Academic literature on the topic 'Creative cities'

This dissertation is a study of cities. It is a study that aims to define which are the factors that are necessary to make a city attractive, both for tourists and residences. It is a study about creativity, meaning the capacity of people of conceiving new ideas and create something new. It is a study about innovation, a fundamental factor for a city that wants to grow in the future. It is a study about people, which are considered the heart of a place. Finally, it is a study about brand and how this concept can be applied to a product called city. The objective of this work is in fact that of putting together two topics that are intertwined: creative cities and city branding.

Creative City policies have long been portrayed as the new packaging for neoliberal policies. While being widely criticised, the concepts of creative cities and creative class continue to travel around the world in the domain of policy making.That is why some researchers (Pratt, 2011, Ratiu, 2013, Leslie and Cantugal, 2012, Beaumont and Yildiz, 2017) have flagged up that there are other possibilities to conceive a creative city. The dimensions of Justice identified by S. Fainstein (2019), democracy, equality, diversity are at the core of some artists works. While placing my research in the frame of the urban planning literature on the creative city as my hypothesis show, I propose a slight displacement of focus. The specific contribution of my work is to make the link with arts theory and to bring in the debate an analysis of the new conceptions artists have developed of their role in the city, as regards to the city making, in theory and in practice. The theoretical background is provided by Jacques Rancière (2008), who has proposed a new conception of aesthetics. The specificity of art, aesthetics, is that it proposes a new “distribution of the sensible”. The thesis analyses three case studies of participative theatre in Saint-Denis, with the view to determine what the actual input of the artist in the making of the city and how this is relevant for the creation of an alternative creative city model. The three hypothesis of the work are that : 1. More-than-capitalist creative cities visions may already exist (Leslie and Cantugal, 2012) and they may be influenced by the political orientation of the carrier of the visions. (Garcia, 2013). This visions may take into account issues of inequalities (Jakob, 2011) and redistribution (Pratt, 2011). 2. These visions may differ between different stakeholders. There may be an interplay of these different visions on a territory. One needs to construct a situated and contextualised (Pratt, 2011; Prince, 2010) understanding of the way creative cities visions of different stakeholders play in a given location. 3. Artists may play an active role in building an alternative vision and implementation of the creative city, Sharp and al. (2005). A specific focus on the way art works are read by the audience and to the process of making of the art work helps understand its actual impact on issues of social justice, such as equality, democracy and diversity (Fainstein, 2010). The choice of the location has been motivated by its characteristics of being a poor traditionnally communist subburb of Paris, now flagged up as Territory of Culture and Creation in Greater Paris Metropolis. The thesis analyses 3 participative theatre projects in this territory : 1/‘The Football pitch, the player and the consultant’. It is an urban planning consultation participatory art project, commissioned by the local authority, with a duration of two years, co-managed by a theatre collective and an innovative urban planning consultancy, which aimed at stakeholders’ voices to be heard in a different way, using the resources of sports and theatre. 2/ Montjoie! Saint-Denis! by Hoc Momento - An in-situ theatre project commissioned by an independent art institution as regards to the future of a brownfield and its surrounding neighbourhood, led by researchers-artists. 3/ The Ephemeral Troup: a participative theatre project with young people, partly from disadvantaged background and from the area and led by a state financed theatre, the Théâtre Gérard Philippe (TGP) What this PhD brings to the debate on creative city, is the knowledge that it is not because art does not have direct economic impact, nor easily quantifiable social impact, that its specific input should be disregarded. By analysing the details of art projects, one can reveal the many ways artists use creativity to change the city. A new conception of just creative city should aim at encapsulating these types of contribution.<br>Creative City policies have long been portrayed as the new packaging for neoliberal policies. While being widely criticised, the concepts of creative cities and creative class continue to travel around the world in the domain of policy making.That is why some researchers (Pratt, 2011, Ratiu, 2013, Leslie and Cantugal, 2012, Beaumont and Yildiz, 2017) have flagged up that there are other possibilities to conceive a creative city. The dimensions of Justice identified by S. Fainstein (2019), democracy, equality, diversity are at the core of some artists works. While placing my research in the frame of the urban planning literature on the creative city as my hypothesis show, I propose a slight displacement of focus. The specific contribution of my work is to make the link with arts theory and to bring in the debate an analysis of the new conceptions artists have developed of their role in the city, as regards to the city making, in theory and in practice. The theoretical background is provided by Jacques Rancière (2008), who has proposed a new conception of aesthetics. The specificity of art, aesthetics, is that it proposes a new “distribution of the sensible”. The thesis analyses three case studies of participative theatre in Saint-Denis, with the view to determine what the actual input of the artist in the making of the city and how this is relevant for the creation of an alternative creative city model. The three hypothesis of the work are that : 1. More-than-capitalist creative cities visions may already exist (Leslie and Cantugal, 2012) and they may be influenced by the political orientation of the carrier of the visions. (Garcia, 2013). This visions may take into account issues of inequalities (Jakob, 2011) and redistribution (Pratt, 2011). 2. These visions may differ between different stakeholders. There may be an interplay of these different visions on a territory. One needs to construct a situated and contextualised (Pratt, 2011; Prince, 2010) understanding of the way creative cities visions of different stakeholders play in a given location. 3. Artists may play an active role in building an alternative vision and implementation of the creative city, Sharp and al. (2005). A specific focus on the way art works are read by the audience and to the process of making of the art work helps understand its actual impact on issues of social justice, such as equality, democracy and diversity (Fainstein, 2010). The choice of the location has been motivated by its characteristics of being a poor traditionnally communist subburb of Paris, now flagged up as Territory of Culture and Creation in Greater Paris Metropolis. The thesis analyses 3 participative theatre projects in this territory : 1/‘The Football pitch, the player and the consultant’. It is an urban planning consultation participatory art project, commissioned by the local authority, with a duration of two years, co-managed by a theatre collective and an innovative urban planning consultancy, which aimed at stakeholders’ voices to be heard in a different way, using the resources of sports and theatre. 2/ Montjoie! Saint-Denis! by Hoc Momento - An in-situ theatre project commissioned by an independent art institution as regards to the future of a brownfield and its surrounding neighbourhood, led by researchers-artists. 3/ The Ephemeral Troup: a participative theatre project with young people, partly from disadvantaged background and from the area and led by a state financed theatre, the Théâtre Gérard Philippe (TGP) What this PhD brings to the debate on creative city, is the knowledge that it is not because art does not have direct economic impact, nor easily quantifiable social impact, that its specific input should be disregarded. By analysing the details of art projects, one can reveal the many ways artists use creativity to change the city. A new conception of just creative city should aim at encapsulating these types of contribution.

A tese de doutoramento apresentada ao longo das páginas seguintes analisa como a transformação da base económica da cidade de Barcelona teve um impacto transformador na sua configuração física e, por conseguinte, do seu espaço público. Este fenómeno encontra-se vinculado a processos de Regeneração Urbana, comuns a dinâmicas ocorrentes noutras cidades. Consideramos importante a análise destes processos, ao permitir-nos relacionar as premissas económicas e políticas com os resultados sobre o território. Para além deste interesse geral, o caso de Barcelona possui características especificas que a fazem sobressair com relação às operações conduzidas noutras cidades, merecendo assim o empenho desta investigação. Assumindo a caracterização de Barcelona enquanto uma cidade criativa, concentramo-nos no processo de desindustrialização e da posterior re­industrializaçào do bairro do Poblenou através do projeto 22@,noqualseverificaa passagem das antigas indústrias para as indústrias vinculadas ao conhecimento, onde a cultura ocupa um lugar preponderante. Utilizámos uma metodologia inovadora, consistindo na aplicação de uma análise multi-escalar, no espaço e no tempo, e incidindo sobre o âmbito das políticas económicas e do terntório no Poblenou. De forma a contextualizar a nossa análise, examinámos primeiramente a evolução geral das políticas culturais nas cidades, de forma a articularmos o conceito de "creative cities" com os processos de Regeneração Urbana. Em seguida, observamos o vínculo entre a evolução dos usos com o território físico do Poblenou, assim como o avanço das políticas culturais em Barcelona. Finalmente, aprofundámos o estudo sobre o projeto 22@Barcelona no seu âmbito geral e, em especial, avaliamos o espaço público adjacente ao edificado das novas alividadcs produtivas criath'as. Este é exemplarmente representado pela intervenção de Palo Alto, dado o seu processo de transformação físico, produtivo o cultural. Desta aplicação do Poblenou, destacamos elementos de continuidade e de ruptura. Dos primeiros, a integração do território físico, relativamente ao conjunto da cidade; a continuidade da sua conceptualização enquanto um distrito industrial, inclusivamente adaptando o edificado da primeira industrializaçào para novos usos e valorizado enquanto património; a tentativa de manter a população residente, c a Instauração de novas infraestruturas físicas e sociais, que asseguram uma equivalência ao conjunto da cidade. Consideramos a configuração global do espaço público projetada pelo 22@ como qualitativamente positiva, fomentando a sua integraçao na cidade e a sua coesão urbana. Por outro lado, verificamos uma ruptura no ambiente construído: notoriamente no plano vertical, a tentativa de introduzir novos elementos diferenciadores na paisagem urbana resulta numa imagem trivial e na própria banalização dos recursos culturais. Sobre a ambiguidade destes resultados, valorizamos a integração do desenho destes novos espaços públicos do Poblenou numa continuidade histórica e territorial do conjunto da cidade, destacando-se este domínio de excelência representativo da Barcelona atual.<br>This Ph.D. Dissertation examines how the transformation of the economic base of the city of Barcelona had a transformative impact on its physical configuration, and therefore on its public space. This phenomenon is linked to urban regeneration processes, common to the dynamics that occur in other cities. We believe it is important to analyse such processes, as they allow us to relate the economic and political assumptions with the results in the territory. Beyond this general interest, the specific characteristics of Barcelona make it stand out in relation to the operations in other cities, therefore ensuring the commitment of this research. By characterizing Barcelona as a creative city, we then analyse the deindustrialization and subsequent re-industrialization of the Poblenou derived of the 22@ plnn, which transforms the old manufacturing industries in knowledge­related industries, where culture is predominant. We use an innovative methodology, consisting of implementing a multi-scale analysis in space, and time, focusing on both economic and territorial policies in Poblenou. To contextualize this analysis, we first examine the general evolution of cities' cultural policies, in order to articulate the concept of “creative cities” with the process ot urban regeneration. Then, we look at the linkage between the uses evolution of the physical territory of Poblenou, and the progress of cultu.ral policies in Barcelona. Finally, we deepen the study of the 22@Barcelona project in its general context and, in particular, we evaluate the public space adjacent to buildings used for creating new productive activities. We analyse the intervention in Palo Alto by considering it esp«ially characteristic of this physical, productive and cultural transformation processes. This appreciation of Poblenou includes elements of continuity and rupture. On the first onc, wc observe the integration of its physical territory, in relation to the whole city; the continuity of its conceptualization as an industrial district, including the :ldaptation of the first industrialization buildings to new uses and valued an heritage; the attempt to keep the resident population; and finally, by the introduction of new physical and social infrastructures, providing an equivalence within the city. We consider the overall configuration of the public space designed for 22@ as qualitatively positive, by encouraging its integration in the city and its urban cohesion. But we also identify a break in the built environment: especially in the vertical plane, the intent of introducing new differentiators in the urban landscape results in a mundane image and on a cultural resources trivialization. On the ambiguity of these results, we highlight the value and integration and of these Poblenou's newly designed public spaces in the historical and territorial continuity of the whole city, emphasizing this aspect of excellence and as a representative of the contemporary Barcelona.<br>La tesi doctoral presentada a les pàgines següents examina rom la transformació de la base econòmica de la ciutat de Barcelona va tenir un impacte transformador en la seva configuració física i per tant el seu espai públic. Aquest fenomen està lligat a processos de regeneració urbana. comuns a les dinàmiques que ocorren en altres ciutats. Considerem que és important analitzar aquests processos doncs permeten que ens relacionar els supòsits econòmics i polítics amb els resultats sobre el territori. Més enllà d'aquest interès general. el cas de Barcelona té característiques especifiques que fan que es destaqui en relació amb les operacions desenvolupades en altres ciutats, que garanteix el compromís d'aquesta investigació. Caracteritzant Barcelona com a ciutat creativa, ens permet concentrar-nos en la desindustrialització i la posterior re-industrialització del barri del Poblenou gràcies al projecte 22@, trobant-hi el pas de les velles indústries a les indústries relacionades amb el coneixement,. on la cultura és predominant. Utilitzem una metodologia innovadora que consisteix en l'aplicació d'una anàlisi multi-escala, en l'espai i en el temps, i incideix en l'àmbit de les polítiques econòmiques i territorials al Poblenou. Per tal de contextualitzar l'anàlisi, examinem primer l'evolució general de les polítiques culturals a les ciutats, per tal d'articular el concepte de "ciutats creatives" amb els processos de regeneració urbana. Després observem el vincle entre l'evolució dels usos del territori físic del Poblenou, així com l'avanç de les polítiques culturals a Barcelona. Finalment, aprofundim l'estudi del projecte 22 @ Barcelona en el seu context general i, en particular, avaluem l'espai públic adjacent als edificis destinats a les noves activitats productives creadores. Això es mostra a tall d'exemple per la intervenció a Palo Alto, donada el seu procés de transformació física, productiva i cultural. D'aquesta apreciació del Poblenou, en destaquem els elements de continuïtat i ruptura. Els primers, la integració del territori físic, en relació a tota la ciutat; la continuïtat de la seva conceptualització com un districte industrial, incloent-hi l'adaptació dels edificis de la primera industrialització als nous usos i valorats com a patrimoni; tractant de mantenir a la població resident, i la introducció de nova infraestructura física i social, que proporcionen una equivalència amb tota la ciutat. Considerem que la configuració global de l'espai públic dissenyat per al 22@ és qualitativament positiva, fomentant la seva integració a les ciutat i la seva cohesió urbana. D'altra banda, comprovem una ruptura en l'entorn construït: sobretot en el pla vertical, l'intent d'introduir nous elements diferenciadors en els resultats paisatge urbà en una imatge trivial i, també, una trivialització dels recursos culturals. Sobre l'ambigüitat d'aquests resultats, valorem la integració del disseny d'aquests nous espais públics del Poblenou en una continuïtat històrica i territorial de tota la ciutat, destacant aquest aspecte d'excel.lència i representatiu de l'actual Barcelona.<br>La tesis doctoral presentada en las páginas siguientes examina cómo la transformación de la base económica de la ciudad de Barcelona tuvo un impacto transformador en su configuración física y por consiguiente su espacio público. Este fenómeno está ligado a procesos de regeneración urbana, comunes a las dinámicas que ocurren en otras ciudades. Consideramos que es importante analizar estos procesos pues nos permiten relacionar los supuestos económicos y políticos ron los resultados sobre el territorio. Más allá de este interés general, el caso de Barcelona tiene características específicas que hacen que destaque en relación con las operaciones desarrolladas en otras ciudades y que garantiza el compromiso de esta investigación. Caracterizando Barcelona como ciudad creativa, nos permite analizar la desindustrializadón y la posterior re-industrialización del Poblenou gracias al proyecto 22@, transformando las viejas industrias fabriles en las industrias relacionadas con el conocimiento, donde la cultura es predominante. Utilizamos una metodología innovadora consistente en la aplicación de un análisis multi-escala, en el espacio y en el tiempo, que incide en el ámbito de las políticas económicas y territoriales en el Poblenou. Para contextualizar el análisis, examinamos primero la evolución general de las políticas culturales en las ciudades, para articular el concepto de “ciudades creativas” con los procesos de regeneración urbana. Después, observamos el vínculo entre la evolución de los usos del territorio físico del Poblenou, así como el avance de las políticas culturales en Barcelona. Finalmente, profundizamos el estudio del proyecto 22@ Barcelona en su contexto general y, en particular, evaluamos el espacio público adyacente a los edificios destinados a las nuevas actividades productivas creadoras. Esto se muestra, a modo de ejemplo, en la intervención en Palo Alto, dado su proceso de transformación física, productiva y cultural. De esta apreciación del Poblenou, destacamos los elementos de continuidad y ruptura. Los primeros, la integración del territorio físico, en relación a toda la ciudad; la continuidad de su conceptualización como un distrito industrial, incluyendo la adaptación de los edificios de la primera industrialización a los nuevos usos y valorados como patrimonio; tratando de mantener a la población residente y la introducción de nueva infraestructura física y social, que proporcionan una equivalencia con toda la ciudad. Consideramos que la configuración global del espacio público diseñado para el 22@ es cualitativamente positiva, fomentando su integración en la ciudad y su cohesión urbana. Por otra parte, comprobamos una ruptura en el entorno construido: sobre todo en el plano vertical, con el intento de introducir nuevos elementos diferenciadores en el paisaje urbano que se traduce en una imagen trivial y, también, una trivialización de los recursos culturales. Sobre la ambigüedad de estos resultados, valoramos la integración del diseño de estos nuevos espacios públicos de Poblenou en una continuidad histórica y territorial de toda la ciudad, destacando este aspecto de excelencia y representativo de la actual Barcelona.

L’ambito della ricerca si riferisce al tempo, ai processi, alle pratiche e agli strumenti del design, espressi negli eventi progettati quali agenti di trasformazione nella relazione tra individuo, comunità e territorio. Il contesto è la città contemporanea entrata in un processo di mutazione continua, complice la crisi economico-finanziaria del 2007, e trasformata dagli effetti delle tecnologie abilitanti digitali, una condizione oggi amplificata dall’epidemia da Coronavirus. La grande crisi del capitalismo finanziario ha privato le pubbliche amministrazioni delle risorse e delle politiche di sostegno alla trasformazione urbana top down, mentre le tecnologie abilitanti hanno accelerato e reso inabili i tradizionali processi di relazione tra soggetti. La crisi attuale sta incentivando la migrazione dei comportamenti sociali dall’ambiente naturale verso l’ambiente virtuale, sostituendo l’esperienza fisica nello spazio-tempo della città con l’esperienza digitale, a vantaggio dell’incorporeità. I segnali deboli testimoni di questo processo di trasformazione sono l’emergere di piattaforme interattive che abilitano modelli in co-design di sviluppo, produzione, distribuzione e comunicazione, grazie a software open-source e licenze creative commons che incentivano processi di coinvolgimento bottom up. Queste modalità per creare e collaborare si fondano su metodologie mutuate dal design, su pratiche diffuse quali crowdsourcing e crowdfunding, su azioni informali ed eventi temporanei che contano sulle tecnologie abilitanti e sulla partecipazione di comunità di interesse. La ricerca si è sviluppata a partire da un regesto di casi internazionali per contestualizzarsi nell’esperienza delle grandi città italiane e infine passare alla applicazione sul campo nella città di Bologna, dove ho praticato l’esperienza di ricerca field in Bologna Design Week. L’ipotesi dimostrata è che gli eventi progettati possano essere uno strumento di riattivazione culturale e di cura delle comunità; una strategia di orientamento delle identità mutanti nella città contemporanea; un insieme di pratiche reiterabili di commoning design, creatività, tecnologie digitali e storytelling.<br>The research topic refers to time, processes, practices and tools of design, expressed in the designed events as agents of trans-formation in relation to the individual, the community and the territory. The context is the contemporary city affected by a process of continuous mutation, due to the economic and financial crisis since 2007 onward, and transformed by the effects of digital enabling technologies, whose changing condition has now ampli-fied by the Coronavirus epidemic. The great crisis of financial capitalism has deprived public administrations of resources and policies to support top-down urban transformation, while enabling technologies have accelerated and disabled the traditional processes of relationships between subjects. The current crisis is encouraging the migration of social behaviors from the natural environment to the virtual environment, replacing the physical space-time experience of the city within the digital experience, at the advantage of incorporeal. The weak signs witnessing this transformation process are the emergence of interactive platforms that enable co-design models for development, production, distribution, communication. Thanks to open-source software and creative commons licenses, they encourage bottom-up engagement processes. These techniques to create and collaborate are based on methodologies bor-rowed from design; on widespread practices such as crowdsourcing and crowdfunding; on informal actions and temporary events that rely on enabling technologies and the participation of communities of interest. The research developed from a record of international cases; up to contextualize the experience of large Italian cities. It finally moves on, assuming the city of Bologna as application field, where I experience the research topic through Bologna Design Week. The demonstrated hypothesis is that the designed events can be assumed as a tool for cultural reactivation and community care; as a strategy for orienteering changing identities in the contemporary city; as a set of repeatable practices of commoning design, creativity, digital technologies and storytelling.

Tese de Mestrado em Comunicação Social<br>A criatividade tem vindo a assumir-se como uma componente primordial para o crescimento económico, sendo reconhecido o seu valor no contexto de diferentes profissões e atividades. A música, enquanto forma de representação da identidade cultural, contribui ativamente para a construção da identidade nacional, vinculando-a através dos seus artistas e criações. No quadro da The Creative Cities Network, da UNESCO, e tendo por base a dinamização do sector das “Industrias Criativas”, procedeu-se à identificação das condições base para a preparação de uma futura proposta de atribuição do selo "creative city" à cidade de Lisboa, no sector da música. Foi analisado um conjunto de estudos de carácter científico e estatístico, acerca da performance económica das Indústrias Criativas em Lisboa. Os resultados sugerem que Lisboa reúne as condições materiais, os recursos humanos e técnicos e os espaços físicos para se posicionar como uma cidade criativa, atuando como cluster musical. O Selo poderá promover a internacionalização e a capacidade competitiva da economia da cidade, numa escala regional e global. Paralelamente, este projeto abarca uma componente multimédia de criação de um mapa interativo, aberto e acessível a todos, para consulta dos espaços culturais em Lisboa, lançando as bases para um serviço de geo-localização, tagging e agenda, como complemento a Lisboa enquanto membro desta rede.<br>Creativity has been defining itself as a major factor towards economic development, and its value has been recognized in the context of different jobs and activities. Music, as a representation of cultural identity, actively contributes to the construction of the national identity, conveying it through its artists and creations. As part of The Creative Cities Network, of UNESCO, and based on the dynamics of the sector of "Creative Industries", the identification of the basic conditions for the preparation of a future proposal for awarding the Tag of "creative city" to the city of Lisbon, in the music sector, was accomplished. A set of studies of scientific and statistical character was analyzed, about the economic performance of the Creative Industries in Lisbon. The results suggest that Lisbon has the conditions, human resources and technical and physical spaces to position itself as a creative city, acting as musical cluster. The Seal could promote the internationalization and competitiveness of the city's economy, both at regional and global scale. In addition, this project includes a component of multimedia creation of an interactive map, open and accessible to all, for consultation of cultural spaces in London, laying the foundation for a service of geo-location, tagging and agenda, as a complement to Lisbon while member of this network.

This thesis examines the formation and governance patterns of the social and spatial concentration of creative people and creative business in cities. It develops a typology for creative places, adding the terms 'scene' and 'quarter' to 'clusters', to fill in the literature gap of partial emphasis on the 'creative clusters' model as an organising mechanism for regional and urban policy. In this framework, a cluster is the gathering of firms with a core focus on economic benefits; a quarter is the urban milieu usually driven by a growth coalition consisting of local government, real estate agents and residential communities; and a scene is the spontaneous assembly of artists, performers and fans with distinct cultural forms. The framework is applied to China, specifically to Hangzhou – a second-tier city in central eastern China that is ambitious to become a 'national cultural and creative industries centre'. The thesis selects three cases – Ideal & Silian 166 Creative Industries Park, White-horse Lake Eco-creative City and LOFT49 Creative Industries Park – to represent scene, quarter and cluster respectively. Drawing on in-depth interviews with initiators, managers and creative professionals of these places, together with extensive documentary analysis, the thesis investigates the composition of actors, characteristics of the locality and the diversity of activities. The findings illustrate that, in China, planning and government intervention is the key to the governance of creative space; spontaneous development processes exist, but these need a more tolerant environment, a greater diversity of cultural forms and more time to develop. Moreover, the main business development model is still real estate based: this model needs to incorporate more mature business models and an enhanced IP protection system. The thesis makes a contribution to literature on economic and cultural geography, urban planning and creative industries theory. It advocates greater attention to self-management, collaborative governance mechanisms and business strategies for scenes, quarters and clusters. As intersections exist in the terms discussed, a mixed toolkit of the three models is required to advance the creative city discourse in China.