La ciutat creativa és una ciutat oberta, dinàmica i tolerant on es concentra de manera significativa l’anomenada classe social creativa. Es constata que les persones que formen aquest col·lectiu escullen el seu lloc de residència en funció de les oportunitat de treball i en funció dels estils de vida de la població.
Els territoris creatius remarquen la importància de la cultura, l’art i elements creatius dins del context urbà. L’enfocament creatiu de la ciutat es pot resseguir a nivell mundial, especialment a les ciutats europees i nord-americanes.
Els territoris creatius s’especialitzen en desenvolupar activitats econòmiques, iniciatives empresarials i coneixement de caràcter simbòlic, tot i que sense oblidar el coneixement científic-tecnològic. La diversitat cultural i la tolerància caracteritzen aquests entorns. Són ciutats normalment situades en importants zones metropolitanes amb una bona xarxa de comunicació amb l’exterior i dotació de serveis. Val a dir també que els treballadors creatius poden significar una part important de la població qualificada als entorns rurals.
La qualitat de les institucions públiques es refereix a proveir condicions, però la seva capacitat d’intervenció directa és poc rellevant.
Cities and the Creative Class
Richard Florida, 2003
Cities and regions have long captured the imagination of sociologists, economists, and urbanists. From Alfred Marshall to Robert Park and Jane Jacobs, cities have been seen as cauldrons of diversity and difference and as fonts for creativity and innovation. Yet until recently, social scientists concerned with regional growth and development have focused mainly on the role of firms in cities, and particularly on how these firms make location decisions and to what extent they concentrate together in agglomerations or clusters. This short article summarizes recent advances in our thinking about cities and communities, and does so particularly in light of themes advanced in my recently published book, The Rise of the Creative Class, which focuses on diversity and creativity as basic drivers of innovation and regional and national growth. This line of work further suggests the need for some conceptual refocusing and broadening to account for the location decisions of people as opposed to those of firms as sources of regional and national economic growth. In doing so, this article hopes to spur wider commentary and debate on the critical functions of cities and regions in 21st–century creative capitalism. Download document
Creative-based strategies in small cities: A case-study approach
Selada, Catarina; Vilenha da Cunha, Inês; Tomas, Elisabete
The article intends to contribute to the literature on the relation between small cities and the creative economy in Europe. It aims to identify some dimensions and variables that need to be considered when approaching the capability of these small territories to attract creative people and businesses, surpassing the metropolitan-biased approaches oriented to the context of large cities. The research work is based on a case study methodology, centred on the comparative analysis of the small cities of Óbidos (Portugal), Barnsley UK) and Jyväskylä (Finland). The results of this investigation emphasise the context-specific nature of creative-based policies and stress the importance of some key success factors, such as governance and institutional arrangements, quality of life, entrepreneurship and networks. Dowload document
Creative Cities and (Un)Sustainability – Cultural Perspectives
Julia Hahn, 2010
The recent world exhibition Expo 2010 held in Shanghai, China under the motto Better City, Better Life circled around how urban
environments of the future should look like, offering numerous architectural designs and presentations from all areas of the world. The mission statement tied sustainable development in the city to economic prosperity, divers cultures, innovations in science and technology, and interactions between rural and urban areas. Yet the massive resettlements of residents in the course of the preparations of the Expo 2010 and the large economic need for migrant workers from all corners of the country for the prosperity of Shanghai and other Chinese cities begs the question of whether this world exhibition will bring some kind of sustained better life for people living in precarious situations (or even enable access to the exhibition itself), or if their problems will only increase. As this brief example shows, tensions can arise between ideals, utopian visions, how a city is conceptualized, the built characteristics this takes on, and the reality within the urban environment. A reflection of dominant understandings of cities at present, also regarding their implementation and effects on the human and non-human environment, seems crucial.
One of these prevailing notions of how the city is understood today is based on terms such as Creative City or Creative Class, which stress the importance of culture, art, and creatives in the urban context. The Creative City approach, coined mainly by Richard Florida and Charles Landry, has witnessed worldwide attention, a kind of ‘Creative City fever’, especially in European and Northern American cities, such as Toronto, San Francisco, or Hamburg. This prevailing concept appears as an ‘easy fix’, a ‘fit-all’ model for cities struggling with post-industrial changes in production and consumption and a global competition for ‘talent’. It has become a widely communicated message among policy makers, local governments, and academics. Download document