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A creative city is a city where creativity is a strategic factor in urban development. A creative city provides places, experiences, attractions, and opportunities to foster creativity among its citizens. [1]
Partners initially focused on design and culture as resources for livability. In the early 1980's, partners launched a program to document the economic value of design and cultural amenities. The Economics of Amenity program explored how cultural amenities and the quality of life in a community are linked to economic development and job creation. This work was the catalyst for a significant array of economic impact studies of the arts across the globe. [2]
Core concepts used by partners were cultural planning and cultural resources, which they saw as the planning of urban resources including quality design, architecture, parks, the natural environment, animation and especially arts activity and tourism.
From the late 1970s onwards, UNESCO and the Council of Europe began to investigate the cultural industries. From the perspective of cities, it was Nick Garnham, who when seconded to the Greater London Council in 1983/4, set up a cultural industries unit to put the cultural industries on the agenda. Drawing on, re-reading and adapting the original work by Theodor Adorno and Walter Benjamin in the 1930s which had seen the culture industry as a kind of monster and influenced also by Hans Magnus Enzensberger, he saw the cultural industries as a potentially liberating force. This investigation into the cultural industries of the time found that a city and nation that emphasized its development of cultural industries added value, exports, and new jobs, while supporting competitiveness, continues to expand a city's and nation's growth in the global economy. [3]
The first mention of the creative city as a concept was in a seminar organized by the Australia Council, the City of Melbourne, the Ministry of Planning and Environment (Victoria) and the Ministry for the Arts (Victoria) in September 1988. Its focus was to explore how arts and cultural concerns could be better integrated into the planning process for city development. A keynote speech by David Yencken, former Secretary for Planning and Environment for Victoria, spelled out a broader agenda stating that whilst efficiency of cities is important there is much more needed: "[The city] should be emotionally satisfying and stimulate creativity amongst its citizens". [4]
Another important early player was Comedia, founded in 1978 by Charles Landry. Its study on 1991, Glasgow: The Creative City and its Cultural Economy was followed on 1994 by a study on urban creativity called The Creative City in Britain and Germany. [5]
As well as being the centre of a creative economy and being home to a sizeable creative class, creative cities have also been theorized to embody a particular structure. This structure comprises three categories of people, spaces, organizations, and institutions: the upper-ground, the underground, and the middle-ground. [6]
The upper-ground consists of firms and businesses engaged in creative industries. These are the organizations that create the economic growth one hopes to find in a creative city, by taking the creative product of the city's residents and converting it into a good or service that can be sold.
The underground consists of the individual creative people—for example, artists, writers, or innovators—who produce this creative product.
The middle-ground bridges the gap between the polished upper-ground and the raw energy of the underground. It can be vibrant neighborhoods, buzzing galleries, or collaborative art collectives. In these spaces, underground creativity takes form, disparate ideas coalesce into tangible products, and connections spark between individuals across the spectrum. This fertile middle-ground fosters cross-pollination of ideas and talent, fueling innovation and propelling the creative ecosystem forward.
To unlock the economic power of creative industries, cities must nurture all levels of the ecosystem, not just the polished upper-ground. Urban planning initiatives can create vibrant middle-ground spaces, while targeted policies can attract and empower the often-overlooked "creative class" of the underground. This holistic approach fosters innovation, diversity, and ultimately, economic growth.
Richard Florida works on quantifying various measures of the "creative potential" of a city, and then ranks cities based on his "creativity index". This, in turn, encourages cities to compete with one another for higher rankings and the attendant economic benefits that supposedly come with them. In order to do this, city governments will hire consulting firms to advise them on how to boost their creative potential, thus creating an industry and a class of expertise centred around creative cities. [7]
There have been critiques of the creative city idea claiming it is only targeted at hipsters, property developers and those who gentrify areas or seek to glamorize them thus destroying local distinctiveness. [8] This has happened in places, but it is not inevitable. The creative challenge is to find appropriate regulations and incentives to obviate the negative aspects. A valid concern has been the conscious use of artists to be the vanguard of gentrification, to lift property values and to make areas safe before others move in, otherwise referred to as artwashing. [9]
Critiques of creative city and creative and cultural industries highlight them as a neoliberal tool to extract value from a city's culture and creativity. It treats cultural resources of a city as raw materials that can be used as assets in the 21st century---just as coal, steel, and gold were assets of the city in the 20th century. [10]
Florida's work has been criticized by scholars such as Jamie Peck as, "work[ing] quietly with the grain of extant 'neoliberal' development agendas, framed around interurban competition, gentrification, middle-class consumption and place-marketing". In other words, Florida's prescriptions in favor of fostering a creative class are, rather than being revolutionary, simply a way of bolstering the conventional economic model of the city. The idea of the creative class serves to create a cultural hierarchy, and as such reproduce inequalities; indeed, even Florida himself has even acknowledged that the areas he himself touts as hotspots of the creative class are at the same time home to shocking disparities in economic status among their residents. In order to explain this, he points to the inflation of housing prices that an influx of creatives can bring to an area, as well as to the creative class' reliance on service industries that typically pay their employees low wages. [11]
Critics argue that the creative city idea has now become a catch-all phrase in danger of losing its meaning and in danger of hollowing out by general overuse of the word 'creative' as applied to people, activities, organizations, urban neighbourhoods or cities that objectively are not especially creative. Cities still tend to restrict its meaning to the arts and cultural activities within the creative economy professions, calling any cultural plan a creative city plan, when such activities are only one aspect of a community's creativity. There is a tendency for cities to adopt the term without thinking through its real organizational consequences and the need to change their mindset. The creativity implied in the term, the creative city, is about lateral and integrative thinking in all aspects of city planning and urban development, placing people, not infrastructure, at the centre of planning processes. [12]
Landry's original Creative City vision, focused on holistic urban transformation, has yielded to a Florida-centric model prioritizing economic innovation and its skilled workforce. This shift has reduced the Creative City to a mere business tool, a far cry from its initial ambition to reshape urban policy. Now, the "thesis" is palatable to existing power structures, neatly fitting into the global economic order. Yet, the debate simmers on. While some cling to the holistic vision of city-wide creativity, others equate the Creative City solely with the economic engine of the creative class.
In 2004, UNESCO established the Creative Cities Network (UCCN). UCCN was established to share best practices and partnerships that can help sustain and improve a city's creativity. All cities recognized as a member of the UCCN agree that creativity acts as a strategic factor of sustainable development.
The UCCN have seven creative fields: crafts and folk art, design, film, gastronomy, literature, media arts, and music. [13]
Gentrification is the process of change in the character of a neighborhood through the influx of more affluent residents and investment. There is no agreed-upon definition of gentrification. In public discourse, it has been used to describe a wide array of phenomena, sometimes in a pejorative connotation.
Cultural diversity is the quality of diverse or different cultures, as opposed to monoculture. It has a variety of meanings in different contexts, sometimes applying to cultural products like art works in museums or entertainment available online, and sometimes applying to the variety of human cultures or traditions in a specific region, or in the world as a whole. It can also refer to the inclusion of different cultural perspectives in an organization or society.
Richard L. Florida is an American urban studies theorist focusing on social and economic theory. He is a professor at the Rotman School of Management at the University of Toronto and a Distinguished Fellow at NYU's School of Professional Studies.
Cultural tourism is a type of tourism in which the visitor's essential motivation is to learn, discover, experience and consume the cultural attractions and products offered by a tourist destination. These attractions and products relate to the intellectual, spiritual, and emotional features of a society that encompasses arts and architecture, historical and cultural heritage, culinary heritage, literature, music, creative industries as well as the living cultures with their lifestyles, value systems, beliefs and traditions.
The creative industries refers to a range of economic activities which are concerned with the generation or exploitation of knowledge and information. They may variously also be referred to as the cultural industries or the creative economy, and most recently they have been denominated as the Orange Economy in Latin America and the Caribbean.
Shunde is a district of the city of Foshan, Guangdong province, located in the Pearl River Delta. It had a population of 2,464,784 as of the 2010 census. Once a traditional agricultural county, it has become one of the most affluent counties in Guangdong and mainland China. Since 2009 it has been administered independently of Foshan city, answerable directly to the Guangdong provincial government.
The creative class is the posit of American urban studies theorist Richard Florida for an ostensible socioeconomic class. Florida, a professor and head of the Martin Prosperity Institute at the Rotman School of Management at the University of Toronto, maintains that the creative class is a key driving force for economic development of post-industrial cities in the United States.
An arts district or cultural district is a demarcated urban area, usually on the periphery of a city centre, intended to create a 'critical mass' of places of cultural consumption - such as art galleries, theatres, art cinemas, music venues, and public squares for performances. Such an area is usually encouraged by public policy-making and planning, but sometimes occurs spontaneously. It is associated with allied service-industry jobs like cafes, printers, fashion outlets, restaurants, and a variety of 'discreet services'.
In urban planning, infill, or in-fill, is the rededication of land in an urban environment, usually open-space, to new construction. Infill also applies, within an urban polity, to construction on any undeveloped land that is not on the urban margin. The slightly broader term "land recycling" is sometimes used instead. Infill has been promoted as an economical use of existing infrastructure and a remedy for urban sprawl. Detractors view increased urban density as overloading urban services, including increased traffic congestion and pollution, and decreasing urban green-space. Many also dislike it for social and historical reasons, partly due to its unproven effects and its similarity with gentrification.
Economic restructuring is used to indicate changes in the constituent parts of an economy in a very general sense. In the western world, it is usually used to refer to the phenomenon of urban areas shifting from a manufacturing to a service sector economic base. It has profound implications for productive capacities and competitiveness of cities and regions. This transformation has affected demographics including income distribution, employment, and social hierarchy; institutional arrangements including the growth of the corporate complex, specialized producer services, capital mobility, informal economy, nonstandard work, and public outlays; as well as geographic spacing including the rise of world cities, spatial mismatch, and metropolitan growth differentials.
Charles Landry is an author and international adviser on the future of cities best known for popularising the Creative City concept. His book The Creative City: A Toolkit for Urban Innovators became a movement to rethink the planning, development and management of cities.
Creative Cities is an international project designed and managed by the British Council. It shares experiences across Europe on the ways creativity, entrepreneurship and innovation can help improving people's lives – making cities better places to live, work and play.
Chiang Mai Creative City is an initiative to develop Chiang Mai into a creative city. A creative city is a city where cultural and creative activities are an integral part of the city's economic and social functioning. The experience of other cities which have implemented such strategies has shown that they can be more successful than cities which have not. On 31 October 2017, Chiang Mai has been designated as a UNESCO Crafts and Folk Art Creative Cities Network.
Tenstar Community, often known simply as "TEN", is a Third Sector not-for-profit movemente and association established and registered in Italy, in the city of Verona.
Verticalization is a phenomenon, typically seen in major cities, where there is a general increase in the population of high-rise residential buildings. As of 2024, there is no agreed-upon definition of verticalization.
A creative economy is based on people's use of their creative imagination to increase an idea's value. John Howkins developed the concept in 2001 to describe economic systems where value is based on novel imaginative qualities rather than the traditional resources of land, labour and capital.: Compared to creative industries, which are limited to specific sectors, the term is used to describe creativity throughout a whole economy.
Environmental, ecological or green gentrification is a process in which cleaning up pollution or providing green amenities increases local property values and attracts wealthier residents to a previously polluted or disenfranchised neighbourhood. Green amenities include green spaces, parks, green roofs, gardens and green and energy efficient building materials. These initiatives can heal many environmental ills from industrialization and beautify urban landscapes. Additionally, greening is imperative for reaching a sustainable future. However, if accompanied by gentrification, these initiatives can have an ambiguous social impact. For example, if the low income households are displaced or forced to pay higher housing costs. First coined by Sieg et al. (2004), environmental gentrification is a relatively new concept, although it can be considered as a new hybrid of the older and wider topics of gentrification and environmental justice. Social implications of greening projects specifically with regards to housing affordability and displacement of vulnerable citizens. Greening in cities can be both healthy and just.
City of Music is a designation given by UNESCO to a number of cities around the world "that have identified creativity as a strategic factor for sustainable urban development", to promote cooperation among them and to help establish further music-related activities in the cities. The network is a sub-network of the wider UNESCO Creative Cities Network, or UCCN. The UCCN launched in 2004, and has member cities in seven creative fields. The other fields are: Crafts and Folk Art, Design, Film, Gastronomy, Literature, and Media Arts.
Mexico City has massively been expanding its urban fabric and population density, becoming the sixth largest city in the world. A combination of neoliberal policies, complex geographic location, socio-economic disparities and inefficient strategies have influenced the process of gentrification in the city. The combination of numerous megaprojects, inefficient city-planning strategies, and remote work after the COVID-19 pandemic have led to dysfunctions in circulation, community allocation and equal access to resources. In consequence, middle and low-income communities have been directly or indirectly alienated and challenged to adapt to a complex and evolving urban environment, and the culture erasure that comes with the process of gentrification.
David George Druce Yencken was a builder, businessman, academic and heritage practitioner in Australia.
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