MESOC Serapeum | Where culture meets AI

Id		160
Author		Landry, C., ; Bianchini, F.,
Title		The Creative City
Reference		Landry, C.; Bianchini, F. (1995) The Creative City. London: Demos.
Link to article		https://www.demos.co.uk/files/thecreativecity.pdf
Abstract		This short publication explores what it means to be a creative city. It sets out both why creativity has become more important to cities – why nurturing it is important for economic success – and how creativity can be mobilised to help solve the myriad problems of the city, with lateral, synthetic, cross-disciplinary approaches. The first chapter explains what is new about the interlocking crises facing many cities. Secondly, the authors ask what creativity is and how it can be harnessed to make city life better. The authors argue that the hard sciences of urban planning need to be enriched by mobilising the experiences of different disciplines and people currently marginalised from decision making. In the last two chapters authors show, by quoting examples from all over the world, how it is possible to be creative in practice, how obstacles to creativity can be overcome and how creative milieux can be established. The creative city is the result of a long period of research and consultancy on the problems and possibilities of cities in Europe and beyond. The publication recollects the work experience of the authors during a decade in more than 100 towns and cities ranging from Stirling to St. Petersburg, Middlesbrough and Milan to Melbourne, Huddersfield to Helsinki and Basingstoke to Barcelona. Much of this work was concerned with developing the artistic, cultural and social life of cities. But the lessons which were learned seemed to have wider significance. Meanwhile, Prof. Klaus Kunzmann at the University of Dortmund and Ralph Ebert and Fritz Gnad at STADTart, also in Dortmund, were analysing urban and regional development, particularly in the Ruhr area, where a dramatic shift from traditional to more technologically advanced industry and services had taken place. This joint experience suggested that a new way of thinking was needed that went beyond traditional professional specialisations. In thinking through which lessons from the UK could benefit German cities and vice versa the authors recongised that the overriding feature common to the two countries was the importance of creative responses to urban problems, be they in traffic management, business development, greening the city, integrating ethnic communities, regenerating run-down housing estates or enlivening city centres.

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The result makes the city feel more friendly. .
They lighten up the townscape, reduce the claustrophobia of the densely packed city and provide much needed breathing space and recreation areas. .
Greening the city There are an increasing number of greening initiatives in cities all over the world, concerned with cycling and recycling, pollution control, energy saving, environmental auditing, bringing nature into the city and raising awareness. .
As you walk around there are all kinds of ecological messages about the city and its newly built cycleways -this signals its environmental friendliness. .
Much of this work was concerned with developing the artistic, cultural and social life of cities. .
Public spaces can also act as catalysts by attracting different types of people and encouraging interaction. .
These ways of thinking encourage innovation and generate new possibilities. .
For the same reasons it may often be important to introduce outside attitudes and skills, to encourage a more critical, imaginative view of how things are done. .
In this sense, creativity is a modernist concept because it emphasises the new, progress and continual change. .
The presence of artists and other cultural producers in declining urban areas helps restore vitality, develop a positive image, create additional employment and break cycles of decline. .
These landmark developments, market forces and the perceived quality of life of the area subsequently made the city attractive to photographers, artists and independent film-makers. .
It seeks to harness the potential of new developments such as computer music, computer animation and computer-based performing arts in order to produce more broadly based commercial applications, which they hope will strengthen the citys economic base. .
A creative city requires land and buildings at affordable prices, preferably close to other cultural amenities. .
It has attracted people to move back into the city centre, increased property and land values and enhanced the turnover of shops. .
Branding Branding is a way of identifying a place with particular attributes. .
They prefigure what a place might become and make it easier to generate resources for future development. .
Many other cities are encouraging young people to express their ideas by setting up infrastructures for profitable cultural production. .
In the context of sustainability, imaginative urban timetabling could save resources and improve quality of life. .
For example, if people are involved in the design and management of their housing estates, this can help in fostering a culture that reduces crime and vandalism. .
Instead we need to complement existing ways of thinking with new mindsets and additional methods for coping with change. .
This creative process often leads to bolder visions which are sometimes able to overcome problems previously seen as insoluble. .
Innovation and improvisation are all-important to the creative result. .

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