Creativity in the Urban Environment

Creativity in the Urban Environment imaginative and ethnic spacesJana SorelIntroductieThe yeasty industries determine the next of our region by ensuring a flourishing original and heathenish climate. Flanders fanciful Industries Platform (2011)Today, the k flatledge and experience parsimony has expanded towards an economy which recognizes the impressiveness of pagan and now also yeasty industries (Evans G., 2009). imaginative industries be something of the 21th century, further creativity itself has been used since the 70s to improve the development of a city. During that period, cities were empty because the cover of suburbanization was going on. Then there was the aw beness in the heads of insurance policymakers that this process leads to a drain of the city centres and they tried to attract passel to the city centre again by creating a space modify with artists (and other yeasty slew) who used educational background to produce small, high technology businesse s or start-ups. It was picked up by policymakers as the way to turn the process into harvest and prosperity of the cities again (Vanneste D., 2015). Bottom-up regeneration of those abandoned areas was affected by the imaginative class (Florida, 2002). Creativity took an important role in the cities nevertheless they didnt talk about creative cities/hubs yet. Now, since the late 90s creativity frames connect with creative industries in which they focus on action and consumption of so-called creative products. Creativity is now linked with innovation and economic growth scarcely what is a creative city exactly? According to the paper of Evans G. (2009), creative industries are now seen to symbolize those industries that cave in their origin in individual creativity, skill and talent and which throw away the potential for wealth and job creation through the generation and evolution of intellectual property (DCMS, 1998/2001, p. 5). Diffeeconomic rent researchers state that t heres a growing evidence that heathen and creative industries are good sources of growth and jobs, benefiting local communities, regions and states (EY, 2014). The aim of this paper is to identify the influence of creativity clusters (creative hubs) on the urban environment, both urban neighbourhoods and communities.Influence of creativity on the urban environmentScientific research states that the cultural and creative industries lead a crucial role in the development of the regional economy. Figures bedeck the growing employment and the share of these sectors in the Gross National mathematical product (GNP) (Evans G., 2009 Martens B. et al., 2014). The creative industries determine a regions future by ensuring a flourishing creative and cultural climate (Flanders Creative Industries Platform,2011) and a focus on the creative economy therefore represents the latest boom of interest in glossiness as a post-industrial urban revival meeting strategy. However, some places are mo re successful than others.The importance of creativity in a place is namely not only about production but also about consumption. Its the government that invests money in places where a smoke of people and as a consequence a lot of voters live, so cities are privileged, but why?Creative hubs keep open collective order through hearty and cultural capital in combination with distinctive institutional infrastructure. Educational institutions, trade unions and a lot of other institutions (such as museums, galleries,) are present in those hubs (IPoP, 2011). Creative hubs are not only places of cultural production, but also act as places where creative know-how and competences are being preserved, interchanged and relianced. In this way, fresh affluxes of new happy individuals basin be assured (IPoP, 2011) and creativity and culture are now seen as knowledge-based innovation strategies. Since creative hubs go for high educated and good activities, research often poses that the econ omic factor is the approximately important sight for the creation and development of creative industries. Artists centres make important contributions to regional economies, but also to the friendly, cultural and commercial lives of their neighbours.First of all, cultural and creative industries are among the EUs biggest employers and have experienced sustained growth until now through recession. Today, around 3.3 percent of the active population in europium is (in)directly employed in creative industries (figure 1). Job creation in cultural and creative industries is still growing at a rate of 0.7% (between 2008 and 2012), so far as the number of jobs in the rest of the economy fell 0.7% (EY, 2014). In most sideslips they are thus relatively small, but when you look at specific sectors not directly associated with cultural or creative manufacture sectors in creative occupations (such as car design) numbers willing be much higher, for example in the Netherlands this counts for 47% of the employment (Evans G., 2009).Figure 1 employment distribution between the different sectors in thousands 2012 (source EY, 2014).Secondly, income scum bag be generated for housing and local shopping, sometimes amplified by drawing tourists and visitors from surrounding areas. capital is spent in the stores and restaurants (Markusen A. Johnson A., 2006). In association with the occupation and beautification of vacant builds, rent rises and property regenerates (Evans G.,2009).Next, according to da Cunha I.V. and Selada C., the environment of a so-called creative hub tends to be diverse, multicultural and vibrant, with the presence of foreign talents too. People are attracted to places which combine different functions such as residential, working, learning, shopping and entertainment functions. Such places nurture the emergence of a good place to live, work, learn and play. In addition, intimate arts play a critical role in building social networks and connections across communities. Studies show that for example Mexican immigrants in pelf use artistic and cultural practices to break down social isolation, establish new social networking relationships, strengthen bonds among group members, and create local and transnational ties with outside institutions (Stern M.J. Seifert S.C., 2008). Creative hubs build a bridge between different social classes, ethnicities, . Mutual exchange within these creative hubs improves both innovation and competitiveness, but reduces social inequalities as well. Creating a common space is probably the most challenging collaboration. In the same article, its argued that the engagement in cultural activities increases life quality of the inhabitants of a community because of the reinforcing social diversity. Creative activities draw and reinforce shared cultural identities among different groups of people such as immigrants, refugees, and people of colour (Grams D. Warr M., 2003). Likewise, diverse neighbourho ods house more cultural programs, cultural participants and artists because of the open door mentality. According to Markusen A. and Johnson A. (2006) anyone who expresses an interest may become a member, have access to events and services at an affordable price, and book for merit-based mentorships, funding, and exhibitions. Nevertheless, competition and tensions can tax the energy of people inside the creative hub (Markusen A. Johnson A., 2006).The creation/development of cultural and creative hubs is sometimes seen a casualty to draw tourists too. Researchers found a direct connection between culture and revitalization of a community (Stern M.J. Seifert S.C., 2008). Creative hubs are located in places where economic and social as well as cultural assets are available. Creative activity complements and stimulates the creation of other artistic, commercial, and community venues. As mentioned by Jacobs (1961) mosaic of unique cultural destinations that encourage city residents t o cross porous borders to visit distinctive neighbourhoods. However, this is criticized by Evans G. (2009) it is clear that these are judged and celebrated by their proponents in cultural, heritage and local endogenous terms such as property and local trade (Jayne and Bell, 2004), rather than in macroeconomic merchandise terms.ExternalitiesAlthough the development of creative hubs is stimulated and one of the main focuses is of policy makers, gentrification and the possible expansion of inequality remain the most common fears. Of occurrence relevance to the creative hubs is the emergence of winner-take-all labour markets (Stern M.J. Seifert S.C., 2008). The increased inequality can be explained by the requirements of jobs within these industries. The creative industries are namely reign by jobs with high educational requirements (Stern M.J. Seifert S.C., 2008). This increases the opportunities for high skilled workers, but for people with less educational qualifications, the o pportunity to find a job will decrease.ConclusionIn this paper, different aspects are listed of how a creative hub can influence the urban environment. In many cases creativity is used as a synonym of culture, but culture doesnt cover everything. We have to understand that culture also includes non-profit, public, and commercial organizations as well as independent artists. In addition, we have learned to recognize the importance of besotted leadership, which is a key element for the success of a region. The artists centre must present a face to the neighbourhood and larger community, invite entry, and hold up its attractiveness. The presence of creative hubs is programming are especially important for a communitys cultural vitality. But, can a creative economy ameliorate urban poverty in the world or is the creative hub- development more a winner-takes-it-all-scenario?SourcesFlanders Creative Industries Platform (2011). Creative industries in Flanders. Position paper.Florida, R. , (2002). The Rise of the Creative Class And How Its Transforming Work, Leisure and Everyday Life. brisk YorkBasicBooks.Evans G. (2009). Creative cities, creative spaces and urban policy, Urban Studies 46(56) 1003-1040.Vanneste D. (2015). Lecture Economic and monetary geography Creative industries.Martens, B., Dobbels, J., Amez, L., Ysebaert, W. (2014). Cultuur en creativiteit in beeld opzet van een meetinstrument voor metropool Brussel.EY (2014). Creating growth. Measuring cultural and creative markets in the EUStern M.J. Seifert S.C. (2008). From Creative Economy to Creative Society. A neighborhood-based strategy to increase urban vitality and promote social inclusion. GIA Reader, Vol 19, No 3.Grams, D., Warr, M. (2003). Leveraging assets How small budget arts activities benefit neighborhoods. lettuce Richard H. Driehaus Foundation and The John D. and Catherine T. MacArthur Foundation.Da Cunha, I. V., Selada, C. (2009). Creative urban regeneration the case of innovation hub s.International Journal of Innovation and Regional Development,1(4), 371-386.IPoP Institute for spatial policies (2011). Potentials of creative urban regeneration. Spatial distribution of creative industries in Ljubljana Urban Region.DCMS (Department for Culture, Media and Sport) (1998) Creative industries mapping document. DCMS, London.DCMS (2001) Mapping creative industries technical document. DCMS, London.Markusen, A., Johnson, A. (2006). Artists centers Evolution and impact on careers, neighborhoods and economies.1