Warehouse Arts District, Tucson as an example. Arts and Entertainment Focus Districts: "include more popular culture and commercial attractions and include more modest size buildings with a bohemian feel. They include small theatres, movie houses, private galleries, restaurants, and other entertainment venues." Americans for the Arts gives The District (Nashville) as an example. Naturally Occurring Focus Districts: "usually are rooted in community based cultures and identities building on asset-based strategies. They are holistic and are highly diverse and led by local empowered leadership. Generally they are neighborhood-based and artist-driven". Americans for the Arts gives St. George, Staten Island as an example. According to Steiner and Butler Steiner and Butler outline five types of arts districts commonly found in the United States. Cultural compounds - tend to be the oldest art districts often established in cities before the 1930s. These tend to be well-known art districts engrained into the mentality and culture of a community or nation. Major Cultural Institutions - large institutions that serve as anchors for an arts district such as large concert halls, playhouses, libraries, or museums. Arts and entertainment centers - focus primarily on smaller, popular attractions such as small theaters, private galleries, restaurants, and other entertainment that often has a more bohemian feel than larger more established districts. Downtown Arts Districts - occasionally art districts encompass an entire downtown and especially when tourism and walk-ability is the focus of downtown. Cultural Production Districts - cultural production districts are characterized by production spaces such as specialized studios, arts centers, and media facilities. These areas are often tied to affordable studio housing for artists and prioritize the cultural life of the neighborhood. Theories of cultural districts The creation of a cultural district implies collaboration between the arts and the local community. Cultural districts may be seen by local authorities as a way to revitalize the “brownfields” of the urban core: areas of abandoned buildings that encourage businesses and residents to leave the cities. The developing theory of cultural districts increasingly conceives them as development models for local systems, where the term ‘district’ refers to supra-urban area. At supra-urban or regional level the complexity of a cultural district is even more marked than at urban level, due to potential interdependencies among a greater multitude of actors. A useful approach towards a deeper understanding can be to conceive cultural districts as complex adaptive systems. Indeed, complexity is definitely not a