Thèses sur le sujet « Creative citie »

Creative City policies have long been portrayed as the new packaging for neoliberal policies. While being widely criticised, the concepts of creative cities and creative class continue to travel around the world in the domain of policy making.That is why some researchers (Pratt, 2011, Ratiu, 2013, Leslie and Cantugal, 2012, Beaumont and Yildiz, 2017) have flagged up that there are other possibilities to conceive a creative city. The dimensions of Justice identified by S. Fainstein (2019), democracy, equality, diversity are at the core of some artists works. While placing my research in the frame of the urban planning literature on the creative city as my hypothesis show, I propose a slight displacement of focus. The specific contribution of my work is to make the link with arts theory and to bring in the debate an analysis of the new conceptions artists have developed of their role in the city, as regards to the city making, in theory and in practice. The theoretical background is provided by Jacques Rancière (2008), who has proposed a new conception of aesthetics. The specificity of art, aesthetics, is that it proposes a new “distribution of the sensible”. The thesis analyses three case studies of participative theatre in Saint-Denis, with the view to determine what the actual input of the artist in the making of the city and how this is relevant for the creation of an alternative creative city model. The three hypothesis of the work are that : 1. More-than-capitalist creative cities visions may already exist (Leslie and Cantugal, 2012) and they may be influenced by the political orientation of the carrier of the visions. (Garcia, 2013). This visions may take into account issues of inequalities (Jakob, 2011) and redistribution (Pratt, 2011). 2. These visions may differ between different stakeholders. There may be an interplay of these different visions on a territory. One needs to construct a situated and contextualised (Pratt, 2011; Prince, 2010) understanding of the way creative cities visions of different stakeholders play in a given location. 3. Artists may play an active role in building an alternative vision and implementation of the creative city, Sharp and al. (2005). A specific focus on the way art works are read by the audience and to the process of making of the art work helps understand its actual impact on issues of social justice, such as equality, democracy and diversity (Fainstein, 2010). The choice of the location has been motivated by its characteristics of being a poor traditionnally communist subburb of Paris, now flagged up as Territory of Culture and Creation in Greater Paris Metropolis. The thesis analyses 3 participative theatre projects in this territory : 1/‘The Football pitch, the player and the consultant’. It is an urban planning consultation participatory art project, commissioned by the local authority, with a duration of two years, co-managed by a theatre collective and an innovative urban planning consultancy, which aimed at stakeholders’ voices to be heard in a different way, using the resources of sports and theatre. 2/ Montjoie! Saint-Denis! by Hoc Momento - An in-situ theatre project commissioned by an independent art institution as regards to the future of a brownfield and its surrounding neighbourhood, led by researchers-artists. 3/ The Ephemeral Troup: a participative theatre project with young people, partly from disadvantaged background and from the area and led by a state financed theatre, the Théâtre Gérard Philippe (TGP) What this PhD brings to the debate on creative city, is the knowledge that it is not because art does not have direct economic impact, nor easily quantifiable social impact, that its specific input should be disregarded. By analysing the details of art projects, one can reveal the many ways artists use creativity to change the city. A new conception of just creative city should aim at encapsulating these types of contribution.
Creative City policies have long been portrayed as the new packaging for neoliberal policies. While being widely criticised, the concepts of creative cities and creative class continue to travel around the world in the domain of policy making.That is why some researchers (Pratt, 2011, Ratiu, 2013, Leslie and Cantugal, 2012, Beaumont and Yildiz, 2017) have flagged up that there are other possibilities to conceive a creative city. The dimensions of Justice identified by S. Fainstein (2019), democracy, equality, diversity are at the core of some artists works. While placing my research in the frame of the urban planning literature on the creative city as my hypothesis show, I propose a slight displacement of focus. The specific contribution of my work is to make the link with arts theory and to bring in the debate an analysis of the new conceptions artists have developed of their role in the city, as regards to the city making, in theory and in practice. The theoretical background is provided by Jacques Rancière (2008), who has proposed a new conception of aesthetics. The specificity of art, aesthetics, is that it proposes a new “distribution of the sensible”. The thesis analyses three case studies of participative theatre in Saint-Denis, with the view to determine what the actual input of the artist in the making of the city and how this is relevant for the creation of an alternative creative city model. The three hypothesis of the work are that : 1. More-than-capitalist creative cities visions may already exist (Leslie and Cantugal, 2012) and they may be influenced by the political orientation of the carrier of the visions. (Garcia, 2013). This visions may take into account issues of inequalities (Jakob, 2011) and redistribution (Pratt, 2011). 2. These visions may differ between different stakeholders. There may be an interplay of these different visions on a territory. One needs to construct a situated and contextualised (Pratt, 2011; Prince, 2010) understanding of the way creative cities visions of different stakeholders play in a given location. 3. Artists may play an active role in building an alternative vision and implementation of the creative city, Sharp and al. (2005). A specific focus on the way art works are read by the audience and to the process of making of the art work helps understand its actual impact on issues of social justice, such as equality, democracy and diversity (Fainstein, 2010). The choice of the location has been motivated by its characteristics of being a poor traditionnally communist subburb of Paris, now flagged up as Territory of Culture and Creation in Greater Paris Metropolis. The thesis analyses 3 participative theatre projects in this territory : 1/‘The Football pitch, the player and the consultant’. It is an urban planning consultation participatory art project, commissioned by the local authority, with a duration of two years, co-managed by a theatre collective and an innovative urban planning consultancy, which aimed at stakeholders’ voices to be heard in a different way, using the resources of sports and theatre. 2/ Montjoie! Saint-Denis! by Hoc Momento - An in-situ theatre project commissioned by an independent art institution as regards to the future of a brownfield and its surrounding neighbourhood, led by researchers-artists. 3/ The Ephemeral Troup: a participative theatre project with young people, partly from disadvantaged background and from the area and led by a state financed theatre, the Théâtre Gérard Philippe (TGP) What this PhD brings to the debate on creative city, is the knowledge that it is not because art does not have direct economic impact, nor easily quantifiable social impact, that its specific input should be disregarded. By analysing the details of art projects, one can reveal the many ways artists use creativity to change the city. A new conception of just creative city should aim at encapsulating these types of contribution.

This dissertation is a study of cities. It is a study that aims to define which are the factors that are necessary to make a city attractive, both for tourists and residences. It is a study about creativity, meaning the capacity of people of conceiving new ideas and create something new. It is a study about innovation, a fundamental factor for a city that wants to grow in the future. It is a study about people, which are considered the heart of a place. Finally, it is a study about brand and how this concept can be applied to a product called city. The objective of this work is in fact that of putting together two topics that are intertwined: creative cities and city branding.

A tese de doutoramento apresentada ao longo das páginas seguintes analisa como a transformação da base económica da cidade de Barcelona teve um impacto transformador na sua configuração física e, por conseguinte, do seu espaço público. Este fenómeno encontra-se vinculado a processos de Regeneração Urbana, comuns a dinâmicas ocorrentes noutras cidades. Consideramos importante a análise destes processos, ao permitir-nos relacionar as premissas económicas e políticas com os resultados sobre o território. Para além deste interesse geral, o caso de Barcelona possui características especificas que a fazem sobressair com relação às operações conduzidas noutras cidades, merecendo assim o empenho desta investigação. Assumindo a caracterização de Barcelona enquanto uma cidade criativa, concentramo-nos no processo de desindustrialização e da posterior re­industrializaçào do bairro do Poblenou através do projeto 22@,noqualseverificaa passagem das antigas indústrias para as indústrias vinculadas ao conhecimento, onde a cultura ocupa um lugar preponderante. Utilizámos uma metodologia inovadora, consistindo na aplicação de uma análise multi-escalar, no espaço e no tempo, e incidindo sobre o âmbito das políticas económicas e do terntório no Poblenou. De forma a contextualizar a nossa análise, examinámos primeiramente a evolução geral das políticas culturais nas cidades, de forma a articularmos o conceito de "creative cities" com os processos de Regeneração Urbana. Em seguida, observamos o vínculo entre a evolução dos usos com o território físico do Poblenou, assim como o avanço das políticas culturais em Barcelona. Finalmente, aprofundámos o estudo sobre o projeto 22@Barcelona no seu âmbito geral e, em especial, avaliamos o espaço público adjacente ao edificado das novas alividadcs produtivas criath'as. Este é exemplarmente representado pela intervenção de Palo Alto, dado o seu processo de transformação físico, produtivo o cultural. Desta aplicação do Poblenou, destacamos elementos de continuidade e de ruptura. Dos primeiros, a integração do território físico, relativamente ao conjunto da cidade; a continuidade da sua conceptualização enquanto um distrito industrial, inclusivamente adaptando o edificado da primeira industrializaçào para novos usos e valorizado enquanto património; a tentativa de manter a população residente, c a Instauração de novas infraestruturas físicas e sociais, que asseguram uma equivalência ao conjunto da cidade. Consideramos a configuração global do espaço público projetada pelo 22@ como qualitativamente positiva, fomentando a sua integraçao na cidade e a sua coesão urbana. Por outro lado, verificamos uma ruptura no ambiente construído: notoriamente no plano vertical, a tentativa de introduzir novos elementos diferenciadores na paisagem urbana resulta numa imagem trivial e na própria banalização dos recursos culturais. Sobre a ambiguidade destes resultados, valorizamos a integração do desenho destes novos espaços públicos do Poblenou numa continuidade histórica e territorial do conjunto da cidade, destacando-se este domínio de excelência representativo da Barcelona atual.
This Ph.D. Dissertation examines how the transformation of the economic base of the city of Barcelona had a transformative impact on its physical configuration, and therefore on its public space. This phenomenon is linked to urban regeneration processes, common to the dynamics that occur in other cities. We believe it is important to analyse such processes, as they allow us to relate the economic and political assumptions with the results in the territory. Beyond this general interest, the specific characteristics of Barcelona make it stand out in relation to the operations in other cities, therefore ensuring the commitment of this research. By characterizing Barcelona as a creative city, we then analyse the deindustrialization and subsequent re-industrialization of the Poblenou derived of the 22@ plnn, which transforms the old manufacturing industries in knowledge­related industries, where culture is predominant. We use an innovative methodology, consisting of implementing a multi-scale analysis in space, and time, focusing on both economic and territorial policies in Poblenou. To contextualize this analysis, we first examine the general evolution of cities' cultural policies, in order to articulate the concept of “creative cities” with the process ot urban regeneration. Then, we look at the linkage between the uses evolution of the physical territory of Poblenou, and the progress of cultu.ral policies in Barcelona. Finally, we deepen the study of the 22@Barcelona project in its general context and, in particular, we evaluate the public space adjacent to buildings used for creating new productive activities. We analyse the intervention in Palo Alto by considering it esp«ially characteristic of this physical, productive and cultural transformation processes. This appreciation of Poblenou includes elements of continuity and rupture. On the first onc, wc observe the integration of its physical territory, in relation to the whole city; the continuity of its conceptualization as an industrial district, including the :ldaptation of the first industrialization buildings to new uses and valued an heritage; the attempt to keep the resident population; and finally, by the introduction of new physical and social infrastructures, providing an equivalence within the city. We consider the overall configuration of the public space designed for 22@ as qualitatively positive, by encouraging its integration in the city and its urban cohesion. But we also identify a break in the built environment: especially in the vertical plane, the intent of introducing new differentiators in the urban landscape results in a mundane image and on a cultural resources trivialization. On the ambiguity of these results, we highlight the value and integration and of these Poblenou's newly designed public spaces in the historical and territorial continuity of the whole city, emphasizing this aspect of excellence and as a representative of the contemporary Barcelona.
La tesi doctoral presentada a les pàgines següents examina rom la transformació de la base econòmica de la ciutat de Barcelona va tenir un impacte transformador en la seva configuració física i per tant el seu espai públic. Aquest fenomen està lligat a processos de regeneració urbana. comuns a les dinàmiques que ocorren en altres ciutats. Considerem que és important analitzar aquests processos doncs permeten que ens relacionar els supòsits econòmics i polítics amb els resultats sobre el territori. Més enllà d'aquest interès general. el cas de Barcelona té característiques especifiques que fan que es destaqui en relació amb les operacions desenvolupades en altres ciutats, que garanteix el compromís d'aquesta investigació. Caracteritzant Barcelona com a ciutat creativa, ens permet concentrar-nos en la desindustrialització i la posterior re-industrialització del barri del Poblenou gràcies al projecte 22@, trobant-hi el pas de les velles indústries a les indústries relacionades amb el coneixement,. on la cultura és predominant. Utilitzem una metodologia innovadora que consisteix en l'aplicació d'una anàlisi multi-escala, en l'espai i en el temps, i incideix en l'àmbit de les polítiques econòmiques i territorials al Poblenou. Per tal de contextualitzar l'anàlisi, examinem primer l'evolució general de les polítiques culturals a les ciutats, per tal d'articular el concepte de "ciutats creatives" amb els processos de regeneració urbana. Després observem el vincle entre l'evolució dels usos del territori físic del Poblenou, així com l'avanç de les polítiques culturals a Barcelona. Finalment, aprofundim l'estudi del projecte 22 @ Barcelona en el seu context general i, en particular, avaluem l'espai públic adjacent als edificis destinats a les noves activitats productives creadores. Això es mostra a tall d'exemple per la intervenció a Palo Alto, donada el seu procés de transformació física, productiva i cultural. D'aquesta apreciació del Poblenou, en destaquem els elements de continuïtat i ruptura. Els primers, la integració del territori físic, en relació a tota la ciutat; la continuïtat de la seva conceptualització com un districte industrial, incloent-hi l'adaptació dels edificis de la primera industrialització als nous usos i valorats com a patrimoni; tractant de mantenir a la població resident, i la introducció de nova infraestructura física i social, que proporcionen una equivalència amb tota la ciutat. Considerem que la configuració global de l'espai públic dissenyat per al 22@ és qualitativament positiva, fomentant la seva integració a les ciutat i la seva cohesió urbana. D'altra banda, comprovem una ruptura en l'entorn construït: sobretot en el pla vertical, l'intent d'introduir nous elements diferenciadors en els resultats paisatge urbà en una imatge trivial i, també, una trivialització dels recursos culturals. Sobre l'ambigüitat d'aquests resultats, valorem la integració del disseny d'aquests nous espais públics del Poblenou en una continuïtat històrica i territorial de tota la ciutat, destacant aquest aspecte d'excel.lència i representatiu de l'actual Barcelona.
La tesis doctoral presentada en las páginas siguientes examina cómo la transformación de la base económica de la ciudad de Barcelona tuvo un impacto transformador en su configuración física y por consiguiente su espacio público. Este fenómeno está ligado a procesos de regeneración urbana, comunes a las dinámicas que ocurren en otras ciudades. Consideramos que es importante analizar estos procesos pues nos permiten relacionar los supuestos económicos y políticos ron los resultados sobre el territorio. Más allá de este interés general, el caso de Barcelona tiene características específicas que hacen que destaque en relación con las operaciones desarrolladas en otras ciudades y que garantiza el compromiso de esta investigación. Caracterizando Barcelona como ciudad creativa, nos permite analizar la desindustrializadón y la posterior re-industrialización del Poblenou gracias al proyecto 22@, transformando las viejas industrias fabriles en las industrias relacionadas con el conocimiento, donde la cultura es predominante. Utilizamos una metodología innovadora consistente en la aplicación de un análisis multi-escala, en el espacio y en el tiempo, que incide en el ámbito de las políticas económicas y territoriales en el Poblenou. Para contextualizar el análisis, examinamos primero la evolución general de las políticas culturales en las ciudades, para articular el concepto de “ciudades creativas” con los procesos de regeneración urbana. Después, observamos el vínculo entre la evolución de los usos del territorio físico del Poblenou, así como el avance de las políticas culturales en Barcelona. Finalmente, profundizamos el estudio del proyecto 22@ Barcelona en su contexto general y, en particular, evaluamos el espacio público adyacente a los edificios destinados a las nuevas actividades productivas creadoras. Esto se muestra, a modo de ejemplo, en la intervención en Palo Alto, dado su proceso de transformación física, productiva y cultural. De esta apreciación del Poblenou, destacamos los elementos de continuidad y ruptura. Los primeros, la integración del territorio físico, en relación a toda la ciudad; la continuidad de su conceptualización como un distrito industrial, incluyendo la adaptación de los edificios de la primera industrialización a los nuevos usos y valorados como patrimonio; tratando de mantener a la población residente y la introducción de nueva infraestructura física y social, que proporcionan una equivalencia con toda la ciudad. Consideramos que la configuración global del espacio público diseñado para el 22@ es cualitativamente positiva, fomentando su integración en la ciudad y su cohesión urbana. Por otra parte, comprobamos una ruptura en el entorno construido: sobre todo en el plano vertical, con el intento de introducir nuevos elementos diferenciadores en el paisaje urbano que se traduce en una imagen trivial y, también, una trivialización de los recursos culturales. Sobre la ambigüedad de estos resultados, valoramos la integración del diseño de estos nuevos espacios públicos de Poblenou en una continuidad histórica y territorial de toda la ciudad, destacando este aspecto de excelencia y representativo de la actual Barcelona.

L’ambito della ricerca si riferisce al tempo, ai processi, alle pratiche e agli strumenti del design, espressi negli eventi progettati quali agenti di trasformazione nella relazione tra individuo, comunità e territorio. Il contesto è la città contemporanea entrata in un processo di mutazione continua, complice la crisi economico-finanziaria del 2007, e trasformata dagli effetti delle tecnologie abilitanti digitali, una condizione oggi amplificata dall’epidemia da Coronavirus. La grande crisi del capitalismo finanziario ha privato le pubbliche amministrazioni delle risorse e delle politiche di sostegno alla trasformazione urbana top down, mentre le tecnologie abilitanti hanno accelerato e reso inabili i tradizionali processi di relazione tra soggetti. La crisi attuale sta incentivando la migrazione dei comportamenti sociali dall’ambiente naturale verso l’ambiente virtuale, sostituendo l’esperienza fisica nello spazio-tempo della città con l’esperienza digitale, a vantaggio dell’incorporeità. I segnali deboli testimoni di questo processo di trasformazione sono l’emergere di piattaforme interattive che abilitano modelli in co-design di sviluppo, produzione, distribuzione e comunicazione, grazie a software open-source e licenze creative commons che incentivano processi di coinvolgimento bottom up. Queste modalità per creare e collaborare si fondano su metodologie mutuate dal design, su pratiche diffuse quali crowdsourcing e crowdfunding, su azioni informali ed eventi temporanei che contano sulle tecnologie abilitanti e sulla partecipazione di comunità di interesse. La ricerca si è sviluppata a partire da un regesto di casi internazionali per contestualizzarsi nell’esperienza delle grandi città italiane e infine passare alla applicazione sul campo nella città di Bologna, dove ho praticato l’esperienza di ricerca field in Bologna Design Week. L’ipotesi dimostrata è che gli eventi progettati possano essere uno strumento di riattivazione culturale e di cura delle comunità; una strategia di orientamento delle identità mutanti nella città contemporanea; un insieme di pratiche reiterabili di commoning design, creatività, tecnologie digitali e storytelling.
The research topic refers to time, processes, practices and tools of design, expressed in the designed events as agents of trans-formation in relation to the individual, the community and the territory. The context is the contemporary city affected by a process of continuous mutation, due to the economic and financial crisis since 2007 onward, and transformed by the effects of digital enabling technologies, whose changing condition has now ampli-fied by the Coronavirus epidemic. The great crisis of financial capitalism has deprived public administrations of resources and policies to support top-down urban transformation, while enabling technologies have accelerated and disabled the traditional processes of relationships between subjects. The current crisis is encouraging the migration of social behaviors from the natural environment to the virtual environment, replacing the physical space-time experience of the city within the digital experience, at the advantage of incorporeal. The weak signs witnessing this transformation process are the emergence of interactive platforms that enable co-design models for development, production, distribution, communication. Thanks to open-source software and creative commons licenses, they encourage bottom-up engagement processes. These techniques to create and collaborate are based on methodologies bor-rowed from design; on widespread practices such as crowdsourcing and crowdfunding; on informal actions and temporary events that rely on enabling technologies and the participation of communities of interest. The research developed from a record of international cases; up to contextualize the experience of large Italian cities. It finally moves on, assuming the city of Bologna as application field, where I experience the research topic through Bologna Design Week. The demonstrated hypothesis is that the designed events can be assumed as a tool for cultural reactivation and community care; as a strategy for orienteering changing identities in the contemporary city; as a set of repeatable practices of commoning design, creativity, digital technologies and storytelling.

This thesis examines the formation and governance patterns of the social and spatial concentration of creative people and creative business in cities. It develops a typology for creative places, adding the terms 'scene' and 'quarter' to 'clusters', to fill in the literature gap of partial emphasis on the 'creative clusters' model as an organising mechanism for regional and urban policy. In this framework, a cluster is the gathering of firms with a core focus on economic benefits; a quarter is the urban milieu usually driven by a growth coalition consisting of local government, real estate agents and residential communities; and a scene is the spontaneous assembly of artists, performers and fans with distinct cultural forms. The framework is applied to China, specifically to Hangzhou – a second-tier city in central eastern China that is ambitious to become a 'national cultural and creative industries centre'. The thesis selects three cases – Ideal & Silian 166 Creative Industries Park, White-horse Lake Eco-creative City and LOFT49 Creative Industries Park – to represent scene, quarter and cluster respectively. Drawing on in-depth interviews with initiators, managers and creative professionals of these places, together with extensive documentary analysis, the thesis investigates the composition of actors, characteristics of the locality and the diversity of activities. The findings illustrate that, in China, planning and government intervention is the key to the governance of creative space; spontaneous development processes exist, but these need a more tolerant environment, a greater diversity of cultural forms and more time to develop. Moreover, the main business development model is still real estate based: this model needs to incorporate more mature business models and an enhanced IP protection system. The thesis makes a contribution to literature on economic and cultural geography, urban planning and creative industries theory. It advocates greater attention to self-management, collaborative governance mechanisms and business strategies for scenes, quarters and clusters. As intersections exist in the terms discussed, a mixed toolkit of the three models is required to advance the creative city discourse in China.

The arts and cultural sector has come under even more financial strain than it previously was, as it has to compete with other sectors of the economy for the very limited public funding that is available. It is in this context that the economic impact, and the role, of the arts and cultural sector towards advancing economic growth and development, needs be examined. This thesis investigates the potential for the positive impact of the cultural and creative industries (CCIs) on growth and development of small cities and towns. Furthermore, it also provides guidelines for the development of regional cultural policy in small cities and towns. The CCIs have also been touted as a catalyst for economic growth and economic development, hence the global rise in their interest. For example, the CCIs have been used to redevelop and revive urban areas that have been rundown. CCIs, however, tend to develop in clusters, and additionally, they cluster around large cities. However, the lack of reliance of some CCIs on long supply chains or high-technology inputs may make them suitable candidates for investment in small cities and towns. Additionally, the link that small cities and towns have with rural and isolated areas makes them potential engines for driving growth, development, as well as employment creation for these areas, given their decline as a result of the transition from the traditional agricultural economy, to the knowledge economy. As CCIs have the propensity to drive government’s macroeconomic objectives such as efficiency, equity, economic growth and job creation, it is necessary to develop cultural policy that regards this. The tendency of CCIs to cluster and develop around large cities inevitably means that very little research into cultural policy directed towards regions without large cities and towns has been done. By the same token, very little research has also been conducted on how to craft cultural policy for such areas. In order then, for cultural policy for regions without large cities and towns to be developed, it is necessary to investigate, and provide, guidelines on, how to develop cultural policy for such regions. As a case study, the Sarah Baartman District Municipality (SBDM) in the Eastern Cape was chosen. The SBDM has no large cities and towns, but the District Municipality has identified the CCIs as a potential growth sector, and is in the process of developing a regional cultural policy. The area also includes Grahamstown, which not only hosts the National Arts Festival, which is the largest arts event of its type in Africa, but is also piloting the “Creative City” project in South Africa. An audit and mapping study was conducted on the CCIs in the SBDM; this was based on a national mapping study commissioned by the Department of Arts and Culture. Further internet searches, as well as consultations with the provincial and regional Department of Arts of Culture, coupled with snowball sampling, also aided in the identification of CCIs, and consequently, the “creative hotspots” within the SBDM. Two random samples of stakeholders were chosen; the CCI owners and practitioners, as well as key stakeholders such as government officials, and interviews conducted with both groups, in order to get a first-hand perspective on the operations, activities, challenges, and opportunities that are faced by the CCIs. The study found that there were at least 441 CCIs in the SBDM, with two local municipalities (Dr. Beyers Naude and Makana) hosting the largest share of these (145 and 113 CCIs in each local municipality respectively), which indicates some support for the ‘clustering’ theory. It was also found that the local municipalities that had the largest number of CCIs also experienced better socio-economic welfare. Furthermore, based on the UNESCO Framework for Cultural Statistics (FCS) domains, the Visual Arts and Crafts; Information, Books and Press; and, Cultural Heritage domains were the largest domains represented in the SBDM. It was concluded that cultural policy that is developed, ought to take advantage of, and build on, these existing clusters, as well as the domains that are most prevalent in the region. To demonstrate the impact of cultural festivals on growth and development, a socio-economic impact study was undertaken at the 2016 National Arts Festival (NAF) in Grahamstown. Face to interviews, as well as self-completion questionnaires were used, with respondents at different venues, attending a variety of shows, and across a range of demographics, being interviewed, in order to get a representative sample of Festival attendees. It was found that the economic impact of the 2016 NAF on the city of Grahamstown was R94.4 million. Over and above the economic value of the NAF, it was also found that there were nonmarket benefits (social and intrinsic values) of the NAF, that included audience development, education of the arts and culture, social cohesion, and community development. The inability to directly track and measure social and intrinsic values proved to be a challenge. The study concluded that in order for successful cultural policy to be developed in regions without large cities and towns, it is first necessary to carry out a study to identify what resources are present, and where they are. Locating resources enables cluster identification - as clusters encourage comparative and competitive advantage, it is worthwhile to invest in areas where there are clusters. Therefore, in the allocation of scarce public funds, cultural policy needs to guide investment in to areas where established clusters indicate existing comparative advantage. In terms of equity and transformation, it is also necessary to evaluate labour markets and ownership patterns when developing cultural policy. Beyond the analysis of physical and human resources, the study also found that a crucial step towards developing successful cultural policy is identification of opportunities and challenges faced by the practitioners themselves; the policy ought to capitalise on the opportunities, whilst attempting to correct the challenges faced. Also of importance is aligning the proposed policy and its objectives with regional, provincial and national aims and objectives. Finally, it is important to include a monitoring and evaluation tool that will evaluate the performance of the policy against its stated aims and objectives.

Tese de Mestrado em Comunicação Social
A criatividade tem vindo a assumir-se como uma componente primordial para o crescimento económico, sendo reconhecido o seu valor no contexto de diferentes profissões e atividades. A música, enquanto forma de representação da identidade cultural, contribui ativamente para a construção da identidade nacional, vinculando-a através dos seus artistas e criações. No quadro da The Creative Cities Network, da UNESCO, e tendo por base a dinamização do sector das “Industrias Criativas”, procedeu-se à identificação das condições base para a preparação de uma futura proposta de atribuição do selo "creative city" à cidade de Lisboa, no sector da música. Foi analisado um conjunto de estudos de carácter científico e estatístico, acerca da performance económica das Indústrias Criativas em Lisboa. Os resultados sugerem que Lisboa reúne as condições materiais, os recursos humanos e técnicos e os espaços físicos para se posicionar como uma cidade criativa, atuando como cluster musical. O Selo poderá promover a internacionalização e a capacidade competitiva da economia da cidade, numa escala regional e global. Paralelamente, este projeto abarca uma componente multimédia de criação de um mapa interativo, aberto e acessível a todos, para consulta dos espaços culturais em Lisboa, lançando as bases para um serviço de geo-localização, tagging e agenda, como complemento a Lisboa enquanto membro desta rede.
Creativity has been defining itself as a major factor towards economic development, and its value has been recognized in the context of different jobs and activities. Music, as a representation of cultural identity, actively contributes to the construction of the national identity, conveying it through its artists and creations. As part of The Creative Cities Network, of UNESCO, and based on the dynamics of the sector of "Creative Industries", the identification of the basic conditions for the preparation of a future proposal for awarding the Tag of "creative city" to the city of Lisbon, in the music sector, was accomplished. A set of studies of scientific and statistical character was analyzed, about the economic performance of the Creative Industries in Lisbon. The results suggest that Lisbon has the conditions, human resources and technical and physical spaces to position itself as a creative city, acting as musical cluster. The Seal could promote the internationalization and competitiveness of the city's economy, both at regional and global scale. In addition, this project includes a component of multimedia creation of an interactive map, open and accessible to all, for consultation of cultural spaces in London, laying the foundation for a service of geo-location, tagging and agenda, as a complement to Lisbon while member of this network.

Over the last decade, emergence and popularity of the creative city has generated considerable interest in the significance of arts and culture to economic and community development. In this context, artists and cultural facilities are considered essential assets contributing to creativity and innovation by attracting skilled workers and business investments, revitalizing inner city industrial areas, and discursively reimagining and rebranding the city through cultural events and large-scale cultural infrastructure projects. This research examines the effects of regulations on the creation and operation of artist-run centres and independent arts facilities as essential sources of cultural production and creativity in Vancouver, British Columbia. Drawing on a series of in-depth, semi-structured, face-to-face interviews with the founding members, administrators, directors/curators, and/or primary operators of twelve artist-run facilities in Vancouver, research examines how artists and arts administrators experience the process of achieving bylaw and regulatory compliance to manage and sustain the operations of non-profit and independent arts spaces in a post-industrial context of policy implementation and urban redevelopment. Research addresses the strategies artists’ employ to achieve bylaw and regulatory compliance, as well as the contributions these spaces make to the cultural fabric of the creative city. Finally, research examines artists’ primary motivations for continuing their creative practices in increasingly challenging arts market and policy context. Research findings reveal that while non-profit and independent arts spaces contribute to both community revitalization and artistic development, issues pertaining to the urban planning and policy limit their community and economic development potential. As a result, this paper calls for a constructive and collaborative approach to enabling cultural facilities development within local government, and a re-conceptualization of the creative city planning agenda to include both the cultural products of creative industries and the diverse cultural experiences of non-profit and independent arts organizations beyond their economic and commercial development imperatives.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
The idea of the creative city emerges as the fruit of the post-industrial era, when cities needed to reinvent themselves from a strategic relationship with creativity, specifically with the creative industry and the creative economy. The formulation of those expressions, first raised by the australian government and later by the british, discussed the value of art and culture through those which were possible the creation of jobs and wealth production. The United Nations, through UNCTAD and Unesco, incorporated in their discourses and policies the importance of the development of the urban environment ordered by creativity. Its intention was embodied after the launch of the Unesco Network of Creative Cities in 2004, platform that established a commitment to invest in creativity and culture as a strategic factor for "sustainable" urban development. In order to understand this dynamic that uses culture as an urban management strategy, the Network's research from the perspective of the five Brazilian cities - Florianópolis and Curitiba, with the insertion in 2014, and the cities of Belém, Santos and Salvador, in 2015 - allowed to identify the strategies that configure this program and, also, the nuances of each one. The idea was based on the investigation of application forms, information in electronic media and digital files. The research rethinks that the discourse of the creative city is closer to the image bias, economic and political than the ideal model of a post-industrial city, as some theorists claim. Possibly, the creative city is only a reflection of an image that began in the economy and was diluted in the discourse of managers, possessing the Nation-State as controlling agent.
ideia da cidade criativa surge como fruto da era pós-industrial, época em que as cidades precisavam se reinventar a partir de uma relação estratégica com a criatividade, especificamente com a indústria criativa e a economia criativa. A formulação de tais expressões, colocadas em questão, primeiramente pelo governo australiano e depois pelo britânico, discutiu acerca da valorização da arte e da cultura, por meio das quais eram possíveis a criação de empregos e a geração de riqueza. As Nações Unidas, por meio da UNCTAD e da Unesco, incorporaram, em seus discursos e políticas, a importância do desenvolvimento do meio urbano ordenado pela criatividade. Sua intenção se corporificou após o lançamento da Rede de Cidades Criativas da Unesco, em 2004, plataforma que firmou o compromisso em investir na criatividade e na cultura como fator estratégico para o desenvolvimento urbano “sustentável”. Com o objetivo de compreender essa dinâmica que utiliza a cultura como estratégia de gestão urbana, a investigação da Rede pela perspectiva das cinco cidades brasileiras – Florianópolis e Curitiba, com a inserção em 2014, e as cidades de Belém, Santos e Salvador, em 2015 – permitiu identificar as estratégias que configuram esse programa e, também, as nuances de cada uma. A ideia partiu da averiguação de formulários de candidatura, de informações em meios eletrônicos e arquivos digitais. A investigação faz repensar que o discurso da cidade criativa está mais próximo do viés imagético, econômico e político, do que de um modelo ideal de cidade pós-industrial, como alguns teóricos afirmam. Possivelmente, a cidade criativa seja apenas reflexo de uma imagem, que se iniciou na economia e diluiu-se no discurso de gestores, possuindo o Estado-Nação como agente controlador.

This is an interdisciplinary, mixed-method thesis that explores contemporary curation as a means to creatively activate heritage collections and places. The central case study is Ballaarat Mechanics’ Institute (BMI), in Ballarat, Australia, where practice and action-led research was undertaken by the curator over the three-year period 2016–2019. Creative connections between five interlinked areas are critically examined: heritage; curatorial practice, by which heritage sites, collections and experiences are managed; historic cultural organisations; their city contexts; and the ways in which such cultural work is valued. The framework for analysis encompasses museology, critical heritage, and approaches to cultural value. Contemporary urban Mechanics’ Institutes (MIs) are placed in the museum context both through historic parallels and their contemporary positioning in the GLAM (galleries, libraries, archives and museums) industry sector. This is in order to ask how heritage collections, and the organisations that house and present them, can creatively connect with the publics they serve with greater connectivity and relevance. Exhibitions and events held at BMI within Ballarat city are treated as case studies. Together with qualitative interviews with staff in the Ballarat GLAM sector and urban MIs, insights derived illuminate the role and challenges of such cultural organisations in the twenty-first century. It is argued that, when employing the practice and energy of the curator, creative activations have the potential to open new points of entry to, and provide alternative perspectives upon, heritage places and collections. This is achieved through arts practice, organisational thinking, and bringing to life the links between past, present and future. In this process, new and dynamic measures of value can be explored and create dialogic encounters between people, heritage and ideas.
Doctor of Philosophy

Thesis (M.C.P.)--Massachusetts Institute of Technology, Dept. of Urban Studies and Planning, 2010.
Cataloged from PDF version of thesis.
Includes bibliographical references (p. 101-105).
In this thesis, I compare workforce development planning in Lawrence and Lowell, Massachusetts, two of the state's older industrial "Gateway" cities. I specifically examine local planning processes around job creation in the clean technology (clean tech) sector. Contradicting the notion of the cities as "urban twins," I find that Lawrence's original physical and social design led to a pattern of economic disinvestment and a deficit of municipal planning capacity compared to Lowell. Today, Lawrence experiences the resulting disadvantage when it competes with Lowell for clean tech economic development funds. I argue that state and federal policymakers should recognize critical differences that exist among even the seemingly most similar communities and implement strong, place-based programs so that investments in green workforce development do not perpetuate the historic inequities that cities such as Lawrence face. I conclude by proposing a networked planning strategy that, with stimulus from the state and federal governments, could help Lawrence and Lowell to leverage more effectively and collaboratively their respective assets in support of a regional green economy.
by Marianna Leavy-Sperounis.
M.C.P.

Smart cities are seen as the answer for specific problems, that we will face in the future: overpopulation, shortage of resources, demographic change, etc. At the same time more people than ever will live in cities. This creates huge difficulties for governmental institutions on the one side, but also profit promising opportunities for companies on the other. This thesis will have a close look at this tension and unpack the vision of the smart cities, as they are created with the help of integrators and service companies. Through the lens of Critical Design, it will result in a fictional artifact to trigger the imagination and a debate about a possible future in which corporate interests changed the relationship between the city and its citizens.

Cultural and creative industries (CCIs) clusters have been a privileged policy approach to expand urban and economic development in Eastern Asian cities, such as Singapore, Hong-Kong, Shang-Hai and Taipei. Most CCIs clusters examples in Eastern Asian cities, combine both urban planning and economic rationales and take the form of mega-projects and various initiatives. These restricted economic and planning approaches generate debates on the effects of cluster policy on the development of CCIs in Eastern Asian cities because policy-makers emphasize the economic effect of CCIs, but neglect the local contexts in terms of existing and potential markets and consumption levels. The thesis presents a more holistic approach including cultural, economic and planning components to assess the effectiveness of a bottom-up initiative Hua-Shan Cultural Park and a top-down initiative NanKang Software Industrial Park in Taipei. The research is based on a longitudinal approach and discusses the perspectives of the various actors involved in this initiative over time: the cluster operators, the policy makers and the CCIs representatives (including individual workers, companies and NGOs). By contrasting these different perspectives, this article demonstrates the types of issues, conflicts and compromises that can happen during the implementation process of cluster policies as well as potential emerging collaboration and impacts on CCIs actors. This thesis concludes by exploring the implications of taking into account the local contexts when implementing such policies and further suggests ways for policy makers to better do so in Eastern Asian cities.

Thesis (Ph. D.)--University of California, San Diego, 2007.
Title from first page of PDF file (viewed August 6, 2007). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references.

No arco da última década e meia, uma confluência de fatores de impacto mundial tem originado novos entendimentos e organizações de ordens econômica e urbana. Insere-­-se nesse quadro a eclosão dos debates acerca da \"economia criativa\" e, de forma mais recente, da \"cidade criativa\". No Brasil, ainda há parca bibliografia a respeito de ambos os temas e dos benefícios que poderiam gerar ao contexto urbano. A presente tese responde fundamentalmente a duas questões: caracterizar o que seria uma cidade criativa e analisar se São Paulo pode ser caracterizada como uma. Para tanto, unem-­-se neste trabalho revisão conceitual; cunhagem de um conceito norteador de cidade criativa; experimentação de sua aplicabilidade a três cidades; e uma análise prática da aderência desse conceito à cidade de São Paulo, sob dois recortes: de forma abrangente; e de modo aprofundado, tendo as artes plásticas contemporâneas como instrumento de estudo.
Over the past fifteen years, a convergence of factors of global impact has motivated new understandings and organisations of economic and urban order. This is the background leading up to the emergence of the \"creative economy \" and, more recently, the \"creative city\". In Brazil, the bibliography of both subjects is still scarce, the same applying to their potential benefits to the urban context. The present thesis aims to respond fundamentally to two questions: to draw the features of a creative city and to analyse if São Paulo could claim to be one. Therefore, this work encompasses a conceptual review; the proposal of a driving concept of creative city; an experimentation of its suitability to three cities; and a practical analysis of its adherence to the city of São Paulo, at two levels: comprehensive and in-­-depth, using contemporary art as a tool for analysis.

This thesis discusses the role and function of the temporary use of urban space within the context of the development process and urban regeneration across the core cities of England. The research utilises the concept of gaps in the cycle of utilisation in land and property to develop a single structured analytical framework to assess the relationship between disuse, interim development as a means to alleviate vacancy and the property development industry. In doing so it attempts to extend existing efforts to interpret temporary urban development by exploring what the thesis comes to define as 'extraordinary' and 'ordinary' forms of short-term reuse. An exploratory, mixed method and multi-scalar approach is used to discuss this dichotomy. Research findings, through a national landscape of the phenomenon of temporary development in the core cities, highlight the characteristics of high profile compared to everyday temporary solutions. In doing so, it exposes the limited frequency of landmark interim solutions in comparison to their more mundane counterparts over a fifteen year period (2000-15). Set against this contextual and temporal backdrop, extraordinary temporary uses are demonstrated to be a marginal but emerging practice of land and property re-use, associated in particular with the aftermath of the financial crisis of 2007-08. Subsequent testing of the spatial distribution and patterning of temporary uses in two selected cities - Bristol and Liverpool - revealed that landmark interim solutions were more commonly centralised in cities than everyday versions, with disproportionately large shares in principal regeneration areas. Through a programme of interviews with key regeneration and development actors, connectivity to urban renewal was shown to be dependent on how the shape and form of local development processes evolve and how regeneration actors' outlooks on temporary use vary over time, as institutional agendas shift and urban economic circumstances change. The thesis explores this shift in the function and emphasis of temporary development in England's second tier cities, from ordinary, everyday forms toward cultural-creative, extraordinary solutions, to discuss the implications of employing high profile short-term uses as mechanisms to incentivise regeneration. Here, the use gap framework developed in this research is shown to be a useful method for conceptualising the rationale behind the variation in stakeholder perspective on temporary development. The model highlights how fluctuating externalities and the interrelating variables of risk, value and time can affect responses taken toward temporary development by the development industry, elucidating a more complete understanding of the role and function of temporary urbanism amongst the wider (re)development process. Ultimately, this thesis argues that while the consensus on temporary use is that it is an effective tactic to assist in the continuation of regeneration, it can also leave some temporary users exposed to the vicissitudes of the market. Extraordinary users bear a disproportionate share of the potential risks associated with development, often without commensurate reward. This illustrates how temporary use can engender opportunity for creativity and innovation as part of the regeneration process, but also, demonstrates how risk-shifting rationalities in the development industry can mean that economic, social and political costs accrue inordinately for temporary users. The research specifies that recognition of the locally specific and multi-dimensional nature of the development process and appreciation of the complexity of the interrelationships between the actors involved are of critical importance in any attempt to understand the role and function of temporary use. It concludes that by understanding the evolution of local structures and actions, over time and across space, the nature and form of temporary development can be better appreciated and strategies to successfully manage it developed.

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O presente trabalho pretende dedicar-se a discussão dos elementos que compõem a economia criativa, para tanto, utiliza diferentes conceitos de criatividade, indústrias criativas e cidades criativas. O termo economia criativa surgiu em 2001 com o livro de John Howkins, mas a idéia básica foi apresentada no estudo Creative Nation realizado pelo governo australiano em 1994. A partir de então, diversos países têm adotado o conceito como instrumento de fomento ao desenvolvimento econômico e social. Assim, a associação da economia criativa a uma economia voltada ao desenvolvimento está ligada, portanto, ao reconhecimento de que a criatividade humana pode ser um ativo econômico (REIS, 2012). Diferentes países e regiões podem utilizar essa abordagem com o objetivo de alcançar efeitos positivos sobre o emprego e como ferramenta para a promoção da inclusão social. A discussão é recente no Brasil, um dos estudos pioneiros foi desenvolvido pela Federação das Indústrias do Estado do Rio de Janeiro (FIRJAN), intitulado “A Cadeia da Indústria Criativa no Brasil”. A partir desse trabalho e do banco de dados da Secretaria de Turismo, Trabalho e Renda – SETGER da prefeitura de Vitória foi possível desenvolver um estudo espacial dos empreendimentos criativos para Vitória -ES. Concluiu-se, então, que a desconcentração dos empreendimentos criativos nas diferentes regiões do município deve ser um dos objetivos buscados para que a cidade se transforme em um espaço mais colaborativo e coeso.
The present work intends to engage in discussion of the elements that make up the creative economy, therefore, uses different concepts of creativity, creative industries and creative cities. The term creative economy appeared in 2001 with the book of John Howkins, but the basic idea was presented in the Creative Nation study conducted by the Australian government in 1994. Since then, several countries have adopted the concept as an instrument to promote economic and social development. Thus, the combination of a creative and a development economy is linked, therefore, to the recognition that human creativity can be an economic asset (Reis, 2012). Different countries and regions can use this approach with the objective to achieve positive effects on employment and as a tool for the promoting social inclusion. The discussion is recent in Brazil, one of the pioneering studies was developed by the Federation of Industries of the State of Rio de Janeiro ( FIRJAN ) entitled "The Chain of Creative Industry in Brazil". From that job and the database of the Department of Tourism, Work and Income from the City of Vitória was possible to develop a spatial study of creative enterprises to the county. Then it was concluded that the deconcentration of creative enterprises in different regions of the municipality must be one of the goals pursued for the city to become a more collaborative and cohesive space.

Through my Creative Non-Fiction Writing thesis, I have attempted to challenge the boundaries of the genre, after D’Agata and the works of other contemporary creative non-fiction writers. However, I have also challenged the boundaries of our own frame for reality that defines the human experience. As I began writing this, I asked myself: can we write about spaces or do we write spaces ourselves, interlacing the city into an imagined space? I didn't realize that I had forgotten the most important question of all: do spaces write us? These stories are predominantly about my search for “authentic” space, for the “real” city—and I have tried to challenge the idea of authenticity through the style of my writing, in addition to the narratives, lyric essays, and arguments in my thesis. I’ve lived in six cities over the past five years, and yet, each time, in the end, I return to Munich. There is something about the urban fabric there, a tear I can sense, or perhaps it is inside of me, waiting to be filled. And somewhere along the way, I started to have this idea that I could write about this city, collecting the pieces of my experiences. I was left with a collage of moments, moments of a city that was mine—not knowing that the city is bigger than any of us, a character that cannot be captured by any means. Not knowing the impact the city might have on me.

Work on urban renewal internationally focuses on a vast range of topics, including gentrification, increased criminalization of poverty, rent-seeking behaviour, and neoliberal urbanism. These arguments tend to centre the interests and actions of certain actors, prioritize certain forces (such as economic ones), and thus tend to predict a particular set of outcomes. In adopting a southern urbanist epistemology, and Jennifer Robinson’s reimagined comparativism through a reconceptualized 'case’, this research shows how predominant assumptions regarding the drivers and outcomes (both social and physical) of urban renewal do not necessarily apply in the case of Braamfontein, an instance of urban renewal in Johannesburg, a post-apartheid city in the south. The findings examined here include policy narratives and empirical referents to culture-led strategies of urban renewal and ways in which they speak less to market-orientated objectives, and more to socio-political ones; how the findings in Braamfontein speak to literature on gentrification, studentification, and youthification, showing that urban renewal and gentrification are not the same processes, and that studentification does not necessarily lead to youthification or gentrification; how attempts to suppress informal trade have led to the proliferation of iterant strategies on the part of hawkers, and have in turn led to enhanced relationships between informal traders and the formal economy; and, finally, how the presence of communities self-identifying as foreign or gay are shown to be driven by forces other than those that the literature typically predicts.

In the novel Elvis Plays Texas, which is my Thesis project to meet the requirements for a Master of Fine Arts in Creative Writing/Fiction, a little town in far, far West Texas and its people are having a very difficult time and facing what promises to be a bleak future—a long, long drought has exhausted their water supply, oil has peaked and turned down, “fracking” threatens their way of life, friends and family and neighbors are loading up and leaving town. Then, Elvis Presley shows up. It’s the 40th anniversary of the day he died, August 16, 1977, and he, spiritually though appearing in every way to be flesh and blood, is visiting those who’ve continued believing in him and to whom he had been particularly important during their younger lives. My own long history in that part of the country has played its considerable role in informing the setting, the tone, the atmosphere. These are the kinds of characters—strange birds all—I grew up with. The country is the southwestern desert, hot, dry, empty, big sky—the kind of neighborhood that lends itself to oddities like Elvis throwing a benefit concert to help them out of the economic ditch.

My foray into location based gaming started because as a web designer, I felt that I wanted to expand my practice from one that consisted of straightforward interface design, to one that encompassed a wider variety of skills by improving on my knowledge and expertise in the burgeoning field of interaction design. This allowed me at the same time, to incorporate other aspects of design that include the usercentred design of tools for collaboration, content creation and community creation. I take a particular interest in the opportunities afforded by the convergence of web and game based technologies, especially when mobile interaction is afforded by such convergences. This exegesis describes the theoretical underpinnings that have informed the creation of a series of graphical interfaces that serve to bridge the gap between system capabilities as envisaged by the developers and a user's experience facilitated by an interface. The actual research into creation of the interface was preceded by an exploration of the field of location based gaming from which the initial area of interest was derived. Due to the fact that location based gaming is still an emerging field, it required the creation of a custom taxonomy for the works to be systematically separated into their various elements for analysis. The taxonomy to be created involved the combination of three smaller individual taxonomies in a way that has not been attempted previously and in a way that would give a balanced account of what makes up a location based game. The area of interested identified was how location based games might be made more readily available for a wider audience. Cipher Cities, which was a system in development at the time, was one that was already designed for such an application, but now required an interface that would appropriately represent what it aimed to achieve. I joined the team as their interface designer and it became clear that due to the location centric nature of the game, the only feasible way to go about democratising the participation in such games was to make it easy for people to build their own. The issue that arose was how an interface could encourage the creation of as well as participation in location based games. This required reference from current Web 2.0 applications that use members as creators of content as well as research into the theories behind community building, content creation and distribution in support of such an interface. These theories were put into practice and implemented before being evaluated and verified through a series of user testing sessions that served to refine the system in terms of user interface design and system functions. The result of the research is the first interface ever created that works to support a system for the creation of location based games by the public. More importantly, it is a robust, interface that is attractive as well as usable.

My foray into location based gaming started because as a web designer, I felt that I wanted to expand my practice from one that consisted of straightforward interface design, to one that encompassed a wider variety of skills by improving on my knowledge and expertise in the burgeoning field of interaction design. This allowed me at the same time, to incorporate other aspects of design that include the usercentred design of tools for collaboration, content creation and community creation. I take a particular interest in the opportunities afforded by the convergence of web and game based technologies, especially when mobile interaction is afforded by such convergences. This exegesis describes the theoretical underpinnings that have informed the creation of a series of graphical interfaces that serve to bridge the gap between system capabilities as envisaged by the developers and a user's experience facilitated by an interface. The actual research into creation of the interface was preceded by an exploration of the field of location based gaming from which the initial area of interest was derived. Due to the fact that location based gaming is still an emerging field, it required the creation of a custom taxonomy for the works to be systematically separated into their various elements for analysis. The taxonomy to be created involved the combination of three smaller individual taxonomies in a way that has not been attempted previously and in a way that would give a balanced account of what makes up a location based game. The area of interested identified was how location based games might be made more readily available for a wider audience. Cipher Cities, which was a system in development at the time, was one that was already designed for such an application, but now required an interface that would appropriately represent what it aimed to achieve. I joined the team as their interface designer and it became clear that due to the location centric nature of the game, the only feasible way to go about democratising the participation in such games was to make it easy for people to build their own. The issue that arose was how an interface could encourage the creation of as well as participation in location based games. This required reference from current Web 2.0 applications that use members as creators of content as well as research into the theories behind community building, content creation and distribution in support of such an interface. These theories were put into practice and implemented before being evaluated and verified through a series of user testing sessions that served to refine the system in terms of user interface design and system functions. The result of the research is the first interface ever created that works to support a system for the creation of location based games by the public. More importantly, it is a robust, interface that is attractive as well as usable.

Nos tempos atuais, cada vez mais tem se discutido sobre a importância da Economia Criativa para países e regiões. De fato, praticamente toda atividade humana utiliza-se em alguma medida da criatividade, por isso, existe um movimento nos últimos anos para reconhecer em determinadas atividades conteúdo intelectual, cultural e artístico que agregam valor a bens e serviços. A partir dos anos 2000 surgiram diversas metodologias cujo objetivo era mensurar a Economia Criativa, isso despertou grande interesse dos governos locais e nacionais, pois isso poderia ser usado para direcionar esforços e investimentos públicos com a finalidade de alavancar o desenvolvimento econômico local. Dentre as metodologias lançadas, uma das primeiras, o Índice das Cidades Criativas desenvolvido por Richard Florida gerou grande repercussão na comunidade acadêmica e civil com a utilização de diversos indicadores divididos em três dimensões, Talento, Tecnologia e Tolerância (os 3 Ts). Diversas outras metodologias desenvolvidas posteriormente com o objetivo de mensurar a Economia Criativa foram fortemente influenciadas pela estrutura dos 3 Ts. Contudo, existe uma grande dificuldade para replicar qualquer uma dessas metodologias para as cidades brasileiras, em razão de diversos motivos, dentre eles a inexistência de dados públicos referentes aos indicadores utilizados. Com o objetivo de equacionar essa dificuldade, esse trabalho se propôs a identificar, a partir de quarto indicadores internacionais pré-selecionados, quais os dados que serão utilizados e compará-los aos existentes no Brasil, através da proposta de um índice chamado de Índice da Economia Criativa Brasileiro (IECBr). Após essa análise, foram escolhidas sete cidades (São Paulo, Rio de Janeiro, Curitiba, Brasília, Salvador, Fortaleza e Belém) para medir a Economia Criativa dessas regiões. Após o cálculo do IECBr foram utilizadas duas ferramentas estatísticas, o Coeficiente de Correlação de Pearson e a Análise de Clusters. A primeira ferramenta mostrou que existiam alguns indicadores contrários aos demais indicadores da mesma dimensão, por isso, optou-se por calcular novamente o índice sem esses indicadores. Por fim, foi utilizada a segunda ferramenta estatística para mostrar que as cidades escolhidas formariam dois grupos distintos, um grupo contendo as cidades do Sul e Sudeste do país e outro contendo as cidades das outras regiões.
In current times, the discussion around the importance of the creative economy for countries and regions has become notarial high. In fact, virtually all human activity has been used the creativity in some way, so there has been a movement in recent years to recognize certain activities in intellectual, cultural and artistic content that can add value to goods and services. Beginning in the 2000s, several methodologies emerged with the objective of measuring the Creative Economy, bolstered by high levels of interest on the part of local and national governments that are saw an opportunity to use direct efforts and public investments in order to boost local economic development. One of the first methods launched, the Index of Creative Cities, developed by Richard Florida, has generated significant repercussions in both the of academic community and civil society with the use of different indicators divided into three dimensions: Talent, Technology and Tolerance (the 3 T\'s). Several subsequent methodologies, with a similar goal of measuring the Creative Economy, were strongly influenced by the structure of the 3 T\'s. However, great difficulties are encountered when attempting to apply any of these methodologies to Brazilian cities, due to several reasons, most notably the lack of public data relevant to the indicators used. To mitigate this issue, this project aimed to identify, based on four international indexes previously selected, which data could be used to compare against the ones existing in Brazil, by proposing an index called the Brazilian Creative Economy Index (IECBr). After this analysis, we selected seven cities (São Paulo, Rio de Janeiro, Curitiba, Brasilia, Salvador, Fortaleza and Belem) to measure the Creative Economy. Two statistical tools were used, the Pearson correlation coefficient and Cluster Analysis. The first tool revealed that there were some indicators contradicted other indicators of the same dimension, so it was decided to recalculate the index without these indicators. Lastly, the second statistical tool showed that the chosen cities formed two distinct groups, one group consisting of Southern and Southeastern cities and the other consisting of all other regions.

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Conselho Nacional de Desenvolvimento Científico e Tecnológico
The term creative cities has first appeared in a Brazilian government policy, specifically in the Plan of the Secretariat of the Creative Economy: policies, guidelines and actions, 2011-2014, as a new urban planning strategy based on the revitalization of specific parts of the city and the creation of creative territories. The purpose of this thesis is to analyze the formation of the creative city concept in Brazil, as well as the mechanisms of power involved. The research problem focuses on what the statement creative cities hidden, namely the fact that it is an improvement of neoliberal rationality applied in space. LEFEBVRE (1996), Virilio (1999) and HALL (2013) were essential to think about the different forms of organization of cities and their renovation projects; while FOUCAULT and AGAMBEN grounded the inclusion of biopolitics in this discussion. The hypothesis of the thesis is that the creative class has a particular status in the cities, reinforcing the image of creative cities as open, cosmopolitan, young, culturally interesting and transforms urban centers like São Paulo, Berlin, New York, Barcelona in a fetish and lifestyle in commodity, collaborating with the thought and with the neoliberal system. The research methodology includes a bibliographic review on the topic of economics and creative cities and an analysis of experiences based in other space-time usage possibilities of using, from coordinated actions of reappropriation of idle spaces by small groups or collectives. The expected result is to collaborate with the criticism of the naturally positive valued idea of creativity that has invaded the big cities, acting from gentrification and thanatopolitics
O termo cidades criativas apareceu pela primeira vez numa política governamental Brasileira no Plano da Secretaria da Economia Criativa: políticas, diretrizes e ações, 2011 a 2014, como uma nova estratégia de planejamento urbano baseada na revitalização de pontos específicos da cidade e na criação de territórios criativos. O objetivo desta tese é analisar a formação o conceito de cidade criativa no Brasil, assim como, os mecanismos e dispositivos de poder envolvidos. O problema da pesquisa concentra-se naquilo que o enunciado oculta, a saber, o fato de se tratar de um aperfeiçoamento da racionalidade neoliberal plicada no espaço. LEFEBVRE (1996), VIRILIO (1999) e HALL (2013) foram essenciais para pensar as diferentes formas de organização das cidades e seus projetos de reforma; enquanto FOUCAULT e AGAMBEN, fundamentaram a inserção da biopolítica nessa discussão. A hipótese da tese é que a classe criativa possui um status particular nas cidades, reforçando a imagem das cidades criativas como ambiente aberto, cosmopolita, jovem, culturalmente interessante e transforma centros urbanos como São Paulo, Berlim, Nova Iorque, Barcelona em fetiche e o estilo de vida em commodity, compactuando com o pensamento e com o sistema neoliberal. A metodologia da pesquisa compreende uma revisão bibliográfica sobre o tema da economia e das cidades criativas e uma análise de experiências que se baseiam em outras possibilidades de uso do espaço-tempo, a partir de ações coordenadas de reapropriação de espaços ociosos por pequenos grupos ou coletivos. O resultado esperado é colaborar com a crítica à ideia naturalmente positivada de criatividade que tem invadido as grandes cidades, agindo a partir da gentrificação e da tanatopolítica

This research investigates what type of actors and organisations are involved in achieving the goal of providing more sustainable high quality urban regeneration in England. The research draws on three key strands of literature including sustainable urban development, development processes and governance. The research gap is where these three strands come together. The thesis explores these issues through the use of case studies in Hafencity (Hamburg) and 22@ (Barcelona) alongside consideration of major projects in England. The main findings of the research show that the continental case studies place stronger emphasis on proactive public sector management of projects (‘positive planning’) than would normally be the case in England. The public sector is able to lead the projects for reasons including land ownership, the planning system, skills in the planning department, use of a local development agency and a more positive and collaborative approach between the public and private sectors involving the appropriate use of power, partnerships and networks. This approach permits greater emphasis to be placed on long term / sustainability issues and helps to balance public interest and private sector gain, both of which could be of interest in the context of achieving more sustainable urban regeneration in England.

Master of Regional and Community Planning
Department of Architecture
Jason Brody
This report examines the use of bicycling as a transportation alternative to the personal automobile in the United States. It begins with a review of historical trends that caused Americans to move away from bicycling for transportation and choosing to adopt automobiles as the primary mode of transportation. A review of articles, reports, and studies is used to consider the benefits connected with utilitarian cycling and electing to bicycle for transportation. The report focuses on three prominent barriers that affect an individual‟s decision to bicycle: bicycle safety, bicycle consciousness, and bicycle infrastructure. The study discusses how these three obstacles are considerable factors affecting bicycling. The study also discusses a number of exemplary solutions for overcoming these barriers that have been implemented in bicycle-friendly cities in the United States. An analysis of plans and policies for the bicycle-friendly cities of Portland, Oregon and Davis, California is used to determine what historical actions have led to a more complete bicycle network in these two cities which have elected to promote bicycling. An in-depth evaluation of Boulder, Colorado, provides insight for specific plans that have been adopted and strategies that have proven to be successful in improving bicycling for transportation. The report attempts to demonstrate that bicycling can be made a viable means of transportation in United States‟ communities by adopting comprehensive plans and policies that address the challenges of bicycle safety, bicycle consciousness, and bicycle infrastructure simultaneously.

The World Health Organization (WHO) states that working intersectorally and internationally with health issues is crucial in creating a change towards healthy public policy at a local level. Healthy Cities is one of the programmes where WHO uses a health governance approach (governing through networks) to try to reach this objective. The aim of this bachelor thesis is to identify the factors that make member cities of the WHO European Healthy Cities Network successful in reorienting local public policy towards healthy public policy. An analysis of nine documents corresponding to the selection criteria set up by the authors was conducted. These documents consisted of reports published by WHO on the Healthy Cities programme, but also of independent research articles and one thesis published on other networks similar to Healthy Cities. Also, further data was collected through telephone interviews with contact persons in four member cities. The interviews were transcribed word by word. Both data (documents and interviews) were analysed using a qualitative content analysis.

 

The results show that the four key “elements for action” (political commitment, leadership, readiness for institutional change and intersectoral collaboration) crystallized by WHO for creating healthy public policy were mainly confirmed in this research study. Therefore, the authors draw the conclusion that WHO has succeeded in making the member cities commit to the Healthy Cities philosophy and in spreading the idea of health governance in Europe. However, additional factors were found both in the document analysis and in the interviews. When looking at the top four frequently occurring factors in the documents, community participation and status were highlighted. The two additional factors found in the interview data was holistic thinking and systematic, goal-oriented work. Also, the importance of political commitment was questioned by a minority of the respondents. This might indicate that the four key “elements for action” crystallized by WHO might not have as big of an effect in creating change at a local level as has been made out by WHO. Furthermore, respondents stated that difficulties existed in translating theory into practice at a local level. This might indicate that potential changes made in the member cities after joining the Healthy Cities programme are mainly ideological. Despite this, the attitudes among the respondents towards membership in the WHO European Healthy Cities Network were overall positive, and even though difficulties still exist, the respondents maintained that Healthy Cities enables them in taking the next step towards healthy public policy at a local level.

Title: The future of Real estate lies in the Internet of Things Date: 2018-05-22 Grade: Bachelor Thesis Authors: Fabian Henningsson & Harley Ljungdahl Supervisor: Navid Ghannad Purpose: Understand how IoT can create value when implemented within real estate companies Frame of reference: In this part we will present our frame of reference. Our key concepts when gathering this secondary data was IoT, Value creation. These key concepts formed how our model for Value Creation in IoT for real estate companies would look like. Method: In this chapter we have described the method we used to collect our primary data. We have also presented a discussion about why we have chosen the methods we have used and what relevance they have for our survey. Finally, we present the reliability and validity of our sources and research. Empiric: We have interviewed three companies active on the Swedish real estate market. How they use and how they look at the use of IoT technology in an enterprise perspective. Analysis: We have made both a within and cross case analysis on the empirical findings and this has resulted in our model explaining the primary value drivers of IoT in real estate companies. Conclusion: With the help of our primary value drivers in our model and innovation, it´s suggested that the real estate companies can create value with the help of IoT solutions. Keywords: IoT, IoT and real estate, Smart cities, value creation, IT and value creation, IoT value creation and value chain model. Examiner: Thomas Helgesson

Depuis les années 2000, des clusters culturels, ou grappes d'entreprises du secteur culturel,se développent sur les territoires des métropoles et grandes villes françaises. Parallèlement,ces territoires urbains se transforment, s'aménagent, se construisent, tant dans le cadre depolitiques de renouvellement urbain que de projets de quartiers culturels créatifs. Cette thèsepose l'hypothèse que la rencontre de ces deux types de phénomènes, notamment si elle faitl'objet d'un pilotage dominé par les institutions locales, constitue majoritairement uneressource pour le développement territorial et la valorisation des espaces urbains, au dépensde la structuration des acteurs culturels. Sur la base de données de terrain issues d'entretienset d'un corpus de publications et supports de communication, huit clusters musicaux françaisont été observés dans leur contexte territorial et politique local. Les pratiques, stratégies etmodes d'organisation des acteurs mis en situation d'inter-dépendance via ces clustersconstituent un faisceau d'hétérogénéités que les équipes des clusters ne parviennent quedifficilement à mettre en concordance.Trois idéaux-types des conditions d'émergence de ces clusters culturels sont proposés. Ilsposent les différentes représentations de ces dispositifs que développent les entrepreneurs,les acteurs publics et les acteurs locaux
Since the 2000's, many cultural clusters have emerged and have been developped in Frenchcities and urban areas. At the same time, these local territories have been physically andsymbolically re-shaped, re-configured, through social development or creative cities policies.The statement of this thesis is that the encounter of these two phenomena, especially whenthey are dominated by local institutions, mostly enhances territorial development andvalorization, at the expense of cultural workers' economic structuration. Eight Frenchmusical clusters have been studied in relation with their own local political context. Practices,strategies and modalities of the organization of the inter-dependent actors of these clustersare constitutive of a range of material and symbolic heterogeneities that clusters' teamshardly manage to match.We propose three ideal types related to the emergence of such cultural clusters. Each of themspecifies the representations of the cluster that cultural entrepreneurs, politics and localsconjure up

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As cidades, são o produto da coletividade dos acontecimentos, dos fatos históricos e culturais, das relações e experiências vivenciadas pelas pessoas em meio aos seus espaços urbanos. Cada cidade, é um organismo vivo, em constante transformação, dotada de uma personalidade própria, consequência de sua história e da capacidade de se adaptar às mudanças ocasionadas pelo seu desenvolvimento ao longo dos anos. Este trabalho, parte da intenção de qualificar o desenvolvimento de cidades de pequeno porte, através da criação de um planejamento estratégico focado ao município de Selbach/RS, objeto de estudo desta pesquisa, envolvendo uma visão renovada, capaz de implementar soluções criativas, através de uma visão prospectiva – com áreas de atuação delimitadas como setores prioritários, sugerindo à eles uma série de estratégias inovadoras, revertido posteriormente em uma publicação, que possa nortear e servir de auxílio referencial para o desenvolvimento sadio do município ao longo dos próximos 20 anos, e a partir disso, posicionar a cidade de Selbach como uma Cidade Criativa. A partir dos objetivos traçados e o desfecho deste trabalho, evidencia-se que por meio de sua ação sobre o espaço em que vive, o ser humano tem o poder de transformar o ambiente ao seu redor. Isso não se limita apenas a dominá-lo, melhorá-lo, destruí-lo ou conservá-lo como tal, significa imprimir nele suas marcas de sentimentos e valores.
Cities are the product of the collective events, the historical and cultural events, the relationships and experiences lived by people in their urban spaces. Each city is a living organism in constant transformation, endowed with a personality of its own, a consequence of its history and the ability to adapt to the changes brought about by its development over the years. This work, part of the intention to qualify the development of small cities, through the creation of a strategic plan focused on the city of Selbach/RS, object of study of this research, involving a renewed vision, capable of implementing creative solutions, through A prospective vision - with areas of activity delimited as priority sectors, suggesting to them a series of innovative strategies, reversed later in a publication, that can guide and serve as a reference aid for the healthy development of the municipality over the next 20 years, and From there, position the city of Selbach as a Creative City. From the objectives outlined and the outcome of this work, it is evident that through its action on the space in which it lives, the human being has the power to transform the environment around him. This is not limited to dominating it, improving it, destroying it or keeping it as such, means to imprint on him his marks of feelings and values.

Thesis (Ph. D.)--Antioch University New England, 2009.
Title from PDF t.p. (viewed July 9, 2009). Advisor: Alesia Maltz, Ph. D. "A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Environmental Studies at Antioch University New England, 2009"--The title page. Includes bibliographical references (p. 466-487).

Esta memoria de tesis doctoral presenta los resultados de una investigación acerca de las transformaciones de la ciudad de Barcelona durante el siglo XX. Se ha prestado atención a las relaciones entre economía y cultura en el espacio urbano. Concretamente, se han tenido en cuenta las estrategias de los agentes urbanos en relación a la localización de las actividades económicas y a la construcción del modelo de ciudad como fundamento de las políticas urbanas concretas. Después de conceptualizar dos periodos históricos, a saber, la época de la producción en masa y la época de la producción flexible, el objetivo principal ha sido verificar si durante el siglo XX Barcelona ha pasado de ser una ciudad industrial a ser una ciudad creativa. En cuanto a la localización de las actividades económicas, a través del análisis de una fuente prácticamente desconocida con anterioridad, el documento Barcelona en el año de la Exposición Internacional de 1929, se han procedido a localizar, a un nivel de detalle cercano a la exhaustividad, las actividades consideradas industriales en ese momento histórico. A partir del análisis de la estructura espacial de la producción que esos datos han permitido, se ha estudiado la evolución de las principales fábricas incluidas en la base de datos para caracterizar la estructura espacial de la producción en el presente. Respecto a la construcción del modelo de ciudad que ha guiado las políticas urbanas concretas, se ha realizado una aproximación a los discursos de los principales agentes urbanos, en cada uno de los dos periodos, en relación a esa cuestión. Posteriormente se han relacionado esos discursos con las prácticas concretas de esos mismos agentes urbanos para conocer qué intereses han guiado sus comportamientos. A su vez, esa información se ha relacionado con la evolución de la estructura espacial de la producción estudiada paralelamente, de tal forma que se ha podido llegar a una serie de conclusiones. La primera de ellas es que, efectivamente, Barcelona fue una ciudad industrial durante la época de la producción en masa. Así lo corrobora el estudio de la localización industrial en 1929 y los discursos de los principales agentes urbanos del momento, en coherencia con esa materialidad. Llevando a cabo el mismo razonamiento, en segundo lugar hay que constatar que en el periodo de la producción flexible Barcelona no se ha transformado en una ciudad creativa. A pesar de que el modelo de las élites de la ciudad pueda acercarse a esa idea, el análisis llevado a cabo permite afirmar que la materialidad de la ciudad presenta otra realidad, marcada por la precarización de las condiciones de vida de la clase trabajadora. No obstante, se finaliza con una reflexión acerca del potencial emancipador de la cultura y la creatividad que, sin duda, deben convertirse en ejes fundamentales de cualquier proyecto de emancipación social.
This doctoral thesis report expounds the results of a research about the transformations of Barcelona during the 20th century. The focus is put on the strategies of the urban agents regarding the location of economic activities and the construction of the city model as a basis for specific urban policies. After conceptualizing two historical periods, the era of mass production and the era of flexible production, the main objective is to verify whether during the 20th century Barcelona transformed from an industrial city to a creative city. Regarding the location of economic activities, through the analysis of a previously unknown source, the workshops and factories that existed in 1929 are located at a very comprehensive level of detail. These data allow the study of the spatial structure of production in the era of the mass production. With the analysis of the evolution of the main factories, it is characterized the spatial structure of production in the present. Concerning the construction of the city model, the discourses of the main urban agents in each of the two periods are studied. Subsequently, these discourses are related to the concrete practices of the agents to know what interests guided their behaviors. That information is related, then, with the evolution of the spatial structures of production that are studied in parallel, so that it is possible to reach a series of conclusions. The first one is that Barcelona was an industrial city during the era of mass production. This is confirmed by the study of industrial location in 1929 and the discourses of the main urban agents of the moment. In second place, in the era of flexible production Barcelona did not transform into a creative city. Although the model of the elites of the city are close to this idea, the analysis allows to affirm that the materiality of the city is marked, conversely, by the precariousness of the working class. However, the report ends up with a reflection on the emancipating potential of creativity, that must become one of the cornerstones of any project of social emancipation.

The research analyses the processes of artist's integration from underground scenes and social movements to mainstream markets in Milan and Berlin, focusing on the transformations of urban contexts in the age of post-fordism. In the first chapter, the author takes into account the various theoretical frameworks of the studies on integration, considering the social movements studies approach (Castells and Pruijt), the subcultural studies approach (Cohen and Hebdige), the approach of the artistic critique developed by Boltanski and Chiappello and the studies on symbolic and subcultural capital (Bourdieu, Harvey an Thornton). The second chapter defines the methodological paths of the research, identifying four main urban variables that have been hypotisized as transforming factors related to integration (urban market, real estate, mobilisation cycles and institutional paths) and establishing definitions for the main topics (creative industries, underground, mainstream, new media arts). Chapter three and four are the ethnographic reports of the fields of Milan and Berlin: the main focuses here are on how the four urban variables have influenced integration paths, biographies and choices of activists and artists. In the analytical chapter the author reflects on the relationship between urban spaces, windows of opportunity, collective symbolic capital, subcultural identity and integration; here, there is a deepening on the relationships between transformations in urban economy, flexibility in labour markets and subcultural social cohesion. In the conclusions, the author optimises and re-defines the variables and suggests a general scheme for the interpretation of integration paths.

Thesis (PhD)--University of Stellenbosch, 2001.
ENGLISH ABSTRACT: This study explores the complex and contested processes of drawing boundaries and negotiating identities in the post-Apartheid South African context by analysing how residents in a new residential suburb of Cape Town are working to carve out a new position for themselves in a changing social order. Drawing on data gathered through participant observation, individual and focus group interviews, and household surveys between November 1998 and December 2000, the study examines how residents draw and negotiate boundaries in their search for stability, status, and community in a society characterised by social flux, uncertainty, ambiguity and contradiction. It explores the construction and shifting of identities believed to be embodied in those boundaries, at the levels of the individual, the household and the community. A range of everyday social and spatial practices - including streetscape design, its use and contestation, neighbourliness and sociality, .household livelihoods and strategies, home maintenance and improvements - are shown to reveal residents' own conceptualisations of boundaries, their practical significance and symbolic power, as well as their permeability and transgression. The marking and maintenance of boundaries convey how social relationships, practices and power in the suburb are structured and continually negotiated. By analysing these actions and responses, the study illustrates some of the ways in which recent changes in South African society have unsettled the relationship between class, race and space to construct new boundaries and shape new identities. The fmdings suggest that although social differentiation among the residents is increasingly being restructured around class, race remains a salient variable in residents' constructions of themselves and each other. Ethnic-religious prejudice is also shown to influence local conflict and constructions of community. The study draws out four discourses through which residents contemplate and formulate circumstances and processes in their neighbourhood. The first emphasises racial integration, the second middle class suburban living, the third safety from crime, the fourth distrust and disorder. The discourses are significant, not only in their practical manifestation in everyday interaction but also because they suggest some of the ways in which connections and disconnections with the past, with (he old identities and the old affiliations, are managed in a new, post-Apartheid South Africa.
AFRIKAANSE OPSOMMING: Hierdie studie verken die komplekse en betwiste prosesse van die trek van grense en die onderhandeling van identiteite in die Suid-Afrikaanse post-Apartheid konteks, deur te analiseer hoe inwoners in 'n nuwe Kaapstadse residensiële voorstad te werk gaan om 'n nuwe posisie in 'n veranderende sosiale orde vir hulself daar te stel. Op grond van data bekom deur deelnemende observasie, onderhoude met indiwidue en fokusgroepe, en opnames in huishoudings tussen November 1998 en Desember 2000, ondersoek die studie hoe inwoners grense trek en onderhandel in hulle soeke na stabiliteit, status, en gemeenskap in 'n samelewing gekenmerk deur sosiale vloeibaarheid, onsekerheid, dubbelsinnigheid en teenstrydigheid. Dit verken die konstruksie en die verskuiwing van identiteite wat gesien word as dat dit binne hierdie grense tuis hoort, op die vlakke van die indiwidu, die huishouding en die gemeenskap. 'n Reeks alledaagse sosiale en ruimtelike praktyke - insluitende omgewingsbeplanning, die benutting en betwisting daarvan, buurskap en gemeenskapsin, huishoudelike bestaansmiddele en strategieë, huisonderhoud en verbeterings - toon inwoners se eie voorstellings van grense, hulle praktiese betekenis en simboliese invloed, sowel as hulle deurdringbaarheid en oorskryding. Die afbakening en handhawing van grense deel mee hoe sosiale verhoudings, praktyke en mag in die voorstad gestruktureer en voortdurend onderhandel word. Deur hierdie optredes en reaksies illustreer die studie sommige van die wyses waarop onlangse veranderings in die Suid-Afrikaanse samelewing die verhouding tussen klas, ras en ruimte beïnvloed het om nuwe grense te konstrueer en nuwe identiteite te vorm. Die bevindings suggereer dat, hoewel sosiale differensiasie tussen die inwoners toenemend geherstruktureer word wat klas betref, ras 'n duidelik waarneembare onderliggende veranderlike in inwoners se siening van hulleself en mekaar bly. Etniesgodsdienstige vooroordeel word ook getoon 'n invloed op plaaslike konflikte en die konstruksie van gemeenskappe te wees. Die studie onthul vier diskoerse waardeur inwoners omstandighede en prosesse in hulle omgewing bedink en te kenne gee. Die eerste beklemtoon rasse-integrasie, die tweede voorstedelike middelklas lewenswyse, die derde misdaadsbeveiliging, die vierde wantroue en wanorde. Die diskoerse is betekenisvol, nie slegs in hulle praktiese manifestering in die daaglikse omgang nie, maar ook aangesien hulle sommige van die wyses waarop koppelings en ontkoppelings met die verlede, en sy ou identiteite en ou affiliasies, in 'n nuwe, post-Apartheid, Suid-Afrika hanteer word, suggereer.

The discussion of a ‘cultural’ dimension of sustainability has been brought forward in sustainable development and in particular sustainable urban development (SUD) in the last three decades. Despite both an advancement of scientific discourse and advocacy through international organisations, empirical examples discussing explicitly leadership and organisation for implementation of culture in SUD are still rare. Through the lens of leadership and organisation, important questions regarding norms, values and behavior are being addressed that provide the foundation for future development. To advance empirical knowledge in the described field, the thesis takes a look at the city of Malmö in the form of a case study. In Malmö, culture has been assigned an important and all-encompassing role in the city’s organisation and sustainable development plan, manifested through a local policy, the so called ‘Culture Strategy’. This in-depth study aims at understanding the practical application of culture in SUD, given a theoretical framework including the possible roles of culture in SUD and the meanings of creative organisation and leadership in a neoliberal urban context. It is followed by a comprehensive analysis of a range of official documents and eight semi- structured interviews. Asking for the communication of visions and actors’ roles and understandings of culture in relation to practices and organisational structures, the thesis shows that the cultural strategy so far has a dual function as a catalyst and representative for the discussion of culture in SUD. Over-departmentalisation and a lack of communication present hinders for organisational change and the potential of development through learning is not given adequate space and time so far. In conclusion, the municipal organisation must detach from the idea to control, and rather enable ‘spaces’ for diverse actors to collectively employ creativity and allow for an experimental process to unfold.

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UNISINOS - Universidade do Vale do Rio dos Sinos
No contexto urbano da cidade de Novo Hamburgo, surgiram, a partir da obra para implementação da linha férrea em 2014, diversos vazios urbanos ao longo do percurso do trem. Possivelmente devido ao contexto de construção em malha urbana consolidada, espaços que outrora foram funcionais passaram a não ter uso. A população não criou vínculos nem ocupou a área residual formada embaixo dos trilhos. Assim, o objetivo deste trabalho foi o de buscar alternativas para reincorporar estas áreas na cidade e no cotidiano de seus habitantes. O trabalho iniciou com o referencial teórico acerca de conceitos necessários para a compreensão do tema de trabalho, sendo eles: vazios urbanos, cidades criativas, espaço público, mobilidade urbana, direito à cidade e lugar e não lugar. Na sequência, buscaram-se referências de transformações urbanas ocorridas, que pudessem ilustrar as possibilidades de mudança para o município hamburguense. Na continuidade, foi realizada uma pesquisa de campo, através da aplicação de um questionário com o intuito de identificar a percepção da população sobre o uso do espaço. A compilação de todas essas informações resultou em um projeto urbano para a área central da cidade, mais precisamente no entorno da Estação Novo Hamburgo. O princípio norteador deste projeto foi regido pela temática das cidades criativas, por entender-se que esse contexto é adequado à transformação urbana almejada. O resultado deste trabalho é, portanto, uma proposta projetual, passível de mudanças futuras e de continuidade ao longo de toda a extensão da linha férrea.
In the urban context of the city of Novo Hamburgo, Brazil, several vacant spaces emerged as a result of the implementation of an elevated railway track in 2014. Possibly due to its construction in a densely built-up area, spaces that were once functional to the city became useless. The residents did not create ties to this area, nor did they effectively occupy the area under the tracks. Our aim in this thesis is thus to seek alternatives to reintegrate such areas to the city and to the everyday life of its residents. Our thesis begins with a review of the concepts employed to grasp our object of study, including vacant spaces, creative cities, public space, urban mobility, right to the city, place/non place. After that, we reviewed urban interventions in other cities that could inspire an intervention in Novo Hamburgo. Following that, we carried out fieldwork that consisted in a questionnaire with the aim of identifying the residents’ perceptions on the use of space. After compiling all this information, we propose a project for the central area of the city, more precisely the area surrounding the city’s main train station. The guiding principle of this project is the idea of creative cities, which we believe frame the context of the urban transformations we are seeking. The result of our work is thus a proposal for intervention, open to future adjustments and to an extension to the rest of the rail track.

The city today is progressively conceptualized by using terms, such as Creative Cities or Creative Class and stressing the importance of Creativity. Lisbon is here in focus, considering the implementation of the ideas behind the Creative City concept by Richard Florida and Charles Landry, as well as the critical responses from the cultural sector. “Creativity” in this context refers to the elaboration of new ideas and to the application of these ideas to produce original works of art and cultural products, and technological innovations. Furthermore does this thesis reveal the impact of changes made socially and physically based on examples in the metropolitan area of Lisbon. Moreover is the focus on the work of cognitive-cultural employees in the Creative City and beyond, because the idea of creativity in the workplace offers opportunities for urban development and the personal development of urban inhabitants. This will be developed through a critique of the literature and some illustrative examples of people with creative occupations or by highlighting different location in Lisbon. The focus to change urban spaces lays in a deeper understanding of how “creativity” is constructed and performed in specific urban contexts in order to be sustainable.