Académique Documents
Professionnel Documents
Culture Documents
International Conference
Toward a Creative City : International Experiences
Table of Contents
SESSION A
Moderator : Prof. Dong-Il Yook
(President of Daejeon Development Research Institute, Rep. of Korea)
A-1 12
Creative Cities, Creative Spaces, Creative Urban Policies
· Mr. Ralf Ebert
(STADTart, Germany)
A-2 27
Challenging and Developing Creative Cities in Japan : Creative Cities through
Networking
· Prof. Sasaki Masayuki
(Director of Urban Research Plaza at Osaka City University, Japan)
A-3 29
Towards a Creative City: European Experiences
· Prof. Jurgen Pietsch
(Hafen City University Hamburg, Germany)
A-4 37
TOWARDS CREATIVE CITY: Perspectives from the Phoenix Metropolitan
· Prof. Joochul Kim
(Arizona State University, U.S.A.)
6 Toward a Creative City: International Experiences
SESSION B
Moderator : Prof. Deog-Seong Oh
(WTA Secretary General)
B-1 57
Cultural Assets as Strategic Elements in forming a Creative City : the
Uppsala Experiences
Prof. Carl-Johan Engström
(the City of Uppsala, Sweden)
B-2 60
Living in Brisbane 2026: Using Scenarios to Create a Vision for Your City
· Ms. Jude Munro
(Brisbane City Council, CEO)
B-3 74
Script of Mr. Kawaguchi's Taipei Address
· Mr. Nobuyasu Kaneko
(City of Yokohama, Japan)
B-4 84
Planning and Prospect of Creative City Daejeon
· Prof. Byung-Joo, Kang
(Hannam University, Rep. of Korea)
Appendix : 한글번역본
International Conference 7
SESSION A
8 Toward a Creative City: International Experiences
A-1
Ralf Ebert*
STADTart, Gutenbergstr. 34 D-44139 Dortmund
mail@stadtart.com
Cities have to be creative if they wish to attract media attention, tourists, qualified labour and foreign
investment. This is the message recent books are sending around the world. Richard Florida promotes the
creative class (Florida 2002, 2005), Charles Landry the Creative City (2000), and their data, facts and
arguments seem to convince decision-makers and, policy advisors from Vancouver to Essen, from
Shanghai to Dubai. They use the fashionable terms to review their local and regional development
strategies, to describe innovative and “creative” projects and programmes, and to market their cities and
regions at home and abroad. A city, a place, an action - they all have to be creative; it is no longer
sufficient to be innovative. Here it helps enormously that the term has a positive connotation. It refers to
creative kids in a kindergarten, discovering the environment, it refers to artists on the search for new
horizons in the arts, to novels, which explore new grounds, and it refers to firms, who successfully launch
a newly designed product in a competitive market. Being creative, it seems, is never negative, even if it
seems to evolve occasionally from debris and chaos. And the term creative industries, although clearly
defined, albeit often quite differently from country to country, seems to cover any new venture in the
wide field between computers, electronics, design and culture, and encourages people to approach local
challenges differently. Althhough subject to much interpretation, the new term opens up new
opportunities for formulating and implementing innovative local and regional development policies in
cities and regions. Not surprisingly, the creative city development movement is inspiring technology and
science park promoters around the world to join the community of creative city developers.
Creativity can be defined in different ways. There is a plethora of literature explaining the
dimensions of creativity and of creative persons. Richard Florida, when defining his empirical base,
International Conference 11
considered as creative all citizens in urban agglomerations in the US with a degree in higher education,
including lawyers, bankers or medical doctors. In contrast, creative farmers, violin or cabinetmakers are
not included in his list, not, however, because they are not creative, but, assumingly, because the
empirical data were not readily available. Very few citizens in a city would accept being considered as
non-creative urbanites.
Considering the diversity of creative people in a city agglomeration, and their diverse location
preferences, it is certainly not appropriate to define a whole city to be a creative space, even if it currently
ranks high in a list of creative cities, and such lists, on the national as well as the international level, are
now appearing all around the world.
Our interest in the creative city is space. Hence we aim to explore the nature of creative spaces in
a city. Can spaces in a city be creative, and if so, what are the criteria for creative spaces? Do they differ
from city to city, from creative group to creative group? Our assumption is that each group of creative
people in a city will prefer to be in certain urban quarters which reflect their particular interests and
expectations, whether this refers to the aesthetic quality of the environment, the identity or the image of a
place, the concentration of activities related to the professional community, or to the inspirations they
expect to gain from certain urban spaces. It is clear that such preferences and expectations differ
enormously. They depend on whether they are articulated by a banker or by a graduate of a school of
applied arts, by a scientist doing research in a technology park, or a manager or owner of a music studio.
In the post-industrial city, the sequential rationale, first a job than a place to live, or vice versa, follows a
multitude of rational and financial, as well as emotional and biographical criteria.
This suggests that a city will rather be a mosaic of creative spaces of quite different natures. And
it implies that different categories of creative spaces in a city require quite different policy approaches.
One more aspect is important: creative spaces can be found in all cities, though they may be smaller or
larger, depending on the character, the local historical footprint, of the place concerned. Depending on the
economic situation and the path related development, the types and the structure of creative spaces in a
city like Berlin will differ from creative spaces in a small country town in Switzerland or those of a
metropolitan agglomeration in the US.
However, to allow a certain degree of generalisation of such spaces, for analytic and for policy
purposes, we suggest five different categories of creative spaces in a city. The five categories of creative
spaces in a city we will further explore and illustrate are knowledge spaces, spaces of the creative
precariate, unchartered urban territories, quarters of cultural and creative urban establishments and new
creative production sites. Two of these spaces are related to knowledge industries, and three to creativity
12 Toward a Creative City: International Experiences
in the field of culture industries. All these five creative spaces in a city are highly interrelated. Obviously,
the nature of these interrelations will depend on the size, the history and the geopolitical location of a city
(in the case of Munic Hafner, Streit 2007).
Knowledge spaces
Obviously, spaces in a city, where knowledge industries are located, such as universities, research
institutes, technology parks, could be seen as creative urban spaces. What is creative about such spaces?
Not much more than the fact that they are working spaces of people working in the field of science and
technology, or human and social sciences. And by definition, any research aiming to explore innovations
could be considered to be creative.
Usually such spaces are distributed all over a city (Kunzmann 2004b). Their location results from
location decisions taken by institutions and individuals. Such decisions rarely follow any overall urban
rationale. They result from the availability of land, and are based on a wide set of criteria developed and
justified at the time of the decision-making process or by the politico-administrative environment. In this
process the power of stakeholders, of individuals or institutions is essential. Consequently, the
distribution of knowledge spaces in a city is not the outcome of strategic urban development decisions on
where to locate what and when, but reflects mainstream scientific discourses, political programmes and
changing so-economic milieus in a city over decades or even centuries
Frequently such location decisions are made on the promises of architects and urban developers to
create an urban environment, which combines functional, aesthetic and environmental or even social
expectations. Particularly new campus design is often based on concepts of ideal learning environments,
with renowned American and British campuses, such as Harvard, Stanford or Cambridge, serving as not
quite appropriate models (Christiaanse, Hoeger 2007, Hessler 2007). In the end, many well-intended
development efforts for new, out-of town universities lack the ambience and the spirit, the initiators
promised in the decision-making processes, or were just handicapped by the lack of student housing,
convenient access by public transport or adjacent entertainment opportunities for staff and students.
However, if such spaces just function like industrial factories, they cannot develop the genius loci for
creativity promised by their initiators. And efforts to correct and heal mistakes, oversights, or changing
values are often costly and difficult to implement afterwards. Such efforts are being made, for example at
the ETH Zürich, to make the urban fringe location of the Technical University more acceptable to staff
and students, by adding a selection of urban functions to the out-of-town location, such as residences for
students an guest researchers, coffee shops and student related shopping facilities.
International Conference 13
It is not very different in the case of university-related technology parks. Their development
follows the availability of land during a certain time period, when city managers aim to demonstrate their
visionary power and commitment to innovations. Or decisions are taken to add a technology park to an
existing research institute or institution of higher education in order to benefit from, or to provide
opportunities for, spin-offs and start-ups encouraged by the success stories of Stanford or the MIT, and
given the fact that land is available. Occasionally such spaces are available in inner city locations, when
cities are searching for new uses for urban brownfields which - for whatever reasons - are available and
suitable for new ventures and meet a number of criteria for such parks. However, even the deliberate
placement of coffee shops and fast-food restaurants for intellectual breaks and information exchange does
not guarantee that such spaces will become flourishing creative islands with in a city.
This sounds as if a creative knowledge space cannot be planned on the basis of a blue print, even
if the project looks perfect, when being conceptualized. This is probably true. And experience shows that
there are very few cases where newly built knowledge spaces have become thriving districts in a city. The
precincts of the faculty of economics of the University of Innsbruck, Austria, built in the inner city, are
such a rare example.
Art market and design Painters, designers Galleries, arts and crafts trade
As a rule, this creative low-income group lives and works in urban quarters which offer cheap
rents, liberal environments and good accessibility by public transport. Often such areas are eroding
residential areas of the petit bourgeoisie or urban working class areas, not yet discovered by developers
and a profit-seeking real-estate market.
Taking an overall view, it is clearly evident that the vast majority of freelancers, independent
contractors or small-sized businesses prefer inner-city locations, not only for personal reasons, and
irrespective of sub-markets (Hertzsch, Mundelius 2005, 232; Ring 2004). Such locations, in metropoles
and bigger cities like Berlin or Dortmund, are as a rule tradtional residental areas, occasionally ethnic
districts, youth-oriented tourist areas, or spaces adjacent to art, music, design, film and media academies
at the inner urban fringe (in the case of Berlin Ebert, Kunzmann 2007,71-73). Such spaces facilitate
networking and exchange processes by informal interactions, say during lunch, among independent
players in the culture industries. The spatial proximity in these areas matches the striking interdependency
of projects including fashion, film, design or music that characterise the activities within many segments
in this sector (for the advertising see industry Grabher 2002).
occupation” (Senatsverwaltung für Stadtentwicklung Berlin, 2007). It has and still is taken place in more
or less all European metropoles. The rationale behind the process is the vast potential offered for this
process by low-cost premises, the mobility of the audience for cultural activities like exhibitions or
performances, and the particularly bright market prospects for the culture industries in metropoles.
Unchartered urban territories, which - for whatever reasons - are put to temporary uses or are used
only marginally, and spaces which are appropriated by creative pioneers often become the local
incubators. These spaces within a city, only created through the activities of their users, of the media and
of visitors, and consequently subject to the influences of trends and fashions in the society, are transitory
social laboratories in which new forms of living and working are tried out. They are pioneer spaces in
which social developments are anticipated, no matter whether these concern new patterns for living or
new patterns for working. A very remarkable example in this framework is the city of Berlin, which is -
following the fall of the Wall and against the background of still cheap living conditions, compared to
London, Paris or Shanghai - a “cool place” for artists, musicians or dancers, and for visitors to clubs from
all over the world. As a general rule, unchartered urban territories in cities only retain their importance for
a limited period of time. This means that this type of creative space can move around within an urban
region depending on transformation processes in traditional industries and the availability of derelict land.
As soon as an urban quarter has undergone certain processes of change, which are reflected in
rising property prices or in a shift from second-hand shops to avant-garde fashion shops, then freelancers
or independent contractors have paid their dues. Once a quarter has been upgraded by this creative group,
and once the market has recognised this in the value it assigns to it as a location, then it is quite common
for those who rediscovered the area to lose all interest in it, either because rents have become
unaffordable or because it no longer acts as an inspiration to them. This is one reason why the process of
change within such areas should be monitored carefully as a prerequisite to framing either supportive or
preventative urban developmental strategies (Ebert, Kunzmann 2007,74).
amenities like discotheques and restaurants (as a part of the “night economy”) the cultural district
accounts for the attractive metropolitan flair which appeals directly to the urbanites of the city region.
Both features form the background for the development of quarters with a cultural and creative urban
establishment in city centres. Consequently these areas are also the main tourist destinations of
metropoles (in the case of Berlin see Table 2). And global competition among metropolitan regions forces
urban policy makers to focus their local development planning on tourism and entertainment areas using
strategic initiatives with flagship projects like ferry wheels or modern science centres (Lloyd, Clark 2001).
market if their products are innovative and meet high quality standards. This, undoubtedly, requires a
great deal of creativity. Hence such firms rely to a great extent on a highly skilled and creative labour
force, living in the larger urban agglomeration. The type of firms varies with the local territorial potential
and the economic profile within an agglomeration. There is a tendency for similar firms to cluster
together in order to benefit from the profile of the park, the accumulated knowledge, and related services.
Such industrial parks, which can be found in all urban agglomerations, have their own spatial
rationale. Location matters; easy accessibility by car is a clear must; as is accessibility to an airport or to a
high-speed railway station. Thus, such industrial parks can often be found near metropolitan airports,
preferably along highways leading to an airport. An image matter as well, and this is the reason why such
parks rarely evolve in the neighbourhood of traditional Fordist industrial quarters. However, when public
subsidies provide incentives for redeveloping the sites, and key firms are attracted to serve as flagships
for others such modern production sites can also be found on former industrial brownfields at the edge of
built-up areas,
The Dortmund-project’s aim is to continue strengthening and supporting the specific competence
fields of Dortmund by enforcing start-up processes, by attracting investors from Germany and abroad
and by internationalizing the city. One of its core activities is to attract investors in order to build up a
18 Toward a Creative City: International Experiences
new infrastructure that helps to locate more and more companies in Dortmund. In addition it seeks to
optimize local conditions as a whole which then will have a positive influence on the development of
Dortmund as a leading technology location.
German examples of such new industrial spaces are industrial developments near the airport in
Munich or the new industrial park which is currently being developed at the site of a former steel plant in
Dortmund (see Table 3). The promotional brochure of this project, called Phoenix, explains the concept:
“The Dortmund-project focuses on the New Economy in the region of Dortmund. The project was
initiated in 1999 by the City of Dortmund, McKinsey & Company, and about 80 private Investors in the
Dortmund region (e.g.ThyssenKrupp AG). Its goal is to strengthen the role of the city as a leading center
for IT, MEMS, and e- logistics in Germany. Foreign companies that seek to open facilities in Dortmund
are given free start-up help, individualized support, and consultancy. Within the last decade Dortmund
has become one of the main centers of the new economy in Germany - a real success story that is based
on self strengthening processes. Today Dortmund is a hub for industries such as IT, MEMS and e-
logistics....
The “optimisation” of local conditions includes the development of an artificial lake on the
former industrial site and the development of residential areas on the banks of the lake.
Conclusion
It is mainly in these five spatial categories that the active members of the creative economy of a city are
working and living, as a consequence of new life styles and supported by re-urbanisation and
gentrification processes. These spaces are building the background for innovative milieus (Matthiessen
2006), where the respective community meets, exchanges information and forms specialised
communicative networks. In a metropolis, these spaces are highly interrelated (see Table 4). The working
spaces and the living spaces of the knowledge workers are functionally interlinked, as well as the
respective working and living spaces of the creative communities in the cultural sector. The traditional
quarters of the cultural establishment provide the urban cultural environment for both creative groups in
the city. They form a kind of a cultural link between the two creative groups in a metropolis and as a
symbol of the city they are a key feature for attracting talents from outside. Increasingly, and this can be
observed in more and more post -industrial metropoles in Europe, the different types of creative spaces
overlap functionally and physically.
Experience shows that each of these spaces requires a specific more holistic local policies, combining
cultural, economic, social and physical dimensions, to qualify these spaces for the respective creative
community (in the case of culture industries Ebert, Kunzmann 2007; Ebert 2008, related to knowledge
industries Kunzmann 2008). Such policies require solid knowledge of local conditions, of the local
20 Toward a Creative City: International Experiences
creative milieus and of ways and means of linking local policies to upper-tier policies in the respective
policy arenas (Kunzmann 2004a). Even metropolitan regions are subject to policies, which are formulated
at higher tiers of planning and decision-making, influencing the development of creative industries, and
which follow rather a global than a local logic.
References
CHRISTIAANSE, Kees; HOEGER, Kerstin (eds.) (2007): Campus and the City. Urban Design for the
Knowledge Society. Zürich: gta Verlag.
EBERT, Ralf; KUNZMANN, Klaus R. (2007): Kulturwirtschaft, kreative Räume und Stadtentwicklung
in Berlin. In: DISP, Vol. 4/2007, pp. 64 - 79.
EBERT, Ralf (2008): „Kreative Räume“ der Kultur- und Kreativwirtschaft in der Hierarchie der Städte
und Anforderungen an eine zukunftsorientierte Stadtpolitik. In: Jahrbuch für Kulturpolitik, Vol. 2008, in
forthcoming.
FLORIDA, Richard (2002): The Rise of the Creative Class. New York.
FLORIDA, Richard (2005): Cities and the Creative Class, New York, London.
GRABHER, (2002): The Project Ecology of Advertising: Tasks, Talents and Teams. In: Regional
Studies, Vol. 36.3, pp. 245 - 262.
HAFNER, Sabine; STREIT, Anne v. (2007): München – Standortfaktor Kreativität. Referat für Arbeit
und Wirtschaft, Vol. 217.
HERTZSCH, Wencke; MUNDELIUS, Marco (2005): Berlin – da steckt Musike drin. In: DIW
Wochenbericht, Vol. 14/2005, pp. 229 - 235.
HESSLER, Martina (2007): Die Kreative Stadt. Zur Neuerfindung eines Topos. Rehe Urban Studies.
Bielefeld: transcript.
HRADIL, Stefan; SCHIENER, Jürgen (2005): Soziale Ungleichheit in Deutschland. Wiesbaden: VS
Verlag für Sozialwissenschaften.
KUNZMANN, Klaus R. (2004a): An Agenda for Creative Governance in City Regions. In: DISP, Vol.
158, pp. 5 - 10.
KUNZMANN, Klaus R. (2004b): Wissensstädte: Neue Aufgaben für die Stadtpolitik. In: U. Matthiesen
(Hg). Stadtregion und Wissen : Analysen und Plädoyers für eine wissensbasierte Stadtpolitik. VS Verlag
für Sozialwissenschaften, Wiesbaden.
KUNZMANN, Klaus R. (2008): Afterword: The Spatial Dimenson of Knowledge Production. In:
Yigitcanlar, T., Velibeyoglu, K. and Baum, S., (Eds.), Knowledge-Based Urban Development: Planning
and Applications in the information era: London: Information Science Reference
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LANDRY, Charles (2000): The Creative City: A Toolkit for Urban Innovators. London: Earthscan.
LANGE, Bastian (2007): Die Räume der Kreativszene, Culturepreneurs und ihre Orte in Berlin.
Bielefeld: transcript, materiality 4.
LLOYD, Richard; CLARK, Terry Nichols (2001): The City as an Entertainment Machine, in: Research in
Urban Sociology, Vol. 6, pp. 357 - 378.
MATTHIESSEN, Ulf (2006): Raum und Wissen – Wissensmilieus und KnowledgeScapes als
Inkubatoren für zukunftsfähige stadtregionale Entwicklungsdynamiken? In: TÄNZLER, Dirk;
KNOBLAUCH, Hubert; SOEFFNER, Hans-Georg (eds.): Zur Kritik der Wissensgesellschaft, Konstanz,
pp. 155 - 180.
RING, Andreas (2004): Urbanität und urbanes Milieu als Standortwahl-Kriterien unternehmensbezogener
IT- und New-Media-Dienstleister im Berliner Innenstadtbezirk Friedrichshain-Kreuzberg. Diplomarbeit
am geographischen Institut der Rheinischen Friedrich-Wilhelms-Universität Bonn.
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Kulturwirtschaftsbericht Berlin.
22 Toward a Creative City: International Experiences
A-2
2.Why have culture and creativity moved to the center of urban policy?
As the trend of globalization has progressed, advanced capitalist countries have lost manufacturing base
and entered into a stage of becoming new knowledge and informational economies. The key driver of the
new knowledge economy is creativity, especially artistic and technological creativity.
Therefore creativity has moved to the center of urban policy.
1
Dr. Masayuki SASAKI is the director of Urban Research Plaza in Osaka City University, Japan and Dr. Sunsik KIM
is the special researcher of Urban Research Plaza in Osaka City University, Japan.
24 Toward a Creative City: International Experiences
If we go back far enough in the lineage of the creative city theory, we arrive at the so-called
founding fathers of “cultural economics”, namely John Ruskin and William Morris. Ruskin, who was
active in Victorian England, resisted the utilitarian economics of the times, and proposed “art economics”,
which placed emphasis on creative human activities and receptiveness.
According to him, not only artistic works, but all valuable goods have both a functional and artistic
aspect, and help to support the lives of consumers and increase their sense of humanity. That
which brings out this intrinsic value is “work,” that is free creative human activity rather than “labour”
forced upon one by another. He argued that this original, intrinsic value first became an effective value
when it was met by a receptive consumer who could evaluate it. Morris, the successor to Ruskin’s school
of thought, criticized the mass production and consumption system by large mechanized industries as
leading to an estrangement of labour and the de-humanization of life. He went on to coordinate the Arts
and Crafts Movement, which aimed at “humanization of labour” and “artification of everyday life” by
reintroducing craft-like production based upon the creative apply activities of artisans proposed by Ruskin.
P. Geddes and L. Mumford were the ones who began to Ruskin and Morris’ thoughts to urban studies.
Mumford, especially, in his Culture of Cities, lambasted the monetary economics that dominated the
megalopolis, and proposed “cultural
economics” which places emphasis on human life and environment over anything else, emphasizing
“reconstitution of cities to fulfill human consumption and creative activities.” (Mumford, 1938)
Furthermore, looking at contemporary creative city research, we find ourselves arriving at the
American urban researcher J. Jacobs, the person who called those cities that were especially good
at industrial innovation and improvisation “creative cities.” (Jacobs, 1984) contemporary
researchers of creative cities, like C. Landry and F. Bianchini ware influenced by her, and has
defined creativity as something more than fantasy and imagination, and placed it somewhere
between intelligence and innovation, that is, the concept that acts as a mediator between art and
culture and industry and technology. At present, they are continuing with their comparative research on
cities, keeping in mind the question of what kind of role a creative culture has in reconstructing the urban
economic base. They believe that cities that make much of the creativity of artistic activities and try to
have massive “citizens’ creative activities” and “creative cultural
infrastructure,” tend to embrace industries which specialize in innovation, and are able to develop an
administrative capacity to deal with difficult problems. What is important for creative cities is
creative problem solving in the areas of economics, culture, organization and finance, as well as the
fluidity to change the existing system whenever chain reactions in such occur. (Landry and
Bianchini, 1995)
Furthermore, Landry specified the relations of creativity and heritage, as in the quotes below:
“Cultural heritage is the sum of our past creativities and results of creativity is what keeps
society going and moving forward.” “Culture is the panoply of resources that show that a place is
unique and distinctive. The resources of the past can help to inspire and give confidence for the
future.”
“Even cultural heritage is reinvented daily whether this be a refurbished building or an
adaptation of an old skill for modern times: today’s classic was yesterday’s innovation. Creativity is
not only about a continuous invention of the new, but also how to deal appropriately with the old.”
(Landry, 2000)
International Conference 25
“Consideration of heritage as cultural capital can provide a means of integrating the interests
of conservationist, who are concerned with the protection of cultural value, and economist, who
look at heritage project as problems of allocation of scarce resources between competing ends.”
“Treatment of heritage as cultural capital parallels what has now became an accepted
treatment of environmental resources and ecosystems as natural capital, and …..
Again the fact that cultural capital embodies and gives rise to cultural and economic value gives it a
distinctive claim to attention and conditions the way analytical method should be used in evaluating
it.” (Throsby, 2001)
R. Florida, who was also influenced by Jacobs, advocates “the rise of the creative class” and
insists that the new urban economy is driven by the location choices of creative people who prefer place
that are rich in cultural diversity, enjoy appealing amenities, and have tolerance for the avant-garde and
gay people. He emphasizes the “social structure of creativity”, comprising new systems for technological
creativity and entrepreneurship, new and more effective models for producing goods and services, and a
broad social, cultural and geographic milieu conducive to creativity of all sorts. (Florida, 2002)
The British government and the Mayor of London have announced a policy promoting “creative
industries”, that is, “those industries which have their origin in individual creativity, skill and talent and
which have a potential for wealth and job creation through the generation and exploitation of intellectual
property.” They include thirteen sectors such as advertising, architecture, crafts,design, designer fashion,
film, fine arts and antique, game-software, music, performing arts,publishing, software and television and
radio. These industries produced £120 billion and hired1,320,000 employees in 2000, and ranked second
in GDP and s third in employment in London. (DCMS, 1998, 2001)
We estimated the size of Japanese creative industries and compared the results to the UK. According to
Table 1, even though the Japanese figures are larger in absolute terms, considering that the total Japanese
economy is about double that of the UK, Japanese creative industries, as contributors to the total national
26 Toward a Creative City: International Experiences
economy, reached only half employment and one-third of the total revenue of British creative industries.
Therefore, there is positive potential for the growth of Japanese creative industries.
(In Japan, there are no equivalent government statistics for the “cultural industries”, but data
compiled by the author and provided in Table 1 show that the scale of the market for the thirteen
industries listed above amounts to 38.834 trillion yen and the industries employ 1,408,780 people.
Comparing Japan and the UK based on this data, Japan is higher in absolute terms in both
employment and market scale, but when differences in the scale of GDP and total employment
between the two countries are taken into account, employment in the UK cultural industries is
roughly twice that of Japan and the scale of the market is roughly three times greater. This could
be said to indicate the future potential of the creative industries in Japan. The only industries in
which Japan has a superior market scale are the game software and craft industries. There is a
large gap in the design and performing arts industries, and in the music and film and video
industries there is an enormous difference in the scale of employment.)
Finally, in terms of public administration, the Creative City is based on an integrated urban creative
policy and a cultural policy unified with industrial and environmental policies
under democratically managed public finance.
The author has given advice on developing specific urban policies to the cities of Kanazawa and
Yokohama, among others.
purposes. To take advantage of its value as a cultural property, the building was remodeled to
create a gallery and studio spaces and is attracting attention as a facility that supports the creative
work of young artists who need a place to rehearse or produce their work.
In addition to these examples, there are also spontaneous grass-roots movements led by citizens
and young artists.
The traditional crafts and industries that have been the pride and identity of Kyoto throughout
its history have become a part of the lives of its citizens both economically and culturally. They have
also had the function of preserving the unique urban cultural landscape. Now that these industries
are declining, however, older wooden raw houses are being torn down and replaced by new
apartments and parking lots, so the original urban landscape, “age-old scene” of Kyoto, is in danger of
changing completely. In a counter-movement, artists are moving into vacant old residences and
warehouses in the Nisijin area, a storied textile district, and an attempt is being made to restore the vitality
of the city. The old wooden raw houses (called Machiya) in Nishijin are unique because they combine
space for the artisan work involved in the production of Yuzen dying and Nisijin textiles with living space.
These houses are creative spaces that provide stimulation to artists not found in ordinary residences, and
almost 100 artists are now living and working in this area.
Osaka
Osaka was once the foremost industrial city in Japan as well as a national center of finance and
commerce. Today, however, it has the highest unemployment rate in the country. The number of
homeless people is increasing rapidly, factories are moving overseas, and headquarters of large
corporations are moving to Tokyo. Osaka’s economy is rapidly deteriorating, and the city is in a
historical period of decline.
The Creative industries mentioned above, have become noteworthy for urban resurgence in Europe
recently. How can such creative industries be promoted in Osaka? Creative industries rely greatly on the
diversity and creativity of a city’s culture, so cultural creativity is now an important issue for Osaka.
There are many artists and creators in Osaka, but there is a shortage of talented producers and facilities
for the incubation of creative industries (creative cultural infrastructure). A number of private theaters
have closed after the bursting of the economic bubble, and the most capable television producers working
in Osaka have been taken to Tokyo.
In spite of these trends, the author is monitoring two ventures that have value as creative
infrastructure and “creative milieu”. One is Outen-in temple, a Buddhist temple that supports a small
nonprofit theater for young actors using the main temple building as a theater, and Mebic
Ogimachi, a business incubator for creative business that opened 2003 in an old water bureau building in
downtown Osaka. It is necessary to develop emergency programs to foster creative people and to builds
“social structure of creativity” in Osaka.
Yokohama
Unlike the old traditional capital of Kyoto and Kanazawa, Yokohama is a modern city with a short history
that began with the opening of the port 150 years ago. Yokohama carried out a large-scale waterfront
development plan, “Minato Mirai (Yokohama port future plan),” during the time of the economic bubble
in an attempt to change its former identity as a center of heavy industry. This effort was frustrated by the
bursting of the bubble and a surge of new office building construction in central Tokyo, but a new vision
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for reactivation of the city was proposed in January 2004, “Toward the Formation of the Creative City of
Yokohama.”
After making this proposal, Mayor Nakada established the Artistic and Cultural City Creation
Division in April of the same year, initiating an effort to build the creative city of Yokohama
involving the entire city government. A noteworthy result was “Creative Core . Working Toward
Formation of a Creative Zone and Image Culture City,” a project that included “BankART 1929.”
The old Fuji Bank and First Bank buildings of Yokohama were constructed in 1929, during the
world economic crisis, and they are a valuable cultural heritage. In this project, the bank buildings
as well as a number of warehouses and empty office buildings near the waterfront have been
transformed into “creative milieu” for artistic creators and ordinary citizens. Two NPOs selected in
an open competition are conducting a variety of exhibitions, chiefly of contemporary art, and
other events including performances, workshops, and symposiums in these buildings over a period
of two years.
What strikes me as most significant about the case of Yokohama is the reorganization of
previously separate administrative units in charge of cultural, industrial, and urban policy to create
two new core organizations, the Artistic and Cultural City Creation Division and the Creative City
Promotion Section to promote the use of artistic and cultural creativity in urban revitalization. If
this idea is effectively applied, Yokohama will take the lead in the movement to develop creative
cities in Japan. Naturally, some conflict is to be expected between administrative units that previously had
been vertically , but the best way to restore creativity to the city is to make the organization more creative,
which in turn will bring out more creativity in individuals. Creative reform of the “culture of bureaucratic
organization” will bring advance Yokohama toward its goal of becoming a creative city.
In Kanazawa, the business sector and individual citizens took the lead in starting the Kanazawa
Creative City Council, making proposals that stimulated the city government to take steps toward
making Kanazawa into a creative city. Meanwhile in Yokohama, setbacks in the Yokohama waterfront
urban development project, “Minato Mirai,” led the current mayor to criticize the failure of the project
and propose a new strategy for the city. It seems that efforts to develop a creative city will vary with the
historical background of the city.
urban planning, and environmental policy, the vertical administrative structure must be made
horizontal, ordinary bureaucratic thinking must be eliminated, and organizational culture must be
changed.
Thirdly, art and culture must be recognized as central social infrastructures in the knowledge
and informational society, and systematic planning must be carried out to bring out the creativity
of the city’s people. Specifically, diverse “creative milieu”,and “space for industrial and cultural
creation” must be established in the city and creative producers must be fostered to take charge of
this task.
Fourthly, promotion of creative policy cannot be continued effectively if it is limited to the city’s
government. It is essential to obtain the cooperation of a broad selection of citizens, including
business leaders, and NPOs, perhaps in the form of a Creative City Promotion Council. The most
important thing for the promotion of creative cities is the establishment of research and
educational programs for developing the necessary human resources.
In order to realize and to develop creative cities, not only do we need the global level inter-city
partnerships promoted by UNESCO, but we also need to learn from partnerships seen at the Asian
regional level or the national level as well. Collaboration among the public, private and civic sectors
within the cities is also essential: We call for a multilayered and multifaceted partnership to be formed
and encourage each city to provide diversified platforms towards this end.
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References
Florida R., The Rise of the Creative Class, 2002
Jacobs J., Cities and Wealth of Nations, 1984
Landry C., The Creative City : A Toolkit for Urban Innovators, London: Comedia, 2000
Landry C. and Bianchini F., The Creative City, London: Comedia, 1995
Mumford L., The Culture of Cities, 1938,
Throsby D., Economics and Culture, 2001
Sasaki M., The Economics of Creative Cities, 1997 (in Japanese)
Sasaki M., The Challenges for Creative Cities, 2001 (in Japanese), Translated into Korean
(2004)
Sasaki M., “Kanazawa: A Creative and Sustainable City”, Policy Science (Ritsumeikan
University) vol.10, no.2, 2003
Sasaki M., “Creativity and Cities : The Role of Culture in Urban Regeneration”, Quarterly
Journal of Economic Research (Osaka City University) vol.27, no.3, 2004
32 Toward a Creative City: International Experiences
Appendix 1
We have participated in the World Creative City Forum 2007 in OSAKA, “Forum for
Networking Creative Cities” (October 24th) and “International Symposium: The Age of the City .
Developing Creative Cities through Networking” (October 25th and 26th).
Based on the presentations and discussion in those three days we declare that we shall
act with common objectives as regards the following points:
“Creative Cities” are becoming extremely important for urban citizens and urban policy
administrators as well as academics as a model of a city in the society of twenty first century
characterized by globalization and the progress of the knowledge based economy and also as a goal
of urban polices.
In order to realize and to develop creative cities, not only do we need the global level
inter-city partnerships promoted by UNESCO, but we also need to learn from partnerships seen at
the Asian regional level or the national level as well. Collaboration among the public, private and civic
sectors within the cities is also essential: We appeal for multilayered and multifaceted
partnership formation and encourage each city to provide diversified platforms towards this end.
To develop creative cities further, we will continue research on success factors, conduct
Evaluations, and discuss the following area to thus contribute to theoretical evolution of urban
policies.
1) The development of creative cities based on their embedded culture and cultural diversity.
2) The role of creativity in helping cities to become more successful in the emerging economy.
3) How organizations in the public, private and NPO sectors need to rethink their role and purpose
and how they are organized and how they are managed in order to help cities imaginatively seize
opportunities and solve their problems.
4) The significance of cultural, social and economic roles that artists play in creative cities
5) The development of creative cultural industry as an economic engine of creative cities
We participants of world creative city forum 2007 in Osaka agreed the above and committed
ourselves to progress in our respective areas.
October 26, 2007
Issued by the participants of World Creative City Forum 2007 in OSAKA
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34 Toward a Creative City: International Experiences
A-3
Preliminary remark
Everybody wants to be „creative“. Every mayor, every city council aims towards the “creative city”
vision, the ultimate paradigm of the contemporary successful city. But at which point can a town or city
be considered a “creative city”? What strategies and concepts are essential? And where runs the
theoretical and practical frontline of the discursive learning processes between the successful European
creative cities?
Just two years ago the term “creative industries” was known only by a few experts. In these two
years the “creative” has shown a stunning career in naming modern concepts for the knowledge-based
society: creative industries, creative economies, creativity economy, cultural industries – the terms are
manifold. But variety can cause confusion.
In this paper I will give you some guiding information about the development of the creative city
discourse in Europe highlighting the points with some selected examples in detail.
Growth of knowledge and expertise is the basis for the future economic development. Cities are
centres of knowledge and sources of growth and innovation, places that attract talent, places where ideas
meet people and people meet ideas. Cities tend to be a tolerant environment where cross-over novelties
originate. Places where human capital is a typical resource, knowledge and educational institutions
originate and where one can speak of knowledge spill-over. Cities and their regional knowledge
economies are therefore the main contributors for achieving the innovation goals (Lisbon Agenda).
On a global scale the world market for products and services of the creative industries has almost
doubled between 1996 and 2005. The “Creative Economy Report 2008” was commissioned by the
UNCTAD und published recently. The volume of the “creative” economical sectors raised from 227.4
billion to 424.4 billion Dollar. This corresponds to a 3.4% percentage of the whole world market. The
industrial countries are still dominating, but the export share of the developing countries has grown
significantly stronger in the surveyed decade. From 12 % in 2005 the export of creative services and
products has expanded to a remarkable 41%. The decisive contribution to that trend comes from the
Chinese economy. Almost one fifth of the world market is covered by Chinese companies. This makes
36 Toward a Creative City: International Experiences
China to the world biggest exporting nation for creative goods. But the UNCTAD constates also that:
“unfortunately the majority of the developing countries is not able to take advantage from their creative
capacity for their development.”
Creative Europe
The group of the developed countries is headed by the European countries. The “old continent” dominates
the world trade to almost 50%. The United States (23%) and Japan (15%) are following far behind.
Base for these computations is a definition of creative industries developed by the UNCTAD and
derived from various models comprising:
„the cycles of creation, production and distribution of goods and services that use creativity and
intellectual capital as primary inputs; constitute a set of knowledge-based activities, focused on but not
limeted to arts, potentially generating revenues from trade and intellectual property rights; comprise
tangible products and intangible intellectual or artistic services with creative content, economic value and
market objectives; are at the cross-road among the artisan, services and industrial sectors; and constitute a
new dynamic sector in world trade.”
A overview of the actual discussion and the essential keywords is given in the introduction of the
survey. In this context the report identifies the creative economy as driving force for economical growth
and development.
„It can foster income-generation, job creation and export earnings while promoting social inclusion,
cultural diversity and human development.
It embraces economic, cultural and social aspects interacting with technology, intellectual property and
tourism objectives. It is a set of knowledge-based economic activities with a development dimension and
cross-cutting linkages at macro and micro levels to the overall economy. It is a feasible development
option calling for innovative, multidisciplinary policy responses and interministerial action. At the heart
of creative economy are the creative industries.”
On the occasion of the German EU Council Presidency the congress “Creative Europe – The Power of
Culture in European Cities” was organised and held in Hamburg from May 31. to June 1. 2007. The focus
of the congress was the connection between culture and creativity as catalysts of urban prosperity and
thus the development of societies.
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A municipal agency in Amsterdam, the Bureau Broedplaatsen, keeps an eye out for vacant buildings like
the Volkskrant House and subsidizes their upkeep. The city has already spent €50 million ($68 million) to
help its creative class grow. And it is money that has been well spent. Of Amsterdam's 740,000 residents,
47.1 % of those who are currently employed work in knowledge-intensive sectors. The growth rates
within individual sectors are impressive. Eight thousand people work in the art business, and the creative
services sector has created 9,000 new jobs -- a third more than a decade before. Twelve-thousand people
work full-time in the media sector, and a host of students serve as a talent reservoir.
The federal government has launched an initiative "cultural and creative industries". Under the leadership
of the Federal Ministry of Economics and Technology (BMWi) and in coordination with the Federal
Government for Culture and Media (BKM), the cultural and creative industries are to be strengthened.
In the newspaper "Politik und Kultur" of the German Cultural Council, in which the German Design Day
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initiative forms the "section design", writes Federal Minister for Economic Affairs, Michael Glos: "With
the initiative the Federal Government aims to cultural and creative economy following the work of the
Enquetekommission to promote the economic meaning of the industry more strongly than so far into the
public and to give their economy and job potential politically the same acknowledgment than the
established industries become already. In the context of a branchspreading preparational meeting of this
initiative the parliamentary Secretary of State Dagmar G. Wöhrl stated with the Federal Minister for
economics and technology among other things:
"The cultural and creative industries are of major importance for our economy. Their contribution is
even higher than the chemical industry. With our initiative we want foster the sector's competitiveness
and thus further strengthen growth and employment.”
The cultural and creative industries in Germany in 2005 achieved sales of around EUR 121 billion
comprising 11 cultural branches - from the visual arts to film, architecture and design. 208,000 companies
employing nearly 1.0 million people - more than in the automotive industry.
Berlin
The cultural sector comprises in accordance with the traditional 3-sector model the commercial, the
public funded and the nonprofit cultural sector. The terms cultural industries and creative industries are
used partially congruent, but also in varying definitions. Under the term "creative economy" Berlin puts
the commercial sector and therefore every business and the freelancer operating profit-orientated in the
private sector producing, promoting, distributing cultural goods. Even parts of the official cultural
institutions operating in such ways are incorporated. The creative industries in Berlin are divided in eight
sections:
Along with the administration of culture, the initiative Projekt Zukunft (project future) the "Cultural
Economy Initiative" was launched. The goal is to support start-ups of the creative industries in developing
their networks and marketing their products and services internationally. With infrastructure projects such
as web portals to Design and Music, the Creative City Berlin-Portal, fair presences abroad, Media meets
Industry and the the B2B Days as part of the Designmai, conferences (Music Online Basics / Music
Export Basics) and networking events Berlin works together with partners to improve the framing
conditions for companies in the creative industries. A demonstration project of the interface between
culture and creative industries is the museum portal initiated by the Projekt Zukunft.
About 22,600 companies of Berlin's creative industries generating an annual sales volume of over
18.5 billion €. The creative industries contributes already to about 20% of the gross domestic product of
Berlin. The creative economy belongs with over 167,500 employees to the future markets. The growth
rates for companies and sales and in some sub-markets in the employment as well - according to the
weekly DIW report (August 2007) – are significantly above the national average and the growth of
creative industries in other German cities. The creative industries is a accepted "soft" and "hard"
economic factor nowadays.
Mannheim
With the conference "forum kreative stadt " (forum creative city) Mannheim will henceforth annually
attract and gather experts and opinion leaders from Germany and Europe. The goal is to have the new
tasks of urban policy to discuss arising from the developments of the creative economy and the creative
class, but also to support and connect the actors of the creative class of Mannheim.
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The Interreg-Creative City Challenge-project wishes to identify, develop and fine-tune state-of-the-art
policy instruments for delivering innovative, creative and competitive urban knowlegde economies.
The project will focus on the role of the creative industry as a catalyst and a prerequistite for
enhancing the capacity for innovation in university towns. The project wil especially look at the specific
role of the creative industry , incubator buildings, knowledge transfer and know-ledge valorisation and
adequate network structures, this in order to enhance the innovation capacity. The Creative City
Challenge-project will share knowledge on strategy-types, best practices, on the role and sorts of critical
mass for creative clusters and incubation zones.
Finally I will give you some impressions about activities to transform Hamburg to a “Talent City”
42 Toward a Creative City: International Experiences
A-4
INTRODUCTION
• PHOENIX METROPOLITAN AREA (OVER 4M PEOPLE, 13TH
LARGEST SMA IN AMERICA-2006 US CENSUS ESTIMATE)
• AUTHENTICITY:
– HISTORICBUILDINGS
– INTERESTING PEOPLE
– HISTORY OF PLACE AND OTHERS
• IDENTITY:
– HOLLYWOOD
– BERKELEY, ANN ANBOR
– SAN FRANCISCO, BOSTON AND OTHERS
• DIVERSE ECONOMICBASE
– HIGH-TECHNOLOGY, FINANCE, SERVICE
• AFFORDABLELIVING COSTS
– HOUSING
– ENTERTAINMENT
– FOOD
– SCHOOLS
• PRESENCE OF INTERGOVERNMENTALCOOPERATION
LOCAL EXAMPLES
• STATEGOVERNMENT, COUNTY GOVERNMENT, MUNICIPAL
GOVERNMENTS, GREATER PHOENIX ECONOMICCOUNCIL, REGIONAL
LEADERSHIP COUNCIL, ARIZONA STATE UNIVERSITY, AND PRIVATE
SECTOR
CONCLUSIONS
• JANE JACOB’S IDEAS ABOUT CITIES STILL APPLY:
– PEOPLE ORIENTED, HIGH DENSITY, STREET DESIGN
• ATTRACTIVEENVIRONMENT FOR:
– HIGHLY SKILLED WORKERS, CREATVIE WORKERS
– SERVICE WORKERS, AND MANUFACTURING SECTOR WORKERS
SESSION B
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54 Toward a Creative City: International Experiences
B-1
ABSTRACT
A metamorphosis is taking place in Uppsala. The relatively small historical town is being transformed
into an independent part of a metropolis – an increasingly more open and modern European city. The city
is an important meeting place for new businesses and industries – especially in the life-science sector.
More and more people want to live and work here – close to a broad job market and to international
communications.
During the last decade the city has entered a new phase in its development. The first step was taken by
creating a vision for the city development and a foundation for the cooperation between the two
universities, the business sector and the community. The second step was widening the triple helix
cooperation and to make strategic investments for the accessibility to and inside the city. The third step is
now taking place which means lifting the attractiveness – physically and culturally in order to enhance
creativity. Courageous decisions are being made and carried out. The new congress and concert hall is the
outmost example – a most visible and symbolic proof of the metamorphosis. The project is both
nationally and internationally awarded and its location gives the down town area new extension
possibilities. But it is not the spectacular projects only that create soil for a creative city. The carefully
design of open spaces such as the river area with its well-balanced configuration and artworks has become
the oasis and new meeting place for the citizens. The decision to aim to become Europe’s Capital of
Culture 2014 is also part of the transformation.
A breeding ground for development of new ideas and knowledge comes when brilliant, motivated people
meet and their creativity is given a chance to sprout. With the Nordic countries’oldest university and
many hundred years of research, renewal and knowledge development, Uppsala is such a place. As capital
of culture we want to examine the city as a generator and moderator for culture and creative development.
We see both the overriding forces that influence Uppsala and the opportunities that lie in our own hands.
When the trend is for people to move to metropolises all over the world, there is a special opportunity for
accessible medium-sixed cities. Uppsala works to find its identity in this transitional process: large
enough to be complex but small enough to focus on the total picture, open internationally but close locally,
large enough for cultural diversity and still creative in its tranquillity.
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B-2
Jude Munro
Chief Executive Officer
Brisbane City Council
60 Toward a Creative City: International Experiences
Transformed thinking!
64 Toward a Creative City: International Experiences
Brisbane 2026…….
Brisbane will be big! - so how will we get
around?
Brisbane will be warmer – so how will we
stay cool?
Brisbane will have lots of people – but how
many trees?
Brisbane will be a vibrant multi-cultural
hub for the south east – but is it
affordable to live here?
Brisbane will be a great place to live &
work – won’t it?
Using Scenarios
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Three Scenarios
66 Toward a Creative City: International Experiences
International Conference 67
Overlapping
Policy Goals
Passionate 21Citywide
City Shapers outcomes
Australian Labor Redirection of
Party the vision for
the city
City-wide Outcomes
• Clean air • Healthy economy
• Food in the city • Green & biodiverse city
• Safe communities • Better public health
• Sustainable water use • Learning and informed
• Healthy river and bay communities
• Effective growth • Effective road networks
management • Well-designed and
• Towards zero waste responsive built
• Inclusive, caring environment
communities • Active and healthy
• Outstanding city profile Communities
• Cooperative governance • Connected and engaged
• Cleaner, sustainable communities
energy use • Green and active
transport
70 Toward a Creative City: International Experiences
Thankyou
B-3
Yokohama is one of five Japanese cities whose ports were opened in 1859, ending Japan's long period
of self-imposed national isolation, and given its proximity to Tokyo, the capital city, it achieved
remarkable economic and cultural development, centered on its port. The historical assets of this
splendid, vibrant Yokohama were dealt a destructive blow, however, by the Great Kanto Earthquake of
1923, so today there are very few visible structures that remain from the era of the port's opening. The
city underwent reconstruction after that, but suffered considerable damage again in World War II.
Today, Yokohama proclaims itself a creative city, and the historic structures in use are buildings
that date from the post-earthquake rebuilding and those that survived the wartime destruction. In 2009,
the city will mark the 150th anniversary of the opening of the port, and so a variety of festive events are
being planned, linking festivities with the charm of the inner city shaped by this creative city, and
beaming an image of Yokohama to the outside world both within Japan and overseas.
Yokohama today attracts large numbers of visitors from throughout Japan as one of the country's
foremost urban tourism sites, and its population of 3.63 million (as of March 1, 2008) ranks it as Japan's
second-largest city after Tokyo. Since it lies adjacent to the global city of Tokyo, it depends to some
extent on Tokyo for employment, but its suburban areas have abundant greenery of kinds not found in
Tokyo, making Yokohama a well-balanced city that also boasts a healthy and pleasant living
environment.
Prior proclaiming itself a creative city, Yokohama had been undertaking urban-design projects
since the 1970s, and these gave rise to efforts to make good use of appealing resources unique to the city,
such as its harbor scenery and cultural and historic relics dating back to the opening of the port. In the
inner-city Kannai district a variety of projects have been undertaken to make use of its history since the
port-opening to create enjoyable walking trails. For example, continuous steps are being taken to put
each area's features to best advantage by collaborating with urban management organizations formed by
local merchants and residents in the Nihon-Odori, Bashamichi, and Motomachi areas. In addition, to
make a mutual network by developing space for walkers, we have been molding the charms of a port
city in which the visitor can feel an overall blend of history, modernity, and variety. The following are
74 Toward a Creative City: International Experiences
the goals of our urban design, which includes incorporating aesthetic and human values in urban
development, and the natural, historical, and cultural values in each geographical area.
In the course of pursuing urban development of this kind, factors such as advances in the use of
information technology are bringing about social and economic globalization, ushering in an era in
which we cannot necessarily look forward to growth and expansion. To achieve the city's self-sustaining
development while also pursuing affluent urban lifestyles, Yokohama believes that it is appropriate to
undertake urban development that uses its biggest strengths, namely the unique history and culture
surroundings its port, and harnesses its artistic and cultural creativity to create new values and new
charm for the city. This is the approach of a creative city with a new urban vision that combines hard
and soft policies for culture and the arts, economic development, and the molding of attractive space of
a kind that typifies Yokohama.
While undertaking urban development in this way, Yokohama's urban center has a central
existence in securing places of employment and creating the city's bustle and prosperity, playing the role
of driving force for the Yokohama economy. With the shift of offices to Tokyo there has been an
excessive outflow of employed people from the city and a decline in their number in the Yokohama city
center. Therefore, new measures implemented have been directed at enhancing facilities primarily for
business and commerce, and developing the urban center with new emphasis on culture and the arts and
on tourism, and to that end in January 2004 the Study Group for the Revitalization of the Urban Center
through Promotion of Art and Culture and Tourism, an advisory body to the mayor, formulated its
"Towards the formation of a Creative City of Art and Culture – Creative City Yokohama" proposal.
The proposal was to establish a brand as a city for the creation of art and culture, and to pursue
development by linking this with urban development focused on economic activity and local resources.
To achieve this, the four basic directions and targets were set as follows.
1. The establishment of a creative environment in which artists and creators intend to live
Responding to the proposal, the city government established the Culture, Art and Creative City
Headquarters in April 2004, and began full-scale efforts to revitalize the city through art and culture.
The reason for establishing this organization was that, in order to implement projects with clear
objectives, it was necessary to move quickly rather than have permanent structures, and because spheres
International Conference 75
of activity were spread among diverse municipal divisions, for examples, the Civic Engagement
Promotion Bureau, the Urban Development Bureau, the Port and Harbor Bureau, and the Environmental
Planning Bureau, and so it was considered appropriate to have an organization in the form of a
"headquarters." In addition, in anticipation of the 150th anniversary in 2009 of the opening of the Port of
Yokohama and other events such as the re-expansion and internationalization of Tokyo International
Airport (Haneda), in fiscal 2006, we inaugurated the organization that we are operating today, now
known as the 150th Anniversary of the Port Opening & Creative City Headquarters. For 2009, to
commemorate the 150th anniversary we have laid down an overall theme of "Start on Voyage," and we
will hold theme events called "Opening of the Country. Opening of the Port Y150." We will start on a
voyage from the mother port of Yokohama to the outside world, looking afresh at the 150 years of
Japan's modernization, and looking ahead at the next 150 years, aiming to make Yokohama a
sustainable city.
Now that Yokohama’s creative city idea has become exposed everywhere, I would like you to take this
opportunity to visit the city.
At present, the strategic projects that must be given priority for the Headquarters to achieve its
targets are the National Art Park Plan, the formation of Creative Core Areas, the creation of an Image
Culture City, the holding of the International Triennale of Contemporary Art Yokohama, and the fifth
project, namely the Nurturing of Future Creators project, which will underpin the other four projects.
popularly known as "Zonohana," meaning "elephant's trunk." As a symbolic project to commemorate the
150th anniversary of the opening of the Port of Yokohama, the Zonohana district, which is where the port
originated, will be redeveloped to create a symbolic space that acts as a bridge between Yokohama's past
and future. At the same time, creative functions will be clustered together to make the entire area around
the Zonohana district into an international zone of culture, tourism and interaction that is representative of
Yokohama, and a hub of the National Art Park Plan.
The attracting university to Yokohama is another measure being implemented to foster the building of the
Creative City of Art and Culture, of which the image culture city concept forms a part. Tokyo National
University of Fine Arts and Music, which intends to expand its spheres of education and research into the
field of film and new media, has been attracted to Yokohama, and in April 2005 the film major of that
university's Graduate School of Film and New Media commenced in the former Yokohama branch of Fuji
Bank, which had been undergoing experimental use as an historic building. In April 2006 the teaching for
its visual media major began at the Shinko Passenger Terminal, and that is to be followed by the
inauguration of the major in animation at the Conference Center in Bankokubashi in April 2008,
whereupon the establishment of all of the Graduate School's majors will be complete. Yokohama can be
expected to produce considerable numbers of young human resources with excellent skills in the visual
arts.
Organizers The Japan Foundation, City of Yokohama, NHK (Japan Broadcasting Corporation),
Asahi Shimbun, The Organizing Committee for the Yokohama Triennale
Artistic Director Tsutomu Mizusawa
Curators Daniel Birnbaum, Hu Fang, Akiko Miyake, Hans Ulrich Obrist, Beatrix Ruf
This body began its activities after laying down the following goals.
1. To create new culture and appeal by ensuring collaboration by companies and
organizations of all kinds that engage in unique creative activity.
2. To raise the city's profile both within Japan and overseas by implementing
comprehensive promotions relating to art and culture.
3. To engage in promotion constantly and comprehensively through the sharing of
information by companies and organizations of all kinds and the city government.
In addition, as an organization to support activities by artists, creators, NPOs, companies, residents and
others in the sphere of art and culture, in July we established Arts Commission Yokohama, the first
official organization of its kind in Japan, in ZAIM, a base for creative local activities.
Hitherto in Yokohama we have sought to cooperate with private-sector bodies such as arts NPOs, thereby
increasing the number of “art platforms” such as BankART 1929, Steep Slope Studio, and ZAIM. In the
future, by concentrating on linking and increasing art platforms, the Commission aims to generate an
environment that facilitates activity by artists and creators, and thereby to cause more people to gather
together to form a creative core.
◆ Arts guide (Inquiry desk)
By providing information, advice and assistance with stays, it supports the activity of the people
such as artists, creators and art NPO personnel who constitute the city's creative core.
◆ Nurturing human resources
Support is given to the activities of the people who will be the creators of the future.
◆ Formation of network
Art platforms are linked, creating a network of town, people and art.
◆ Asian network
Principally in Asia, the network created by Arts Commission Yokohama will extend its links far
and wide overseas.
cluster in which any companies interested in municipal policies for the creative city can participate, and it
is expected to be a place for creating new business and culture by spreading its wings more widely to
encompass such spheres as food, manufacturing, and fashion through mutual collaboration, information
exchanges and study and research by companies as part of member companies' CSR activities. At the time
of the network's establishment over 50 companies joined. We consider this to be a stage for a new city in
which, without intervention by the city government, collaboration between companies gives rise to more
projects towards the formation of the creative city, and to the revitalization of the economy.
City of Yokohama has promoted the formation of a creative city which, by leveraging its unique historical
assets, links the creativity of culture and art with the city's new values and appeal. In the process of
maturing, a city tries to utilize its unique original resources in order to build a city that has charm and
offers a pleasant living environment to its citizens. In anticipating the 150th anniversary of the port
opening in 2009, based upon the results of projects and domestic and international exchanges to date, I
would like to further promote the liaison between creative cities domestically and internationally,
providing some kind of forum for debate about the undertakings necessary for the creation of new cities,
and also to hold meetings for the purpose of selecting and discussing common issues that affect maturing
cities, redefining the next-generation vision for a creative city, and sharing efforts to create new urban
culture among cities.
I look forward to your visits to Yokohama at such occasions as “Yokohama Triennale 2008,” the
commemorative events in 2009 for the 150th anniversary of the port opening, and creative city meetings.
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B-4
Creativity and diversity are two core factors forming culture in creative city. Diverse ideas,
various people, different beliefs together form create culture. One of the characteristics of creative city is
it is a diversified society composed of different people and various jobs. New society is created after
conflicts between diversities and this is a correlation between diversity and creativity. To become a
creative city, a city should posses a diversified cultural base, and there should be a spirit of mutual
admiration for each part's diversity. Culture and art are best tool to make such a creativity.
Lasting competitive advantage today will not simply amass in those countries and regions that
can generate the most creative, innovative, or entrepreneurial output. The places that will be most able to
absorb new energies will be those that are both open to diversity and also capable of internalizing the
externality that the creative economy gives rise to. It will no longer be sufficient to incubate new creative
industries or generate more creative people. The most successful places will require a socially adaptive
capability that will enable them to pioneer new fields and innovative industries even as they effectively
cope with problems like income inequality, housing affordability, uneven development, and underutilized
human potential in new and innovative ways. Most of all, these solutions must do that in ways that inspire
the entrepreneurial drive of these individuals and extend the benefits of the creative economy to a broader
segment of the population.
People
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The key factor of the global economy is no longer goods, services, or flows of capital, but the
competition for people. We call the age we are entering the creative age because the key factor
propelling us forward is the rise of creativity as the prime mover of our economy. Resource like
technology, knowledge, and human capital differ in a fundamental way from more traditional factors
of production like land or raw materials: they are not stocks, but flows. People are not forever wedded
to one place: they can and do move around. The technology and talent that people that people
therefore equally bring with them are mobile factors, and accordingly flow into and out of places.
Not creative meeting nor a creative institution is possible without creative people. Equally creative
milieu is not possible without creative organizations - it is the setting within creative people, process,
ideas and products interact. Establishing such an innovative milieu is a key challenge for the creative
city. No longer will economic might amass in countries according to their natural resources,
manufacturing excellence, military dominance, or even scientific and technological prowess. Today,
the terms of competition revolve around a central axis: a nation's ability to mobilize, attract, and retain
human creative talent. Every key dimension of international economic leadership, from
manufacturing excellence to scientific and technological advancement, will depend on this ability.
Creative people cluster not simply because they like to be around one another or they prefer
cosmopolitan centers with lots of amenities, though both those things count. They and their
companies also cluster because of the powerful productivity advantages, economies of scale, and
knowledge spill-overs such density brings.
Organization
Urban innovations and their underlying creativity in recent centuries were focused largely on physical
infrastructures-the sewage system, the great transport advances, train and road networks and later IT
infrastructures or improvements in building techniques and project management allowing ever larger
structures to be built.
The needs of the 21st century are different. Today's is more synthetic, able to bring the seemingly
disparate together; to understand the underlying ecologies and logics that make self-regulating
systems work; the capacity to shape relationships where networks are so widely dispersed. The key
applications of creativity will lie in the realm of organization, governance and management as much
as in new technology. They are likely to generate more value added than technologically driven
productivity advances. Building civic capacity and leadership is a software infrastructure as essential
as roads and airports.
86 Toward a Creative City: International Experiences
Governing, organizing and managing better can make the difference between success and failure.
They are the new sources of competitiveness-good, strategic and effective governance and
management arrangements are just as much a competitive tool as is a piece of technology.
Distinctiveness
Distinctiveness is key in creative city, for although cities draw from each others' experiences the
danger is that pioneering cities around the world quickly became textbook case studies for city
officials. Cities then tend to adopt generic models of success without taking into account the local
characteristics and conditions that contributed to those successes. The result is a homogeneous
pastiche of buildings - aquariums, convention centers, museums, shops and restaurants - that prove to
be remarkably similar over the world (Urban age, winter 1999).
mine's closure. The third of these transformations is that of the steel works in duisburg-neiderich into
a landscape park: Duisburg Nord. The light show projected every night in slow motion on the old
industrial structures.
The largest alpine club in North Germany has its base in the park and uses the factory walls as cliff
faces, while the local diving association learns rescue technique in the water-filled gasholders into
which old trucks and other wreckage have been thrown.
Huddersfield, northern United Kingdom.
Huddersfield is an industrial town of 130,000 population and it grew rapidly in early 20 century on
and manufacturing base of woollen textiles, engineering and chemicals. From the early 1970s
onwards, textiles and engineering decline by more than 75%, there was however no growth in the
high-tech sector. Huddersfield has more manufacturing than the national average, a less qualified
workforce, lower pay and more unemployment.
Huddersfield saw that what determines the rise and fall of cities is in part within their own control and
in part dependent on the bigger economic, economic, social and political forces against which a city
cannot on its own do battle. Huddersfield's instability was in large part the consequence of major
changes in the worldwide location of production, services and wealth-generating capacity. As textile
production increasingly moved towards the Far East, Huddersfield saw the best of its local talent
begin to move outward to places like London and Leeds, or even further afield. The impact of this
was a breaking up the fabric of social life, with consequent loss of impetus and self-confidence.
Huddersfield saw that, for cities and companies hoping to keep up with the increasing rate of
technological change, the quality of management and decision making as well as that of the workforce
acquire overriding importance, and a premium is attached to scarce and portable skills and to the
capacity to be creative and innovative. In trying to understand the implications of paradigm shift,
Huddersfield felt it could achieve its 'reinvention' by focusing on the core strategic competencies,
necessary in the longer term to re-position a town, by moving its activities higher up the value chain,
and so transform itself from a simple manufacturing center into an intellectual and creative hub.
The foundations which enabled Huddersfield to stake its claim as a creative city had been laid 10
years before. The Huddersfield had been reviewed by Inlogou, a specialist public sector consultancy
and the its assessment was a worst case. There was no corporate working, each department behaved
like a self-contained barony; The political leadership was Labour and controlled officials in such a
way that they had no motivation to do well; no openness to new ideas and little knowledge about how
to adapt to change.
88 Toward a Creative City: International Experiences
In 1991 Cultural Industries in Kirklees (CIK), a locally based agency which used the arts to assist in
economic and social regeneration was set up. The key impact of CIK was to move the argument about
the arts away from an 'art for art's sake agenda to one where culture was seem as a tool for achieving
wider council objectives. Kirklees' cultural policy, developed in 1994, was an important link with the
Creative Town Initiative. Three strands such as celebrating diversity, maintaining distinctiveness and
harnessing creativity were developed here. local culture identity, imagination, creativity, diversity of
lifestyle and livelihood was stressed as an asset in achieving economic and community regeneration.
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Appendix : 한글번역본
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International Conference 103
랄프 에버트 (STADTart)
클라우스 쿤즈만 (도르트문트 대학 명예교수)
지식공간
불확실한 창조공간
허가 받지 못한 도시 내 구역들
문화적이고 창조적인 도시 내 시설
창조 생산지
결론
서문
모든 사람은 “창조적”인 사람이 되길 원한다. 모든 시장, 모든 시의회는 “창조 도시”의
비전, 즉 현대의 성공적인 도시에 최고의 패러다임인 이것을 목표로 한다. 그렇다면
도시의 어떤 점에서 도시가 “창조 도시”로 간주될 수 있을까? 어떠한 전략이나 구상이
필수적인가? 유럽의 성공적인 창조 도시들 간의 광범위한 학습 과정에 대한 이론적이고
실질적인 최전선은 어디인가?
2 년 전만 해도 “창조 산업”이라는 용어는 몇몇 전문가들에게만 알려져 있었다.
지난 2 년 간 “창조”는 지식 기반 사회를 위한 현대적 개념을 명명하는데 있어서 공을
세워왔다: 창조 산업, 창조 경제, 독창적 경제, 문화 산업- 단어들이 다양하게
표현되었지만 다양성은 혼란을 야기할 가능성이 있다.
따라서 이 논문을 통해 세부적으로 선별된 예를 들고, 중요한 점을 강조하면서
유럽 내 창조 도시의 발전을 다루는 담론에 길잡이가 될만한 정보들을 제공할 것이다.
지식의 성장과 전문적인 기술은 미래 경제 발전의 토대이다. 도시는 지식과
성장의 근원 및 혁신의 중심이며, 인재를 끌어들이는 장소이자 아이디어와 사람이 서로
만나는 곳이다. 도시들은 (상호교차하는)새로운 것들이 탄생한 관용적 환경을 이루는
경향이 있다. 인적 자본이 전형적 자원이고, 지식과 교육기관이 탄생하는 곳 그리고
지식의 파급효과를 말할 수 있는 곳. 그러므로 도시들과 그들의 지역적 지식 경제는
혁신적 목표를 달성하는 주된 공헌자들이다 (Lisbon Agenda).
전세계적인 규모에서 보면 1996 년에서 2005 년 기간 동안, 창조 산업의 재화와
용역이 거래되는 세계 시장은 거의 두 배로 성장했다. “Creative Economy Report
2008”이 국제 연합 무역 개발 회의(United Nations Conference on Trade and
Development)에 의해 최근 발표되었다. 창조적인 경제 부문의 영역은 2274 억
달러에서 4244 억 달러로 증가했다. 이는 전체 세계 시장의 3.4%에 해당한다. 아직은
선진국들이 지배하고 있지만, 조사가 진행된 과거 10 년간 개발도상국들의 수출
점유율이 대단히 강해졌다. 개발도상국들의 창조적인 재화와 용역의 수출량은
2005 년의 12%에서 41%로 현저하게 확장되었다. 이러한 추세에 대한 결정적인 공헌은
중국 경제에서 기인한다. 세계 시장의 거의 1/5 이 중국 기업들에 의해 점유된다. 이
점이 중국을 세계에서 가장 창조적인 재화를 많이 수출하는 국가로 만들었다. 하지만
국제 연합 무역 개발 회의는 “안타깝게도 개발도상국의 대다수는 자신의 발전을 위해
창조적 능력에 따른 혜택을 이용할 수 없다” 라고 공표했다.
114 Toward a Creative City: International Experiences
창조적인 유럽
독일의 창조 산업과 문화 산업
베를린
문화 분야는 전통적인 세 분야의 모델에 따라서 상업, 공적자금, 비영리 분야로
구성된다. 문화 산업이면서 창조 산업이라는 말은 부분적으로는 맞게 쓰였지만
다양하게 정의할 수 도 있다. 베를린 시는 상업 분야를 창조 경제라는 용어의
하위개념에 놓았다. 그래서 개인 분야의 생산, 기획, 문화 상품에 기여하는 모든
사업이나 프리랜서 작업은 이익을 내는 것으로 방향이 잡혔다. 심지어 공공문화기관도
법인화하는 방식으로 운영한다.
베를린의 창조 산업은 아래의 8 가지 분야로 나뉜다.
z 서적 및 미디어 시장
International Conference 117
z 영화 및 텔레비전 산업
z 미술 시장(패션, 디자인 포함)
z 소프트웨어/ 게임/ 텔레커뮤니케이션(원격통신) 제공업자
z 음악 사업
z 건축
z 행위 예술
만하임
“창조 도시 포럼” 대회와 함께 만하임은 매년 독일과 유럽에서 전문가와 오피니언
리더들을 유치하려 노력한다. 그 목적은 창조 계급으로 활동 중인 사람들을 후원하고
묶어주는 것뿐만 아니라 새로운 도시 정책 과제가 창조 경제 개발과 창조 계급으로부터
제기되는 것을 토론하도록 만들려는 것이다.
118 Toward a Creative City: International Experiences
창조도시를 향하여
Pheonix 메트로폴리탄 지역의 관점에서
김주철
(애리조나 주립대학교)
A. 서론
B. 창조도시 : 사람과 지역
D. 지역 예시
E. 결론
직업관련 수익
인적자본시장
민자 사업 분야
기업사회 지역사회
산업관련 협회 시민과 관련 협회
직업
재정과 투자
무역 노조 이미지 그 외 기관들
인적자본
R&D 역동성
지식 위치
고학력 서비스
기본적 연구
기관과 서비스 브랜드
인프라
학생과 관련조직
경제발전
지식교환 도시화 계획
기술발전, 참여
과학공원, 시험 주택, 공간계획,
확대, 지속적교
관, 보급활동, 네 교통과 이동성,
육, 상표등록, 구
트워킹 등 이벤트, 환영 및
직활동 지원활동 지원 프로그램,
도시마케팅
전략적 계획
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칼 요한 엥스트롬
(스웨덴 웁살라 시청)
쥬드 먼로
(브리스번 시의회 의장)
Jude Munro
Chief Executive Officer
Brisbane City Council
126 Toward a Creative City: International Experiences
도시의 네 종류
1. 일하지 않고 생활력을 잃은 도시
2. 일하며 제 역할을 하는 도시
3. “살만한” 도시
4. 멋지고 열정적인 세계적인 수준의 도시
• 멋지고 세계적인 수준의 도시는 멀지 않은
시일 내에 일하지 않는 도시가 될 수 있다.
– 교통정체는 삶의 질과 기준에 영향을 미칠 수 있음
– 불편한 대중교통은 통행할 수 있는 일자리 수를
줄이고 환경오염을 가할 수 있음
• 멋진 도시가 유지되려면 제 역할을 다하고
“살만해야” 한다—즉, 도시는 일해야 한다.
International Conference 127
정신적 모델 1 정신적 모델 2
우리의 소비자? 미래의 사업은?
우리의 커뮤니티?
어떤 상품과 서비스? 미래의 경쟁자는?
생각이 바뀌었다!
130 Toward a Creative City: International Experiences
브리즈번 2026…….
브리즈번은 클 것이다! - 어떻게 그렇게 될
것인가?
브리즈번은 뜨거워 질 것이다 – 어떻게
우리의 이성을 유지하는가?
브리즈번에 사람이 많아질 것이다 – 하지만
얼마나 더 많은 나무가?
브리즈번은 활기차고 다국적인 남동쪽의
중심이 될 것이다 – 하지만 이곳은 살기에
너무 비싼 곳인가?
브리즈번은 살고 일하기에 좋은 곳이 될
것이다 – 그렇지 않은가?
시나리오 사용하기
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Three Scenarios
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International Conference 133
시나리오 이해하기
• 큰 변화는 무엇인가? • 우리가 고려해야 할
• 무엇이 달라졌나? 불확실한 사항들은
• 무엇이 그대로인가? 무엇인가?
• 우리가 2026년까지 • 이런 불확실한
목표를 이루기 위해 요소들을
한 일이 무엇인가? 받아들이기 위해선
어떤 점들이
• 이 이슈에 답할 유연해야 하는가?
가능성이 있는
정책들은 무엇인가? • 지금 상황은
무엇이며 어떤 점이
바뀌어야 하는가?
134 Toward a Creative City: International Experiences
정당간의 선!
겹치는 정책적
목표
결과:
자유국가당
늘어난 목표
열정적으로
도시의 21개의 도시에
형태를 만드는 걸친 결과물
오스트레일리아 사람들 도시를 위한
노동당 비전의 새로운
방향성
2026 비전 테마
• 정답고 안전한 도시
• 깨끗한 녹색도시
• 잘 디자인된 아열대성의 도시
• 접근이 용이하고 잘 연결된 도시
• 세련되고 번영하는 도시
• 활동적이고 건강한 도시
• 활기 넘치고 창조적인 도시
• 지방의 특색을 간직한 세계적인 도시
City-wide Outcomes
• 깨끗한 공기 • 건전한 경제
• 도시의 먹거리 • 깨끗하고 다양한 생물이
• 안전한 지역사회 사는 도시
• 물의 지속적인 사용 • 개선된 공공의료
• 배움과 교양 있는
• 건강한 강과 만 지역사회
• 효과적인 성장 관리 • 효과적인 도로 네트워크
• 낭비를 없애는 방향으로 • 좋은 디자인과 상호
• 포용하고 정다운 소통적인 건축
지역사회 • 환경활동적이고 건강한
• 우수한 도시 이미지 지역사회
• 협력적인 관리 • 잘 연결되고 참여도 높은
지역사회
• 지속적인 에너지 사용 • 깨끗하고 활동적인 교통
136 Toward a Creative City: International Experiences
2026 비전 확대 목표
• 브리즈번 본토의 40%의 자연서식지 복구
• 브리즈번 강으로 오염된 물이 흘러가지 않도록
• 오수 100% 재활용
• 2026년 온실효과 가스 방출의 50%감소
• 브리즈번과 브리즈번시 의회 모두 탄소를 없앰
• 85만 여 개의 일자리 공급
• 전년대비 매년 4%의 수출 상승
브리즈번의 경험에서 배울 점
• 현재의 시나리오는 단지 • 사람들로 하여금 오늘 당장의
재미와 공상의 연습이 아니라 문제가 아닌 미래를 걱정하게
신뢰 할만한 방법의 계획을 하는 데는 많은 노력이
필요로 한다. 필요하지만, 이것은 그럴
만한 가치가 있는 일이다.
• 다은 시나리오들의 예를
보여줌으로써 사람들이 • BCC는 시의회를 위하여
미래에 관해 더 생각하고 시나리오 계획이 쓰인
이야기에 자신을 좀 더 사례들을 소개한 책을
관련짓게 만든다. 개발했다.
– 기후변화 시나리오를
위한 펜타곤
– 남아프리카의
인종차별정책 후
– 군사 정보
International Conference 137
감사합니다!
방문해주세요: www.brisbane.qld.gov.au
138 Toward a Creative City: International Experiences
1. 국립 예술 공원 기획
2. 창조 중심 지역 구성
3. 이미지 문화도시 창설
장소: Shinko Pier, Yokohama Red Brick Warehouse No. 1, NYK Waterfront
Warehouse (BankART Studio NYK) 에 위치한 요코하마 트리넬 20008 을 위해
개관한 새로운 전시홀
큐레이터: Daniel Birnbaum, Hu Fang, Akiko Miyake, Hans Ulrich Obrist, Beatrix Ruf
우리는 급속이 수가 증가하고 있는 BankART 1929, Steep Slope Studio, 그리고 ZAIM
과 같은 “예술 플랫홈”들과 끊임없이 협력할 것이다. 앞으로 예술 플랫홈들과의 협력을
확대하면서 예술가들과 창조가들이 더 활발하게 활동할 수 있는 환경을 조성하고, 더
많은 사람들이 모여서 ‘창조적 핵심’이 되는데 기여할 것이다.
◆ 인적자원배양
◆ 네트워크 설립
◆ 아시아 네트워크
강병주 교수
(한남대학교, UNESCO-WTA 과학도시 연구센터장)
I. 창조도시 배경
2. 창조도시의 주 요인들
창조도시를 이룩하기 위해서는 많은 요인들이 있다. 그것은 바로 문화, 인력, 공동체와
독특함이다.
문화
우리가 일반적인 로마인, 뉴요커, 무스코바이트라 하면 각기 사람의 특성을 떠올릴
수 있듯이, 문화는 각 지역만의 특별함을 보여준다. 지금처럼 도시들이 비슷해 보일
때는 문화적인 차이가 중요하며 도시마다 가치를 더해준다. 문화는 창조의 바탕이
되며 도시가 시간이 지남에 따라 스스로 발전시켜나갈 수 있게 하는 원동력이 된다.
점점 하나가 되어가는 도시들 사이에서 문화의 독창성을 만들어내는 것은 그
도시만의 특별함을 표현해준다. 그 도시만의 상징적인 음식이나 노래, 상징을
만들어내는 것 또한 특별함을 더해준다. 또 중요한 것은 새로운 전통을
만들어나가면서 도시의 이미지를 과거에만 묻어놓지 않게 미래로 뻗어나갈 수 있게
하는 것이다.
사람
더 이상 세계 경제의 원동력은 서비스나 자본이 아닌 사람간의 경쟁이다. 우리가
지금 살고 있는 시대를 창조의 시대라 부르는 것은 우리 경제의 주 원동력이
창의성이기 때문이다. 테크놀로지, 지식, 인력 등은 좀 더 전통적인 요인들, 예를
들면 땅이나 원료, 와는 달리 기본적으로 한곳에 멈춰있지 않고 흐름을 따라
움직인다. 사람들은 한곳에만 영원히 있지 않고 여러 곳을 이동한다. 그렇듯
사람들이 가지고 있는 테크놀로지나 재능 또한 사람들을 따라 유동한다.
창의성을 가진 사람들 없이는 창의적인 미팅이나 창조단체 등은 가능하지 않다.
이와 같이 창조단체들 없이는 창의적인 환경 또한 없다. 이러한 창의적인 환경을
마련하는 것이 창조도시를 이루기 위한 가장 큰 난제이다. 더 이상 자원이나
제조능력, 군사력, 심지어 과학과 공업기술에 의해 경제강대국이 결정되어지지 않을
International Conference 147
조직
도시 개발과 그것을 이루어내는 창의성은 주로 물질적인 요소가 주를 이루었다.
예를 들면 하수구 배관이나 교통시설, IT 기반, 건축 테크닉, 그리고 프로젝트
매니지먼트에 의존해 점점 스케일이 큰 구조를 요구했다.
21 세기의 니즈는 상이하다. 오늘날의 니즈는 서로 다른 것이 공존할 수 있는 합성된
것이다; 자율규제체제를 작동시키는 기저의 생태와 논리를 이해하는 것; 네트워크가
폭넓게 확산되어 있는 관계를 형성하는 역량. 창조성을 응용하는데 있어서 핵심은
신규기술만큼이나 조직의 범주, 거버넌스, 그리고 관리에 달려있다. 이들은 기술로
인한 생산성 향상보다 더 많은 부가가치를 생산하기가 쉽다. 시민의 역량과
리더십을 키우는 것은 길이나 공항만큼이나 본질적으로 중요한 소프트웨어
인프라이다.
더 나은 통치, 조직, 관리는 성공과 실패를 결정하는데 있어서 중요하다. 이들은
경쟁력의 신 자원이 된다 – 훌륭하고 전략적이고 효과적인 거버넌스와 관리제도는
기술 하나처럼 경쟁적인 도구가 된다.
우수성(독특함)
창조도시를 설립하는데는 우수성(독특함)을 살리는 게 매우 중요하다. 하지만
대부분의 창조도시를 개척하는 도시들의 시 관계자들은 타 도시의 장점에만 신경
쓰다 보니 정작 해당 지역의 개성, 환경 등을 고려하지 못하고 독특함을 잃게 된다.
따라서 세계 대부분의 도시에 있는 건축물, 수족관, 컨벤션 센터, 박물관, 백화점,
식당들의 특성은 크게 다르지 않다 (Urban age, winter 1999).
3. 사례연구
이번 발표를 위해 두 도시의 사례연구를 진행해왔다. 첫 번째 사례연구 도시는 독일
Ruhr 에 위치하는 Emsher Park 이며 두 번째 도시는 영국 북부에 위치하는
Huddersfield 이다.
북부 영국, Huddersfield
Huddersfield 는 인구 13 만 명의 산업도시이며 20 세기 초 모직물 산업, 토목공사,
화학산업 등 인해 빠르게 성장하였다. 70 년대 초 이후, 모직물 산업과 토목공사
사업이 75%이상 감소하면서 더 이상의 성장을 체험하지 못하였다. Huddersfield 는
국가 평균보다 제조공업에 대한 의존도가 높고 적임 노동력이 부족하고 실업률이
영국 어느 도시보다도 높았다.
Huddersfield 의 시 관계자들은 도시들의 흥망 성쇠는 시 당국의 통제에 달려 있다고
보고, 통제할 수 없는 국가 경제, 사회, 정치적인 정책에 의해 결정된다고도 보았다.
결론적으로 Huddersfield 의 불안정함은 급속도로 변화하는 산업에 적응하지 못한
탓이다. 모직물 산업의 중심이 동북 아시아로 이동함으로써 Huddersfield 는 지역
인재들을 London 과 Leeds 과 같은 도시들에 뺏기는 신세였다. 따라서
Huddersfield 지역의 시민들은 날이 갈수록 자신감을 잃게 되었으며 삶의 원동력을
오랜 기간 동안 찾지 못하였다.
Huddersfield 의 관계자들은 급속도로 성장하는 과학기술 세계에서는 경쟁력을
키워나가기 위해 혁신적이며 창조적이어야 한다는 사실을 깨달았다. 관계자들은 옛
명성을 찾기 위해 혁신적인 산업들을 추진하였고 제조업에 의존하는 도시가 아닌
창조적인 지역 허브로 도시 설계를 진행하였다.
Huddersfield 가 혁신도시로 발전하기 10 년 전, 한 공공 부문 컨설턴트사인
Inlogou 의 조사결과에 의하면 당시 조사 결과내용은 최악이었다고 한다. 체계적인
업무 진행은 존재하질 않았으며 각 회사 부서의 협력 능력은 형편없었다고 했다.
직원들의 의욕은 바닥이었으며 변화에 대한 적응능력도 없었다.
International Conference 149
Ⅱ. 창조 도시 대전 건설
<산업>
*비즈니스 서비스와 영화 영역에 대한 비교우위
-대전에서 창조 산업에 있는 회사 숫자는 비즈니스 서비스(54.5%). 제조업
관련(34.9%), 문화영역(10.6%) 순이다.
-영화 산업은 비교우위가 있으나 출판업과 방송업은 비교열위에 있다.
*대전의 창조 산업 회사와 종사자수는 감소추세다.
-대전의 창조 산업 종사자수(3.49%감소), 다른 산업 평균(16.74%증가)
(원 그래프)
제조업 관련 (34.9%)
문화 영역(10.6%)
비즈니스 서비스(54.5%)
<위치>
*최적의 교통 조건 그러나 세계적 환승(글로벌 인터체인지) 기반이 약함
-수도와 지역 도시가 만나는 공간
*환승과 경로로 부족한 공간의 효용성
-3 차로, 오래된 지역에 있는 문화 그리고 예술의 공간
-유일한 과학 테마공원 “엑스포 과학 공원”
150 Toward a Creative City: International Experiences
<공공기관>
*불만족스러운 창의적 행정조직
*대전 전체와 5 개의 지역구 사이의 정책혼돈
-창의 도시 대전을 만들기 위한 법령 추진
2. 창조 도시 대전을 위한 비전과 전략
<지시방향>
*종합적 전략들이 창조 도시 대전의 모델로 사용된다.
*창조 도시는 확장 개인 창의성을 모으기 위한 조직적, 구조적 공간이다.
*창조 도시 대전은 높은 기술을 요하는 산업(하이테크 산업)과 문화와 예술 시민
혁신에 초점을 맞춘다.
*창조 도시 대전을 위한 전략적 범위는 인력, 기능, 공간, 공공시설에 모두
해당한다.
3. 창조 도시 건설을 위한 추진 프로젝트
<지식 경제를 위한 창의적 체계 건설>
*필요성
-지식 기반산업은 국가, 지역발전에 핵심영역으로 떠오르고 있다.
-대전은 다른 지역에 비해 지식 기반산업에 우수한 지역적 조건을 가지고 있다.
*지시방향과 전략
-지식 기반 산업 육성
-기술-문화를 아우르는 산업 육성
-창조 산업 육성을 위한 지원 매카니즘 확립
-신 성장 산업 육성
(표)
152 Toward a Creative City: International Experiences
<창조적 인재 육성>
*필요성
-몇몇의 지역과 도시가 세계 경제를 이끌어 가는데 위치적 비교우위를 점하고
있다.
-이 도시사이들 사이에서 비교우위를 확보하기 위해, 창조적 인재를 육성하는 것,
주도적으로 환경에 대해 학습하는 시민 육성, 매력적인 창조적 인재로 육성하는
것은 매우 중요하다.
*지시방향과 전략
-세계적인 창조적 인재 육성 : 창의적 지식의 이전 확대와 세계적 인재의 재생산,
지역 발전을 위한 유용하고 우수한 인적 자원
-창조적 인재의 매력과 효용성 : 창조적 인재를 위한 창의 도시의 이미지와 환경
확립
-시민이 설립하는 독창적이고 지속가능한 환경 연구 : 지역에서 과학과 기술,
문화를 연결하여 창조적 인재 육성을 통한 독창적 환경 연구
<예술도시>
*필요성
-활동적인 미래대전을 위한 디자인이 필요
*지시방향과 전략
-창조성 풍부한 문화 : 문화적 환경 확립
-시민에게 사랑받는 풍경 : 휴식 공간 건설
-운동 환경 조성 “하고, 보고, 함께 즐기는”
-문화적 도시를 위한 기반 확립
International Conference 153
<아이디어 뱅크>
*필요성
-개방과 협동이 공유하고 확장하는 시민의 창조성을 위해 필요하다
-도시 이슈를 캐내고 대안을 찾는 시민의 협동을 위한 공간
*지시방향과 전략
-지역의 혁신적 기관으로부터 열린 지식 자본과 인프라 구축
-활동적 시민의 독창적 포럼에서의 다양한 범위와 테마
-활동적 기부, 구매, 전송, 아이디어의 거래
(그림)
다양한 범위와 테마에 관한 시민들의 독창적 포럼
지역의 혁신적 기관으로부터 나오는 지식 자본과 인프라 -> 기부, 구매, 전송,
아이디어의 거래
<공동체 연결>
*필요성
-다른 가치, 문화, 내용에 관한 대화
-시민 조직의 창조성 극대화
*지시방향과 전략
-교환과 협동을 위한 지지 사업 운영
-지역 사회와 다양한 영역에서 활동중인 지성인 연합의 교환과 협동을 지지
-경우에 따라서 다른 산업 간에 개인을 기반으로 하는 교환과 협동 지지
(그림)
교환&협동
-지역 사회
-다양한 영역
-다른 산업
<101 아트 플라자>
*필요성
-생활화 위한 창조적 환경 건설이 필요하다
-흩어진 작은 규모의 문화, 예술 공간 그것들의 사용을 창의적 활동의 발판으로
만드는 것 필요
*지시방향과 전략
-학생이나 시민 같은 아마추어 예술가가 그들의 문화적, 예술적 욕구를 쏟아내기
위한 작은 규모의 생활화 공간 건설
-공연과 전시를 위한 101 공간 건설, 도시 전체에서 네트워킹되는 창조와 문화
예술의 실습
-문화와 예술 영역의 생활화 통한 즐거운 대전의 이미지 향상
4. 부채꼴 계획
<창조적 인적 자본>
(그림) 화살표 방향으로...
국제적인 창조적 인재 육성
(대전 영재학교 건립, 국제적으로 잘 알려진 교육기관 유치, “창조적 인재육성의
기반은 대전에서” 확립 및 운영)
시민이 독창적으로 조직한 지속 가능한 환경 연구
(연구, 고용, 복지, 열린사회 교육 시스템 운영, 시민의 삶과 진로 개발을 위한
지원프로그램 간 연결 구조 확립(연구 도시 추진))
매력적&효용성 있는 창조적 인재
(창조 도시를 위한 연합된 교정 건설, 대덕 연구단지의 높은 질의 인적 자본의
분권화, 대전에 창조적인 인재 유치를 위한 거주지 환경구성)
International Conference 155
<문화&과학 산업>
*지식 서비스 산업 육성
-지식산업을 위한 사업개척 지원, 대덕 연구단지의 민영화 가속화, 지식 서비스
산업을 위한 육성 시스템 설립
*기술-문화를 집중 산업
-미래 전략이 집중된 산업 육성, 지향 사업의 집중적 육성, 문화 산업을 위한
집단의 구성과 발전
* 창조적 산업 육성을 위한 지원 시스템
-지식 산업의 전문가육성을 위한 시스템 확립, 창조적 산업을 위한 혁신적 시스템
확립, 높은 기술 과학 사업 벨트 건설
*새 성장 산업 육성 집중
-군수 산업과 2 번째 원자력 벨리를 위한 지역 건설, 새로운 재생에너지의 축적을
위한 지역 건설, 기술 집약 연구를 위한 민영화 센터 건립
<환경 도시>
(그림) 화살표 방향으로...
*지속가능한 생태 환경 조성
-빽빽한 초록 숲 건설, 3 개 개울의 수질 향상, 온난한 지구에 대한 보호 정책 확립
*도시를 안전하게 만드는 것
-재해 예방을 위한 계획의 역할 지정, 재해 예방과 예보 방법 고시와 전달 확립
*균형된 도시 발전
-생활화 경계에 있는 문화적 자산을 위한 네트워크 건립, 각 중심적인 장소에
유명한 창조적 구역 건설, 3 개의 개울 주변 공유지를 따라 창의적 활동을 위한
구역 건설
*사람중심의 친환경 교통 시스템
-자전거 도로 건설, 도시 중심부를 통화하는 차량의 제한속도 감소, 편리한
대중교통 시스템 건설
5. 조직 이행
<창조 도시 대전을 위한 집중적 행정 시스템 건립>
개념 -> 1. 기능 위주로 확립, 관료주의 회피적 통합 행정시스템
2. 미래도시의 방향성과 비전을 바탕으로 만들어지고 운영되는 지역 위원회 추진
<조직의 실행>
위원회 추진
---------------------비서
실용적으로 일하는 위원회
1) 연구 도시를 위한 팀 - 전문적 위원 / 구성원
2) 지식 경제를 위한 팀 - 전문적 위원 / 구성원
3) 환경 친화적 도시를 위한 팀 - 전문적 위원 / 구성원
4) 복지를 위한 팀 - 전문적 위원 / 구성원
5) 문화와 예술을 위한 팀 - 전문적 위원 / 구성원
6) 열린 도시를 위한 팀 - 전문적 위원 / 구성원