REGIONAL SCIENCES.
CONFERENCE PROCEEDINGS.
Place: Kurdějov (Czech Republic)
June 13-15, 2018
Publisher: Masarykova univerzita, Brno
Edited by:
Viktorie KLÍMOVÁ
Vladimír ŽÍTEK
(Masarykova univerzita / Masaryk University, Czech Republic)
Vzor citace / Citation example:
AUTOR, A. Název článku. In Klímová, V., Žítek, V. (eds.) XXI. mezinárodní kolokvium
o regionálních vědách. Sborník příspěvků. Brno: Masarykova univerzita, 2018. s. 1–5.
ISBN 978-80-210-8969-3.
AUTHOR, A. Title of paper. In Klímová, V., Žítek, V. (eds.) 21st
International Colloquium
on Regional Sciences. Conference Proceedings. Brno: Masarykova univerzita, 2018. pp. 1–
5. ISBN 978-80-210-8969-3.
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© 2018 Masarykova univerzita
ISBN 978-80-210-8969-3
ISBN 978-80-210-8970-9 (online : pdf)
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DOI: 10.5817/CZ.MUNI.P210-8970-2018-42
CREATIVE CENTERS AND INCUBATORS: CASE STUDY
CREATIVE CENTER BRNO
Kreativní centra a inkubátory: případová studie Kreativní centrum Brno
MARKÉTA CHALOUPKOVÁ
Katedra regionální ekonomie a správy
Ekonomicko-správní fakulta
Masarykova univerzita
Depart. of Regional Economics and Administration
Faculty of Economics and Public Administration
Masaryk university
 Lipová 41a, 602 00 Brno, Czech Republic
E-mail: marketa.chaloupkova@mail.muni.cz
Annotation
Paper discusses the phenomenon of incubation in the field of cultural and creative industries. After the theoretical
anchoring, attention is paid to the upcoming Creative Centre Brno project, which should include a creative
incubator. This case study aims to analyze the creative environment of Brno in connection with the environment
in which the project should be implemented. The selected locality of Cejl is being discussed. Based on results area
seems to be ideal. The study further describes the project development, including the challenges and potential
pitfalls for implementation. Results showed that the creative industries potential in Brno is considerable. The
implementation of the project would mean not only development of the creative industries but also development
of locality. Findings show that the project was realizable in the premises of the former ward, which would revive
the brownfield. Another positive is further revitalization of the Brno Bronx as well as the creation of space for
creative class employment opportunities. The arrival of a creative class could help to remove the sticker of the
dangerous site that Cejl has. Also it is a challenge to integrate the Roma population into the designed project. The
integration of local authorities is also worrying.
Key words
cultural and creative industries, creative centre, creative incubator, Creative Centre Brno, Czech Republic
Anotace
Příspěvek pojednává o fenoménu inkubace v oblasti kulturních a kreativních průmyslů. Po teoretickém ukotvení
problematiky je pozornost věnována připravovanému projektu Kreativního centra Brna, který by měl zahrnovat i
kreativní inkubátor. Uvedená případová studie si klade za cíl analyzovat kreativní prostředí Brna v souvislosti s
prostředím, ve kterém by měl být projekt uskutečněn. Diskutována je zejména vybraná lokalita Cejlu. Na základě
výsledku se jeví oblast jako ideální. Studie dále charakterizuje vývoj projektu, výzvy a nástrahy pro jeho
implementaci. Z výsledku výzkumu vyplynulo, že je potenciál kreativních odvětví v Brně značný. Realizace
projektu by znamenala nejen rozvoj kreativních průmyslů, ale také rozvoj dané lokality. Důležitým zjištěním bylo,
že je projekt realizovatelný v prostorách objektu bývalé káznice, čímž by došlo k revitalizaci brownfieldu. Za další
identifikované pozitivum lze považovat nejen impulz k další revitalizaci deprivovaného brněnského Bronxu, ale
také vytvoření prostoru pro pracovní příležitosti kreativní třídy. Příchod kreativní třídy by mohl napomoci k
odstranění nálepky nebezpečné lokality, kterou Cejl disponuje. Výzvou je také začlenění romské populace do takto
navrženého projektu. Obavou je také míra zapojení vedení města.
Klíčová slova
kulturní a kreativní průmysly, kreativní centrum, kreativní inkubátor, Kreativní centrum Brno, Česká republika
JEL classification: O140, O180, R112
1. Introduction
Many domestic and foreign studies point out the contribution of creative industries to the global economy
(Germany 2013; Florida, Mellander, Stolarick, 2011, and Evans, 2009). Creative industries are a balanced
ecosystem where human creativity and innovation create economic or social potential and are a driver for dynamic
growth (IDU, 2014; Cross Innovation, 2012; Kloudová, 2009). They represent a sector that generates stable jobs,
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contributes to the prosperity of other sectors (tourism, digital economy, etc.) and plays a significant role in shaping
the quality of life or local identity (Fujiwara, Dolan, Lawton, 2015; Landry, 2008). Creative industries bring a
number of specific issues (e.g. Can a uniform, universally valid definition of basic terms be created?). There are
very traditional and recently unknown and emerging professions, which together seek a way to achieve
sustainability in the current environment (Bakhshi, Windsor, 2015; Isar, 2013; Araya, Peters 2010). In the context
of the development of cultural and creative industries, a new phenomenon of creative centres and incubators is
beginning to emerge (Evans, 2009 or Foord, 2009).
1.1 Creative centres
First, you need to realize the difference between the creative centre and the creative incubator. A creative centre
is an institution that provides cultural services outside of society, organizes seminars, lectures and cultural events
such as concerts and exhibitions. We do not necessarily have an incubation function here. Creative incubation is
providing space and time for an artist who can calmly develop the concept and creative activity. At the same time,
it provides the opportunity to meet other artists, discuss with them the arts and develop them. Creative incubation
is aimed at presentation externally, in order to have a well-thought out form and method of realization (De Pinho,
2011; Montgomery, 2007). Both concepts are very fluid and their significance overlaps in many ways. Creative
centres, however, very often provide an incubation function, even though they themselves call themselves a
“creative centre”, which is why this work mentions both concepts side by side.
Creative centres and hubs are principally based on co-working, but they offer something extra. These can be
networking actions that are useful for building new contacts, organizing training sessions, or focusing specifically
on the creative profession. For some creative centres, work areas are further expanded by studios or test rooms
that can be rented. As can be seen from the graph below, in the Czech Republic, the most common are creative
centres and hubs, which are often mistakenly referred to as creative incubators.
Fig. 1: Types of creative incubators and centres in V4 region
Resource: Jaurová et.al., 2013, edited
Richard Florida (2002) described the creation of creative centres based on his concept of creative class. He argued
that creative centres and incubators were created by clustering the creative class. This clustering results in talent
clustering, as Charles Landry (2008) writes: “The drive for innovations required working environments where
people wanted to share and collaborate for mutual advantage. This was necessary outside the workplace and
increasingly the notion of the creative milieu came into play, which is a physical urban setting where people feel
encouraged to engage, communicate and share. Often, these milieus were centred on redundant warehouses that
had been turned into incubators for new companies.”
According to the Kreativní a aktivní Zlínsko study, the most successful creative centres are those who use every
opportunity to use creativity and place creative people, organizations and institutions in the middle (not the clash)
of political and local events. The study also highlights examples of cities (Antwerp, Dublin, and Glasgow), where
the process of creative centres establishment included top-down public sector interventions, with some examples
being a natural development in which creativity encouraged further creativity (Ghilardi, 2014).
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1.1 Creative incubators
Creative incubators represent a relatively new phenomenon of support for creative industries. According to the
Policy Handbook on Cultural and Creative Industries in the Local, Regional, and National Development
Strategies issued by the EU Creative and Creative Industries Expert Group, which focuses on creative economy,
creative or artistic incubators, there is no uniformly recognized definition (OTM, 2012). Most sources operate
with a simple definition that a creative incubator is a business incubator aimed at supporting cultural and creative
industries (Etmanowicz, 2015; Essing, 2013). The term “incubator” is defined by polish Art Inkubator (2013) as
an organization that supports future entrepreneurs, non-governmental organizations and artists in their entry into
the creative industry. Artist incubator is a platform that helps artists and organizations to realize their business and
artistic ideas. This definition also uses another concept of an art incubator, which is perceived similarly to an
incubator aimed at a narrower segment (most often arts and crafts).
Institute of Art in the second volume called Mapping of cultural and creative industries of the Czech Republic
clearly does not define creative incubators but points to bipolarity in their concepts: artistic and entrepreneurial
(Žáková et al., 2015). The creative incubator can be seen as a place for creative personalities and artists, for whom
it is important to create a free and inspirational place without commercial pressures and, on the other hand, as a
site offering resources, contacts, know-how and sales support for the creative and cultural industries. It is right to
combine both approaches to create a space that connects the world of culture with business and helps creative
innovations in commercial use (IDU, 2015). Just as business incubators, the creative ones may vary in a number
of aspects such as size, location, scope and focus. They can provide different forms of physical space - offices,
co-working, studios, workshops. The creative incubator usually provides some kind of service that meets the needs
of projects, most often mentoring, training seminars, contacts, or financing.
The EU expert group on cultural and creative industries also identifies three main reasons for differentiating
creative and business incubators:
 In general, cultural and creative industries seek an inspirational and lively environment, such as open studios
or offices;
 The cultural and creative industries need special consultancy services and services tailored to their specific
operational requirements;
 Cultural and creative industries often operate on prototype or project principles; the ability to work within a
community of like-minded colleagues from other areas of the creative and cultural industries often leads to
synergies, new business intentions, and opportunities (OTM, 2012).
Creative and cultural industries are industries that, unlike traditional industries, have different working processes,
a style of work and needs across physical space and the type of service, so classic business incubators can fail to
help with creative projects. Agata Etmanowicz mentions in her contribution Creative Incubator – a Fancy Thing
to Do? yet another important dimension why artists do not enter into business incubators–a human factor. She
states that in many ways the business incubator does not differ from the creative incubator except that they operate
with very fragile material: the creative people (Etmanowicz, 2015). It may seem that this remark is a great
generalization and builds on a certain stereotype of the perception of artists or creative people. On the other hand,
it is absolutely relevant to assume that, for example, the entrepreneurial mindset of graduates of art schools will
be on a significantly different level than that of technical or economic disciplines.
The authors of the V4 creative incubators (Jaurová et al., 2013), who studied the typology of creative incubators,
distinguish between:
 Protective-nurturing creative incubators, where the primary role has been shown to protect and care for newly
established businesses and help in the first steps of the business. The aim of such incubators is to lead the
process of entering the market with a new product and to provide the necessary physical and non-material
background for creative creation. This type works most often as a non-profit organization and offers its
program for free or at a minimum fee
 Supporting creative incubators, which are closest to classic incubators. Infrastructure and services are tailored
to their core function of launching new businesses and products. The incubation system is completely open,
it can be limited by some requirements, and the project incubation works in round-robin fashion. Supporting
incubators can work profitably or non-profitably.
 Cooperative creative incubators, which are closest to the co-working centre and are the most distant from the
classic concept of the incubator. Emphasis is mainly on infrastructure. Incubators create a workspace for
individuals and groups from different backgrounds, encouraging their natural cooperation. It is the most open
system that works self-regulated–clients enter and exit as needed.
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As stated by the authors of the V4 Creative Incubators study, this is not the final enumeration, but a certain
typology based on research conducted in Central Europe. The main problem with this typology is the fact that it
divides subjects according to characteristic features that do not distinguish creative incubation from other forms
of support for creative business such as co-working spaces or cultural and creative centres (Jaurová et. al., 2013).
2. Methods and purpose of work, data sources
The above-mentioned publications, studies, and outputs were key data sources for creating the theoretical
framework of creative centre and incubator issues. Based on inspiration from these domestic and foreign sources,
the creative centre was defined as a place to support the development of creative industries and a creative incubator
as a tool to promote entrepreneurship in the creative industries. To create such a space for the development of
creativity is a great challenge in the Czech Republic, which can be partly reflected in the example DEPO2015 in
Pilsen, which is the first Czech creative incubator (DEPO2015, 2015).
This case study deals with the project of the creative centre in Brno. Case study, which is often used in similar
types of contributions both here and abroad, aims to identify the creative environment of the city of Brno in
connection with the identification of the environment in which the creative centre project should be realized.
Specifically, it is a characteristic of the project and the reason why the chosen Cejl site for the project is ideal for
the project. The study also describes the development of the project, including challenges and potential pitfalls for
the implementation and operation of the project. For the purpose of qualitative mapping, research was carried out
in the form of an analysis of available materials, final reports of materially related domestic and foreign research
and studies. The structured interview with the Creative Industry Coordinator at Brno City Hall, Tereza Chrástová,
and Creative Brno Project Manager, Zdeňka Kujová, was carried out to clarify and supplement the information
obtained. To highlight the further development of the project and to identify the extent of public sector
involvement in the implementation of the project, it was also important to discuss the implementation of the
Strategic Planning Department at Brno City Hall.
3. Results
The potential of creative industries is undoubtedly high in the Czech Republic. According to the Mapping of
Cultural and Creative Industries in the Czech Republic - The state, needs and trends, which is mainly based on
the historical foundation of culture given by the rich infrastructure, whether it is physical background or cultural
traditions, professional activities and a high degree of involvement and participation of citizens in cultural events
which is evidenced by the relatively high popularity of domestic production (Žáková et al., 2015). Nor is there
any doubt that the second largest city of the Czech Republic, Brno, is undergoing a significant economic
transformation. The nationally oriented industrial economy is beginning to shape itself as a city of knowledge
embedded in the global economic. This is not only a spontaneous development of the market but also strategic
planning of the city administration, which, in cooperation with universities and the private sector, facilitates this
transformation in accordance with the principles of neoliberal urban governance. (Glick, Çağlar 2013)
Brno’s Cejl has attracted the attention of the city administration, journalists and social scientists that have
recognized it as problematic for decades. That is why the neighbourhood is often referred to as the Bronx in Brno.
However, this approach has changed since the beginning of the first decade of this century, and Cejl is becoming
more and more often recognized as a place of opportunity, freedom, and cultural heritage. Thus, the term Bronx
in Brno is new because it offers a parallel with the current New York Bronx, which has changed much since the
1980s (Sidiropulu, 2013).
The phenomenon of multiculturalism during the interwar plays a very important role in the transformation of the
image of Cejl in Brno, which allows the creative class to recognize the forgotten stories in the locality, adding to
the neighbourhoods a unique cultural value. The concept of a creative class is addressed in particular by Florida
(2002), which defines it as a new social class, which includes a number of professions and professionals that do
not have a routine job but form it. On the other hand, the phenomenon of recollection represents a legitimate
strategy that the creative class frames its vision of the future transformation of a neighbourhood into a creative
neighbourhood. This discourse, nostalgically reminiscent of the golden era of the quarter, shapes the perception
of a neighbourhood in the eyes of the Brno creative class, and in the neighbourhood recognizes an authentic
cultural value that cannot be found in other districts of Brno (Sidiropulu, 2013).
The Creative Centre Brno project decisively influences the perception of the area. The aim is to concentrate Brno’s
creative professionals from various professions in the inspirational building of Josefínská káznice. According to
information from the “kreativnibrno.cz” website, which was created to raise public awareness of the upcoming
project, the Creative Centre Brno project is the work name since 2008. A year later, the project became part of
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The Regional Innovation Strategy of the South Moravian Region (RIS JMK), the Concept of Economic
Development of the City of Brno, and in 2012 also the Brno Cultural Development Program (JIC, 2018b). The
qualitative analysis carried out as part of the RIS JMK project have revealed a specific demand from entities
engaged in the creative industry in general (industrial design, etc.) on premises other than the existing incubators.
As an ideal one was defined the object that would arise from the reconstruction of the brownfield, where it could
serve as an important element for solving the problems associated with the social exclusion of problematic sites
(Magistrát města Brna, 2009).
The initiator of the project is the Brno’s municipal authority, a feasibility study by the South Moravian Innovation
Centre, an association of legal entities established by the South Moravian Region, the Statutory City of Brno,
Masaryk University, the University of Technology, Mendel University and the Veterinary and Pharmaceutical
University in Brno. The South Moravian Innovation Centre (JIC) focuses on supporting innovative business and
commercial exploitation of research and development (R&D) and facilitating the interconnection of universities
and research institutions with the business sphere in order to maximize R&D at regional and national level (JIC,
2018a).
Fig. 2: Creative Centre Brno in prison building?
Resource: www.kreativnibrno.cz, edited
The Creative Centre Brno is planning to set up an incubator for novice entrepreneurs in the creative industries.
Visions include rental of studios, testing rooms, and workshops. According to information from Tereza Chrástová,
Creative Industry Coordinator, the main goal of the project is to help develop the creative potential of talented
people, thus avoiding their outflow outside Brno. The centre can attract a new kind of investor connected to the
creative industry. As an ideal location for the centre, the former prison was chosen. It is now being examined
whether it is really a good place for these purposes. The Creative Centre can open and make a less attractive area
more attractive for the general public, which is also included as a problem zone in the Integrated City Development
Plan. However, this project aims at concentrating all creative industries from the South Moravian Region into one
centre, creating a relatively large campus.
According to Chrástová, the approval of the grant by the Brno City Council was a key point of the Creative Centre
project. In December 2012, the representatives also approved the continuation of the project planning and the
establishment of a team of investigators, which consisted of project managers, JIC staff, and City Strategy Office
staff. From January 2013, Zdeňka Kujová, became the project manager under whose leadership the feasibility
study was established. Currently, the project management is backed by the City Strategy Office again. In June
2014, a feasibility study of the Creative Centre project was carried out in the framework of the preparation of the
project in a former prison, which concludes:
 In Brno, there is a strong potential of creative industries;
 project is needed, desirable and beneficial for the development of creative industries, locality development,
city development, companies using creative industries for higher growth;
 the project is realizable in the former prison–the state of the building is preserved, the various types of risks
(statics, ecological burden, groundwater) have not been confirmed, the size is sufficient, the actors find this
object suitable, the stability allows building new floors if necessary, the site may have a gentrification effect
and may play an important integration role;
 can be realized, financed and run by the private sector–it is considered a stable but not a rapid return that is
interesting for a certain type of investors and developers, the documents for the negotiations are now available
and the interest of investors;
 can be implemented, financed and run by the public sector - the possibility of using new structural funds that
newly take into account the importance of creative industries;
 the operation is self-financing after the initial phase - in two out of three options, the operation is roughly
from 4 to 5 years as self-sustaining (revenues exceed the costs), interesting investment for the public sector;
 is a convenient time to implement;
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 it is possible to cooperate with other countries - Central Europe, the Baltic States, the Nordic countries similar
intentions are taking place in all countries and neighbouring countries, it is an opportunity to get Brno
on a Creative Europe map;
 there is interest in temporary operation - Tripitaka o.s. showed an interest in being a coordinator of cultural
and community events in eventual reconstruction in the discipline, which may have a positive impact on the
project, the object and the location;
 promoting the growth of creative industries (JIC, 2014).
In the framework of its work, the project team focused on mapping of cultural and creative industries in Brno and
the South Moravian Region, where the project involved quantitative and qualitative analysis of creative industries,
profiles of individual areas and summary SWOT analysis, which represents the state of KKO in Brno (Adamcová
et al., 2014). In addition, the neighbouring area was also investigated and the DNA of site was created. At the
beginning of 2016, the Ministry of Culture initiated the process of remembrance of the building, as the prison
building is historically very valuable. The City of Brno has agreed with the National Monument Institute on the
process of rescuing the former prison. In addition, the team was preparing for a construction-technical survey of
the prison, where, according to the results of the survey, it was recommended that the Brno City Hall undertake a
reconstruction to prevent further degradation. In addition to future reconstruction, a temporary use was proposed.
Reconstruction works have prevented further deterioration of the building while allowing for safe access. These
works mainly focused on repairing the leaking roof, opening the entrance from Bratislava Street, repairing of the
wiring, repairing the chimney and installing the ventilation bars in the windows. These works were completed
after half a year in June 2016. The third area of interest of the working team was the design of an operational and
financial model. The comprehensive vision of the project was followed by volume studies, financial analysis and
assessment of the organizational models of the Centre in cooperation with the private sector. A search of possible
public resources (Structural Funds and Community Programs) was carried out for period 2014–2020.
The idea of a creative centre in Brno's brownfield is inspired by the cultural and creative centres that have emerged
in Europe for decades and are one of the most visible examples of the positive impact of culture on regenerating
cities, improving the quality of life, creating new job placements and on innovations (Marková et al., 2013). For
example, the Westergasfabriek cultural park is one example located in the area of the former industrial complex
in the north-west of Amsterdam, which was established in 2003. It was co-authored by representatives of local
government as well as private companies and local associations. There are 13 protected industrial buildings in the
area, most of which are used by creative industries. Industrial buildings are refurbished only to meet safety
standards and user comfort and industrial patina of the 19th century has been preserved. The most famous building
is a former gas station used for fashion shows, dancing parties or ad recording. In addition, the park offers studios,
various cultural facilities, cinema, restaurants, cafes, shops and galleries, concerts and festivals, offices used by
designers, architects, or film production companies (Adamcová et al., 2014).
Fig. 3: Westergasfabriek cultural park
Resource: www.westergasfabriek.nl/, edited
The realization of the Creative Centre Brno could thus remove the image of a dangerous neighbourhood on the
one hand and, on the other hand, it could come to the centre of attention of the creative class from Brno as well as
from other cities. The pioneering metaphor in this case makes sense especially because for Brno's creative class,
Cejl of its kind is an empty space, or a space with a negative sign, in which it is possible to freely shape the project
of its creative transformation. The ideal outcome of transformation of the quarter is to create a space for creative
jobs in the former prison, and to bring creative residents to the quarter and thus to eliminate the Cejl’s reputation
of a dangerous neighbourhood. Ideally, the original Roma population should be included in the proposed project
and thus gain some job opportunities that will arise due to the creative transformation of the neighbourhood. The
transformation of the quarter’s image opens the door of the imagination of an ever-growing creative class in Brno,
who is interested in living in the city centre, and who has been avoiding Cejl for various reasons. Changing the
image of a neighbourhood to a creative one can make it an attractive location and to significantly increase the
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consumers’ pressure to allow further investment incentives, revitalizations or rehabilitation. Generally, every step
forward is a great asset. The challenge for the coordinated development of the area can be a shortage of financial
resources, less adaptable population in the area, as well as, weak cooperation on the part of Brno’s policy makers.
This fact was also confirmed by Tereza Chrástová at the conference on brownfields of the Czech Republic, where
she stated that ten years before the reconstruction began, she pointed to the opportunity to use Cejl to create a
creative centre. It was only after the commencement of construction work that the conservationists and the mayor
and other stakeholders got involved.
Conclusion
One of the most visible examples of the cultural and creative industries in practice are creative centres and
incubators that have emerged in recent years around the world. As with the whole concept of cultural and creative
industries, there is still a lack of more systematic grip, and creative centres and incubators are still in the beginning
of the first experiences and views in the Czech Republic. The very definition of a creative centre or incubator is
problematic, as confirmed by the V4 Creative incubators survey of creative incubators in the V4 countries
(Jaurová, 2015).
After the description of the theoretical framework providing basic insight into the issue of creative centres and
incubators, the work focused on a specific case study of the Creative Centre Brno, which is to be built in the former
prison building. Part of the centre should be a creative incubator. The idea of the project appeared in 2008, but the
project is still more or less on paper, thanks in particular to the vigilant approach of the Brno’s officials. This can
be demonstrated in the example of the Creative Centre, which is dedicated only to a few enthusiasts, and thus, it
impacts the implementation speed. However, some progress has been made, in the form of a feasibility study of
the Creative Centre project, which aims to provide space for talented people to reduce their outflows from Brno
and, thereby, to increase the quality of life and to foster the growth of creative industries as a potential for
innovation. The initial reconstruction of the building to prevent further degradation was successfully completed.
The realization of the project would bring a number of advantages, including the reuse of the regenerated
brownfield near the city centre, which will give impulse for further revitalization of the deprived district of the
Brno Bronx. Furthermore, it would create space for creativity class jobs and creative consumption. The inflow of
creative residents into the neighbourhood could also help to remove the label of the dangerous neighbourhood. On
the other hand, a certain challenge and concern is the inclusion of the Roma population, which is abundant in the
given area, into the project.
It is certain that the cultural and creative industries are certainly an interesting subject, whether this project will
succeed or not as it can have a positive contribution to the creative profession, the location, the business
environment, or the city itself. Brno has relatively great potential in this area and has a certain “head start” in
comparison with other Czech cities due to a handful of enthusiasts on the part of officials, experts, and volunteers.
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This contribution was supported by an internal grant entitled “Cities, municipalities, regions: management,
processes and interactions in theory and practice“(MUNI/A/0994/2017).