Abstract. In recent years circular economy has become more important for the development of many places including cities. Traditionally, urban development policies have mainly been aiming to improve the socio-economic wellbeing of neighbourhoods. However, technical and ecologic aspects have their effects too and need to go hand in hand. This paper is based on an urban area experiment in the Dutch city of Utrecht. In order to assess urban area developments, typically rather straight-forward quantitative indicators have been used. However, it has proved more complicated to assess multifaceted developments of the area studied in this paper. With the City Model Canvas a multi-layered model is being used to better assess the impact of the urban development being studied. Key findings include that the project studied resulted in more space for companies from the creative industry and the settlement of local ‘circular’ entrepreneurs and start-ups, although it remains unclear to what extent these benefit from each other’s presence. The increase in business activity resulted in more jobs, but it is again unclear whether this led to more social inclusion. From an environmental point of view the project activities resulted in less raw materials being used, although activities and public events bring nuisance to the surrounding neighbourhoods.
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Many attempts in measuring the pulse and potential of a creative city have been undertaken during the last decade or so. Popular notions like Creative City or Creative Class were coined and catered for policy-makers and urban developers, which try to explain how to create and retain prosperity and affluence by applying these concepts to actual city-making. It sounded like a magical formula ready to come true.
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Creativity has become a strategy in the making of places, with cities and regions seeking to increase their attractiveness to the creative class, support the creative industries or to become ‘creative cities’. We examine how creativity has been utilised in placemaking in tourism desti-nations through different design strategies. A shift in theoretical focus from creative individuals towards creative districts or places is noted, in line with the developing field of creative place-making. Case studies of creative development indicate strategies need to be sensitive to local context, and follow some basic design principles. Creative placemaking includes consideration of resources, meaning and creativity, driven by clear vision, enabling participation, leaving space for creative expression and developing a coherent narrative
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Discussies over de ‘Smart City’ draaien vaak om technologieën die destad efficiënter moeten maken. Naast deze ‘control-room’-visie staantwee minder bekende benaderingen: ‘Smart Citizens’ zet technologiein om burgers meer zeggenschap te geven, terwijl de ‘Creative City’ destad beziet als ‘living lab’. Alle drie deze versies van de smart city biedenkansen om het werken aan de stad op nieuwe manieren vorm te geven,maar roepen ook vragen op.
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Creativity has become increasingly important for the development of tourism in cities in recent years. As competition between cities grows, they increasingly seek to distinguish themselves through creative strategies. In the field of tourism, however, such strategies may arguably be counter-productive, as the race to produce distinction often results in cities adopting similar creative development models. In particular, many cities rely on the ideas of creativity 'gurus' such as Richard Florida and Charles Landry to provide creative solutions to a wide range of cultural, social and economic problems. However, by following such exogenous prescriptions, adopting forms of 'fast policy' and copying ideas from other 'creative cities' through 'policy tourism', the result is often a form of serial reproduction, unattractive to the very tourists cities seek to attract. This review article examines the search of many cities for distinction through creativity, and analyses the development of different forms of creativity, including creative industries and creative cities strategies and creative tourism. It argues that the shift away from tangible to intangible competitive advantage is continuing, with a trend towards relational forms of tourism based on creativity and embedded knowledge. These processes are illustrated by reviews of the literature relating to cities around the world.
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Smart city-policy makers and technology vendors are increasingly stating they want to bring about citizen-centered smart cities. Yet, it often remains unclear what exactly that means, and how citizens are envisaged as actors in smart cities. This article wants to contribute to this discussion by exploring the relation between smart cities and citizenship. It aims to do this by introducing a heuristic scheme that brings out the implied notions of citizenship in three distinct sets of smart city visions and practices: The Control Room envisages the city as a collection of infrastructures and services; The Creative City views the city from the perspective of (economic) geography and ponders on local and regional systems of innovation; The Smart Citizens discourse addresses the city as a political and civic community. These smart city discourses are mapped against two visions on citizenship and governance taken from political philosophy. A `republican' perspective with strong presence in social-democratic countries is contrasted with a libertarian one, most prominent in Silicon Valley approaches to smart city technologies. This provides a scheme to reflect on potential benefits and downsides if a specific smart city discourse would develop. Instances of smart cities may promote notions of citizenship that are based on consumer choice and individual responsibility, alternatively they could also reinforce collective responsibilities towards the common good of society.
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This article analyses four of the most prominent city discourses and introduces the lens of urban vitalism as an overarching interdisciplinary concept of cities as places of transformation and change. We demonstrate the value of using urban vitalism as a lens to conceptualize and critically discuss different notions on smart, inclusive, resilient and sustainable just cities. Urban vitalism offers a process-based lens which enables us to understand cities as places of transformation and change, with people and other living beings at its core. The aim of the article is to explore how the lens of vitalism can help us understand and connect ongoing interdisciplinary academic debates about urban development and vice versa, and how these ongoing debates inform our understanding of urban vitalism.
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Purpose: The authors provide a personal insight into how they see the potential of urban culture as a vehicle for creative placemaking. The purpose of this study is to highlight the opportunities for the tourism industry to embrace this global youth culture now that one of its pillars, breakdance, is on the brink of becoming an Olympic discipline in 2024, thus nudging this youth culture from underground to mainstream. Design/methodology/approach: The authors interviewed two Dutch pioneers in the field of urban culture: Tyrone van der Meer, founder of The Notorious IBE (IBE), an international breaking event, and Angelo Martinus, founder of the urban scene in Eindhoven and initiator of EMOVES, an urban culture and sports event. Findings: The authors illustrate the added value of urban culture to creative placemaking by addressing the initiatives of previously mentioned Dutch pioneers. Their urban culture events on Dutch soil, yearly attract thousands of participants and visitors from the urban scene, covering over 40 nationalities, to the South of The Netherlands. Originality/value: This study provides a glimpse into a global youth culture that is primarily invisible to the tourism industry and a foresight in how the tourism industry and other stakeholders (e.g. policy makers, city marketeers, tourism managers and event organisers) can pick up on this evolving trend. The study is meant as a wake-up call.
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Een neerslag van het onderzoek dat is gedaan door de leden van de onderzoeksgroep die verbonden is aan het lectoraat Creative Industries and Social Innovation
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