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Emerging Strategies in Urban DesignCompetitive Region = Creative Cities

CHANGEThe only thing permanent

The Era of the New Economy

A Creative Economy is based on ideas generatedby human capital. It produces goods and servicesthat create, teach, generate technical innovation,drive, design and cultivate change in communities

A Paradigm Shift

Creative Sector

Core Industries of the Creative Economy

1. R&D2. Publishing3. Software4. TV & Radio5. Design6. Music7. Film8. Toys & Games9. Advertising10. Architecture11. Perform, Arts12. Crafts13. Video Games14. Fashion15. Art

The Japanese Institute of Global communications & Institute of Innovation Research Hitotsubashi University & international University of Japan

Creative industries in the EU25 sorted in accordance with the number of enterprises 2002

Changes in Wage Per Employee and Number of Employees,FY2002-FY2005

Source: California Employment Development Department

Silicon Valley’s Creative Edge?

In the years since the dot-com collapse:

“Our experience these past five years offers additional evidence thatSilicon Valley’s most important competitive edge may be its

“creative edge.”

Joint venture, Silicon Valley index 2006

Creativity:

talent and imagination areessential ingredients for

InnovationInteractive Media

Creativity is the process by which ideas are generated, connected,and transformed into things that are valued.

The Growing Power of Ideas - Virtual value“ Cities have a crucial resource – their people. Human cleverness, desire, motivations, imagination, and creativity are replacing location, natural resources and market access as urban resources. The creativity of those who live in and run cities will determine the future success.” - The Creative City a toolkit for Urban Innovation, Charles Landry

New Economy:Culture, Creative Industries,… ?

• Culture-led regeneration

• The ‘Creative City’

• Creative industries and the City

Culture or Creativity Driven?

1980s city governments faced:

• contracting industrial base• increasing globalisation• erosion of the key traditional competitive functions

of cities.

1980s culture as the ‘new fix’

• Global image and attraction of ‘footloose capital’

• Highly mobile and highly skilled personnel

• Cultural tourists

• Culture-led regeneration: investment in the urbanfabric.

Problems!

• Regeneration viewed as physical regeneration at the expense of a more holistic vision.

• The big regeneration projects were ultimately about culture and consumption

Cultural consumption generates business,

enhances property markets, has strong

image effects, but has limits.

Shift from Cultural to Creative Industries

• Tends to involve high capital investment often at the expense of the local

• Blandness, homogeneity

• Social exclusion (real and symbolic)

• Privatisation of public space

Just Cultural

A More Sustainable approach

• Extent of Local Impact – economic and social

• Question of wider benefits to the city:- ‘art’, of ‘international quality’- whose culture, whose image?

Emphasis on balancing culturalconsumption & production -

The Glocal

• Culture-led regeneration attempt to re-image the city giving it a greater global profile.

• Real creative vision involves much wider and deeper set of transformations.

• Re-imaging must involve renegotiation of local identity - not just marketing exercise.

Hence shift from Culturalto Creative (Industries)

‘Creativity’ moved beyond ClassicalCultural Industries

• Traditional attributes of (modernist) ‘artistic’ production - innovation, intuition, ‘out of the box’ thinking, rule breaking, rebellion – now crucial part of new economy as a whole

• About building partnerships, inspiring visions, leadership, accepting painful change

• What ‘levers’ can be employed to nurture and grow the creative economy and a city’s creative assets and/or to make a city a creative/cultural centre?

• How can the value of a city’s creative/cultural assets be maximized not only for the purposes of regional economic development but quality of life for it’s

community and sustainability?

• How to combine creative capital and social capital to improve quality of life

Questions

• How to evaluate and measure the evidence of culture & creativity to regeneration

• How can we improve systems of governance in relation to the new paradigm?

• Who should benefit from the outcomes of the creative city?

• How can creative-based cultural industries and activities be managed, planned and designed to improve the quality of places for people living in cities

A global scan of creative city & strategiesEmerging types of intervention - Creative Spaces

• Science Park, Turku Finland• Cite Multimedia, Montreal• Use of vacant premises - Manhattan; ex-military/hospitals San Francisco/ Oakland• Former-industrial sites, Sheffield CIQ, Halifax, UK• Heritage Buildings, Glasgow• Live/Work - atelieres-logments, SF., Paris• Event, Exhibition and showcasing Space, Barcelona, Milan• New Urban district, Helsinki• Taiwan Design Center, Taipei• Land of creative industries, Dublin, Irish Government Industrial development Authority.

1. Property and Premises

Science Park - Turku, Finland

Cite Multimedia, Montreal

Cultural Industroes Quarter (CIQ)Sheffield,UK

• Creative Industry Development Agencies (CIDAs), East London, Cardiff, Manchester, Liverpool, Preston, Sheffield, UK

• SME workspace (mix of creative and other), Barcelona; Ateliers d’Art, Paris

• Forum on Creative Industries and the Arts, Dublin

• Creative Industries Business Club, The Lighthouse, Glasgow

• City Growth through Business-led Creative Clusters, London

2. Business Development, Advice& Network building

3. Direct Grant/Loans to CreativeBusiness/Entrepreneurs

• Singapore Arts Council and Arts Council North East (UK) – grants and loans to creative businesses

• NESTA’s grant and innovation schemes (Lottery- funded, UK)

• ‘Proof of Concept’ grant fund (UK)

• West Midlands Advantage Creative Fund (ACF), Regional Development Agency, Arts Council and ERDF funded venture capital for creative businesses (UK)

• Hong Kong’s Innovation Technology Fund and Film Guarantee Fund

• Melbourne’s Arts & Cultural Industry Small Business Development Program to develop sustainable creative industries

• Taiwan’s National Awards of Excellence and award schemes targeting creative producers and for periods of research and development

• London’s Creative Capital Fund

4. Fiscal Initiatives

• Hotel bed tax (for the Arts) in San Francisco

• Percent for Art ordinance in Seattle and Vancouver

• Artists’ tax exemption in Ireland

• Tax exemption and creative SME start-ups in China

• Venture capital for SMEs in Munich

• Investment for film in Copenhagen

• Film financing and venture capital in Catalonia

• The Closer Economic Partnership Arrangement in China

• Hong Kong’s zero import tariffs on cultural goods (e.g. textiles, clothing, film) developing arkets in mainland China.

• International Financial Services Centre in Dublin - levies a lower corporate tax rate of 12.5% (10% for manufacturing and international services), with no restrictions on currency movements, no local content requirements and unlimited profit repatriation for foreign firms.

5. Physical Infrastructure

• Transport, design and regeneration, using artists and design- led architects in Bilbao; La Defense, Paris and Naples

• Stockholm’s ‘Art on Underground’

• Malmo’s new housing architecture and Oresundbridge (Copenhagen-Malmo)

• Mandela Bridge linking Newtown, Johannesburg

• Fast broadband/cabling access in Berlin

• Public art/realm and plaza dura hardscape ‘street gardens’ in Barcelona

• Copenhagen’s street paving/furniture

• Telecommunications/ ICT in Helsinki

• Sophisticated telecommunications and competitiverates for high-volume international traffic in Dublinand Hong Kong (and pioneering on-line services).

6. Soft Infrastructure

• Arts and cultural program linked to creative business development in Helsinki & Silicon Valley

• Young Art and Design Mai (May) in Berlin

• Furniture, Fashion and Textiles trade fairs in Milan

• Creative Partnerships (England), Arts in Education and Artists/Artsorganisations working with Young People

• Business Link Black & Minority Ethnic Business Knowledge Centre, London

Contribution to the European economy andgrowth

Sustainability in 21st centuryand

The young & talented:

How green is your cityHow creative is you city

Creative City = Creative Economy = Sustainable city

+

Case Study: St. Louis, Mo.Creative Spaces for all the creative branches = Innovation

• Building partnerships,• Inspiring visions,• Leadership,• Accepting painful change• Vitality of communities

About re-imagining the city,telling a different story

about what it was and what it could becomein relation to own - authentic - local assets.

Creative Cities

• Regeneration viewed as physical regeneration at

the expense of a more wholistic vision.

• The big regeneration projects about culture and

consumption

• Cultural consumption generates business,

enhances property markets, has strong image

effects, but has limits

• Homogenization instead of distinctiveness

Possible Pitfalls with concept of‘Regeneration’

Creative Urban Ecology

‘meanings adhere to the urban landscape’ -used as factors in the production of culturalcommodities

Meanings re-assimilated into the ‘urbanlandscape’, acting as ‘a source of inputs tonew rounds of cultural production andcommercialisation’, and ‘a further enrichmentof the urban landscape’

A more successful example/case study:Manchester, UK

• Manchester – shock city of industrialisation• Challenge to London’s economic, political and

cultural dominance• Response to challenges – plugged into global

transformations• 1930s in decline – though still ‘city of Empire’• 1960-80 - collapse

Historical Background

•G-Mex/ Bridgewater Hall

• Central Manchester Development Agency

• Olympic bids

• Revitalised Retail and Commercial Core

• Commonwealth Games

• New Arts Infrastructure

• Events and Festivals

• Convention Centre and Hotels

• City Centre Living, Cosmopolitan City

Manchester’s Regeneration - A Narrative

• Entrepreneurial City

• Post -1987 – taking a different direction

to Liverpool

• From Confrontation to Co-operation

• Public-Private Partnerships

• Erosion of democracy

‘Enlightened Despotism’ - Howard Bernstein

(AH Wilson)


• Understanding Role of Culture

• Prioritising Design Quality

• Rediscovery of the Urbanistic…

• Deeper Resources of Energy and Creativity

•Manchester: the home grown process….


• CMDC (central Manchester Development

Corporation): failure to attract large development

capital

• Emergence of smaller local development capital

• Small scale retail, arts and culture

• Larger developers – Tom Bloxham and Urban

Splash.

Manchester’s Regeneration Narrative

• Zukin: artist-led gentrification - recouped by property developers• small scale development grew out of cultural scene - Manchester: The peripheral city•‘Re-landscaping’ of city a work of cultural intermediation not at first recognised by City• New kind of local growth coalition based around culture and creative industries

Instrumental Cultural Agents & Mediators

• Increasingly turned to Popular Culture and Music

Iconic representation of the City

The Smiths (Love Will Tear us Apart )

• Newsweek – different worlds

• Olympic Bid: never went beyond traditional growth

coalition networks

Instrumental Cultural Agents & Mediators

Manchestera city reinventing itself

Transformation of Habitus

- Shift of emphasis from industrial to urbanisticinnovation

- ‘Structure of feeling’– a way of inhabiting a fieldof cultural production, linked to a local cultural field.

• CIs in Manchester – ‘Thatcher’s children’ – oppositional, entrepreneurial by default,different sense to traditional idea of ‘the artist’,transposed to a more popular cultural notion ofauthenticity and ambition (neo-Bohemia?)

• Drew on popular culture as symbolic of wider vibrancy and creativity

• Manchester as a space where this emerged mostclearly.

‘It is this restless flux of the utopias of organised labour and

the utopian dreams of urban fortunes, won through free trade

and enterprise, that defines the parameters of local mancunian

“structure of feeling” – a culture that sees itself as connected

up to a larger world and a larger set of possibilities, rather than

simply an industrial city caught within a narrow labour

metaphysic.’

- Ian Taylor et al: A Tale of Two Cities – first global ncity, not mono-cultural

‘The dominant image of the Mancunian of the1990s, of the street-wise “scally” (scallywag) doingbusiness across the world or profiting from localinitiatives in the entertainment business (the popgroups of the 1980s “Madchester” or the Olympicbid in 1992), we would argue is no overnightinvention.’

• Reworked narrative of past and future

• Complex process of negotiation - draws on very real resource

• Process not easy – negotiations -

emergent rather than strategic logic

• Urbis – Rediscovering the City• ‘Original Modern’ – Return of Factory• From Best Club to the McEnroe Group• 1996 IRA bomb – Special Projects, new

networks• (24PP and Wilson)

• Shift of emphasis from industrial to urbanistic

innovation

• Drew on long standing narratives (first global city,

entrepreneurial, open to change)

• Drew on popular culture as symbolic of wider

vibrancy and creativity

Peter Saville

I felt that the Manchester brand had to build on itshistory, and of course the quintessential fact of thathistory is that it was the first industrial city. Thiswas the foundation of my original modern theme, Ireinterpreted ‘first industrial’ as‘original modern’ -the terms original and modern being verycharacteristic of Manchester.

Original and Modern

‘The attitude there is original, there is a wilfulness ofMancunians to do things their own way and it is a cityconcerned with the now. It knows it has a history butit’s not historically minded. Originality and modernityare values characteristic of Manchester, values whichthe city has epitomised. Original and modern thinkingbuilt it. My vision for the brand was the pursuit of theoriginal and modern in this century.’

Urbanity and modernity

• ‘Creativity’ linked to the (urban) public sphere and

to transformations of lifestyle and social structure

• ‘Creative Milieus’ involve cultural and political

questions

• Can you have creativity and innovation

(modernisation) without

• the more difficult modernity that goes with it?

• Support for creative production: Not artist centred

range of key actors and skills

• Support for creative production: Not artist centred –

range of key actors and skills

• Creativity based on modernism not ‘traditional’

cultural values – golden mean, middle way, balance,

slow acquisition of skills, discipline etc.

Creativity & cultre-led regeneration Hazards

• Instrumentalisation of culture, more consumerism then production > A threat• Collapse of culture into economic policy > a threat• Homogenisation, globalisation and erosion of local production• Modernity: danger and opportunity

Conclusion

Creativity: Incubating & Balancing ‘Dynamics’

The Secret receiptfor Creativity & Innovation