Creative economies on the shores
“Poor, but sexy”, and other ways to regenerate creatively
Areas by the water historically were the laboratories of change and innovation - all thanks to the available resources and transportation. The Asian Pacific Region is not an exception, and these days it increasingly attracts the attention of the Russian side. The recently established federal forum of Creative industries serves as a platform to discuss the strategies to support the transition to post-industrial knowledge and service economy. As the country changes course from the West to the East, the focus of economies switches towards the Pacific. Therefore, Vladivostok as a key center of Primorye region hosted the Сreative industries week focused on the Far East in addition to the Central forum coming soon. As the driving forces and minds of many industries and agencies discuss the strategic approaches to transform economical patterns, it’s interesting to revise the major ways art and innovation change the urban landscape. In an effort to be neutral to the ambiguity of the matter in the lasting geopolitical crisis, we want to see how the global cities approached the growth of the creative class.
Vladivostok hosted the week of Creative industries held by Roskongress
Joseph Shcumpeters` Theory of creative destruction explains the economic background of the transformation from existing industries to innovation. His 1942 work “Capitalism, Socialism, and Democracy” opposed it to the classic view on competitiveness and profits via positioning and entry barriers. The Austrian model defines economic growth with a dynamic market driven by innovation. Worn-out facilities and uses should go opening up the space for the new through disbalance and recurrent cycle of rises, falls, reuses, and transformations. The main components of this process are destruction of established industries, innovation, long-term effects on productivity and economic progress. Schumpeter emphasized the dynamic nature of the market process, with new industries and sectors emerging as old ones decline.
Then, Richard Florida`s theory of creative class moves closer to urban practices. In his landmark “The Rise of the Creative Class”, he argues that the creative class gets more influential in defining the rise and fall of economies, as it relates to a broad range of fields in arts, technologies, science, as much as social lifestyles and choices. The concentration of creatives fosters exchange of ideas and innovation in response to stresses. Education, vibrant and inclusive urban environment, support of the special districts with infrastructure and reduced tax rates were effectively attracting and retaining the creative class in Pittsburgh, Austin, and Barcelona as illustrated in the book.
The theory unfolds with the real-life cases of evolving centers of creative economy. Most commonly, as much as the coastal ecosystems, the creative clusters move bottom up, moving where the space allows. Thus, the popular example - Soho effect - emerged where a previously industrial abandoned district became occupied by artists. The available infrastructure and low costs, conversion of spaces, and emerging galleries as catalysts made the opportunities for creativity to thrive.
City branding is a deep identity-based market tool of enforcing creative industries. As the de-walled Berlin long experienced hard times reconnecting segregated parts, the non monetary values of the city were driving the recovery . The catchy “poor but sexy” brand coined by the mayor was its anthem through the new economies formation. It helped to describe the city's appeal and referred to Berlin's affordability, edginess, and vibrant cultural scene. The branding resonated with artists, creatives, and entrepreneurs who found the city's affordability and creative energy attractive. Local government support provided the opportunities to occupy the vacant buildings with state subsidies and free entrepreneurship. The free-spirited environment, DIY Culture and grassroots initiatives drew the artists and creatives to transforming vacant or underutilized spaces into art studios, galleries, clubs, and cultural venues. This spirit of initiative and self-expression contributed to the growth of the creative industries.
The world art magnets reap the benefits of the international knowledge exchange and the stable inflow of the talents and human resources. Venice's transformation from industrial uses and warehouses of its historically significant port - to creative industries has been accomplished thanks to the unique cultural context and inclusion of the art scene. The Venice Biennale located in the previously vacant facilities played and is currently playing a vital role in boosting the creative industry. Whereas Giardini accommodates the Biennale in the national pavilions since its establishment in 1895, the Arsenale was transformed from the former shipyards and armories of the 12th century, losing their maritime importance by the late 19th, by the 1980s. The large industrial halls and warehouses within the were repurposed for exhibitions. These reused venues now continue attracting artists, curators, and art lovers from around the world. Open exchange of ideas and practices contributes to diversification of the creative industries enhancing the value of the place. The Biennale has been a driving force in the creative transformation and became a symbol of the city's creative identity.
The effectiveness of knowledge economies and creative class in generating added value was appropriated by the private investors. Successful vision of reuse and redevelopment needs a local market understanding to attract creative class and provide all the infrastructural capacities they would not be able to afford otherwise. Dumbo (Down Under the Manhattan Bridge Overpass) in Brooklyn, New York, Art Strelka Moscow, Arsenal Nizhniy Novgorod, and many others show that the power of the local identity becomes a core for the new growth when driven by a motivated visionary and strong presence of local experts. The Dumbo cluster, SoHo (South of Houston Street, New York), Wynwood Arts District (Miami, FL), The Mission District (San Francisco, CA) involve cultural heritage, vibrant art scene, community-driven initiatives, and support of the government. This is how an industrial area transforms into a thriving creative hub.
Dumbo, New York, NY
Even though it's impossible to overestimate the federal role in support of the art industries, the regional scale can hardly be sufficient. Creative industries and art districts basically can't start growing without all the components in place. The old industries should go, and the buildings - as applied to the urban development - lose the function, the new paradigm and norms should be spread wider in society, artists and entrepreneurs must be free with their voices at least represented and ideally valued, local authorities must be responsive to them and deliver the needs to initiate the state support of their requests with public and private capital involved. Examples of how it works are multiple, and their socio-economic impact is critical indeed. As not only knowledge drives innovation across the industries, it creates more ways to address external stress - which, as we see, inevitably comes. But the reward finds the hero!)
Reference:
Far East Creativity Week. https://fareast.creativityweek.ru/article.html?id=12
Schumpeter, J. A. (1942). Capitalism, socialism, and democracy. Harper & Brothers Publishers.
Florida, Richard. "The Rise of the Creative Class: And How It's Transforming Work, Leisure, Community and Everyday Life." Basic Books, 2002.
