Creative city: Difference between revisions
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{{Short description|Urban planning concept}} |
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| ⚫ | A '''creative city''' is a city where [[creativity]] is a strategic factor in [[Urban planning|urban development]]. A creative city provides places, experiences, attractions, and opportunities to foster creativity among its citizens.<ref>Yencken, David (1988). "The creative city". ''Meanjin''. '''47'''.</ref> |
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| ⚫ | Partners initially focused on design and culture as resources for livability. In the early 1980's, partners launched a program to document the economic value of design and cultural amenities. The ''Economics of Amenity'' program explored how cultural amenities and the quality of life in a community are linked to economic development and job creation. This work was the catalyst for a significant array of economic impact studies of the arts across the globe.<ref>{{Cite web|date=2019-05-15|title=The Economics of Amenity: Community Futures and Quality of Life; A Policy Guide to Urban Economic Development|url=https://www.americansforthearts.org/by-program/reports-and-data/legislation-policy/naappd/the-economics-of-amenity-community-futures-and-quality-of-life-a-policy-guide-to-urban-economic|access-date=2021-11-17|website=Americans for the Arts|language=en}}</ref> |
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==Creativity and imagination in urban activities== |
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{{more citations needed|date=July 2023}} |
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The concept of a creative city fosters open-mindedness and imagination, exerting a significant influence on [[organizational culture]]. It suggests the necessity of creating conducive environments for individuals to think, strategize, and act with creativity in leveraging opportunities or tackling seemingly unsolvable urban challenges. |
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This pursuit demands more than mere physical [[infrastructure]]—beyond buildings, roads, or sewage systems—to encompass what's termed as "soft infrastructures." Creative infrastructure embodies a fusion of both tangible and intangible elements. The latter includes a city's mindset, its approach towards opportunities and problems, its ambiance, incentives, and regulatory framework. In the context of becoming a creative city, the soft infrastructure encompasses a highly skilled and adaptable workforce comprising dynamic thinkers, creators, and implementers. This philosophy underscores that creativity can emanate from diverse sources, encompassing individuals addressing issues in innovative ways, whether they're social workers, businesspersons, scientists, or public servants. Creativity isn't solely about generating ideas but also possessing the capability to execute them. |
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It advocates for embedding a culture of creativity within the operations of urban stakeholders. By promoting and legitimizing the use of imagination across public, private, and community spheres, it expands the repository of ideas and potential solutions for urban issues. |
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The creative city aims to identify, nurture, attract, and retain talent, enabling the mobilization of ideas, talents, and creative entities. The physical environment—the stage and the backdrop—is pivotal in establishing this milieu. A creative milieu denotes a space equipped with the necessary hard and soft infrastructure to foster a continuous flow of ideas and innovations. This milieu could encompass a building, a street, a district, a city, or even a region. |
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Cultural resources are embodied in people's [[creativity]], [[Skill|skills]], and [[Talent|talents]]. They encompass not just physical structures like buildings but also symbols, activities, and the spectrum of local products within crafts, manufacturing, and services. Urban cultural resources encompass historical, industrial, and artistic legacies, encompassing architecture, urban landscapes, or landmarks. They also embrace local and indigenous customs of public life, festivals, rituals, stories, as well as hobbies and passions. Language, cuisine, leisure pursuits, and fashion all contribute to a city's cultural resources, alongside sub-cultures and intellectual traditions, expressing the distinctive culture of a place. These resources encompass the diversity and quality of skills within performing and visual arts and the creative industries. Recognizing and valuing culture should shape the technical aspects of urban planning and development, rather than being an afterthought following housing, transportation, and land use. This emphasis redirects attention to what is unique, distinctive, and special about any given location. |
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| ⚫ | Partners initially focused on design and culture as resources for livability. In the early |
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Core concepts used by |
Core concepts used by partners were cultural planning and cultural resources, which they saw as the planning of urban resources including quality design, architecture, parks, the natural environment, animation and especially arts activity and tourism. |
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From the late 1970s onwards [[UNESCO]] and the [[Council of Europe]] began to investigate the cultural industries. From the perspective of cities, it was Nick Garnham, who when seconded to the [[Greater London Council]] in 1983/4, set up a [[cultural industries]] unit to put the cultural industries on the agenda. Drawing on, re-reading and adapting the original work by [[Theodor W. Adorno|Theodor Adorno]] and [[Walter Benjamin]] in the 1930s which had seen ''the culture industry'' as a kind of monster and influenced also by [[Hans Magnus Enzensberger]], he saw the cultural industries as a potentially liberating force. This investigation into the cultural industries of the time found that a city and nation that emphasized its development of cultural industries added value, exports, and new jobs, while supporting competitiveness, continues to expand a city's and nation's growth in the global economy.<ref>{{Cite journal|last=Moore|first=Ieva|date=January 2014|title=Cultural and Creative Industries Concept – A Historical Perspective|journal=Procedia - Social and Behavioral Sciences|volume=110|pages=738–746|doi=10.1016/j.sbspro.2013.12.918|issn=1877-0428|doi-access=free}}</ref> |
From the late 1970s onwards, [[UNESCO]] and the [[Council of Europe]] began to investigate the cultural industries. From the perspective of cities, it was Nick Garnham, who when seconded to the [[Greater London Council]] in 1983/4, set up a [[cultural industries]] unit to put the cultural industries on the agenda. Drawing on, re-reading and adapting the original work by [[Theodor W. Adorno|Theodor Adorno]] and [[Walter Benjamin]] in the 1930s which had seen ''the culture industry'' as a kind of monster and influenced also by [[Hans Magnus Enzensberger]], he saw the cultural industries as a potentially liberating force. This investigation into the cultural industries of the time found that a city and nation that emphasized its development of cultural industries added value, exports, and new jobs, while supporting competitiveness, continues to expand a city's and nation's growth in the global economy.<ref>{{Cite journal|last=Moore|first=Ieva|date=January 2014|title=Cultural and Creative Industries Concept – A Historical Perspective|journal=Procedia - Social and Behavioral Sciences|volume=110|pages=738–746|doi=10.1016/j.sbspro.2013.12.918|issn=1877-0428|doi-access=free}}</ref> |
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The first mention of the creative city as a concept was in a seminar organized by the Australia Council, the City of Melbourne, the Ministry of Planning and Environment (Victoria) and the Ministry for the Arts (Victoria) in September 1988. Its focus was to explore how arts and cultural concerns could be better integrated into the planning process for city development. A keynote speech by [[David Yencken]], former Secretary for Planning and Environment for Victoria, spelled out a broader agenda stating that whilst efficiency of cities is important there is much more needed: "[The city] should be emotionally satisfying and stimulate creativity amongst its citizens".<ref>Landry, Charles. ''Lineages of the Creative City''. http://charleslandry.com/panel/wp-content/uploads/downloads/2013/03/Lineages-of-the-Creative-City.pdf.</ref> |
The first mention of the creative city as a concept was in a seminar organized by the [[Australia Council]], the [[City of Melbourne]], the Ministry of Planning and Environment (Victoria) and the Ministry for the Arts (Victoria) in September 1988. Its focus was to explore how arts and cultural concerns could be better integrated into the planning process for city development. A keynote speech by [[David Yencken]], former Secretary for Planning and Environment for Victoria, spelled out a broader agenda stating that whilst efficiency of cities is important there is much more needed: "[The city] should be emotionally satisfying and stimulate creativity amongst its citizens".<ref>Landry, Charles. ''Lineages of the Creative City''. http://charleslandry.com/panel/wp-content/uploads/downloads/2013/03/Lineages-of-the-Creative-City.pdf.</ref> |
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Another important early player was Comedia, founded in 1978 by [[Charles Landry]]. Its |
Another important early player was Comedia, founded in 1978 by [[Charles Landry]]. Its study on 1991, ''Glasgow: The Creative City and its Cultural Economy'' was followed on 1994 by a study on urban creativity called ''The Creative City in Britain and Germany''.<ref>{{Cite web|title=COMEDIA : Thinking about creative cities|url=https://www.comedia.org.uk/|access-date=2021-11-17|website=www.comedia.org.uk}}</ref> |
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==Anatomy== |
==Anatomy== |
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As well as being the centre of a creative economy and being home to a sizeable creative class, creative cities have also been theorized to embody a particular structure. |
As well as being the centre of a creative economy and being home to a sizeable creative class, creative cities have also been theorized to embody a particular structure. This structure comprises three categories of people, spaces, organizations, and institutions: the upper-ground, the underground, and the middle-ground.<ref>{{Cite journal |last1=Cohendet |first1=Patrick |last2=Grandadam |first2=David |last3=Simon |first3=Laurent |title=The Anatomy of the Creative City |journal=Industry & Innovation |date=2010 |volume=17 |pages=91–111 |doi=10.1080/13662710903573869 |url=https://www.tandfonline.com/doi/abs/10.1080/13662710903573869}}</ref> |
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The upper |
The upper-ground consists of firms and businesses engaged in creative industries. These are the organizations that create the economic growth one hopes to find in a creative city, by taking the creative product of the city's residents and converting it into a good or service that can be sold. |
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The underground consists of the individual creative people—for example, artists, writers, or innovators—who produce this creative product. |
The underground consists of the individual creative people—for example, artists, writers, or innovators—who produce this creative product. |
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The middle-ground bridges the gap between the polished upper-ground and the raw energy of the underground. It can be vibrant neighborhoods, buzzing galleries, or collaborative art collectives. In these spaces, underground creativity takes form, disparate ideas coalesce into tangible products, and connections spark between individuals across the spectrum. This fertile middle-ground fosters cross-pollination of ideas and talent, fueling innovation and propelling the creative ecosystem forward. |
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The middle-ground, then, serves as a space for the upper-ground and the underground to come into contact with one another. The middle-ground can consist of physical areas, for example neighbourhoods with high populations of creative individuals, or areas with galleries and bars where these individuals congregate. It can also consist of organizations, such as art collectives, that serve to bring together creative individuals. The middle-ground allows the creative product of the underground to be given a more concrete form by synthesizing disparate creative outputs into discrete products. In its capacity as space, it also allows individuals from the upper-ground and individuals from the underground to meet, facilitating the transfer of ideas and people from one level to another. |
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To unlock the economic power of creative industries, cities must nurture all levels of the ecosystem, not just the polished upper-ground. Urban planning initiatives can create vibrant middle-ground spaces, while targeted policies can attract and empower the often-overlooked "creative class" of the underground. This holistic approach fosters innovation, diversity, and ultimately, economic growth. |
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[[Richard Florida]] works on quantifying various measures of the "creative potential" of a city, and then ranks cities based on his "creativity index". |
[[Richard Florida]] works on quantifying various measures of the "creative potential" of a city, and then ranks cities based on his "creativity index". This, in turn, encourages cities to compete with one another for higher rankings and the attendant economic benefits that supposedly come with them. In order to do this, city governments will hire consulting firms to advise them on how to boost their creative potential, thus creating an industry and a class of expertise centred around creative cities.<ref>{{Cite journal|last=Peck|first=Jamie|date=December 2005|title=Struggling with the Creative Class|journal=International Journal of Urban and Regional Research|volume=29|issue=4|pages=740–770|doi=10.1111/j.1468-2427.2005.00620.x}}</ref> |
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==The emergence of the creative economy and creative class== |
==The emergence of the creative economy and creative class== |
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Florida's work has been criticized by scholars such as [[Jamie Peck]] as, "work[ing] quietly with the grain of extant 'neoliberal' development agendas, framed around interurban competition, gentrification, middle-class consumption and place-marketing". In other words, Florida's prescriptions in favor of fostering a creative class are, rather than being revolutionary, simply a way of bolstering the conventional economic model of the city. The idea of the creative class serves to create a cultural hierarchy, and as such reproduce inequalities; indeed, even Florida himself has even acknowledged that the areas he himself touts as hotspots of the creative class are at the same time home to shocking disparities in economic status among their residents. In order to explain this, he points to the inflation of housing prices that an influx of creatives can bring to an area, as well as to the creative class' reliance on service industries that typically pay their employees low wages.<ref>{{cite journal | last=Peck| first=Jamie | title=Struggling with the Creative Class | journal=International Journal of Urban and Regional Research | publisher=Wiley | volume=29 | issue=4 | year=2005 | issn=0309-1317 | doi=10.1111/j.1468-2427.2005.00620.x | pages=740–770}}</ref> |
Florida's work has been criticized by scholars such as [[Jamie Peck]] as, "work[ing] quietly with the grain of extant 'neoliberal' development agendas, framed around interurban competition, gentrification, middle-class consumption and place-marketing". In other words, Florida's prescriptions in favor of fostering a creative class are, rather than being revolutionary, simply a way of bolstering the conventional economic model of the city. The idea of the creative class serves to create a cultural hierarchy, and as such reproduce inequalities; indeed, even Florida himself has even acknowledged that the areas he himself touts as hotspots of the creative class are at the same time home to shocking disparities in economic status among their residents. In order to explain this, he points to the inflation of housing prices that an influx of creatives can bring to an area, as well as to the creative class' reliance on service industries that typically pay their employees low wages.<ref>{{cite journal | last=Peck| first=Jamie | title=Struggling with the Creative Class | journal=International Journal of Urban and Regional Research | publisher=Wiley | volume=29 | issue=4 | year=2005 | issn=0309-1317 | doi=10.1111/j.1468-2427.2005.00620.x | pages=740–770}}</ref> |
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Critics argue that the creative city idea has now become a catch-all phrase in danger of losing its meaning and in danger of hollowing out by general overuse of the word |
Critics argue that the creative city idea has now become a catch-all phrase in danger of losing its meaning and in danger of hollowing out by general overuse of the word 'creative' as applied to people, activities, organizations, urban neighbourhoods or cities that objectively are not especially creative. Cities still tend to restrict its meaning to the arts and cultural activities within the [[Creative industries|creative economy]] professions, calling any cultural plan a creative city plan, when such activities are only one aspect of a community's creativity. There is a tendency for cities to adopt the term without thinking through its real organizational consequences and the need to change their mindset. The creativity implied in the term, the creative city, is about lateral and integrative thinking in all aspects of city planning and urban development, placing people, not infrastructure, at the centre of planning processes.<ref>{{cite book | last1=Hartley | first1=John | last2=Potts | first2=Jason | last3=Cunningham | first3=Stuart | last4=Flew | first4=Terry | last5=Keane | first5=Michael | last6=Banks | first6=John | title=Key Concepts in Creative Industries | publisher=SAGE Publications, Inc. | publication-place=10.4135/9781526435965 London | year=2013 | isbn=978-1-4462-0289-0 | doi=10.4135/9781526435965 | oclc=912302935}}</ref> |
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Landry's original Creative City vision, focused on holistic urban transformation, has yielded to a Florida-centric model prioritizing economic innovation and its skilled workforce. This shift has reduced the Creative City to a mere business tool, a far cry from its initial ambition to reshape urban policy. Now, the "thesis" is palatable to existing power structures, neatly fitting into the global economic order. Yet, the debate simmers on. While some cling to the holistic vision of city-wide creativity, others equate the Creative City solely with the economic engine of the creative class. |
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== |
==Global impact== |
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In 2004, UNESCO established the [[Creative Cities Network]] (UCCN). UCCN was established to share best practices and partnerships that can help sustain and improve a city's creativity. All cities recognized as a member of the UCCN agree that creativity acts as a strategic factor of sustainable development. |
In 2004, [[UNESCO]] established the [[Creative Cities Network]] (UCCN). UCCN was established to share best practices and partnerships that can help sustain and improve a city's creativity. All cities recognized as a member of the UCCN agree that creativity acts as a strategic factor of sustainable development. |
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The UCCN have seven creative fields: [[craft]]s and [[folk art]], [[design]], [[film]], [[gastronomy]], [[literature]], [[Media (communication)|media]] arts, and [[music]].<ref>UNESCO Creative Cities Network. (2017). ''Mission Statement''. UNESCO. https://en.unesco.org/creative-cities/sites/default/files/uccn_mission_statement_rev_nov_2017.pdf</ref> |
The UCCN have seven creative fields: [[craft]]s and [[folk art]], [[design]], [[film]], [[gastronomy]], [[literature]], [[Media (communication)|media]] arts, and [[music]].<ref>UNESCO Creative Cities Network. (2017). ''Mission Statement''. UNESCO. https://en.unesco.org/creative-cities/sites/default/files/uccn_mission_statement_rev_nov_2017.pdf</ref> |
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{{Reflist}} |
{{Reflist}} |
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# Yencken, David (1988). "The creative city". ''Meanjin''. '''47'''. |
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# UNESCO Creative Cities Network. (2017). ''Mission Statement''. UNESCO. <nowiki>https://en.unesco.org/creative-cities/sites/default/files/uccn_mission_statement_rev_nov_2017.pdf</nowiki> |
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==External links== |
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*[http://www.creativeclass.com/ www.creativeclass.com] |
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*[http://www.creativeeconomy.com/ www.creativeeconomy.com] |
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*[https://web.archive.org/web/20101126165005/http://www.urbanumbrella.net/ www.urbanumbrella.net] (Non Profit) |
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*[http://www.livable.org/ www.livable.org] |
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*[http://www.meshcities.com/ www.meshcities.com] |
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*[https://en.unesco.org/creative-cities/ List of UNESCO Creative Cities] |
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[[Category:Urban planning]] |
[[Category:Urban planning]] |
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Latest revision as of 19:24, 1 October 2024
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A creative city is a city where creativity is a strategic factor in urban development. A creative city provides places, experiences, attractions, and opportunities to foster creativity among its citizens.[1]
Early developments
[edit]Partners initially focused on design and culture as resources for livability. In the early 1980's, partners launched a program to document the economic value of design and cultural amenities. The Economics of Amenity program explored how cultural amenities and the quality of life in a community are linked to economic development and job creation. This work was the catalyst for a significant array of economic impact studies of the arts across the globe.[2]
Core concepts used by partners were cultural planning and cultural resources, which they saw as the planning of urban resources including quality design, architecture, parks, the natural environment, animation and especially arts activity and tourism.
From the late 1970s onwards, UNESCO and the Council of Europe began to investigate the cultural industries. From the perspective of cities, it was Nick Garnham, who when seconded to the Greater London Council in 1983/4, set up a cultural industries unit to put the cultural industries on the agenda. Drawing on, re-reading and adapting the original work by Theodor Adorno and Walter Benjamin in the 1930s which had seen the culture industry as a kind of monster and influenced also by Hans Magnus Enzensberger, he saw the cultural industries as a potentially liberating force. This investigation into the cultural industries of the time found that a city and nation that emphasized its development of cultural industries added value, exports, and new jobs, while supporting competitiveness, continues to expand a city's and nation's growth in the global economy.[3]
The first mention of the creative city as a concept was in a seminar organized by the Australia Council, the City of Melbourne, the Ministry of Planning and Environment (Victoria) and the Ministry for the Arts (Victoria) in September 1988. Its focus was to explore how arts and cultural concerns could be better integrated into the planning process for city development. A keynote speech by David Yencken, former Secretary for Planning and Environment for Victoria, spelled out a broader agenda stating that whilst efficiency of cities is important there is much more needed: "[The city] should be emotionally satisfying and stimulate creativity amongst its citizens".[4]
Another important early player was Comedia, founded in 1978 by Charles Landry. Its study on 1991, Glasgow: The Creative City and its Cultural Economy was followed on 1994 by a study on urban creativity called The Creative City in Britain and Germany.[5]
Anatomy
[edit]As well as being the centre of a creative economy and being home to a sizeable creative class, creative cities have also been theorized to embody a particular structure. This structure comprises three categories of people, spaces, organizations, and institutions: the upper-ground, the underground, and the middle-ground.[6]
The upper-ground consists of firms and businesses engaged in creative industries. These are the organizations that create the economic growth one hopes to find in a creative city, by taking the creative product of the city's residents and converting it into a good or service that can be sold.
The underground consists of the individual creative people—for example, artists, writers, or innovators—who produce this creative product.
The middle-ground bridges the gap between the polished upper-ground and the raw energy of the underground. It can be vibrant neighborhoods, buzzing galleries, or collaborative art collectives. In these spaces, underground creativity takes form, disparate ideas coalesce into tangible products, and connections spark between individuals across the spectrum. This fertile middle-ground fosters cross-pollination of ideas and talent, fueling innovation and propelling the creative ecosystem forward.
To unlock the economic power of creative industries, cities must nurture all levels of the ecosystem, not just the polished upper-ground. Urban planning initiatives can create vibrant middle-ground spaces, while targeted policies can attract and empower the often-overlooked "creative class" of the underground. This holistic approach fosters innovation, diversity, and ultimately, economic growth.
Richard Florida works on quantifying various measures of the "creative potential" of a city, and then ranks cities based on his "creativity index". This, in turn, encourages cities to compete with one another for higher rankings and the attendant economic benefits that supposedly come with them. In order to do this, city governments will hire consulting firms to advise them on how to boost their creative potential, thus creating an industry and a class of expertise centred around creative cities.[7]
The emergence of the creative economy and creative class
[edit]There have been critiques of the creative city idea claiming it is only targeted at hipsters, property developers and those who gentrify areas or seek to glamorize them thus destroying local distinctiveness.[8] This has happened in places, but it is not inevitable. The creative challenge is to find appropriate regulations and incentives to obviate the negative aspects. A valid concern has been the conscious use of artists to be the vanguard of gentrification, to lift property values and to make areas safe before others move in, otherwise referred to as artwashing.[9]
Critiques of creative city and creative and cultural industries highlight them as a neoliberal tool to extract value from a city's culture and creativity. It treats cultural resources of a city as raw materials that can be used as assets in the 21st century---just as coal, steel, and gold were assets of the city in the 20th century.[10]
Florida's work has been criticized by scholars such as Jamie Peck as, "work[ing] quietly with the grain of extant 'neoliberal' development agendas, framed around interurban competition, gentrification, middle-class consumption and place-marketing". In other words, Florida's prescriptions in favor of fostering a creative class are, rather than being revolutionary, simply a way of bolstering the conventional economic model of the city. The idea of the creative class serves to create a cultural hierarchy, and as such reproduce inequalities; indeed, even Florida himself has even acknowledged that the areas he himself touts as hotspots of the creative class are at the same time home to shocking disparities in economic status among their residents. In order to explain this, he points to the inflation of housing prices that an influx of creatives can bring to an area, as well as to the creative class' reliance on service industries that typically pay their employees low wages.[11]
Critics argue that the creative city idea has now become a catch-all phrase in danger of losing its meaning and in danger of hollowing out by general overuse of the word 'creative' as applied to people, activities, organizations, urban neighbourhoods or cities that objectively are not especially creative. Cities still tend to restrict its meaning to the arts and cultural activities within the creative economy professions, calling any cultural plan a creative city plan, when such activities are only one aspect of a community's creativity. There is a tendency for cities to adopt the term without thinking through its real organizational consequences and the need to change their mindset. The creativity implied in the term, the creative city, is about lateral and integrative thinking in all aspects of city planning and urban development, placing people, not infrastructure, at the centre of planning processes.[12]
Landry's original Creative City vision, focused on holistic urban transformation, has yielded to a Florida-centric model prioritizing economic innovation and its skilled workforce. This shift has reduced the Creative City to a mere business tool, a far cry from its initial ambition to reshape urban policy. Now, the "thesis" is palatable to existing power structures, neatly fitting into the global economic order. Yet, the debate simmers on. While some cling to the holistic vision of city-wide creativity, others equate the Creative City solely with the economic engine of the creative class.
Global impact
[edit]In 2004, UNESCO established the Creative Cities Network (UCCN). UCCN was established to share best practices and partnerships that can help sustain and improve a city's creativity. All cities recognized as a member of the UCCN agree that creativity acts as a strategic factor of sustainable development.
The UCCN have seven creative fields: crafts and folk art, design, film, gastronomy, literature, media arts, and music.[13]
See also
[edit]References
[edit]- ^ Yencken, David (1988). "The creative city". Meanjin. 47.
- ^ "The Economics of Amenity: Community Futures and Quality of Life; A Policy Guide to Urban Economic Development". Americans for the Arts. 2019-05-15. Retrieved 2021-11-17.
- ^ Moore, Ieva (January 2014). "Cultural and Creative Industries Concept – A Historical Perspective". Procedia - Social and Behavioral Sciences. 110: 738–746. doi:10.1016/j.sbspro.2013.12.918. ISSN 1877-0428.
- ^ Landry, Charles. Lineages of the Creative City. http://charleslandry.com/panel/wp-content/uploads/downloads/2013/03/Lineages-of-the-Creative-City.pdf.
- ^ "COMEDIA : Thinking about creative cities". www.comedia.org.uk. Retrieved 2021-11-17.
- ^ Cohendet, Patrick; Grandadam, David; Simon, Laurent (2010). "The Anatomy of the Creative City". Industry & Innovation. 17: 91–111. doi:10.1080/13662710903573869.
- ^ Peck, Jamie (December 2005). "Struggling with the Creative Class". International Journal of Urban and Regional Research. 29 (4): 740–770. doi:10.1111/j.1468-2427.2005.00620.x.
- ^ NYUAD, SIA (2019-03-08). "Gentrification and the Creative City: Lessons Learned from Berlin Urban Planning Policy". Medium. Retrieved 2020-04-14.
- ^ "Artwashing: Social Capital & Anti-Gentrification Activism". COLOURING IN CULTURE. Retrieved 2020-04-14.
- ^ Peck, Jamie (December 2005). "Struggling with the Creative Class". International Journal of Urban and Regional Research. 29 (4): 740–770. doi:10.1111/j.1468-2427.2005.00620.x. ISSN 0309-1317.
- ^ Peck, Jamie (2005). "Struggling with the Creative Class". International Journal of Urban and Regional Research. 29 (4). Wiley: 740–770. doi:10.1111/j.1468-2427.2005.00620.x. ISSN 0309-1317.
- ^ Hartley, John; Potts, Jason; Cunningham, Stuart; Flew, Terry; Keane, Michael; Banks, John (2013). Key Concepts in Creative Industries. 10.4135/9781526435965 London: SAGE Publications, Inc. doi:10.4135/9781526435965. ISBN 978-1-4462-0289-0. OCLC 912302935.
{{cite book}}: CS1 maint: location (link) - ^ UNESCO Creative Cities Network. (2017). Mission Statement. UNESCO. https://en.unesco.org/creative-cities/sites/default/files/uccn_mission_statement_rev_nov_2017.pdf