464:
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.
233:
73:
32:
175:
371:, 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.
463:
as, "work 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
431:
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,
476:
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
424:
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
409:
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,
420:
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
467:
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
440:
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. This has happened in places, but it is not inevitable. The creative challenge is to find
477:
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.
472:
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
413:
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.
382:, the Ministry of Planning and Environment (Victoria) and the Ministry for the Arts (Victoria) on 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
441:
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
386:, 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: " should be emotionally satisfying and stimulate creativity amongst its citizens".
335:
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.
493:(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.
331:
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.
579:
473:
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.
421:
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.
327:
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
432:
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.
185:
456:
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.
926:
196:
417:
The underground consists of the individual creative people—for example, artists, writers, or innovators—who produce this creative product.
649:
903:
861:
347:
began to investigate the cultural industries. From the perspective of cities, it was Nick
Garnham, who when seconded to the
137:
109:
319:. A creative city provides places, experiences, attractions, and opportunities to foster creativity among its citizens.
294:
276:
254:
214:
156:
116:
59:
743:
NYUAD, SIA (2019-03-08). "Gentrification and the
Creative City: Lessons Learned from Berlin Urban Planning Policy".
247:
580:"The Economics of Amenity: Community Futures and Quality of Life; A Policy Guide to Urban Economic Development"
123:
94:
90:
45:
20:
355:
unit to put the cultural industries on the agenda. Drawing on, re-reading and adapting the original work by
885:
105:
771:
650:
http://charleslandry.com/panel/wp-content/uploads/downloads/2013/03/Lineages-of-the-Creative-City.pdf
425:
underground. This holistic approach fosters innovation, diversity, and ultimately, economic growth.
468:
creative. Cities still tend to restrict its meaning to the arts and cultural activities within the
368:
241:
844:
Hartley, John; Potts, Jason; Cunningham, Stuart; Flew, Terry; Keane, Michael; Banks, John (2013).
189:
that states a
Knowledge editor's personal feelings or presents an original argument about a topic.
921:
904:
https://en.unesco.org/creative-cities/sites/default/files/uccn_mission_statement_rev_nov_2017.pdf
490:
83:
687:
348:
258:
521:
130:
8:
537:
469:
352:
879:
192:
51:
374:
The first mention of the creative city as a concept was in a seminar organized by the
867:
857:
826:
822:
791:
787:
730:
627:
379:
375:
356:
344:
448:
Critiques of creative city and creative and cultural industries highlight them as a
849:
818:
783:
726:
699:
617:
622:
605:
428:
360:
390:
316:
703:
915:
871:
830:
795:
631:
449:
383:
435:
853:
542:
517:
513:
460:
442:
312:
452:
tool to extract value from a city's culture and creativity. It treats
606:"Cultural and Creative Industries Concept – A Historical Perspective"
72:
717:
Peck, Jamie (December 2005). "Struggling with the
Creative Class".
501:
756:"Artwashing: Social Capital & Anti-Gentrification Activism".
453:
505:
486:
389:
Another important early player was
Comedia, founded in 1978 by
340:
662:
525:
497:
686:
Cohendet, Patrick; Grandadam, David; Simon, Laurent (2010).
509:
397:
was followed on 1994 by a study on urban creativity called
186:
personal reflection, personal essay, or argumentative essay
843:
809:
Peck, Jamie (2005). "Struggling with the
Creative Class".
848:. 10.4135/9781526435965 London: SAGE Publications, Inc.
436:
The emergence of the creative economy and creative class
459:
Florida's work has been criticized by scholars such as
685:
811:
International
Journal of Urban and Regional Research
776:
International Journal of Urban and Regional Research
719:
International Journal of Urban and Regional Research
395:
Glasgow: The Creative City and its Cultural Economy
97:. Unsourced material may be challenged and removed.
913:
663:"COMEDIA : Thinking about creative cities"
561:Yencken, David (1988). "The creative city".
367:as a kind of monster and influenced also by
60:Learn how and when to remove these messages
621:
610:Procedia - Social and Behavioral Sciences
295:Learn how and when to remove this message
277:Learn how and when to remove this message
215:Learn how and when to remove this message
157:Learn how and when to remove this message
898:UNESCO Creative Cities Network. (2017).
399:The Creative City in Britain and Germany
240:This article includes a list of general
927:Urban studies and planning terminology
914:
603:
496:The UCCN have seven creative fields:
322:
808:
772:"Struggling with the Creative Class"
769:
716:
226:
168:
95:adding citations to reliable sources
66:
25:
846:Key Concepts in Creative Industries
13:
688:"The Anatomy of the Creative City"
246:it lacks sufficient corresponding
14:
938:
41:This article has multiple issues.
823:10.1111/j.1468-2427.2005.00620.x
788:10.1111/j.1468-2427.2005.00620.x
731:10.1111/j.1468-2427.2005.00620.x
480:
231:
173:
71:
30:
892:
837:
802:
763:
82:needs additional citations for
49:or discuss these issues on the
750:
737:
710:
679:
655:
638:
597:
572:
555:
21:Creative city (disambiguation)
1:
770:Peck, Jamie (December 2005).
646:Lineages of the Creative City
548:
339:From the late 1970s onwards,
623:10.1016/j.sbspro.2013.12.918
604:Moore, Ieva (January 2014).
363:in the 1930s which had seen
7:
531:
10:
943:
404:
18:
704:10.1080/13662710903573869
692:Industry & Innovation
315:is a strategic factor in
884:: CS1 maint: location (
369:Hans Magnus Enzensberger
760:. Retrieved 2020-04-14.
747:. Retrieved 2020-04-14.
491:Creative Cities Network
410:and the middle-ground.
261:more precise citations.
584:Americans for the Arts
349:Greater London Council
195:by rewriting it in an
16:Urban planning concept
854:10.4135/9781526435965
817:(4). Wiley: 740–770.
393:. Its study on 1991,
758:COLOURING IN CULTURE
365:the culture industry
351:in 1983/4, set up a
329:Economics of Amenity
91:improve this article
19:For other uses, see
538:Creative industries
353:cultural industries
667:www.comedia.org.uk
323:Early developments
197:encyclopedic style
184:is written like a
900:Mission Statement
863:978-1-4462-0289-0
644:Landry, Charles.
380:City of Melbourne
376:Australia Council
345:Council of Europe
317:urban development
305:
304:
297:
287:
286:
279:
225:
224:
217:
167:
166:
159:
141:
64:
934:
906:
896:
890:
889:
883:
875:
841:
835:
834:
806:
800:
799:
767:
761:
754:
748:
741:
735:
734:
714:
708:
707:
683:
677:
676:
674:
673:
659:
653:
642:
636:
635:
625:
601:
595:
594:
592:
591:
576:
570:
559:
489:established the
470:creative economy
311:is a city where
300:
293:
282:
275:
271:
268:
262:
257:this article by
248:inline citations
235:
234:
227:
220:
213:
209:
206:
200:
177:
176:
169:
162:
155:
151:
148:
142:
140:
99:
75:
67:
56:
34:
33:
26:
942:
941:
937:
936:
935:
933:
932:
931:
912:
911:
910:
909:
897:
893:
877:
876:
864:
842:
838:
807:
803:
768:
764:
755:
751:
742:
738:
715:
711:
684:
680:
671:
669:
661:
660:
656:
643:
639:
602:
598:
589:
587:
578:
577:
573:
560:
556:
551:
534:
483:
438:
429:Richard Florida
407:
361:Walter Benjamin
325:
301:
290:
289:
288:
283:
272:
266:
263:
253:Please help to
252:
236:
232:
221:
210:
204:
201:
193:help improve it
190:
178:
174:
163:
152:
146:
143:
106:"Creative city"
100:
98:
88:
76:
35:
31:
24:
17:
12:
11:
5:
940:
930:
929:
924:
922:Urban planning
908:
907:
891:
862:
836:
801:
782:(4): 740–770.
762:
749:
736:
725:(4): 740–770.
709:
678:
654:
637:
596:
571:
553:
552:
550:
547:
546:
545:
540:
533:
530:
482:
479:
437:
434:
406:
403:
391:Charles Landry
357:Theodor Adorno
324:
321:
303:
302:
285:
284:
239:
237:
230:
223:
222:
181:
179:
172:
165:
164:
79:
77:
70:
65:
39:
38:
36:
29:
15:
9:
6:
4:
3:
2:
939:
928:
925:
923:
920:
919:
917:
905:
901:
895:
887:
881:
873:
869:
865:
859:
855:
851:
847:
840:
832:
828:
824:
820:
816:
812:
805:
797:
793:
789:
785:
781:
777:
773:
766:
759:
753:
746:
740:
732:
728:
724:
720:
713:
705:
701:
697:
693:
689:
682:
668:
664:
658:
651:
647:
641:
633:
629:
624:
619:
615:
611:
607:
600:
585:
581:
575:
568:
564:
558:
554:
544:
541:
539:
536:
535:
529:
527:
523:
519:
515:
511:
507:
503:
499:
494:
492:
488:
481:Global impact
478:
474:
471:
465:
462:
457:
455:
451:
446:
444:
433:
430:
426:
422:
418:
415:
411:
402:
400:
396:
392:
387:
385:
384:David Yencken
381:
377:
372:
370:
366:
362:
358:
354:
350:
346:
342:
337:
333:
330:
320:
318:
314:
310:
309:creative city
299:
296:
281:
278:
270:
260:
256:
250:
249:
243:
238:
229:
228:
219:
216:
208:
205:December 2023
198:
194:
188:
187:
182:This article
180:
171:
170:
161:
158:
150:
139:
136:
132:
129:
125:
122:
118:
115:
111:
108: –
107:
103:
102:Find sources:
96:
92:
86:
85:
80:This article
78:
74:
69:
68:
63:
61:
54:
53:
48:
47:
42:
37:
28:
27:
22:
899:
894:
845:
839:
814:
810:
804:
779:
775:
765:
757:
752:
744:
739:
722:
718:
712:
695:
691:
681:
670:. Retrieved
666:
657:
645:
640:
613:
609:
599:
588:. Retrieved
586:. 2019-05-15
583:
574:
566:
562:
557:
495:
484:
475:
466:
458:
447:
439:
427:
423:
419:
416:
412:
408:
398:
394:
388:
373:
364:
338:
334:
328:
326:
308:
306:
291:
273:
264:
245:
211:
202:
183:
153:
144:
134:
127:
120:
113:
101:
89:Please help
84:verification
81:
57:
50:
44:
43:Please help
40:
616:: 738–746.
259:introducing
916:Categories
902:. UNESCO.
698:: 91–111.
672:2021-11-17
590:2021-11-17
549:References
543:Smart city
524:arts, and
518:literature
514:gastronomy
461:Jamie Peck
450:neoliberal
443:artwashing
313:creativity
267:April 2009
242:references
117:newspapers
46:improve it
880:cite book
872:912302935
831:0309-1317
796:0309-1317
632:1877-0428
485:In 2004,
147:July 2023
52:talk page
532:See also
502:folk art
454:cultural
343:and the
563:Meanjin
405:Anatomy
255:improve
191:Please
131:scholar
870:
860:
829:
794:
745:Medium
630:
506:design
498:crafts
487:UNESCO
378:, the
341:UNESCO
244:, but
133:
126:
119:
112:
104:
526:music
522:media
138:JSTOR
124:books
886:link
868:OCLC
858:ISBN
827:ISSN
792:ISSN
628:ISSN
510:film
500:and
359:and
110:news
850:doi
819:doi
784:doi
727:doi
700:doi
618:doi
614:110
93:by
918::
882:}}
878:{{
866:.
856:.
825:.
815:29
813:.
790:.
780:29
778:.
774:.
723:29
721:.
696:17
694:.
690:.
665:.
648:.
626:.
612:.
608:.
582:.
567:47
565:.
528:.
520:,
516:,
512:,
508:,
504:,
445:.
401:.
307:A
55:.
888:)
874:.
852::
833:.
821::
798:.
786::
733:.
729::
706:.
702::
675:.
652:.
634:.
620::
593:.
569:.
298:)
292:(
280:)
274:(
269:)
265:(
251:.
218:)
212:(
207:)
203:(
199:.
160:)
154:(
149:)
145:(
135:·
128:·
121:·
114:·
87:.
62:)
58:(
23:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.