ࡱ> ` Rbjbj.*%:::::::N55585$6lN^L66"6666>66 u^w^w^w^w^w^w^ahczw^:M66MMw^::66^?S?S?SM(:6:6u^?SMu^?S?SrA]T::A^6~6 sZN5P ]a^^0^]dRdA^d:A^ 7>h?SDTXHG 7 7 7w^w^RX 7 7 7^MMMMNNN$'r.DNNNr.NNN:::::: Creativity and the city: Thinking through the steps Charles Landry Contents page: Preface Why do cities want to be creative? Creativity seems like the answer Creativity and the new competitiveness Creating open conditions The creative milieu Diversity as a driver of creativity Creative spaces Creativity is culturally determined Different cultures and contexts, different creativities Individual creativity and urban creativity Creativity and the past Cultural institutions, anchoring and creativity The arts and the creativity of cities Artistic thinking and creative cities Creativity and local distinctiveness Enemies of the creative city Creativity and risk Is creativity by definition positive? The geography of misery and desire Most creative city strategies are arts strategies The creative city idea is all-embracing What is creativity? Hard and soft infrastructure Which cities are creative? Bursts of creativity Ebb and flow Agglomerating power Away from the spotlight Qualities of creative places Fine judgement and the formula 10 ideas to start the creative city process Creativity and the city: Thinking through the steps Preface The aim of creative city making is to think of your city as a living work of art, where citizens can involve and engage themselves in the creation of a transformed place. This will require different creativities: The creativity of the engineer, the social worker, the planner, the business person, the events organizer, the architect, the housing specialist, IT specialists, psychologists, historians, anthropologists, natural scientists, environmentalists, artists of all kinds and importantly ordinary people living their lives as citizens. This is comprehensive creativeness. It involves differing forms not only the thrusting creativity of discovering a new technical invention but also the soft creativity of making interaction in the city flow. Every period of history requires its own form of creativity. Todays will be different from yesterdays and tomorrows. Now we need to focus on the creativity of working across disciplines in an interconnected whole so we can see issues and solutions in the round. We need to think both horizontally and vertically, to see strategy and detail, the parts and whole and the woods and the trees simultaneously. Creativity is not the answer to all our urban problems but it creates the pre-conditions within which it is possible to open out opportunities to find solutions. Most importantly it requires a change in mindset. Urban creativity requires an ethical framework to drive the city forward not in a prescriptive sense. At is core this ethic is about something life giving, sustaining, opening out rather than curtailing. This requires us to focus on soft creativity, which is the ability to nurture our cities and their cultural ecology. Why do cities want to be creative? Creativity is like a rash; it is all-pervasive. Everyone is in the creativity game. Creativity is a mantra of our age, whether we are referring to creative individuals, companies, cities and countries; and even creative streets or creative buildings or projects. At my last count 60 cities world-wide claimed to be creative cities. 20 were in Britain. From Creative Manchester to Bristol to Plymouth to Norwich and of course Creative London. And ditto Canada. Toronto with its Culture Plan for the Creative City; Vancouver and the Creative City Task Force; or London, Ontarios similar task force and Ottawas plan to be a creative city. In the States there is Creative Cincinnati, Creative Tampa Bay and the welter of creative regions such as Creative New England. In Australia we find the Brisbane Creative City strategy, there is Creative Auckland. Partners for Livable Communities in Washington launched a Creative Cities Initiative in 2001 and Osaka set up a Graduate School for Creative Cities in 2003 and launched a Japanese Creative Cities Network in 2005. Even the somewhat lumbering UNESCO through its Global Alliance for Cultural Diversity launched its Creative Cities Network in 2004 anointing Edinburgh as the first for its literary creativity. Why do people want to be creative cities? Where did the obsession with creativity come from? Firstly, creativity was always present in cities, it is just that we called it by another name: Ingenuity, skill, inventiveness. Venice did not emerge in its time through a business as usual approach, nor Constantinople or Dubrovnik formerly Ragusa. For example, Ragusa was for several centuries one of the worlds quintessentially creative places. It became a link between the Latin and Slavic civilizations and a powerful merchant republic. It maintained its independence by coming under the protectorate of the Byzantine, Venetian, Hungarian and Ottoman empires and by brokering knowledge, acting as a haven and refuge, inventing services. It required intense cleverness and astute positioning. Perhaps today Singapore is striving to be an equivalent. Creativity seems like the answer Today cities look to creativity because for different people for different reasons they say creativity has something in it for them. They feel it can provide answers to the problems and opportunities of the changing global terms of trade, economic restructuring, the IT driven economy and a society where a greater focus is on creating wealth through ideas. This adds up to dramatic change that feels like a paradigm shift. Many cities or regions are flailing and many are locked into their past either because of physical infrastructure or because of their mindset. The adjustments require changes in attitudes and in how organizations are run. Yet whilst many organizations claim to have changed through delayering, decentralizing or decoupling in reality they have remained the same. Creativity and the new competitiveness Creativity has risen too because people have realized that the sources of competitiveness now happen on a different plane and they need to learn afresh how to compete beyond merely low cost and high productivity. It includes: A citys cultural depth and richness, which might mean heritage or the availability of contemporary artistic facilities; the capacity to network globally and to keep abreast of the best, the ability to create imaginative partnerships so that the impact of projects can generate the equation 1+1 equals 3, seeing design awareness and quality not just as an ad-on but an intrinsic part of development, to understand how urban imagery works through the media, the need for eco-awareness to tap into peoples aspirational desires, to develop language capacity to ease communication, to unblock obstacles to interaction whether this be concerned with bureaucracy or by creating gathering and meeting places. Creating open conditions The goal of cities which try to be creative is to create conditions which are open enough so urban decision makers can: Rethink potential such as turning waste into a commercial resource; revalue hidden assets such as discovering historic traditions that can be turned into a new product; reconceive and remeasure assets such as understanding that developing social capital also generates wealth; reignite passion for the city by for example developing programmes so people can learn to love their city; rekindle the desire for learning and entrepreneurship by for instance creating learning modules much more in tune with young peoples desires; reinvest in your talent by not only importing outside talent but fostering local talent; reassess what creativity for your city actually is by being honest about your obstacles and looking at your cultural resources afresh; realign rules and incentives to your new vision rather than seeing your vision as being determined by existing rules; reconfigure, reposition and represent where your city stands and by knitting the threads together to retell your urban story that galvanises citizens to act. To elaborate on learning it might mean: Rethinking the curricula to teach higher order skills, like learning to learn and to think, rather than more topics or alternatively to think across disciplines beyond the silos rather than learning facts. The resilience to survive requires new educational curricula. The Australian curriculum is an example of moving in this direction. Given that people now have more choice and mobility about where they want to be the physical setting, ambiance and atmosphere is key. This is the stage, the container or platform within which activity takes place and develops. It generates the milieu or environment. The milieu mixes hard and soft infrastructure. The hard consists of road, buildings and physical things, the soft the interactions between people, the intangible feelings people have about the place. The creative milieu A creative milieu can be a room, an office, a building, a set of buildings, a refurbished warehouse, a campus, a street, an area, a neighbourhood and occasionally a city. These places can equally be completely uncreative. What makes a milieu creative is that it gives the user the sense that they can shape, create and make the place they are in; that they are an active participant rather than a passive consumer, that they are an agent of change rather than a victim. These environments are open but they have unspoken rules of engagement, they are not wild for the sake of wildness so that things dissolve in chaos, but they accept we need to be stretched. Things are being tried out and there are experiments. Hidden away in an office it might mean someone is experimenting with new software and in the public realm it might mean a new type of restaurant either in terms of food or dcor and style. It is likely to mean that the products and services of the local area are sold and used there. There is likely to be a focus on being authentic, what this means will always differ in context. The danger is that such an environment will attract outsiders who only consume and give nothing back. They borrow the landscape, chew it, digest it and spit it out. These local or foreign tourists can drain and suck out the identity of these places if their critical mass overwhelms the locals. Look at the trendy areas in most cities. Diversity as a driver of creativity Just as bio-diversity guarantees the well being and resilience of the natural environment the same is true for cities. Creative places seem to need to influx of outsiders to bring in new ideas, products and services challenge existing arrangements and bring together new combinations where insiders and outsiders meet. The history of successful cities in the past, from Constantinople to Hangchow to Florence, where the role of merchants as traders of products and ideas was tantamount, suggests the capacity to absorb and bring cultures together was key. This did not mean cultures were subsumed, identity was still shaped by where you came from. There was, however, sufficient mutual influence and counterinfluence, coalescing and mixing over time to create a special fused identity as older and newer citizens changed. The same is true today in the large multi-cultural cities of London, which bills itself as the world in one city, New York, Sydney or Toronto. The creative challenge is to move from the multi cultural city where we acknowledge and ideally celebrate our differing cultures towards the intercultural city. Here we move one step beyond and focus on what can do together as diverse cultures in shared space. Our contention is that the latter leads to greater well being and prosperity. Creative Spaces Planners and urban designers play a critical role in building city culture and creating conditions for creativity. Their decisions can have a profound impact on the way we lead our lives and express our collective and individual cultural values. Diversity in public space is key as Jane Jacobs reminds us. Jacobs identifies four significant conditions; diversity of activities, fine grain of urban form, diversity of building stock and the all important critical mass of people. To which we should add a fifth the length of history of a building where the diversity of experiences is etched into the patina of the fabric. This intricate web of diversity is rather like environmental diversity. As with ecological conditions if a city or district becomes too homogenous, it becomes vulnerable. If for instance one form of activity or business is dominant, and it no longer works in the new environment, the entire area may be at risk. Therefore too new mega developments rarely encourage inventiveness. Cities often get carried away with the physical form of public places, placing great responsibility on the urban designer to transform a place through new paving, elegant street furniture and improved lighting. The reality is that many places are dead or decaying for other reasons than poor public realm design, such as failing business or traffic domination. Too often major city or dockland redevelopments focus on iconic buildings as a drawcard but fail to build in the finer grain of diversity and urban life. Diversity in its many forms is the primary element of a vibrant place, diversity of business, diversity of activities and a diversity of built form creating visual stimulation. Think of the street markets. The most successful are those with a great diversity of product, every stall has a different range and somewhere there is a treasure to be found. They also provide the setting for intercultural interaction as people from many cultures go about their business. The task of contemporary planner, architects and urban designers is to help build rich textures that draw from the past but are living expressions of contemporary life. Yet it is not always city planners and designers who have primary influence over the look and feel of the built environment. Increasingly it is those that frame regulations and standards who affect the way a city infrastructure is delivered. In addition a large proportion of public realm infrastructure is created not by the city but by private sector developers. This presents a challenge to city officials who must establish a clear vision for the city and evolve strong planning criteria to influence the work of others. We must be culturally literate in our own cities. Modernity has brought with it professional classifications and boundaries between professions and responsibility. Ideally a built environment professional should be deeply engaged with his or her local culture given the dramatic impact their professional practice has. There is a need to gain knowledge prior to the formulation of a brief for master planning from as many different sources as possible. A mosaic of knowledge gathered from people of different ages, cultures and association with place. Creativity is culturally determined The capacity to be creative is culturally determined. If the culture of a city, region or country is autocratic or corrupt it is difficult for ideas to emerge, potential to be harnessed and the free flow of possibilities to be turned into inventions. Rigid hierarchy too makes creativity more difficulty as creativity relies on tolerance, listening and a strong degree of equality. Clearly creativity can happen in controlled situations. For example the invention of weapons or advances in aerospace in war time happened in secret tightly controlled environments and even today new developments in computing in Silicon Valley occur in enclosed campuses, within which there is a free flow of ideas amongst colleagues. The same is true for scientific discoveries especially when intellectual copyright is at stake. Even here there is openness in the confined setting in order to harness individuals imagination. However many innovations are concerned with services, trading or presentation and these require free flow of movement, up and down hierarchies and across disciplines and institutions. A democratic culture and a culture of enquiry, where questioning is cherished strongly favour the development of imagination. Different cultures and contexts, different creativities Creativity means different things in different cultures. For instance, within certain cultures good imitation is deemed to be the apex of creativity. The imagination is then steered to producing with perfection. And again perfection is also a relative term. To the Japanese eye the lack of symmetry is what creates perfection. For the West symmetry is associated with harmony and has a high value. In Western culture, by contrast there is also an obsession with the new. As global culture is swept up with a similar obsession so the Western perception of creativity tends to dominate especially given the over-riding capitalist economy itself is driven by the need for continuous innovation. The challenge is to create a working definition of creativity that both addresses tradition and the future as well as a quality of nurturing the existing and pushes the boundaries into the new. What, most importantly, is Korean creativity? What is the same as in other Asian places or in Europe or the Americas? What is specific and unique about it, what is different? The answer should be beyond the trivial, such as our cuisine, clothes or heritage is different. Does Korean creativity work on different principles and are these then visible in the urban landscape? Creativity is context driven. What was creative in a period long past is not creative now, although it may still be necessary, such as the public health advances in the 19th century. What is creative in Britain may not be creative for Korea and in turn what is deemed creative in Korea may appear normal in Britain. Individual creativity and urban creativity We understand what creativity can mean in individuals, for example the capacity to think across boundaries, roam across disciplines, ideas and concepts, to grasp the essence of an issue and to connect the seemingly unconnected; or equally creativity in teams or organizations, which is the capacity to draw out individuals diverse talents, open out the barriers between individuals, to reduce obstacles and procedures to allow many people to contribute and to meld potential into a cohesive whole. But to think through and implement a creative city agenda is of a different order of magnitude as it involves co-joining the interests and power of different groups who may be diametrically opposed and whose goals may contradict each other. It involves certain qualities, such as: the capacity to bring interest groups around the table within a commonly agreed agenda; to learn to work in partnership between different sectors that share mutual respect; the ability to generate civic creativity whereby the public sector learns to be more entrepreneurial and the private sector to be more socially responsible in pursuing joint aims; the willingness to share power with a goal of having greater influence over an enlarged whole. Creativity and the past So if the overall culture of a city is key in establishing creative potential. What about cultural heritage? What about the arts or cultural institutions? The triggers for creativity can be contradictory. For example heritage can inspire because of past achievements, it can give energy because deep thought has gone into its creation, it can save time because much has already been thought through, it can trigger the desire to emulate, it can give insight and generate pride, because it has withstood the test of time it is still there. But equally heritage and tradition can put a weight on peoples shoulders, it can constrain and contain, it can overwhelm, it can force the mind to go along familiar patterns and furrows of thinking and so make people less open and less flexible. Which side of the coin over-rides the situation depends on circumstance. If the new generation perceives its role as only safeguarding the past for which it has had no input it might mean heritage and tradition is drowning a vibrant emerging identity. Heritage works best when we perceive ourselves to be part of its continual creation. This is why museums of galleries are often more successful that encourage the audience to ask new questions and do more than just let the viewer admire. Instead they engage their audiences in an act of co-creation and co-interpretation of the past. Contrast the failure of those who just present things as a given immutable canon. When heritage and its interpretation is allowed to ossify the past and the present begin to disconnect. Culture inevitably involves a past as a places culture is the residue and what is left and deemed to be important after the ebb and flow of argument, fashion and negotiation about what is valuable has passed. Culture when acknowledged, and this might also mean the ability to reject it, gives strength in moving forward. It becomes a backbone that can create the resilience that makes change and transformation easier. Confidence is key for creativity. When cultures feel threatened or weak or that another culture is superimposing themselves upon it they go into their shell. Culture then becomes a defensive shield not open to change, imagination and creativity. Cultural institutions, anchoring and creativity Museums, galleries and libraries can give confidence and most of them are in cities often giving the city its identity. Indeed when you people to identify a city it is often a cultural facility or icon they refer to. At their best they tell us who we are, where we have come from and where we might be going. In so doing they show us the routes that reconnect us to our roots. They do this through storytelling; a story that fits us, our community, our city, our country, our cultures and even our worlds into a bigger human and natural history showing us connections, bridges and threads that can enrich our understanding. Museums and galleries confront us with some things that are familiar and comforting and at other times they challenge us to look afresh to see the world in a new way or to experience things that require imagination to grasp. A local history exhibition is an example of one, a contemporary art show of another and an Aztec exhibition is an instance of the latter. Some museums too allow us to contribute our personal stories in an act of co-creation. By triggering imagination museums entice us to explore so providing opportunities for testing out, for chance encounter, for discovery and also inventing things afresh. At their core museums and galleries are involved in an exchange of ideas where we as the visitor come to grips with displays. In effect we converse either with ourselves or more publicly about what our culture or those of others is so we think about what we value and what our values are. The recent Madame de Pompadour Images of Mistress exhibition at the National Gallery in London is an example as is the Bodyworks exhibition which uses human body parts presented in a non-museum space. By placing us, the visitor, at the crossroads of what has gone before with what could be and what others have thought museums, libraries and galleries become platforms for dialogue, discourse and debate revealing the multi-layered textures that make up any society. In these processes of creating, questioning and anchoring identity, of imagining and re-imagining and of discovery the object or artefact, ideally real, is the catalyst. In fact the cultural institutions communicate with every fibre of their being their artefacts, their setting and the way it projects to the outside world. What it feels like and looks like sends out innumerable messages and its values are especially etched into its physical fabric as well as its programming. Thus our older museums often speak more to a former age; an age of deference where the expert told the inexpert what to know and how to know it and where you the humble citizen were to be elevated by the museum experience. And the physical elevations themselves spoke in a more grandiose style, often going back to a classical age with their Corinthian columns, reflecting a different kind of confidence and attitude. Yet good contemporary design has often helped museums to combine old structure to new ways of engaging an audience. Today we attempt to live in a more transparent and democratic age. Consequently more buildings reflect a greater lightness of touch in the materials they use glass, light-weight steel or tented structures, or in the way audiences are invited in. Again the best of the old and the new can communicate iconically so that we grasp the totality of what a cultural institution is about in an instant. When we take an eagle eye view we see there is a special museumness about museums or librariness about libraries, they are: A place of anchorage, which is why so often in a world that speeds ahead of us we see museums as refuges or places of reflection A place of connection so enabling understanding of our pasts and possible futures A place of possibility by letting us scour the resources of the past and memories to stimulate us to twist them to the contemporary condition A place of inspiration to remind us of the visions, ideals and aspirations we have made for ourselves and continue to make A place of learning as when these things come together we know more about ourselves, our surroundings, what things work or dont work and how things could be made better The arts and the creativity of cities Most of the literature on creativity concerns the arts and science. The question is whether there is anything special about the category of arts called singing, acting, writing, dancing, performing music or drawing especially in relation to the development of the city. Engagement with these particular arts is a combination of stretching oneself and focusing, to feel the senses, to express emotion, essential to it is mastering the craft through technical skill on top of which is layered interpretation. Discipline and patience are required until the result might look artless. The arts use different thought processes, such as being more precise or striving for perfection, there is a single mindedness attached to it. Most importantly it involves acts of imagining and turning an idea around into a reality that sums up something meaningful to the listener or viewer. The result can be: to broaden horizons, to convey meaning, with immediacy and or depth, to symbolize complex ideas and emotions, to see the previously unseen, to learn, to uplift, to encapsulate previously scattered thoughts, to anchor or by contrast to stun, to shock by depicting terrible images for social, moral, or thought-provoking reasons, to criticize or to create joy, to entertain, to be beautiful and it can even soothe the soul and promote popular morale. And more boradly it is a way of passing ideas and concepts on to later generations in a (somewhat) universal language. The arts use the imaginary realm to a degree that other disciplines do not such as sports or most of science. Turning the imaginary into reality is an act of creation so the arts more than most activities are concerned with creativity, indeed it is one of the few areas where it is legitimized. The best of our past arts ends up in museums and so the arts contribute to creating destinations, visitor attractions and help foster a citys image as well as generating an economic impact, as do the best of the contemporary arts which are found in galleries, theatres, performance venues or bookshops. Importantly a lively city needs old arts and new arts. Counterposing the two creates dialogue, argument, at times even conflict and the negotiation as to what is significant is the process of making a dynamic culture. A static urban culture just focuses on what has been achieved in the past. This has happened to many beautiful places such as Florence where its beauty has become a prison. The arts help cities in a variety of ways. First with their aesthetic focus they draw attention to quality, and beauty. Unfortunately this is expressed in a limited way typically a piece of public sculpture in front of an ugly or ordinary building. Yet in principle they challenge us to ask: Is this beautiful? This should affect how urban design and architecture evolve. Second the arts challenge us to ask questions about ourselves as a city. This should lead us to ask: What kind of city do we want to be and how should we get there? Arts programmes can challenge city leaders by undertaking uncomfortable projects that force leaders to debate and take a stand. For example an arts project about or with migrants might make us look at our prejudices. Arts projects can empower people who have previously not expressed their views, so artists working with communities can in effect help consult people. For example a community play devised with a local group can tell us much more than a typical political process. Finally arts projects can simply create enjoyment. Artistic thinking and creative cities The distinction between these arts and sports, writing a computer programme or engineering is that the latter are ends in themselves, they do not change the way you perceive society. The arts can have wider benefits by focusing on reflection, original thought, they pose challenges and want to communicate (mostly). Sometimes this is an explicit intention of the artist and sometimes not. If the goal of creative cities is to have engaged individuals you need people who think and here the arts help, other disciplines tends to teach you something specific. In these senses artists can be interpreters of reality, leaders and visionaries. The assumption is that everyone and every city can in principle be more creative, involved, engaged and informed and that this is significant in creating citizenship. This highlights the role of the arts in tapping potential. A useful question to ask is: What is the problem and can a cultural approach help; can the arts help? For example intergenerational communication or mixing cultures, clearly the arts are more effective than many other initiatives. The out of the box, lateral thinking and use of imagination present in the arts is perhaps the most valuable thing the arts can offer other disciplines such as planning, engineering, social services or to the business community especially if allied to other emphases like a focus on local distinctiveness. Creativity and local distinctiveness Underlying much of the creative city debate is local distinctiveness, as most creativity is a response to local circumstance. The creativity debate itself emerged against the backdrop of reinvigorated globalization and the tendency to homogeneity. This takes the emphasis away from a continual concern with the new. It asks instead what is unique, special or different about this place. These are then some of the main resources a city can use to project its identity and to position itself in the wider world. These resources might be an old industrial sector that can be reinvented anew such as textile or ceramics; they might be a tradition of learning expressed in a university or a type of music or visual arts that itself might be the basis of a new creative industry. Enemies of the creative city Being creative as an individual or a city is a fragile affair. It requires seemingly contradictory conditions such as stimulation and calm. Great cities can provide opportunities for the breadth of human emotion. Vitality and vibrancy help creativity up to a point. If they tip over it ends up as noise and whirr and there is no chance for focus and reflection. Information overload is another problem for being a creative city; a fragmented clutter of out of context facts leads to confusion rather than clarity of thought and the hyper-mediated world does not help with its usual blast of unconnected information where one rarely comprehends a story in its completeness. Compare the visual landscape of cities today with 30 years ago there are 1000s of messages shouting at you they have probably increased 10-fold. Indeed people today see as many images in a day that people in the Middle Ages saw in a lifetime. Speed is another problem. Being continuously fast works against reflection and things simply become a blur. The capacity to reflect is central to imagining and innovation. Creativity and risk Being a creative city is a risky business and many will resist because risk aversion is a condition of our times. The evaluation of everything from a perspective of risk is a defining characteristic of contemporary society. Risk is the managerial paradigm and default mechanism that has embedded itself into how companies, community organizations and the public sector operate. Risk is a prism through which any activity is judged. Risk has its experts, consultants, interest groups, specialist literature, an associational structure and lobbying bodies. A risk industry has formalized itself. It is similar to how acute awareness of marketing emerged as a core idea to operate business over 30 years ago. It subtly encourages us to constrain aspirations, act with over caution, avoid challenges and be sceptical about innovation. It narrows our world into a defensive shell. The life of a community self-consciously concerned with risk and safety is different from one focused on discovery and exploration. Risk consciousness is a growth industry hardly a day passes without some new risk being noted. It is as if risk hovers over individuals like an independent force waiting to strike the unsuspecting citizen. This might concern personal safety or a health scare. In 1994 Factiva noted 2037 mentions of the term at risk in UK newspapers this rose to over 25000 by 2003. The notion of an accident seems to have gone from our vocabulary. Cleansing the world of accidents means scouring the world for someone to blame. Bad luck becomes culpable negligence with the foresight of risk taking being reinterpreted with hindsight into a consequence of negligence. This drives a tendency never to blame oneself or to take responsibility. Instead many litigate leading to claims of a compensation culture, yet that culture feeds on deeper fears. The opportunity side of risk taking begins to disappear. There seem to be no more good risks, all risks appear bad. The mood of the times is averting the worst rather than creating the good. Guidelines are drawn up on worst case scenarios. Consciousness of risk comes in myriad forms, some have been with us for a long time, such as assessing the financial viability of projects. Others concerned with safety and health are more recent and grabbing most headlines are safety concerns about personal injury in the public realm, such as tripping over a tree trunk, stepping off the road into an oncoming car or tearing your trousers on the edge of a park bench. Undoubtedly a perception exists that the public have a greater tendency to seek redress if they suffer an injustice or injury. People look for someone else to blame for their misfortune. Without a degree of measured risk there can be no creative city. Risks in the city can be broadly defined, such as creating a new style of building, stopping traffic through a major thoroughfare, creating cycling paths, congestion charging, instigating costly environmental programmes, developing an outrageous arts festival and many more. Is creativity by definition positive? Creativity is imbued almost exclusively with positive virtues. But should this be so? The creative impulse can be negative. It can produce weapons that kill as well as medicines that cure. The purpose and goal of creativity is equally as important as the process of being creative. Importantly too both the trivial and the profound are equally called creative. An imitative, formulaic design just because it appears funky might be called creative as can a deep new insight about human personality. Creativity as a word, a concept, as a desirable state or aspiration has taken over from the word cultured. Cultured appears to have an old fashioned ring and backward look. This need not be so. The best of cultured people now about history, seek to understand the present and are focused on the future too. Being creative has a forward ring, it appears to be about the new and inventive; about being on the pace; it seems to be glamorous. And business too is tripping over itself to attract creativity in the war for talent often claiming for itself how creative their company is. With so much creativity cities should be exciting; that is not what we see in most streets, downtowns or neighbourhoods. Too often there is a blandness and sameness masquerading as difference and excitement: 32000 McDonalds, which if lined up next to each other would take you from Washington to New York and back. They have 50millon customers a day nearly the population of the UK. Walmarts with nearly 5000 outlets world-wide employs 1,530,000 people the equivalent of Greater Birmingham Britains second largest city; its total occupied retail space is over 50 square kilometres a third of the size of Amsterdam. The geography of misery and desire The reality is that there is a geography of misery and desire. The divides are getting wider. The gap in global living standards is expanding, with per-capita income in the developed world having increased since 1975 from forty-one times that in the poorest quarters to sixty-six times. Migrants, in pursuit of wages that are twenty-to-thirty times what they could earn at home, are finding it ever easier to flow across borders. Gleaming towers co-exist side by side with dejection and abject poverty. The travel trade scours the world for the latest fashionable city as travellers become jaded and are in search for the constantly new. They project cities still as objects of desire and exotica neglecting too often their darker sides of misery. There is pollution on an escalating scale. Just think of the smellscape of cities. It is that of petrochemicals, when it is claimed we are reaching the end of the oil age. Think of the soundscape of cities. It is full of motor hum, a continual din, screeching and beeping. Many are working on these problems of inequality, poverty or pollution or sustainability. They are inventing new technologies or new social models to deal with development afresh. Their technologies and solutions are saleable products too and there are 1000s of new products waiting to be invented that can provide cities with wealth. Yet in the creative canon these people are neglected. They are not deemed to be part of the creative arena. Little attention is given to this range of creativity in the fashionable media. Instead the focus is more likely to be on fashion, music or design. Most creative city strategies are arts strategies On closer examination most of the strategies and plans that call themselves creative city are in fact concerned with strengthening the arts and cultural fabric, such as support for the arts and artists and the institutional infrastructure to match. In addition they focus on fostering the creative industries comprising those industries that have their origin in individual creativity, skill and talent and which have a potential for wealth and job creation through the generation and exploitation of intellectual property, such as advertising, architecture, art, crafts, design, designer fashion, television, radio, film and video, interactive leisure software, music, the performing arts, publishing and software creation. This is fine as far as it goes. However, this is not what the creative city agenda is exclusively concerned with it is merely an important aspect. Indeed it would be great it artistic thinking fused itself into how traffic engineers, planners and others thought about their city. Clearly artistic creativity has its own special form as noted. Creativity is legitimized in the arts and assumed to be a core attribute of what being an artist is about and the artistic community has been astute in putting itself at the centre of that debate. Think of all the books on creativity. A large proportion over the last decades have focused on artistic (and this includes much of what is covered within the creative industries) and scientific creativity and neglect most other forms, such as social, public sector or bureaucratic creativity. By contrast there is a plethora of business creativity publications. There is little work on the creativity of solving urban problems or urban development. The Creative City idea is all-embracing This is a pity as the Creative City concept is all-embracing. It is a clarion call to encourage open-mindedness and imagination from whatever source, it implies too a regard for tolerance a pre-condition for cities to foster inventiveness. Its assumption and philosophy is that there is always more potential in a city than we imagine at first thought. It posits that conditions should be created in cities or places for people to think, plan and act with imagination. . This implies a massive opening out process and has a dramatic impact on a citys organizational culture. The style and ethos of such a place is one where a yes attitude rather than a no attitude is more likely to prevail so giving people the sense that there is opportunity. For example, it is possible to put the highway underground; it is possible to fund an innovation incubator out of public funds; it is possible to develop a passionate participatory culture. The Creative City idea claims that if conditions are right ordinary people can make the extra-ordinary happen if given the chance. Here a glance at the inventiveness of social workers, business people, social entrepreneurs or public servants in solving problems highlights the potential and many of these activities are deemed to be dull. I focus on this type of inventiveness, because it is perhaps more significant than the creativity we usually focus on such as new music, graphics or fashion trends. They harness opportunities or address seemingly intractable urban problems like homelessness, enhancing the visual environment. The principle that underlies so much creativity is giving power to those affected by what you do. What is creativity? Creativity seen in this light is applied imagination using intelligence and all kinds of mental attributes along the way in order to foster continuous learning. This implies a more open attitude to failure and distinguishing between competent and incompetent failure. In the first when someone tries hard to succeed but fails there is substantial learning going on which creates the foundations for possible success in the future. The definition of creativity I like is to think at the edge of ones competence, rather than the centre of it. In complex urban problems solutions are often discovered at the boundaries of what we know and when each specialist discipline works at its boundaries. The reason is that the shaft like focus of a narrow discipline tends to reveal less and less and give less insight as we become clearer that things are inextricably interconnected. This is not to put down the specialist, but it asks them to operate in a different way. The Creative City idea is an ongoing process and way of going about things not an end result. It is dynamic not static, it is concerned with the mindset predominant in a city, its mindflow. It suggests that a culture of creativity should be embedded into the texture of how the city operates, that is its community members, tits organizations, its power structures. By legitimizing the use of imagination in the way the city operates generates an ideasbank of possibilities. This process of allowing divergent thinking to occur within the worlds of specialists and those who find this approach more natural generates multiple options, choices and a pool of ideas. It needs aligning to convergent thinking, which narrows down possibilities from which innovations emerge once they have gone through the reality checker. Hard and soft infrastructure To make this happen needs infrastructures beyond the hardware buildings, roads and sewage systems. The creative infrastructure is a combination of the hard and the soft, it includes the mental infrastructure, the attitudes of mind, and even spiritual infrastructure, the aspirational core. Such a combined environment can generate an atmosphere when fostered by enabling devices emerging from the regulations and incentives regime. The soft infrastructure is the informal and formal intellectual infrastructure and too often universities feel production factories of the mind in style and content; the skilled working force of thinkers, creators, and implementers as there is the creativity of getting an idea off the ground and the creativity of knowing how to make it happen. The soft includes too the atmosphere which is allowed to exist by giving vent to the emotional realm of experiences, which is more visceral. We need to remember that essentially no city plans start with emotional words like happy. There are technically driven and conceived. No wonder there is little interest from the broader public. The soft milieu needs to allow space for the maverick, the boundary breaker as this person is often is one that looks at a problem or opportunity in a new light. The environment too fosters linkages within itself and the outside world as it otherwise does not sufficiently learn from the best of what others are doing. Collectively these attributes create a culture of entrepreneurship. But creative places are not comfortable places. Those pushing at the edges continuously bump into vested interests, be that in their own organization or outside in the wider city as the new collides with the old. In these moments the purposes of good city making get lost in power struggles at the micro and macro level. It can be extra-ordinary petty things that kill off good ideas: A person in charge who doesnt like an intelligent upstart and wants to protect their sphere of power or influence; alternatively a regulation that makes no sense in the current context, but which someone insists upon. One only needs to remember cities in transition from Florence far back, to Berlin in the Weimar republic to Shanghai today to appreciate that being creative involves power struggles. Creative places have a creative rub, they often live in a tense, but dynamic equilibrium. Which cities are creative? Very few places are comprehensively creative, but every city can be more creative than it is. Those with a global reputation over a long time period, say 150 or 200 years, and where the sheer weight of creatives dominates the urban scene in a sustained way can be counted on one hand. They may include New York, London, Amsterdam, Tokyo currently. Over the next decades they may be joined by others such as Mumbai or Shanghai and Buenos Aires. At a slightly lower level there are places strong in niches that can be sustained over longer periods say 50 to 100 years. For example: Milan and fashion, Los Angeles and the media industry, Stockholm and public infrastructure or Zurich and banking. All these places are attractors and to sustain their creative power they need economic, technological, cultural and even political status and pull. It is the combination of these factors that drives their drawing power acting as a reinforcing agent to bring in talent and to generate talent endogenously. To sustain their positions they need to attract or self-develop leading research institutes often built on the back of existing universities, or cutting edge companies. They need too, today, a public sector setting and organizations that think long term, are focused on the key drivers of future wealth creation and can assess honestly and strategically their citys relative positioning and potential assets in a broad minded way. Today a citys creativity is usually judged by its arts and cultural sector scene such as music or film or that of its alternative scene rather than its creative capacities in science, engineering or technology and other spheres where reputations take a longer time to evolve. These rely on infrastructure in education, research and business and their results appear less glamorous. The cultural scene appears in its media incarnation as exciting, yet it is fickle and is subject to fads and fashions even though a substantial museums and educational infrastructure helps in generating future innovative capacity. For example the 10,000s of textile samples in the Victorian & Albert museum in London have for decades provided inspiration to young designers. The faddish nature of the media plays a significant role as to which cities we believe to be creative and cities move in and out of the news at a dizzying speed. At one moment Mumbai is the creative hub; at the next it is Taipei that is suddenly creative; followed by Seoul or Buenos Aires or Accra and now Moscow. This is the fashion roundabout and obscures a deeper assessment of the true nature of creativity and creative potential in any given city. Bursts of creativity Looking back at history cities have creative bursts and these can be for a short period and some places become trendy for a brief moment and others decline and it is their residue and creative resonance that remains in the public imagination. Take San Francisco as an example. Its long drawn out creativity from the 1906 earthquake on reached a certain apex in the summer of love of 1967 whose embodiment was found in Haight Ashbury. Long enjoying a bohemian reputation the city became a counterculture magnet in the second half of the 20th century During the1950s, City Lights Bookstore was an important publisher of Beat Generation literature. San Francisco was the centre of hippie and other alternative culture. The "San Francisco sound" emerged as an influential force in rock music, associated with acts such as the Jefferson Airplane and the Grateful Dead. They blurred the boundaries between folk, rock and jazz and enhanced rocks lyrical content. During the 1980s and 1990s San Francisco became a major focal point in the North American--and internationalpunk, thrash metal and rave scenes. Already known as a gay mecca at the beginning in the nineteenth century this reinforced during World War II, when thousands of gay male soldiers spent time in the city. The late 1960s brought a new wave of more radical lesbians and gays to the city attracted to its reputation as a radical, left-wing centre. They were the prime movers of Gay Liberation and they made Castro the gay mecca of the world, but in the 1980s, the AIDS virus wreaked havoc on the gay male community. In 1990s San Francisco was a centre too of the dot-com boom and growth of the internet. These movements shaped the world and pushed at the edge creating innovations in lifestyles, products and services along the way. Yet much of the creativity has gone as the dot com crash and hollowed out much of the industry that had grown up in Soma, south of the market. Many of those funky ex-industrial warehouses are turning from hubs of invention to upscale apartments. In effect the internet pioneers made the area safe for the next wave of gentrifiers. Haight Ashbury lives awkwardly on its memories; merely a souvenir shadow. The hippie shops sit oddly in an increasingly middle class gentrified area; the remaining and new hippies look without a purpose. Castro inevtiably declined, its self-confidence dented. Ghiardelli Square considered first succesful adaptive reuse of an industrial building in 1964 is now a tourist mecca with little creative energy. True new areas emerged such as Soma, but the new media epicentre has shifted elsewhere to Los Angeles and beyond. Without economic, political or cultural centrality which leads endogneous talent to stay and external talent to come it is difficult to sustain a global position of creative power. Creative initiatives and projects still abound Yet in spite of everything the city has immense drawing power, but it is more the tourist who comes taking from the city rather than giving any creative force back. So the city increasingly resonates in its beauty, its memories and its past. Ebb and flow The San Francisco story is repeated a thousand-fold elsewhere. The creative impulses ebb and flow and depend on fortunate coincidences of circumstance where creative individuals and an open institutional setting and various power brokers are in good alignment. Individual acts of creativity naturally also occur without propitious situations, but for creativity to build upon itself and become self-reinforcing it needs a milieu where people, resources and encouragement can come together. Usually cities are open in parts and closed in others and this changes over time, but it is rarer for all aspects of openness to come together so that the city feels full of possibility. There is always a lead and lag situation. At one moment the university may turn its back on its city, whilst the municipality is opening out or the business sector is neutral and little concerned about the strategic future of the city. In another phase the roles may be reversed. On occasion too a set of individuals may burst through setting the tone for the city, reaching far beyond their area of expertise, as did the zany group Leningrad Cowboys for Helsinki. The joke from the outset was that they were 'the worst rock n'roll band in the world' who with their striking unicorn hairstyles and long pointed shoes had a naff Eastern European interpretation of western rock n'roll. Playing on the irony of Finlands past Russian connection they performed with the Red Army choir in the famous Total Balalaika Show in Helsinkis Senate Square in 1993 in a breakthrough concert in front of 70,000 people sponsored by Nokia so linking to the citys technological innovativeness. They later extended their activities to films, restaurants and megastores. Their initial joke whilst increasingly unfunny as they themselves recognized was self-effacing yet confident so projecting a sense that Helsinki could just be what it wanted to be. In open cities there is an iterative relationship between the institutions driving the people by setting model roles through its corporate culture and in turn open-minded people affecting the institutions. Agglomerating power When political, economic and cultural power agglomerates in one place significantly it can act as an incapacitator and a means of reducing potential for certain kinds of creativity. This is because power battles can drown out the ability to innovate as can high property prices which make it difficult for people to get onto the first ladder of opportunity. The existing mainstream will be powerful in whatever sphere and will tend to encourage the creativity it can nurture, control and that it feels is tried and tested. The media too is too attentive perhaps endangering the fragility of innovation. On the other hand in such power centres in a self-reinforcing process the largest museums, galleries, shopping centres or entertainment centres, universities, company headquarters and some of the newest ideas will be found, because the power brokers and the ambitious will feel it is their right to have them there. These in turn attract the most aspiring, successful and most wealthy people thereby sucking in the talent from surrounding areas thereby draining and drowning the identity and potential of those places. Crucially capital cities have the greatest capacity to insert themselves into global arenas, most obviously initially through political structures like embassies, trade missions and other representative structures. When allied to economic and cultural foreign policies it is a potent mix. Once launched the agglomeration of resources, talent and power accelerates and reaches a critical mass which makes it difficult for other cities to break in especially in smaller countries, where the core city might have 25% of the population. Once a tipping point is reached whereby a city gets its dominant position this tends to escalate. Seoul, for instance has just over 20% and to a large extent determines the global identity of Korea. This makes it doubly difficult for Busan, Daegu, Inchon, Gwangju let alone Jeonju or Pyeongtaek to insert themselves into international circuits and gain recognition. Nationally and regionally they may be significant yet if international recognition is important something unique, but internationally recognized, or a strong niche an area is vital. Away from the spotlight Yet being away from the spotlight can have advantages, indeed as Peter Hall points out many historically innovative cities such as initially Los Angeles, Memphis or Glasgow nurtured their talents and experiments away from the central hub. The first contemporary art gallery in the sense we understand it today was in Lodz in Poland and later Hannover in Germany rather than in Warsaw or Berlin. Smaller cities can try out things a central city may find unimportant and furthermore the core city will find it difficult to operate in every sphere. The difficulty for the smaller, upstart city is inserting itself into international circuits and meeting the aspirations for their creatives once initial success has been achieved. The point is that every city can be more creative than it currently is and the task for the city wanting to be creative is to identify, nurture, harness, promote, attract, and sustain talent and to mobilize ideas, resources and organizations. Qualities of creative places Creative places are able to overcome most obstacles and have key qualities. They know where they are going, they have a vision, that is in broad terms agreed by key players; they take measured risks, which empowers people to try things and push boundaries; they acknowledge that a creative place needs many leaders, at least 1% of the population and that would mean Seoul has 100,000 leaders. There may be a few super leaders, but their essential role is to pave the way for others to achieve things and to trade their power for influence. That is to be more concerned with influencing positive outcomes than exerting power. Creative cities have an ethical purpose that guides and directs the mass of energies present in most places. These ethical goals might be to generate both wealth and to reduce inequalities or to grow economically but to focus on sustainability or to focus on local distinctiveness. The ethical code is more likely to be based on secular principles which guarantee freedom of enquiry and tolerance and where the state and religion are separated. Fundamentalism does not help develop the imagination because everything has already been imagined. This implies bending the market to public good objectives. Places can develop creative initiatives without such a framework, but I would not call places like that creative cities. For example Silicon Valley has intense creativity in a series of narrow engineering based fields and this has transformed how the world works. However the physical environment they have created out of Silicon Valley is quite unappealing and soulless, which is why San Francisco nearby is important as a playground and to stimulate the senses. Fine judgement and the formula Being a creative city is not a formula that can be picked off the shelf. It is not a science that can be learnt from a textbook. It is an art. Art in its broadest meaning connotes a sense of doing something well, having ability, pursuing a skill by study and practice There are some core principles that apply across cultures and to most situations for creative city making, these include: A willingness to listen and learn; the capacity to be open minded; to encourage enquiry; to reduce ego; to be more concerned with influence than power; to grasp the essence of different disciplines; to think across disciplines; to imagine the implications of the present for the long term; to understand the dynamics of change at a trivial and deeper level. The art of creative city making involves fine judgement based on experience and for example the ability to know when to push for innovation and when to hold back. The city maker is an artist of the highest order, because they have a grasp of all the arts concerned with city making and it is complex. At its best city making is the highest achievement of culture. Our best cities are the most elaborate and sophisticated artefact humans have conceived, shaped and made. At their worst they are forgettable, damaging and destructive. For too long we believed that city making involved only the art of architecture and land use planning. Over time the arts of engineering, surveying, valuing, property development, project management began to form part of the pantheon. We now know that the art of city making involves all the arts; the physical alone does not make a city or a place, they include: The art of understanding human needs, wants and desires; the art of generating wealth and bending the dynamics of economics to the citys needs; the art of creating three dimensional space; the art of circulation and city movement; the art of trading power for creative influence so the power of people is unleashed; the art of facilitating and winning community support; the art of helping people be healthy; the art of triggering inspiration, harnessing motivation and will; the art of putting the physical pieces together as urban landscape; the art of blending and weaving the exterior landscape into the city; the art of moving forward without erasing memory; the art of celebration and much more. Most importantly it involves the art of adding value and values simultaneously in everything undertaken. Together the mindsets, skills and values embodied in these arts help make places out of simple spaces. The city is an interconnected whole, it cannot be viewed as merely a series of elements, although each element is important in its own right. 10 ideas to start the creative city process If a city wanted to focus on being a creative city what would it do? A crisis helps because this opens the opportunity to rethink and re-assess. A crisis does not need to be negative, it can be a declining industry, but the crisis can be pushed ahead by creating very high expectations. Then the gap between existing realities and what you want to achieve creates the self generated crisis that can be a spur to action. Identify a large group of project champions from different sectors who are interested in the broader creativity agenda. If this is not possible pursue some of the work listed below with a more narrow grouping, but constantly with a view to building wider alliances Undertake an audit of creative potential and obstacles. This would assess creative projects across the whole spectrum in your city as well as the incentives and regulatory regime. Are there any incentives or policy initiatives that foster creativity? Who and what is creating the obstacles? Identify some key projects in your own city that stand as examples of good practice. Visit these with mixed teams and promote how they work. Similarly identify key projects elsewhere, this is recognized as creating one of the most transformative effects. Develop the evidence that proves your arguments about the value and impact of the nexus of culture, creativity broadly defined and the arts. Highlight examples from parts of the world and especially those you perceive to be your competitors. Seek to influence the city master strategy. This is usually spatially or economically driven. Try to insert to cultural and creativity agenda within it. If this fails develop your well-publicized, alternative strategy. Show an appreciation of all the issues a traditional plan would have but go well beyond it. Show by example the power of working across boundaries in interdisciplinary teams. Create a series of pilot projects that can be seen as experiments, perhaps under the cover of a major event, such as an Expo, a festival or large physical regeneration project. Assess how the story of your city is told internally and externally. Is the story still true and relevant to what you want to achieve? Generate a new story. Create an advocacy lobby group that embodies in the way it acts, holds meetings or arranges seminars the creativity you are aspiring to. Do not call yourself a creative city let others do that by respecting what you have achieved.     PAGE  PAGE 2 45DE] & 8 : ^ `   : < ? @ A i k    1 R S T hKmH sH hKB*aJphhK0JB*CJaJphhKB*CJaJph hKCJhK5CJ\ hKCJhK hKCJC45DETU]_ & ' 8 : ^ `   .].$.].a$   : < b d ? A i k    $.].a$   1 3 R T IJ_`.].  $.].a$T I_ o%""**\0]005566kBBXGYGL+M-MMMRRR[[=diykKlo7ppqUqruzz`¶󚔚󚔚hAp0JmHnHuhAp hAp0JjhAp0JUjhKUhKCJmH sH hKB*CJaJphhK5B*CJ\aJphhKB*aJphhKmH sH hKCJmH sH hKCJhKhK5CJ\(tuef\]z>*+@A $.h].^ha$ $ & F.].a$$.].a$.].OP+,$.].a$ $ & F.].a$ $.h].^ha$ $ & F.].a$ &`#$gdK,1h. A!"#$% @@@ \ CJOJQJ_HaJmH sH tH >@> ȩ 1$$.@&].a$5\0@0 ȩ 2$@&5\B@B ȩ 3$$.@&].a$ 5CJ\4@4 ȩ 4$@& 5CJ\B@B ȩ 5$$.@&].a$ 5CJ\P@P ȩ 6$$.@&].a$5B*CJ\aJph:@: ȩ 7$$@&a$ 5CJ\(A@( 0 } 4Fi@F \ \ :V 44 la $k@$] L >O> title1CJOJQJaJo(ph,z.U@. Xt|l >*B*phX^@X | ()dd[$\$!B*CJOJPJQJ^JaJphVO!V headlineblue1#5CJOJQJ\^JaJo(ph3f:B@2: 8$  .].a$CJ.P@B. 8 2$a$CJ*Q@R* 8 3$a$0 @b0 Ap 8!G$$)@q$ Apt 8*45DETU]_&'8:^`:<bd  ?Aik13RTI J _ ` no% """' '\(]((J,K,---1133{5|5<8=8i:k::X?Y??C CDDEEEJJJ2N3NPPSSSTTWWZZ<\=\aaaabpbbyc$d%dKdZe[ejj+k,k]l^lmmrr*+@AOP+,0000000(0(0000000000h0H0H0000(00h0(0(0000800(0(0(00(00(00(00X00(00X00X00X00000000000000(00000000000(0(00000000000000000000000h00000H00000000000000(0000000h00(0(00000000000000000000 0 0 0 0 0080000000000000(0000(0(000(000(000000000000000(000000000X0000000(0000000X0000000X000000000X0000000000000000000000000000000000000(00000000 00 00 00 00 00 00 00 00 00 0@0ي00@0ي00@0ي00@0ي00@00000@0@000ي00h45DETU]_&'8:^`:<bd  ?Aikي0ي0ي0ي0ي0ي0ي0ي0ي0ي0ي0ي0ي0ي0ي0ي0ي0ي0ي0ي0ي0ي0ي0ي0ي0ي0ي0ي0ي0ي0ي0ي0ي0ي0ي0ي0ي0ي0ي0ي0ي0ي0ي0ي0ي0ي0ي0ي0ي0ي0ي0ي0ي0ي0ي0ي0ي0ي0@ $$$'T  5Mpj~t  '!! _Hlt118550915 _Hlt118550916qq@@.<[/ [0t[1 [2\Z3,[4Z5w[6[7f8,e9&c?<@rfAZfBUfC<D`E`FO=G4P=H>8ItfJl<KD;fLffMD<ND+cO<PL[Q9cR8cSaZT<UtWfVjfW>X<[Y|[Z[[4[\|Yf]Yf^f_f`$fazcb{ccD{cd ZeLZfZg̃Zh,#fil#fj#fk#fl|%fm%fn%fo<&fp|&fq&fr&fs<'ft|'fu'fv<w<<x|<y<z<{<<||<}<~<<<|<<fffTffffTffffTffffTffffTftwfwfwf4xftxfxfxf4yftyfyfyf4zftzfzfzf4{ft{f{f{f4|f fLff̩f fLff̪f fLff̫f fLf   H H ..7=9HHQ::M**+-,7,A,A,uCuCKEkEEEEZZmmȐ֐֐))ğXXaԵ  mzz#Gnn;ir22 oo||SS^^GG'22      !"#$%&'()*+,-./0123456879;:<>=?A@BCDEFGHIJKLMNOPQRSTUVWXYZ[\]^_`abcdefghijklmnopqrstuvwxyz{|}~     N N 6<@@>PWWCCS**+5,=,H,H,}C}CREpEEEEZZmmҐސސ++ßȟȟ`ee ܵ u.Ptt!!An~?? ||[[kkMM%.99     !"#$%&'()*+,-./0123456879;:<>=?A@BCDEFGHIJKLMNOPQRSTUVWXYZ[\]^_`abcdefghijklmnopqrstuvwxyz{|}~:"*urn:schemas-microsoft-com:office:smarttagsStreet9{*urn:schemas-microsoft-com:office:smarttagsState=*urn:schemas-microsoft-com:office:smarttags PlaceType=*urn:schemas-microsoft-com:office:smarttags PlaceName8*urn:schemas-microsoft-com:office:smarttagsCityB*urn:schemas-microsoft-com:office:smarttagscountry-region9*urn:schemas-microsoft-com:office:smarttagsplace;#*urn:schemas-microsoft-com:office:smarttagsaddress c{{{{{{#"#"{ **W3_3``Xabauaag7hhiUijll-5eoϫث01^`oq./_`deikwxk-31;;H9>@EGMagku = X![!=)C)****,,..99JJLLPPRRSSnYYdd8s@szz.}2}}~~KSWb vzZaWfx{33333333333333333333333333333333333333HX<7">IVG` wzDh ^`OJQJo(h ^`OJQJo(oh pp^p`OJQJo(h @ @ ^@ `OJQJo(h ^`OJQJo(oh ^`OJQJo(h ^`OJQJo(h ^`OJQJo(oh PP^P`OJQJo(^`CJOJQJo(^`CJOJQJo(opp^p`CJOJQJo(@ @ ^@ `CJOJQJo(^`CJOJQJo(^`CJOJQJo(^`CJOJQJo(^`CJOJQJo(PP^P`CJOJQJo(h ^`OJQJo(h ^`OJQJo(oh pp^p`OJQJo(h @ @ ^@ `OJQJo(h ^`OJQJo(oh ^`OJQJo(h ^`OJQJo(h ^`OJQJo(oh PP^P`OJQJo(h ^`OJQJo(h ^`OJQJo(oh pp^p`OJQJo(h @ @ ^@ `OJQJo(h ^`OJQJo(oh ^`OJQJo(h ^`OJQJo(h ^`OJQJo(oh PP^P`OJQJo(wzH">IVG`po         VF xF& <*rwnZ po                 ApK@@@Unknown Gz Times New Roman5Symbol3& z Arial[ HelveticaNeue-RomanArialI6 ??Arial Unicode MS;|i0Batang7&  Verdana;Wingdings?5 : Courier New"1hANH %%!4d  2aHX ?Ap2Creativity and the cityCharles LandrySEC    Oh+'0  $ D P \ ht|Creativity and the cityCharles LandryNormalSEC12Microsoft Office Word@z@pǴM@@[N%՜.+,0 hp  The Comedia Consultancy  Creativity and the city   !"#$%&'()*+,-./0123456789:;<=>?@ABCDEFGHIJKLMNOPQRSTUVWXYZ[\]^_`abcdefghijklmnopqrstuvwxyz{|}~Root Entry FkN1TabledWordDocument.*SummaryInformation(DocumentSummaryInformation8CompObjm  FMicrosoft Office Word MSWordDocWord.Document.89q