This document discusses strategies for developing areas and economies through cultural and creative industries in times of crisis. It outlines how cultural and creative industries are driving economic growth and innovation in Europe as traditional industries decline. Small and medium enterprises are strategically important, as the cultural and creative sector is dominated by freelancers and small companies. Successful development strategies involve taking an integrated approach to physical, social, and infrastructure development. Case studies demonstrate how areas have been revitalized by redefining cultural identities and supporting creative entrepreneurs through networks, collaboration and affordable work spaces.

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AREA DEVELOPMENT
IN TIMES OF CRISIS
tour d’horizon
Utrecht School of the Arts HKU
Rene KOOYMAN
HKU
May 2013
Salo
Finland

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EUROPE IN TIMES OF CRISIS
Significant developments:
 Urbanisation
 From Industry to Knowledge
 Absence of growth
 ‘Old School’ no longer applies: innovation
 Small and Medium Enterprises (SMEs) of strategic
value
 The economical force of the Cultural and Creative
Industries (CCIs)

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CCIS AS KEY STRATEGIC FACTOR
 CCIs drivers of economical growth (UNCTAD)
 Drivers of innovation: driving innovative processes
into realisation
 CCIs at the core of cultural and industrial networks
 CCIs andTechnological change/digitisation two‐way
process
 CCIs spill‐over: Corporate Esthetics, Identity and
Branding
 Cultural and Creative Content as a relative
autonomous, independent economical factor

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CCIS: THE ENTREPRENEURIAL DIMENSION

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CCI: SIZE ENTERPRISE

6. ENTREPRENEURIAL BEHAVIOUR:
THE CREATION OF ECONOMIC, SOCIAL AND
CULTURAL VALUE
 cultural fabric of the Creative Industry thrives on
numerous small initiatives
 high share of freelancers and very small companies
 multiple job‐holdings; combined sources of income
 new type of employer is emerging; the
‘entrepreneurial individual’
 no longer fits into typical patterns of full-time
professions (EU job potential)

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BUSINESS CATEGORIES
• Artisan – Designer driven 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

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SPATIAL COMPONENTS: METROPOLIS AND DECAY
 From
Industry to
Knowledge

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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: class, culture, demographics
 Infrastructure: networking
 Conceptualisation /re-evaluation

10. Major Stakeholders in Urban
Development
10
Community
Stakeholders
Cultural
Organizations
Community
Activist/
Volunteers
Resident
Immigrant
Youth
clubs/groups
Immigrant
services
Community
Media
Chamber of
Commerce
Businesses
Municipality

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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
• Verbal, rational/analytical, more than
‘understanding’

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URBANISATION: THE VALUES OF CITY-LIFE
• Cultural and Economical Capital
• Cultural Class
• Identity and Branding
• Demographics

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EU CURE PROJECT
 Creative Urban Renewal in Europe
(CURE)
 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.

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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. CulturalValue Chain: networked alliances
c. Flow of diversity: continuous new impulses
d. Cultural Business Modeling

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CREATIVE
ZONE
INDICATORS

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HOW IS IT DONE: RADICAL REDEFINITION
Edinburgh:
 Ice Store
 CCI Outlet
 Job
creation
 Entrepreneurial and vocational training
 Revitalisation of a shopping-mall in decline

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REDEFINITION OF CULTURAL IDENTITY
Brugge (Belgium):
Vocational
professions
as cultural heritage

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HAGEN DE
Textile factory:
1822 - 1996

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METHODS
 Radically re-interpret the area
 Define identity and profile
 Spread the word; Corporate Communication
 Build support networks
 Take time
 More Dash than Cash
 Create a financial base

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INVESTING IN THE CREATIVE ECOSYSTEM
The creative ecosystem: arts and culture, nightlife, the
music scene, restaurants, affordable spaces, lively
neighbourhoods, spirituality, density, public spaces etc.
1. Strengthen creative assets and encourage collaboration
2. Continue revitalizing 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. )

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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; skills;
education and language skills
• The urban perspective: choose your
position in the urban nomad chain ; use
support functions

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THAT’S
THE WAY
IT’S
DONE!
http://cure-web.eu
rkooyman@rkooyman.com