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这篇文章是基于对Richard Florida和Jane Jacobs的采访写的，应该说很充分体现了他们两个人对于城市规划的理论特点
第一部分主要谈到城市规划中的有创造力人群（creative class，这个主要是Florida的思想，后面两部分是以Jane Jacobs的理论为主线的，在寂静中还有提到一个S开头的学者观点，应该是Joseph Schumpeter （熊彼特，幸好俺念的经济学认识这货）
第一部分只提了一句“Schumpeterian ‘creative destruction’ process”
即使不是原文，对于理解文章也是很有帮助的 攒人品！！！
我对比看了JJ，感觉JJ上的是一篇客观评论的文章，而这一篇是以赞同F和J的观点的采访稿总结
所以大家在参考的时候注意分清楚立场！！！
The creative class
According to Richard Florida, creativity is the ultimate driving force of economic growth. In the industrial age, he states, the ethos of the organisation permeated every aspect of life. But now, more and more people work and live in much the same way as only bohemians or scientists could do in the past. We choose to be mobile and free, we require room for new ideas and working hours that match our flow of thought. In other words, we look for places and conditions that nurture creativity, that is the ability to do new things with existing knowledge.This creativity first of all can be found in what Florida calls the ‘creative class’ – a group consisting of artists, designers, writers, media people, scientists, innovators and entrepreneurs who have one thing in common: they earn their money by means of creative thinking, designing and producing. Creativity, in turn, often results in the Schumpeterian ‘creative destruction’ process, leading to innovation and driving economic growth(see also Hospers, 2003b). Florida’s main point is that the creative vanguard increasingly favours cities and, more specific, cities that match their tastes and interests. Territorial competition thus has become a matter of attracting creative talent looking for cool amenities in the built environment.
Paradoxically, Florida developed this theory at Carnegie Mellon
University in his native old-industrial city of Pittsburgh when he helped to get the city’s impoverished economy out of the dumps. “Some years ago, while going through the newspaper, I read much to my surprise that the internet search engine Lycos, a successful Pittsburgh university spin-off, decided to move to Boston. It didn’t make sense to me why that had occurred. My city, my university and investors had spent fifteen years building this knowledge infrastructure for R&D and start-ups and then your biggest success decides to set up shop elsewhere. And you know what the reason was? Lycos said that Pittsburgh lacked the talent. They wanted to have access to a large pool of creative talent and that was what Boston could offer.” Extensive research into other American cities and interviewing focus groups brought Florida to the conclusion that this new economy was built on creativity which is found in people who favour the city as the place to be. “The cities that prosper economically in my index have a mix of Talent, Technology and Tolerance. These three T’s define the winners in the Creative Age.” There is not only the hardware and technology side to cities, but also the software and talent side, argues Florida. “In the creative economy, cities need a healthy business climate as well as a vibrant people climate. Especially the factor ‘tolerance’ I found is an important condition here. You need low entry barriers to outsiders in order to stimulate the development of new and creative ideas.”
In Florida’s rankings American urban areas like Boston or Austin
and European cities such as Dublin and Amsterdam score high because they mix a vibrant downtown with a technology/university belt and outdoor facilities (see e.g. Florida and Tinagli, 2004). Florida: “The economically most attractive cities of today and the winners of tomorrow are urban areas that offer a combination of all three. The Creative Age is about options. Many people want art galleries, an exciting nightlife and seeing grandma’s on roller-skates go through the park. Do people then take part in all that? No, but the fact is they have the choice to do so. You can just step in, if you want to. In my new book [The Flight of the Creative Class, ed.] I show what consequences this wish of the creative class for just-in-time culture and multiple choice has on a global scale.” In short, creative people are not slavishly following jobs, but rather look for attractive urban amenities. If you want to produce first quality honey, you don’t start with the beehives. First you find a field where a thousand flowers bloom which in turn attract the bees. Florida: “Avoid copying. Don’t be a Silicon Whatever or a Creative Somewhere. The creative class doesn’t want generic amenities. Creative people look for authentic places that aren’t finished yet, places where you can add something of your own. ‘New ideas often require old buildings’, I learned from Jane Jacobs. Office towers, large-scale conference centers and multifunctional stadiums are boring. The creative class isn’t interested in shopping malls. They are already finished and therefore do not stimulate creativity. The built environment and an area’s people climate should be active and authentic.”
Building the creative city?
In propagating the need for attractive cities in the Creative Age, Florida regularly refers to the American journalist Jane Jacobs – meanwhile in her nineties – as his inspiration source. Although her influential books The Death and Life of Great American Cities (1961) and The Economy of Cities (1969) were published in what used to be the Industrial Age,
their messages are still alive and kicking. In her first book Jacobs uses her experiences with New York’s neighborhood Greenwich Village to plead for urban diversity, local uniqueness and community involvement – a vision which is in sharp contrast to the social engineering ideal of many city planners around the world. For Jacobs, urban planning as it is mostly practiced is anything but creative. According to her, the ‘bulldozer approach’ that is popular among a number of city authorities has only resulted in a ‘great blight of dullness’ in the urban landscape. “Just like all cities, creative cities are about people. This means that they cannot be planned from scratch. Creative places in the city are just like living beings: they are born, grow, decay and can rise again. In my view, the streets are the vital organs of the creative city. After all, people meet in the streets and it is here that human contact, unexpected encounters and business life take place. This street ballet contribute to creativity and economic dynamics.’’
Jane Jacobs is right: ‘great planning disasters’ from the past show that creative cities cannot be straitjacketed by planners behind their desk. The ‘worst practice’ in this context is emgorodok in Russia that was meant as a copy of the Silicon Valley model: from its early beginnings in the 1950s this Siberian ‘city of science’ has been languishing for decades. Still, however, says Jacobs, the built environment can increase the chances that urban creativity will originate. “To show you what I mean by that, just go once around the block in my own neighborhood, Toronto
’s Annex.If you look well, you will discover that there are some conditions in the built environment favouring the generation of urban creativity.” For Jacobs, the key to creative urban environments lies in diversity– both in spatial, social and economic terms. Neighbourhoods must have several functions so that their streets are filled with activity at all times of the day. Monofunctional settings such as business districts and commuter suburbs deprive of the daily vibrance needed for restaurants, culture and retail trade to flourish. In line with this, Jacobs supports short blocks of buildings and a finely meshed street pattern. Pedestrians should be able to walk around and turn into another street from time to time. Next, Jacobs believes that a neighbourhood needs a mix of buildings differing in age and state of upkeep. Buildings both old and new have their own economic value for every type of entrepreneur. Finally, Jacobs pleas for ‘high-dwelling densities’ on a small scale, that is compact neighbourhoods where different types of people –varying from families and entrepreneurs to students and artists – live and work on one spot. With such a variety, there is sufficient critical mass for a varied range of local amenities.“You should know that these simple building principles always will pay off economically” Jacobs says. “In diverse urban environments entrepreneurs can benefit from the varied availability of knowledge, know-how and skills. In turn, this cross-fertilisation works as a magnet for other creative people.”Especially the mix of old and new buildings is important for creativity, Jacobs continues, because it gives innovation – in her words ‘adding new work to old’ – a chance to emerge. “In this way, you should know, a modern design office and a classic furniture maker can be neighbours and work together.It is a pity that this economic variety is threatened more and more due to the rising rents of real estate in many cities – even in my beloved Toronto. The result is that local businesses are replaced by chain stores that are the only ones that are able to pay those rents. This more of the same does not favour the creative potential of cities. I am still extremely worried about this development, as you can read from one of the chapters of my new book Dark Age Ahead”.
Giving co-incidence a hand
Richard Florida and Jane Jacobs both agree on it: we are witnessing the emergence of the Creative Age. More than ever before, creativity is the engine of economic development. In the end, creativity is about people, their ideas and their tastes. The creative class is highly critical, mobile and prefers attractive, stimulating and vibrant environments to live and work. Thus, the future is not to the classic Nerdistan but rather to the ‘creative city’. As Florida eloquently argues, creative cities are able to combine the T’s of Tolerance, Talent and Technology. In bringing about this creative triad, the built environment may provide a helping hand. Here, we encounter Jacobs who has has propagated since long the need for urban diversity: diversity of buildings, people and their economic activities. Among urban planners – often reasoning in terms of demolition and new construction – this view still is not widely accepted though. Does the Creative Age also require Creative
Building then?
Asking both specialists on the general implications of their views for policy makers, planners and real estate agents, they hesitate. Unsurprisingly, their plea for local uniqueness and specificity is on bad terms with people’s wish for universal and generic recipes. Still, however, they come up with some general advice for public and private parties that are interested in contributing to the creative city. Florida: “Decision makers can play a catalyst role in the economic development of cities by leaving space for temporary experiment in brownfield developments that are often found at the edges of the city center. Think of the Westergasfabriek in Amsterdam or an older project like the IBAEmscherpark in Germany
’s Ruhr Area.” In this respect, Jacobs notes: “Such gentrification requires that a neighbourhood must have old and cheap buildings and that people are not bored by them. In general, a place that’s been extremely gentrified will turn out to be a bore as well.” Thus, using old buildings for new, creative purposes always will be a matter of degree.
Building for the creative city asks for small-scale projects and a lot of patience, Jacobs adds. “Stop the big projects, as they only will lead to urban monotony. And do not strive for instant success. Sometimes it takes years before abandoned urban areas are brought back to life. The future of the city is in rent, in temporariness and in investing in many smaller projects. Accept that some of the projects will fail: one, two or maybe three will be a hit.” Florida agrees with this life cycle character of districts and adds to that “Do not put your eggs in one basket. The most important is that the creative people stay in your city, irrespective in which neighbourhood. That is, if and when the people climate is good. Investing in an attractive neighbourhood is strategically smart, as around the core of creative people there is a circle of creative professionals that exists because of the success of this core. They are the consultancies, business and financial services sector that will need workspace as well.” In short, the best recommendation for cities in the Creative Age is to give co-incidence a helping hand. Policy makers only can foster the chances that urban creativity emerges, or, as Jane Jacobs puts it: “Building the creative city is an illusion, but creativity certainly can benefit from buildings.” |
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发表于 2011-10-11 11:34:20
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