Rk finland


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Presentation for Finnish Policy Delegation Jan 2013 Utrecht School of the Arts.

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Rk finland

  1. 1. THE URBAN QUESTTHE CITY AND THE CREATIVE ECONOMY:tour d’horizonRene KOOYMANHKUJan 2013Finlanddelegation Utrecht School of the Arts HKU 24-1-2013 1
  2. 2. A theoretical voyage The sociological imagination: social inequality, class structures, gender and age divisions Cultural inequalities: measuring culture , art and cultural capital The Urban Quest: cultural metropolis and decay The entrepreneurial perspective: spacial distributions, regional identities, urban nomads 24-1-2013 2
  3. 3. EU CURE Project  CURE stands for ‘Creative Urban Renewal in Europe’. It is an EU-funded project (INTERREG IVB NWE)  Aims to facilitate triggered growth of the creative economy in decayed urban areas in medium-sized cities in Northwest-Europe  This will be done by developing and testing the innovative transnational model ‘Creative Zone Innovator’ to plan and to develop creative zones.  The project brings together 7 project partners in Germany, Belgium, France, the Netherlands and the UK. 24-1-2013 3
  4. 4. The Urban Dimension  Territorial approach: zoning  Diversified cultural environments (Jacobs)  Social integration/identification (‘belonging’) and distinction (Bourdieu/Florida)  Integrated approach:  Physical: bricks and mortar  Social  Infrastructure: networking  Conceptualisation /re-evaluation 24-1-2013 4
  5. 5. Creative Zone Innovator Creative Zone Innovator: integrated approach to urban, economic, cultural, social and entrepreneurial development ABC: Area , Building, Creative entrepreneur Four Dimensions: a. Learning Lab: learning environment b. Cultural Value Chain: networked alliances c. Flow of diversity: continuous new impulses d. Cultural Business Modeling 24-1-2013 5
  6. 6. Creative ZoneIndicators 24-1-2013 6
  7. 7. CULTURAL CAPITAL knowledge of ‘legitimate’ culture / ‘High Culture’ “Linguistic capital” – speaking “properly” 24-1-2013 7
  8. 8. Cultural Capital Economic CapitalCultural bourgeoisie High Intermediatee.g. artists, academicsBusiness bourgeoisie Intermediate Highe.g. company directorsUpper professionals Intermediate to high Intermediate to highe.g. lawyers, highercivil servantsLower middle class Intermediate to low Intermediate to lowe.g. primary schoolteachers, nursesWorking classSkilled Low to intermediate Low to intermediateUnskilled Low Low 24-1-2013 8
  9. 9. Business categories • Artisan – Designer driven purely by aesthetic motivation • Solo – Individual designer focused on growth • Creative Partnership – Two creative people • Designer and Business Partner – One creative and one business partner • Designer and Licensing Partner – Designer under royalty contract • Designer and Manufacturer – Designer in contractual agreement with manufacturer • Partnership with Investor – Designer in partnership with a formal investor  NESTA 2008 24-1-2013 9
  10. 10. URBAN CULTURESTerritorial approach: zoningDiversified cultural environments (Jacobs)Social integration/identification (‘belonging’) anddistinction (Bourdieu/Florida)Urban Area Development: Integrated approach  Physical: bricks and mortar  Social  Infrastructure: networkingConceptualisation /re-evaluation 24-1-2013 10
  11. 11. Major Stakeholders in UrbanDevelopment Municipality Businesses Community Media Chamber of Immigrant Commerce Community services Stakeholders Resident Community Immigrant Activist/ Volunteers Youth Cultural clubs/groups Organizations 11
  12. 12. WHAT ARE THE VALUES OF CITY-LIFE• Cultural and Economical Capital• Cultural Class• Identity and Branding• Demographics 24-1-2013 12
  13. 13. CITY POLICY & PLANNING PARADIGM• Developed for and by the industrial economy• Separation of working and living through zoning• Powers are restrictive, not permissive: you can’t, rather than you can• Professionalized: ‘planner knows best• City is struggling under its own weight, unable to adapt quickly enough to changing global, social economic environment• Rational/analytical, more than ‘understanding’ 24-1-2013 13
  15. 15. RADICAL REDEFINITION 24-1-2013 15
  16. 16. INVESTING IN THE CREATIVE ECOSYSTEMThe creative ecosystem includes arts and culture, nightlife, themusic scene, restaurants, artists and designers, innovators,affordable spaces, lively neighbourhoods, spirituality, density,public spaces etc.1. Strengthen your creative assets and encourage collaboration.2. Continue revitalizing your downtown areas as nodes of creativity.3. Develop an infrastructure that will improve the quality of life for residents and attract the creative class (hiking and cycling trails, festivals, development of cultural assets, ways to celebrate the waterfront etc. ) 24-1-2013 16
  17. 17. EMBRACE DIVERSITYDiversity gives birth to creativity, innovation and positiveeconomic impact.People of different backgrounds and experiencescontribute a diversity of ideas, expressions, talents andperspectives that enrich vital communities.1.Develop a strong tourism and information infrastructurebecause it will be your first link with people coming fromoutside your community.2. Attract new immigrants – one in every two children inAmsterdam will be immigrants by 2020. Develop animmigration attraction strategy, e.g. develop a newimmigrant welcoming package. 24-1-2013 17
  18. 18. Take Responsibility for Change 1. Work together to develop your creative infrastructure – the voices and ideas of both local citizens and government need to be embraced. 2. Focus on mutual goals and develop a strategy that focuses on economic development goals, marketing and promotions, infrastructure and building local capacity. 24-1-2013 18
  19. 19. CULTIVATE AND REWARD CREATIVITY Store 54 in Collingwood: www.store54.biz 24-1-2013 19
  20. 20. Lombok utrecht:19752005 24-1-2013 20
  22. 22. Entrepreneurial behaviour:The Creation of Economic, Social andCultural Value  cultural fabric of the Creative Industry thrives on numerous small initiatives  high share of freelancers and very small companies.  new type of employer is emerging; the ‘entrepreneurial individual’ or ‘entrepreneurial cultural worker’  no longer fits into typical patterns of full-time professions (EU job potential 2001)
  23. 23. CREATIVE ENTREPRENEURS’PERSPECTIVE• Social capital: resources based on group membership, relationships, networks of influence and support; clusters• Economic capital: command over economic resources (cash, assets); based on entrepreneurial capabilities and support• Cultural capital: forms of knowledge; skill; education and language skills• The urban perspective: choose your position in the urban nomad chain ; use support functions 24-1-2013 23
  24. 24. Thanks!http://cure-web.eu/rkooyman@rkooyman.com 24-1-2013 24