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| Id | 160 | |
| Author | Landry, C., ; Bianchini, F., | |
| Title | The Creative City | |
| Reference | Landry, C.; Bianchini, F. (1995) The Creative City. London: Demos. |
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| Link to article | https://www.demos.co.uk/files/thecreativecity.pdf |
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| 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. |
Much of this work was concerned with developing the artistic, cultural and social life of cities. at the moment most city governments have been inspired only by the two types of creativity which are easiest to under- stand and manage through instrumental rationality: those of business organisations and of the advertising and communications world for example through the ever increasing number of city marketing campaigns being implemented. this is as true for town planners steeped in the disciplines of land use and development control as it is for engineers librarians leisure managers and envi- ronmental health officers. resh ap in g th e city urban design is essentially about knitting together different parts of the city into a coherent artefact. a number of cities have used artists in the development of transport schemes not as a marginal add-on but as an integrated aspect of transport planning.
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