The Creative CityCities will have to apply creative solutions to their myrrad problems the coming years. They need to develop creative and innovative industries and services, such as design and culture. Examples of 'creative' cities. |
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architects architectural artists arts assessing attract authorities become Bianchini F Bono Britain buildings cafés car park century citizens city centre city council city governments city's Codespar Comedia competition covered created creative city Creative Commons creativity in citi Cultural Industries Cultural Industries Quarter Demos open access Demos This page economic encourage Environment City environmental environmental art European example experience failure festival Gardner H Gas Works Park Glasgow greening Helsinki historic holistically increasing number initiatives investment leadership linked London marketing Melbourne Melucci municipal Newcastle upon Tyne open access licence organisations page is covered partnership planners planning politicians potential private sector problems produce programme projects public sector public spaces rational regeneration restaurants rights reserved ring road skills social solutions strategic street successful Swanston Street tion tive traffic transport type of creativity University Press urban design voluntary sector York youth
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Page 20 - of the centre of Worcester and most of the centre of Gloucester had been mangled; walked from the station to the shire hall through the corpse of what had once been Chelmsford; discovered how Taunton had destroyed in a year or two the town centre so carefully and creatively formed in the
Page 23 - of the narrowness of planners' horizons is the fact that they find it very hard to focus on desires rather than needs. According to our definition, a need is an objectifiable entity: ‘I need a lamp post outside my front door' ; ‘I need a more frequent bus service'; ‘I need more
Page 19 - to connect, to gauge impacts across different spheres of life, to see holistically, to understand how material changes affect our perceptions, to grasp the subtle ecologies of our systems of life and how to make them sustainable. We need, in other words, the skills of the broker, the person who can think across disciplines, the networker, the connector
Page 20 - Keeping and understanding the past makes for tolerance; it also makes for creativity, in devising ways of altering and adding to towns, for nothing comes out of a vacuum. It is hard to believe that those who made the running in English towns in the 1950s and 1960s would have done what they did if they had known more about
Page 23 - While the ravages of the 1950s and 1960s have fortunately abated, there is still not sufficient understanding of how a sense of place can be created, maintained or recreated. The debate about urban sustainability highlights the links between the
Page 23 - social, cultural, political and economic environments and is thus encouraging holistic thinking. Yet our institutions for decision-making about cities are still largely based on rigid functional specialisations, without sufficient sharing and cooperation between different departments, disciplines and sectors.
Page 11 - been the lifeblood of the city. Cities have always needed creativity to work as markets, trading and production centres, with their critical mass of entrepreneurs, artists, intellectuals, students, administrators and power-brokers. They have
Page 20 - century; wandered in Liverpool past gutted buildings and over the acres of desert, which had once been covered by
Page 23 - on the beat in the town centre'. A desire, by contrast, involves your subconscious, a personal engagement, dreams and feelings, and the atmosphere and feeling of a place.
Page 20 - century squares and terraces; and wept in the screaming desolation of central Birmingham