Dual Degree Master Thesis

A dissertation submitted to Tongji University in conformity with the requirements for the degree of Engineering

Spatial Distributions and City-Wide Organizational Patterns: Modeling Creative Industries as Framework Candidate:

Christian Wagner

Student Number: 1120010002 School/Department: College of Architecture and Urban Planning Discipline: Engineering Major: Urban Planning and Design Supervisor:

Prof. Tian Baojiang

November 2014

同济大学 硕/博士学位论文 个人简历、在读期间发表的学术论文与研究成果

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同济大学 硕/博士学位论文 个人简历、在读期间发表的学术论文与研究成果

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SPATIAL DISTRIBUTIONS AND CITY-WIDE ORGANIZATIONAL PATTERNS MODELING CREATIVE INDUSTRIES AS FRAMEWORK

Master-Arbeit vorgelegt im Sommersemester 2012 Master thesis submitted during summer semester 2012

an der Bauhaus-Universität Weimar at the Bauhaus-Universität Weimar

Fakultät Architektur Faculty of Architecture

Studiengang Advanced Urbanism study course Advanced Urbanism Studies

Verfasser: Author:

Christian Wagner B.Arch

Gutachter Examiners:

Erstgutachter: Prof. Dr.-Ing. Harald Kegler 1st examiner: Dr.-Ing. Harald Kegler

Zweitgutachter: Prof. Tian Baojiang 2nd examiner: Prof. Tian Baojiang

Shanghai, 08.2012

Bauhaus-Universität Weimar, Germany Faculty of Architecture Institute for European Urban Studies

This internationally oriented system of study programmes is to be regarded as a reaction to the ongoing changes in the broad field of urbanism which concern all spatially relevant professions. The Institute offers postgraduate architects, landscape and interior architects, urban, regional and spatial planners, geographers, civil engineers, urban and architectural sociologists, ecological scientists and postgraduate professionals of comparable spatially oriented sciences a contemporary means of education which reaches beyond their previous educational background. (http://www.uni-weimar.de/ifeu)

Tongji University, Shanghai, China Department of Urban Planning CAUP (College of Architecture and Urban Planning)

CAUP is one of the first colleges in China with programs in urban planning, historic building protection engineering, landscape studies, and industrial design. Urban Planning is one of the keydisciplines in China as well as the city of Shanghai.

Architecture is one of the key discipline in China. Being one of China’s most influential educational institutions, the most extensive programs among its peers, and the largest body of postgraduate students in the world, CAUP is recognized as an international academic center witha global influence in the academic fields. In addition, CAUP has taken on a large numbers of national and local key researches, and produced generations of talented individuals in the construction field. Having the responsibility of building harmonious and sustainable environments, they aim to achieve the goal of a world-class educational institution in planning, architecture and design. (http://en.tongji-caup.org/)

All illustrations, images, photographs are by the author unless otherwise mentioned.

Maps, if the source is not specified, are either made by the author or redrawn from Google Earth.

CREATIVE INDUSTRY

创意产业 chuàngyì chǎnyè

CLUSTER

集群 jíqún

SPATIAL ANALYSIS

空间分析 Kōngjiān fēnxī

SHANGHAI

上海

Shànghǎi

SPATIAL DISTRIBUTIONS AND CITY-WIDE ORGANIZATIONAL PATTERNS | CHRISTIAN WAGNER

ABSTRACT This thesis interrelates three threads: the theoretical background behind the ‘Creative Industry in cities,’ (research conducted by Florida, Li Wuwei, Mommaas, Keane, et.al), the shape, growth and development of Shanghai in relation to the development of Creative Industry Clusters, and the use of spatial mapping as an urban design tool.

First, an inquiry to the theoretical and historic backgrounds of the Creative Industry Clustering strategy is conducted. It sets the stage for analyzing the social, policy-driven, and economic intangible spheres that influence different stakeholders’ decisions with regards to establishing a creative industry city-wide strategy.

Second, it takes these theories and applies them within the Shanghai context. Shanghai’s Creative Industry Clustering strategy is unique; there are 74 official government-sponsored Creative Industry Clusters within the central city of Shanghai.

Third, these clusters are analyzed against each other in a spatial manner in relation to other permanent amenities within the Shanghai landscape. To facilitate the clarity of the output, maps are overlaid with respect to Richard Florida’s construct of the 3Ts of Creativity: Technology, Talent, and Tolerance. Each map is given different opacities which then create varying spatial distributions. A 250m x 250m grid (a 5-minute walking radius) is then superimposed atop these overlapping maps and a new spectral analysis is developed 3-dimensionally. When the composite ‘3T’ maps are superimposed on top of each other, a landscape of peaks and valleys is generated. Areas that have the highest degree of amenities consistent with the research peak, whereas areas that do not have the best mix of amenities become secondary locations. Some areas will have stronger ties to measured ‘Tolerance’ values, whereas others to ‘Technology’ or ‘Talent.’

When these maps are generated, four strategies for interpretation are possible; (1) the Peaks can be analyzed independently to see whether there is a general strategy of key locations for future development; (2) the Valleys can be analyzed if the number of levels is simplified; (3) the Individual nodes can be assessed to having different compositions of Technology, Talent and Tolerance; and (4) Values can be altered iteratively to reveal new constructs within the Shanghai landscape.

The creative industries are utilized as a framework to this research, however there are many other viable subjects where a similar methodology can be applied. Taking into consideration the existing contexts of places reveals a landscape that works in collaboration with the city, challenging the traditional top-down perspective in urban planning.

KEYWORDS

Spatial Mapping, Urban Design, Creative Industry Clusters, Shanghai, Parameter-Driven Design

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Previous Page: The Waterhouse at the South Bund Hotel Photo by Christian Wagner

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SPATIAL DISTRIBUTIONS AND CITY-WIDE ORGANIZATIONAL PATTERNS | CHRISTIAN WAGNER

TABLE OF CONTENTS

v

Abstract

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Table of Contents

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List of Diagrams

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1. BACKGROUND: Introduction 1.1 Scope 1.2 Main Research Purpose and Guiding Questions 1.3 Policy Significance of the Research 1.4 Academic Significance of the Research 1.5 Limitations 1.6 Literature Review 1.7 Chapter Breakdown

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2. THEORY: Key Concepts 2.1 General Cluster Theory 2.2 Creative Industry Cluster Theory 2.3 The Creative City: Uniting Technology, Talent and Tolerance 2.4 Hans Mommaas Theory: Mapping the Cultural-Creative Cluster

Landscape

2.5 The Transition into a Creative Hub 2.6 Observations

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3. CONTEXT: Chinese Policy and the CIC’s 3.1 Policy and the Creative Industries in China 3.2 Shanghai as a Context to Creative Industry Clusters 3.3 Shanghai’s Post-Industrial Transformation 3.4 Policy in Shanghai and the Creative Industry Clusters 3.5 Shanghai: City of Design (UNESCO Creative Cities Network) 3.6 Utilizing Creative Industry for City Branding - Case: Seoul, South

Korea

3.7 Observations

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4. ANALYSIS: Shanghai’s Clusters 4.1 Mapping as a Tool for Spatial Analysis 4.2 Survey of Creative Industry Clusters 4.3 District-driven Spatial Analysis 4.4 Existing Spatial Structure of the Shanghai Cityscape 4.5 Mapping Shanghai’s Technology, Talent and Tolerance

4.5.1 Technology Composite

4.5.2 Talent Composite

4.5.3 Tolerance Composite

4.6 Composite 3Ts Mapping

4.6.1 Interpretation 1: Understanding the Peaks

4.6.2 Interpretation 2: Understanding Fields

4.6.3 Interpretation 3: Understanding Every Grid point

Independently

4.6.4 Interpretation 4: Designing for Iterative Outputs or Values

4.7 Observations

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5. CONCLUSIONS: Future Research 5.1 Conclusions 5.2 Future Research Questions

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BIBLIOGRAPHY

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ACKNOWLEDGEMENTS

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DECLARATION

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List of Images

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Diagram 1: Weaving 3 Threads

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Diagram 2: From Theory to Context to Analysis

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Image 3: Three Limitations: Context, Subject and Object

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Diagram 4: Chapter Breakdown

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Diagram 5: Differing Clustering

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Diagram 6: Key Topic in Chapter 2

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Diagram 7: Economic Activity in a Spiky World

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Table 8: Traditional Versus Creative Industries

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Table 9: Different Levels of Creative Industries in Cities

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Diagram 10: 3Ts of Creativity

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Diagram 11: Hans Mommaas 3-Axis Strategy

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Graph 12: Value in Investing in the Creative Industry

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Diagram 13: Urban Transformation into a Creative City

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Photographs 14: Example: High Line Project, New York City

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Photographs 15: Example: 798 Art District, Beijing, China

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Photographs 16: Aalto Design Factory, Tongji University

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Diagram 17: Key Topic in Chapter 3

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Diagram 18: World and Shanghai Events

47 Map 19: Concentrations of 3 Shares in China: Creative Class, High Tech Index,

Human Capital 49

Map 20: China’s Regional Context

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Map 21: China’s National Strategy

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Map 22: Yangtze River Delta Strategy

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Map 23: Shanghai 1-9-6-6 Strategy

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Map 24: Industrial Map Shanghai: 1930’s

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Map 25: Industrial Map Shanghai: 1980’s

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Map 26: Industrial Map Shanghai: 2012

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Graph 27: Percentage of GDP to Creative Industries in Shanghai

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Diagram 28: 5 Drivers of the Creative Industry

57 Table 29: Four Different Classification Systems for the Establishment of Creative

Industries 58

Map 30: World Map of UNESCO Creative Cities Network

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SPATIAL DISTRIBUTIONS AND CITY-WIDE ORGANIZATIONAL PATTERNS | CHRISTIAN WAGNER

15

Diagram 1: Weaving 3 Threads

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Diagram 2: From Theory to Context to Analysis

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Image 3: Three Limitations: Context, Subject and Object

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Diagram 4: Chapter Breakdown

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Diagram 5: Differing Clustering

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Diagram 6: Key Topic in Chapter 2

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Diagram 7: Economic Activity in a Spiky World

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Table 8: Traditional Versus Creative Industries

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Table 9: Different Levels of Creative Industries in Cities

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Diagram 10: 3Ts of Creativity

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Diagram 11: Hans Mommaas 3-Axis Strategy

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Graph 12: Value in Investing in the Creative Industry

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Diagram 13: Urban Transformation into a Creative City

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Photographs 14: Example: High Line Project, New York City

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Photographs 15: Example: 798 Art District, Beijing, China

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Photographs 16: Aalto Design Factory, Tongji University

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Diagram 17: Key Topic in Chapter 3

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Diagram 18: World and Shanghai Events

47 Map 19: Concentrations of 3 Shares in China: Creative Class, High Tech Index,

Human Capital 49

Map 20: China’s Regional Context

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Map 21: China’s National Strategy

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Map 22: Yangtze River Delta Strategy

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Map 23: Shanghai 1-9-6-6 Strategy

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Map 24: Industrial Map Shanghai: 1930’s

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Map 25: Industrial Map Shanghai: 1980’s

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Map 26: Industrial Map Shanghai: 2012

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Graph 27: Percentage of GDP to Creative Industries in Shanghai

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Diagram 28: 5 Drivers of the Creative Industry

57 Table 29: Four Different Classification Systems for the Establishment of Creative

Industries 58

Map 30: World Map of UNESCO Creative Cities Network

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Diagram 31: Distribution of 7 Categories: UNESCO

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Diagram 32: Main Premise for being Selected into UNESCO Creative Cities Network

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SPATIAL DISTRIBUTIONS AND CITY-WIDE ORGANIZATIONAL PATTERNS | CHRISTIAN WAGNER

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Diagram 33: Four Principles For Seoul, South Korea

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Photographs 34: Creative City Branding Strategy - Seoul

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Map 35: Promoting the Design Industry - 4 Projects

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Diagram 37: Digital Media City Master Plan, Model and Photo

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Map 38: Site Location of Digital Media City

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Photographs 39: Designation Placards

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Map 40: Shanghai’s Urban Evolution

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Photographs 41: examples of Shanghai’s Creative Industry Clusters

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Diagram 42: Key Topic in Chapter 4

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Table 43: Survey of Creative Industry Clusters

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Map 44: Map of Surveyed Creative Industry Clusters

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Map 45: Comparison to Industrial Cores

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Map 46: Composite Map: Industrial Ring Around Shanghai’s Center City

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Diagram 47: District-by-District Distribution and Comparison

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Diagram 48: 9 Maps Studied in the Shanghai Urban Landscape

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Map 49: Map A: Key Industrial Centers

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Map 50: Map B: Subway System

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Map 51: Map C: Key Business Cores

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Map 52: Map D: Key Tourist Attractions

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Map 53: Map E: Key Performance Venues

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Map 54: Map F: Key Universities

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Map 55: Map G: Key Areas of Nightlife

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Map 56: Map H: Key Government Creative Industry Projects

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Map 57: Map I: Minority and Expatriate Density

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Diagram 58: Proportion of Expatriate and Minority Population by District

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Graph 59: Foreign-born Expatriate and Minority Communities by District

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Diagram 60: Superimposing Different Layers Yield New Results

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Diagram 61: Transitioning from Datasets to Areas of Focus

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Table 62: Breakdown of Technology, Talent, and Tolerance

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Map 63: Composite Maps: Technology, Talent and Tolerance

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Diagram 64: Technology Peak Map

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Map 65: Technology Spectral Map

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Diagram 66: Talent Peak Map

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SPATIAL DISTRIBUTIONS AND CITY-WIDE ORGANIZATIONAL PATTERNS | CHRISTIAN WAGNER

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Map 67: Talent Spectral Map

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Diagram 68: Tolerance Peak Map

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Map 69: Tolerance Spectral Map

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Diagram 70: Composite Peak Map

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Map 71: Composite Spectral Map

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Map 72: Top Peak Locations in the Analysis

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Map 73: Valley Mapping

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Diagram 74: Measuring Individual Quadrants

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Map 75: Alternative 1: No Emphasis

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Map 76: Alternative 2: Value-Added Emphasis (3Ts)

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Diagram 77: Form Theory to Context to Analysis

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Map 78: Output Map: Shanghai’s Creative Industry Strategy

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SPATIAL DISTRIBUTIONS AND CITY-WIDE ORGANIZATIONAL PATTERNS | CHRISTIAN WAGNER

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SPATIAL DISTRIBUTIONS AND CITY-WIDE ORGANIZATIONAL PATTERNS | CHRISTIAN WAGNER

1. BACKGROUND Introduction 1.1 Scope 1.2 Main Research Purpose and Guiding Questions 1.3 Policy Significance of the Research 1.4 Academic Significance of the Research 1.5 Limitations 1.6 Literature Review 1.7 Chapter Breakdown

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Previous Page: 1933 Creative Park Photo by Christian Wagner

SPATIAL DISTRIBUTIONS AND CITY-WIDE ORGANIZATIONAL PATTERNS | CHRISTIAN WAGNER

1.1 SCOPE

There are many factors that make Shanghai unique. Not only does it boast a number of superlatives (the largest deep-harbor port, some of the world’s tallest towers, one of the most densely populated regions of the world, for example) it also is striving to become China’s world-class creative city. With over 74 government-designated Creative Industry Clusters within the Outer Ring Road of Shanghai (arguably the greatest number of CIC’s in the world), Shanghai has become a test-bed for utilizing the creative industries and their associated clusterings as a mechanism for city branding and economic growth.

Historically, Shanghai has drawn crowds from all over the world, allowing for an exchange of ideas and theories possible. Since the ‘open-door policy’ changes in Chinese legislation from 1978-onward, new constructs to design and develop the urban environment have been attempted. The most contemporary example was the 2010 Expo Shanghai which drew crowds from all over the globe with the slogan, “Better City, Better Life.” Leading to the Expo, Shanghai invested heavily in the designation of Creative Industry Clusterings within the central city.

Research on the topic of Creative Industry Clusters (in Shanghai and abroad) has been extensive, both by Western and Eastern scholars. This thesis, therefore, looks into the theory behind clustering creative industries and the associated primary impacts in both the West and the East as a starting point.

By taking into consideration the social, political, and economic influences and decisions that have recently taken place in Shanghai and in China, one can understand the success in implementing, (and its associated challenges), Creative Industry Clusters

DIAGRAM 1

WEAVING 3 THREADS SHcon AN te GHxt AI

set the stage to the understanding of the impact Creative Industry Clusters in spatial terms.

In stark contrast to the intangible elements of social, political and economic frameworks, this

3

t ec Y bj OR E su HE TIV RY T EA ST CR DU IN

in the Shanghai context. These intangible constructs

THREADS

thesis spatially interprets the Shanghai landscape in a unique and innovative manner. An emphasis

SPATIAL ANALYSIS object

is placed in understanding the Creative Industry Clusters in relation to other physical elements

The Intersection of three topics - Spatial Analysis, Shanghai and Creative Industry Cluster Theory Diagram: Christian Wagner

(designated within the limitations of Richard

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SPATIAL DISTRIBUTIONS AND CITY-WIDE ORGANIZATIONAL PATTERNS | CHRISTIAN WAGNER

Florida’s 3T’s of Creativity - Talent, Technology, and Tolerance, a theory proposed in the book Rise of the Creative Class).

This thesis interrelates three threads: the theoretical background behind the ‘Creative Industry in cities,’ (research conducted by Florida, Li Wuwei, Mommaas, Keane, et.al), the shape, growth and development of Shanghai in relation to the development of Creative Industry Clusters, and the use of spatial mapping as an urban design tool.

1.2 MAIN RESEARCH PURPOSE AND GUIDING QUESTIONS

Two questions in the field of urban planning are assessed: First, what are the contextual patterns and spatial distributions (if any) of the Creative Industry Clusters (CIC’s) in the Shanghai context? This thesis will establish a framework to organize the Creative Industry Clusters in spatial terms by taking into account existing interpretations of scholars studying this field. It will also establish a social-political background to better serve the spatial field DIAGRAM 2

FROM THEORY TO CONTEXT TO ANALYSIS URBAN THEORY

SHcon AN te GHxt AI

Y t TR ec Y S bj OR DU su E IN TH E V TI EA

CR

CORE RESEARCH

URBAN OUTPUT

URBAN ANALYSIS

SPATIAL ANALYSIS object The core research is found at the intersection of the three threads.

To create a flow for the research, Urban Theory leads into an Urban Analysis, and finally concludes with an Urban Output .

Diagram by Christian Wagner

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SPATIAL DISTRIBUTIONS AND CITY-WIDE ORGANIZATIONAL PATTERNS | CHRISTIAN WAGNER

with hopes that it provides a general strategy for the future development of Shanghai as a creative city.

Second, how can the information gathered be interpreted and later utilized to steer the direction of Shanghai’s creative city urban strategy? This thesis approaches the question of utilizing contemporary technology to discover new methods of interpreting our physical landscape.

The guiding hypothesis is that existing elements mapped spatially within the Shanghai fabric can generate new observations if organized under Richard Florida’s construct of the 3Ts (Technology, Talent, Tolerance). While first perceived as a series of disparate elements within the physical landscape, when organized, one can reveal a new landscape of peaks and valleys that can further help different stakeholders in their decision-making processes in generating a city-wide creative strategy.

1.3 POLICY SIGNIFICANCE OF THIS RESEARCH

Although the subject of this thesis studies the pattern growth and spatial distributions of the Creative Industry Clusters in Shanghai, the outcome by no means is limited to this field; similar analyses could be undertaken in the future with the establishment of green-scapes, access to waterways, or residential and commercial real-estate ventures, for example. The methodology established through this thesis allows urban planners to observe and analyze the city through a different lens; one which may alter the course of the city’s growth and development across varying subjects. Peak and valley mappings become important elements that reveal external factors that can ultimately change the course of decisions.

This methodology is also not only limited to Shanghai: regions with already accessible geographically tagged information could potentially build upon this research study. For example, municipal governments could situate possible access routes in the case of environmental disasters and design accordingly, if appropriate parameters are chosen within the designated scopes. Since the software utilized for the spatial mappings is embedded within a 3-D modeling software (e.g., Rhinoceros,Grasshopper for Rhino, AutoCAD, and Illustrator), planners can easily transfer their efforts to real-estate entrepreneurs, architects, and policy-makers to further diminish the time associated with information and cross-platform transfers.

1.4 ACADEMIC SIGNIFICANCE OF THIS RESEARCH

Prior research conducted has not taken into consideration the Creative Industry Clusters in Shanghai into geospatial terms. No prior research has been conducted with regard of interpreting city amenities within Florida’s 3T-theory to generate a parameter-driven design output with respect to Creative

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SPATIAL DISTRIBUTIONS AND CITY-WIDE ORGANIZATIONAL PATTERNS | CHRISTIAN WAGNER

Industry Clusters.

Information-generated and information-driven design has become a contemporary topic in the discussion of urban planning. Some of its advantages include its power in diminishing labor time in information transfers, in creating multiple scenarios, and in allowing for the landscape to be interpreted in a new and innovative manner. In the academic field, this thesis serves as an example to showcase the importance this contemporary urban planning research strategies.

In terms of the subject chosen (Creative Industry Clusters), it is also important as it continues to contribute to the existing discussion of creative industries as being a driver to city growth. I make a case that the careful planning of the Creative Industry Clusters can have a strong impact in Shanghai’s transition from an industrial economy to a potent service, knowledge and creativity-oriented economy.

For researchers interested in further contributing to this discussion, I will outline key conclusions and areas for further research in Chapter 5:CONCLUSIONS. 1.5 LIMITATIONS

The context, subject and object of this thesis have different limitations: Contextual limitation: The area bounded by the Outer Ring Road of Shanghai was chosen as the outermost physical limit to the spatial analysis. The area chosen for analysis includes 9 inner-city districts: Xuhui, Huangpu, Yangpu, Changning, Hongkou, Zhabei, Jing’an, Putuo, and Pudong. This focuses the research to the impact of Creative Industry Clusters exclusively to the city core; suburban districts have not been studied.

Subject limitation: There are over 74 official, government-designated clusters and over 200 unofficial clusterings (http://www.021ci.com/html/201010/27/095354801.htm). For the analysis of the urban fabric, therefore, only the government-designated Creative Industry Clusters have been utilized. Only public published data has been used to establish the urban distribution and spatial analysis of Shanghai.

Since the data obtained is published in news articles, journals, internet web sites, and books, careful consideration was taken into account when assessing the accuracy of the information. With this consideration, only data that was certified by multiple sources was utilized with the formation of the mappings. The maps were drawn out manually, as access to official Auto CAD files was restricted. The level of accuracy therefore is kept within the best possible measures; as one zooms-into a landscape, the mappings become more comprehensive and accurate.

Object Limitation: The knowledge and expertise of the software utilized have dictate how far

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SPATIAL DISTRIBUTIONS AND CITY-WIDE ORGANIZATIONAL PATTERNS | CHRISTIAN WAGNER

the potentials can be reached, however the value added is to understand the potentials of utilizing contemporary software (e.g., Grasshopper for Rhino, Auto CAD, the Adobe Creative Suite) in an innovative manner to interpret intangible constructs in the built environment.

Miscellaneous Limitation: Any limitation to the data has been noted in each mapping description.

The topic of Creative Industry Clusters is widely studied in China and language also proved to be a key challenge in the research. Chinese-speaking individuals and translating software (e.g., Google Translate) have been asked to help with the translation when needed.

DIAGRAM 3

THREE LIMITATIONS: CONTEXT, SUBJECT, AND OBJECT

Only government designated Creative Industry Clusters were utilized. Above: Red Town Creative Park - One of the more successful Creative Industry Clusters in the Shanghai region, combining office space, indoor and outdoor sculpture exhibition space, and an art museum.

Photo: Christian Wagner

Baoshan

Jiading

Yangpu Zhabei

Hongkou

Putuo

Jing’an

Knowledge of the software used was a key limit to the output. The software utilized for analysis can easily transfer information into a viable design output, given its 3-D and rendering capabilities.

Image: Christian Wagner

Huangpu Changning

Pudong

Xuhui

Tertiary Roads Secondary Roads Central Core City Border District Border Minghang

0 KM

2 KM

Research is marked by the Outer Ring road of Shanghai. The Inner City is divided by three ring roads. The outermost road establishes a thin greenbelt around the city. There are also North-South and Yan’an Elevated highways that intersect the inner city. Due to the autonomy of each district, the city has grown to have various urban centers - be it corridors such as Huaihai road, or Nanjing Road, or landmark-influenced spaces, as is the case of Jing’an.

Map: Christian Wagner

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SPATIAL DISTRIBUTIONS AND CITY-WIDE ORGANIZATIONAL PATTERNS | CHRISTIAN WAGNER

1.6 LITERATURE REVIEW

Research in understanding the Creative Industry in relation to cities is not a new construct. ‘Creative Industries’ was coined originally in the 1990’s in the United Kingdom with the formation of the Department of Culture, Media, and Sport, (DCMS, available at http://www.culture.gov.uk). It was through this entity that creative industries became a core subject in the discussion of contemporary urban planning. The United Kingdom defines creative industries as “those industries which have their origin in individual creativity, skill and talent and which have a potential for wealth and job creation through the generation and exploitation of intellectual property” (DCMS 1998, cited in Keane, 2007: 4). It was through this visionary entity and its following success stories that put funding for creative industries on the radar for other regions around the world.

Richard Florida, researcher currently situated in Toronto, ON, tried to tackle the rationale why certain cities attract certain individuals keen on developing the Creative Industry over other cities. His books Rise of the Creative Class, Cities and the Creative Class, and Flight of the Creative Class were utilized as a basis to the Chapter 2:THEORY. In Florida’s theory, he states that there are three key elements that are required from a city to attract creative people: Tolerance, Talent, and Technology. Spatially interpreting physical city amenities as areas of Tolerance, Talent and Technology is attempted in Chapter 4: ANALYSIS. He also wrote a periodical titled Why China Lags on Innovation and Creativity, which further provides insight on the challenges China faces in interpreting the creative industry strategy within its own context.

Copious research regarding Creative Industry has also been conducted by the University of Queensland in the Creative Industry Department, in particular research conducted by Professor Keane. The University of Queensland has an entire department to the study and promotion of Creative Industries, and some of their research has focused on the qualitative factors in this subject in Shanghai.

Some research regarding the urban analysis of Shanghai’s Creative Industry Clusters was found in research periodicals, and will be summarized in Chapter 3:CONTEXT. In terms of Eastern perspectives, Sheng Zhong’s PhD Dissertation from the University of British Columbia, titled Industrial Restructuring and the Formation of Creative Industry Clusters: the Case of Shanghai’s Inner City was one of the starting points to the understanding of spatial distributions. In her thesis, she noticed the decline of industrial-sector jobs and the proliferation of “derelict industrial sites,” which now have been transformed by the Shanghai Municipal Government into “Creative Industry Clusters” (Zhong, 2010). Another PhD thesis from Hong Kong University, by Jie Zheng, was utilized to understand the different perspectives regarding the challenges of development. Zheng’s thesis, Urban

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SPATIAL DISTRIBUTIONS AND CITY-WIDE ORGANIZATIONAL PATTERNS | CHRISTIAN WAGNER

Governance and the ‘Creative Industry Clusters’ in Shanghai’s Urban Development, also provided some insights to the struggles between autonomy and centralized governmental control. The book Creative Economies, Creative Cities - Asian-European Perspectives (Lily Kong, Justin O’Connor) was utilized as a foundation to understand how this seemingly-western construct (creative city, class, and individual) differs in the East from the West. Hans Mommaas’ article titled Mapping the CulturalCreative Cultural Landscape was a key reading to understand the complex framework within a 3-Axes persepective. Finally, Li Wuwei’s How Creativity is Changing China showcases some examples how clustering functions in the Chinese context.

In order to further understand the Shanghai context, the Shanghai Creative Industry Center (SCIC) web site, the UNESCO Shanghai City of Design website, Shanghai’s 12th 5-Year Development Plan of the Cultural and Creative Industries, as well as recent news clippings regarding news on development were all utilized. The official 2011 Shanghai Fact Book, the 2010 Census Data, and other relevant web sites were utilized for the creation of mappings. UNESCO also published the Creative Economy Report 2010, which showcases perspectives on the unique nature of Shanghai’s Creative Industry.

Finally, site visits were also integral to the research. Through the process of visiting, documenting, and photographing different Creative Industry Clusters, I was able to gain some insight to the unique structure of Shanghai’s Creative Industry Clusters. This also proved useful when understanding a counter-case study: Seoul, South Korea. By visiting Seoul, I was able to create comparisons, understand strategies, seek weaknesses and gain insights to the impact of joining the World Design Capital status.

1.7 CHAPTER BREAKDOWN

This thesis is divided into 5 chapters. In Chapter 1: BACKGROUND, the key research in the field, key terms, the scope, limits and methodology are introduced.

Chapter 2: THEORY introduces the subject of Creative Industry Clusters and its associated challenges in a general context. It begins by explaining cluster theory in spatial terms, followed by the development of contemporary Creative Industry theoretical backgrounds, understands key research theories, the steps involved in transitioning into a creativity industry-driven city, and ends with the impact of creativity as a city branding mechanism. This chapter is important because it establishes a background to the research methods already put in place.

Chapter 3: CONTEXT leads to the overview of the social, political and economic structures that play a role in the development of creative industries in China and Shanghai. Scholarly perspectives and

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criticisms on the unique situation China faces with the development of the Creative Industry are found here. It narrows in on Shanghai’s historic industrial roots (the historic clusterings and establishment of concessions, the industrial revolution and the establishment of industrial cores, and the post-industrial, and the establishment of tertiary-sector industries), as it is an important step to the present situation of Creative Industry Clusters. Finally, it studies the relationship of joining the UNESCO Creative Cities Network. A case study (Seoul, South Korea) is used as a comparison, since it developed a “Creative Industry Strategy” for city development when it became a “World Design Capital” (an award granted by the International Council of Societies of Industrial Design) in 2010, and is also a member of the UNESCO Creative Cities Network. This will provide some insights to how a city like Shanghai can further brand itself as a creative city.

Chapter 4: ANALYSIS understands the spatial relationship between the subject (Creative Industry Clusters) and the context (Shanghai). To explain this relationship, Richard Florida’s methodology of establishing a Creative Class (Tolerance, Talent, Technology), Mommaas’ theory of spatial factors, and Li Wuwei’s 4 stages of Creative Industry development were all utilized. The Creative Industry Clusters are analyzed against ten factors: empty factory space, new industrial centers, existing subway systems, business cores, performance art spaces, institutes of higher education, areas of nightlife, government designated strategic plans, and expatriate & minority population densities by district. The research conducted by these scholars provided differing perspectives on developing mapping techniques.

The indicators chosen for analysis were a strong mix of the elements these theorists mention in their respective research. The power of these maps is that one can superimpose various factors to discover results that are otherwise not easily perceived.

The suggested mapping technique of peaks and valleys can be interpreted in 4 different ways.

These interpretations provide insight to the power of utilizing parameter-driven analysis in the spatial planning field. Chapter 4:ANALYSIS looks into the relationship of Shanghai’s spatial development in relation to the Creative Industry Clusters. Utilizing underlays that spatially interpret the 3Ts, the output focuses on spatial mappings in order to establish rules/characteristics for the future creative clusterings.

It also concludes with suggestions that are applicable to further brand Shanghai as a Creative City.

This chapter will approach the topic from the form-generating perspective and will focus on the possibilities within the urban planning scale. It gathers the information from Chapter 3:CONTEXT and establishes guidelines for the development of the future Creative Industry Clusters in the Shanghai landscape (answering question 1), and evaluates the output as a steering mechanism for future decision making in the Urban Planning field (answering question 2).

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Chapter 5: CONCLUSIONS, a reflection is made regarding the methodology proposed. It reflects on the impact of interpreting Florida’s 3Ts in a spatial manner, as well as speaks to the potential impact of the spatial distributions of Creative Industry Clusters in the Shanghai landscape. A personal reflection is offered with regards to future questions to be asked, and on how to further refine this methodology for future researchers.

DIAGRAM 4

CHAPTER BREAKDOWN

THEORY

1 BACKGROUND INTRODUCTION OF METHOD Establish a Research Premise, Historic Grounds, and where the reseearch fits in a greater context

OUTPUT

ANALYSIS

2 THEORY

SUBJECT Grounding Research in a Physical Context

3 CONTEXT CONTEXT SUBJECT Grounding the Physical Context in Spatial Analysis OBJECT

4 ANALYSIS

CONTEXT SUBJECT Building Conclusions based on Spatial Analysis, Context, and Subject Chosen

SPATIAL ANALYSIS SHANGHAI CREATIVE INDUSTRY CLUSTERS

Topic and Distribution per chapter. Each chapter progression unifies the relationship between Creative Industry Clusters, city development and spatial analysis within different scopes.

Diagram: Christian Wagner

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5 CONCLUSIONS

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2. THEORY Key Concepts 2.1 General Cluster Theory 2.2 Creative Industry Cluster Theory 2.3 The Creative City: Uniting Technology, Talent and Tolerance 2.4 Hans Mommaas Theory: Mapping the Cultural-Creative Cluster Landscape 2.5 Transitioning into a Creative Hub 2.6 Observations

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Previous Page: Tianzifang Photo by Christian Wagner

SPATIAL DISTRIBUTIONS AND CITY-WIDE ORGANIZATIONAL PATTERNS | CHRISTIAN WAGNER

2.1 GENERAL CLUSTER THEORY

Cities combine various degrees of clusterings. Generally speaking, people tend to migrate and cluster to be part of a greater community, where opportunities are more readily available. This is showcased by the “share of the world's population living in urban areas increased from just 3 percent in 1800 to 14 percent in 1900. By 1950, it reached 30 percent, before exploding to nearly half of all people across the globe by 2000” (Florida, 2009, Pg.169). This historic wave of migration is unprecedented; requiring planners to develop new and resilient ways to approach city design.

DIAGRAM 5

DIFFERING CLUSTERING

Clustering can relate to the formal characteristics of buildings. A cluster can be the concentration of a particular environment, e.g., a shopping center is a clustering of smaller shops and anchor retail stores, an amusement park is a collection of rides, a university contains a collection of disciplines, a World Exhibition is a collection of pavilions. When an area is specialized,

POPULATION CLUSTERING

a successful formal clustering is important to maximize the resulting spatial characteristics of a place, making each place unique.

Clusters can also become areas of diversified functions, such as areas where a particular demographic migrates to work (e.g., businessmen working in the Central Business District) or where they socialize (Third Places, a theory proposed Ray Oldenberg), to where they rest (residential

RESOURCE CLUSTERING

neighborhoods). Historically, clustering were established as places of rest in relation to places of work (e.g., Factory-Home relationships), creating a common typology for many industrializing centers. Clustering by functional uses is essentially the meaning of traditional zoning.

FUNCTIONAL CLUSTERING

Clustering may also relate to proximity to activities or accessibility to vital resources. For example, Beijing clusters political entities, whereas Shanghai clusters financial institutions, however are not mutually exclusive.

IDEA/CREATIVE CLUSTERING

One can interpret the clustering phenomenon at varying scales and with varying subjects Diagram: Christian Wagner

Given Shanghai’s industrial capacity over its regional counterparts (e.g., shipbuilding due to its adjacency to the ocean, or as a port hub) often times the creative and cultural value of Shanghai is overseen.

In contemporary planning theory, people have become a cities (or a

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explains that "access to talented and creative people is to

Y t TR ec Y S bj OR DU su HE IN T E V TI EA

become the primary driver to economic growth. Florida

CR

or of logistic capabilities, vital resources have ceased to

DIAGRAM 6

KEY TOPIC IN CHAPTER 2 SHcon AN te GHxt AI

regions) primary resource. Given the magnitude of exports,

modern business what access to coal and iron ore was to steelmaking” (Florida, 2002, loc566/7234). Mommaas continues: "The keen marketing strategy with which the message was delivered to the wider world was that cities which wanted to face their future would do well to start and attract the Creative Class as soon as possible, for example,

SPATIAL ANALYSIS object First Thread: Creative Industry Theory as Starting Point Diagram: Christian Wagner

by strengthening their cultural infrastructure" (Mommaas, found in Kong, O'Connor, 2009, Location 744/3365). Attracting and nurturing creativity (and consequently bringing the Creative Class) has become, to many researchers, the defining resource that will set cities apart in the future.

2.2 CREATIVE INDUSTRY CLUSTER THEORY

The Creative Industry concept was originally coined in the 1990’s in the United Kingdom. Thanks to the formation of the Department of Culture, Media, and Sport, Creative Industries became a subject of discussion in urban planning. The DCMS collaborated with the Greater London Authority (GLA, established in 1999) and the London Development Agency (LDA, established in 2000) to aid, sponsor, maintain, strategize and allocate funds for the development of the creative industries. (DCMS Website) According to one of the official promotional organization of London, “London & Partners,” In 2009, “London’s Creative Industry [was] the capital’s second largest sector, worth $32 billion per year, generating 16% of the city’s annual gross value added (GVA)” (Creative Industries London Report available: http://vlstatic.com/l-and-p/assets/business/creative_industries_brochure.pdf). The success of London has been the model to many cities around the world seeking to establish similar success stories.

Richard Florida argues in his book, The Flight of the Creative Class that the world is concentrating in key urban areas rather than “flattening” thanks to the impact of globalization (a theory proposed by Thomas Friedman in his book The World is Flat). The world is rather becoming more specialized, with more important cities attracting the top talent. The development of a planet with peaks and valleys of talent has become an inevitable result.

At the apogee of these spikes are the creative cities, “an approach to policy and planning that recognizes the urbanistic context and infrastructure within which creative industry innovation and

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DIAGRAM 7

ECONOMIC ACTIVITY IN A SPIKY WORLD

Peaks and Valleys in the Creative Capital of the world.

Map by Tim Guilden, available at www.whosyourcity.com

growth take place” (Kong, O’Connor, 2009, Location 74/3365) The creative city emphasizes the establishment of policy that unifies talent with capital, and emphasizes people’s connection to their respective cities. Richard Florida explains: “Creative people, in turn, don’t just cluster where the jobs are. They cluster in places that are centers of creativity and also where they like to live. From classical Athens and Rome, to the Florence of the Medici and Elizabethan London, to Greenwich Village and the San Francisco Bay Area, creativity has always gravitated to specific locations” (Florida, 2002, Location 570/7234). The Creative Class, Florida argues, are the “scientists, engineers, artists, musicians, designers, and knowledge-based professionals.” (Florida, 2002, Location 165/7234). They are the highly mobile people that flock to specific regions around the world that offer the best lifestyle and job opportunities. Clustering the creative industries allows for the movement of capital, people and resources to function in a more effective manner. To him, The Creative Class is shaping the new urban fabric.

As a result of his research, one can discern that contemporary cities like Tokyo, New York, London or Shanghai have more in common in competing for the top-most talent rather than competing against their immediate geographic counterparts. The geographic counterparts, as a result, can benefit from the aspect of proximity to these urban epicenters. Though this contributes to the concept of globalization, there is still a stronger draw of people, resources and capital to primary cities than secondary or tertiary cities.

In terms of attracting talent, the cities aforementioned have certain lifestyle elements that become

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attractive to a rising Creative Class. When selecting a place to live, Florida’s research concluded that there were four key themes the Creative Class think about in selecting a place to live (bear in mind his research is applicable to USA): FOUR CONTEMPORARY OUTLOOKS IN CHOOSING A PLACE TO LIVE

1. The Creative Class is moving away from traditional corporate communities, working class centers, and sun belt regions to a set of places called Creative Centers.

2. The Creative Centers tend to be the economic winners of our age. Not only do they have high concentrations of Creative Class people, they have high concentrations of creative economic outcomes, in the form of innovations and high-tech industry growth. They also show strong signs of overall regional vitality, such as increases in regional employment and population.

3. The creative centers are not thriving for such traditional economic reasons as access to natural resources or transportation routes. Nor are they thriving because their local governments have given away the store through tax breaks and other incentives to lure business. They are succeeding largely because creative people want to live there. The companies then follow the people - or , in many cases, are started by them. Creative centers provide the integrated ecosystem or habitat where all forms of creativity - artistic and cultural, technological and economic - can take root and flourish.

4. Creative people are not moving to these places for traditional reasons. The physical attractions that most cities focus on building - sports stadiums, freeways, urban malls, and tourism-andentertainment districts that resemble theme parks- are irrelevant, insufficient, or actually unattractive to many Creative Class people. What they look for in communities are abundant high-quality amenities and experiences, an openness to diversity of all kinds, and above all else the opportunity to validate their identities as creative people.”

Content Found in Florida, 2002, Location 4279/7234)

These four trends bring together key factors toward city growth, and perhaps his research is not limited exclusively to the United States. Talented people select places both on the premise of opportunity and lifestyle. Cities must adjust themselves to provide varied spaces and amenities from the small street-level lively activity to the large-scale amenity, such that it satiates the desires of the wide range of people from different backgrounds or interests. Rather than people following jobs, employers are now setting offices in places that have a strong pool of talent, and hence increasing competitiveness between individuals seeking jobs.

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In turn, the traditional office space has also adapted to these trends to further attract the best talent into their companies. In his research, Wuwei points out a clear distinction between creative and traditional industries. Not only do they affect how people migrate from place to place (locational flexibility among the Creative Class, according to Florida), but they perform differently internally. Li Wuwei, in his book How Creativity is Changing China explains: TABLE 8

TRADITIONAL VERSUS CREATIVE INDUSTRIES Traditional

Creative

Driver

Hard Capital (land, financial capital, etc.)

Soft Capital (knowledge, culture, human resource, etc.)

Resource

Single Use

Repeatable Use

Chain

Linear production chain

Circle Value Chain

Organization

Vertical Structure

Flat Structure

Orientation

Product Value

Consumer Value

Revenue

Increasing Marginal Cost, Diminishing Marginal Revenue

Diminishing marginal cost, increasing marginal revenue

Goal

Economic Development

Economic, social and human development

Diagram found in Li Wuwei, 2012, loc 1357/2867)

The elements expressed in the creative category might also be applicable in the contemporary city.

The contemporary city, if perceived under this lens, seeks soft capital (knowledge, culture, human resources, talent) as its primary driver, seeks mechanisms to utilize resources in a regenerative/ repeatable manner, considers a circle value chain in all its outputs, is organized as a socially equitable and tolerant environment, puts an emphasis on the consumer, diminishes marginal costs and increases marginal revenue, and seeks economic, social and human development as its primary goal. Aspiring to become a city that follows these kinds of principles is a challenge to every city around the world, considering the environmental, social, political, and economic challenges we are currently facing in 2012.

Wuwei goes further and explains that there are four different developmental levels of creative cities.

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They are:

TABLE 9

DIFFERENT LEVELS OF CREATIVE INDUSTRIES IN CITIES ‘Parasitic’

Supported by government policy and funding, a number of creative enterprises have been able to develop. Government support includes investment in infrastructure for cultural consumption, convenience for SMEs to raise money, and special allowance for sustainable development of creative clusters

Examples

- Creative clusters in Britain, such as the Sheffield Cultural Induestries Quarter - The Cultural Industries Development Center in St. Petersburg - The Digital Media City *supported by the Seoul government of South Korea - Taipei Creative Industries Development - Other developing countries and regions such as the Asia-Pacific region and South America

Development

A number of independent creative enterprises have appeared, together with some privatized cultural enterprises that used to be funded by the government. These enterprises are small in scale. The local market for creative enterprises is not fully developed and cultural infrastructure is not complete. There are still traces of government initiatives.

Examples

- Creative clusters in Brisbane - Music communities in Tilburg - The (proposed) West Kowloon Cultural District in Hong Kong

Thriving

Thanks to increased government investment in cultural infrastructure, creative enterprises have increased in number and in scale. Local and regional markets have expanded and begun to reach consumers in international markets.

Examples

- Product design, architecture, digital media in Barcelona - Film and TV in Glasgow

Mature

In some industries, large-scale creative enterprises have become the dominant force of clusters. They have highly developed domestic and international markets and carry out sophisticated sub-outsourcing business

Examples

- Film and TV clusters in Los Angeles - Fashion and furniture design in Milan - Fashion in New York

Content Found in Li Wuwei 2012, Location 1907/2867)

The four stages exemplify that time plays a great role in developing the creative industries. In the case for Los Angeles, for example, time and capital have concentrated much of the American film industry in one location. Due to high prices and demand, other smaller cities (e.g., Pittsburgh) are utilizing film as a ‘parasitic’ creative clusterings to sponsor and foster economic growth. Therefore, it is safe to assume that no two cities are alike in their creative industry composition, and as a result we must be cautious when developing city-by-city comparisons.

Perhaps cities themselves have Wuwei’s four classifications of locations within their respective urban cores. A city that has a clear strategy to the development of the creative industry becomes, in the end, an economic powerhouse and is resilient to tackle future problems with innovative solutions. In Chapter 4: ANALYSIS, specific amenities will be analyzed in order to understand whether Shanghai successfully integrates its context to the Creative Industry Clusters in a geo-spatial manner.

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2.3 THE CREATIVE CITY: UNITING TECHNOLOGY, TALENT, AND TOLERANCE

There are various world-wide success stories that demonstrate how creativity has sprung a new life into a city. Places are in constant competition with each other to attract the best talent. Certain cities have been able to draw more people from different demographics to truly create a mosaic-like urban culture. In contrast, other cities have failed to keep up with the trend of attracting people, and as a result have lost population and ultimately jobs as well. Florida explains, “the competition for talent is not just between nations: the real battle is among cities and regions” (Florida, 2009, Pg.166) Cities have begun to utilize a creative branding strategy to attract and retain people in their cities. The most successful cities, according to Florida, have strong assets in Technology, Talent, and Tolerance.

Together, the combination of the 3T’s lead into what Florida creates an added-value of creativity to a particular place. He explains: “Technology- Measured by innovation and high-tech industry concentration. Talent is the second T - not “human capital” as usually measured (by numbers of people holding higher education credentials) but creative capital, which is talent measured functionally, by the numbers of people actually in creative occupations. The third T is Tolerance. Places that are open and tolerant have an edge in attracting different kinds of people and generating new ideas.” (Florida, 2002, Location 282/7234) When all three T’s are combined, then one can begin to measure a city’s Creativity Index, which Florida has successfully showcased in his book the Rise of the Creative Class.

The Creativity Index is “a mix of four equally weighted factors: (1) the Creative Class share of the workforce; (2) innovation, measured as patents per capita; (3) high-tech industry, using the Milken Institute’s widely accepted Tech Pole Index (which [Florida] refers to as the High-Tech Index); and (4) diversity, measured by the Gay Index, a reasonable proxy for an area’s openness to different kinds of people and ideas” (Florida, 2002, loc 4703/7234). We must bear in mind that the research he conducted was specific to the United States, and therefore it can only serve as a starting point when speaking about Shanghai. Different measures will be necessary in this context. However, this statistically-driven research made it possible for Florida to objectively compare cities against each other.

DIAGRAM 10

3TS OF CREATIVITY

TECHNOLOGY

CREATIVE CITY TALENT

TOLERANCE

Is it possible to utilize Richard Florida’s theory on the Three Ts (Technology, Talent and Tolerance) in order to plan the city accordingly to create resilience in the network infrastructure?

Diagram: Christian Wagner

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2.4 HANS MOMMAAS’ THEORY: MAPPING THE CULTURAL-CREATIVE CLUSTER LANDSCAPE

Before we can begin to map the Creative Industry Clusters, we must ask: Do Creative Industry Clusters actually cluster? Is there a relationship between the establishment of a creative industry cluster park and the nearby adjacencies? In a research study conducted by Cooke and Lazerretti, they explain that “little attempt has ever been made to assess the extent to which artistic labor and discourse are subject to the same ‘proximity’ solutions, proximity meant consciously in terms of geographical propinquity or ‘neighborliness.’ (Cooke, Lazeretti, 2008) In contrast, Maryann Feldman, in her essay titled Location and Innovation: The New Economic Geography of Innovation, Spillovers and Agglomeration, explains that the question is not whether firms cluster, but why. She states that “... some experts believe that clustering captures efficiencies generated from tight linkages between firms.

Others say it has to do with the positive benefits of co-location, or what they call spillovers. Still, others claim it is because certain kinds of activity require face-to-face contact.” (Obtained from Florida, 2005, Pg.32). Regardless, little research has been attempted at how these clusterings can be identified utilizing diverse contemporary mapping methods.

Hans Mommaas, professor in Leisure Studies at the Department of Sociocultural Sciences at Tilburg University, the Netherlands, argues there is a space between culture, economy and space that allows creative industries to thrive, however still hides a ‘confusing and tense complexity’ (Kong, O’Connor, 2009, Location 94/3365). In his research, he explains the three regions in terms of 3-dimensional space, with each axis emphasizing either culture, economy and physical space. We must perceive each axis, therefore, not as the connection between two absolute points, but rather a spectrum that allows for flexibility between the two points.

On the X-axis lies the role

DIAGRAM 11

HANS MOMMAAS 3-AXIS STRATEGY

values of the cultural, the artistic, aesthetic, or symbolic vis-a-vis other (technological, economic,

M

O

D

EE

FR

Z

of culture, the “qualities and

CO-CREATION

Y

AUTONOMOUS

ENTREPRENEURIAL

etc.) qualities.” (Mommaas, X-Axis: ROLE OF CULTURE

X

Found in Kong, O’Connor,

N CO TR

argues that there must be a

L

O

CO-PRODUCTION

2009, Location 774/3365). He Z-Axis: POLITICAL-ECONOMIC LANDSCAPE

Y-Axis: LEVELS OF PROXIMITY

According to Mommaas, Creative industries work within the 3-dimensional axis between culture, political-economic landscapes, and levels of proximity.

Diagram: Christian Wagner

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differentiation between clusters that are set up for cultural and entrepreneurial purposes and

SPATIAL DISTRIBUTIONS AND CITY-WIDE ORGANIZATIONAL PATTERNS | CHRISTIAN WAGNER

those that are unofficial, or, as he explains “autonomous arts, or the ‘artistic’”. The challenge Shanghai faces is exactly within this spectrum - whether it is beneficial to allow for greater degrees of artistic creation over having an entrepreneurial emphasis.

On the Y-axis are the levels of proximity (the spatial distributions). He makes a clear distinction in this axis between co-creation and co-production. He explains, “on the one hand, functions can be co-located in a common space, due to locational qualities such as cheap subsidized facilities and local strategic cultural policy for instance, but not developing much organizational interaction or collaboration. On the other hand, co-producers, working on a common project, may have a thick organizational interaction without joining a common physical space.” (Mommaas, Found in Kong, O’Connor, 2009, Location 791/3365) This can easily be construed as a limitation to the clustering concept. Although creative industries might be in immediate physical connection, this does not mean that they will interact. Rather, they will mutually benefit from the adjacent amenities provided by the clusterings. If the circumstance arises that co-production is necessary, it is no longer necessary to coproduce within close adjacency from individual to individual. It is important to note that clustering, therefore, is not a guarantee of successful planning mechanisms within the urban scale.

In the spatial field, he explains the importance of the “optimal interaction and co-evolution of spatial and organizational forms of proximity in order to produce sustainable cultural creative clusters.”

(Mommaas, Found in Kong, O’Connor, 2009, Location 801/3365) In the Chapter 4: ANALYSIS, we will understand this factor in relationship to the Shanghai Cityscape. I argue that the physical proximity between Creative Industry Clusters and the amenities found in immediate adjacency, whether it is access to public transportation or the adjacency to educational institutions will affect the performance and prominance of the creative ‘energy’ where the Creative Industry Cluster is situated.

Finally, on the Z-axis, Mommaas explains the impact of the political-economic landscape as influencing the cultural-creative landscape. He cites Markussen (2006), that “the public agendas of artists as a group still cannot be conflated with neoliberal urban political regimes” (Mommaas, Found in Kong, O’Connor, 2009, Location 827/3365) In the case of China, governmental efforts and organization have a strong grasp on the development of the creative industries. It is essential to understand the social-political landscape in relation to the creative clusters in Shanghai, which will be targeted in Chapter 3: CONTEXT.

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2.5 TRANSITIONING INTO A CREATIVE HUB

In a research periodical written by Zhang Wang (May 21, 2010) titled Investigation and Analysis on the Creative Industry Cluster, she explains the extrinsic value of the creative industry on a city as well as the added-value on other industries in the following chart: GRAPH 12

VALUE IN INVESTING IN THE CREATIVE INDUSTRY Extrinsic Value of Creative Industry

Direct Value from Creative Industry Manufacturing System Urban Development

City Image

Cultural Characteristic

Reproduction & Distribution Industries

Manufacturing input Industry

Supporting Industry

Other Leisure Industry Education & Training Site Facility Management

Accretion Product Manufacturing

Value of Culture and Beautifying City Dress Accretion

Content Production Industry

Dressmaking, Shoe Manufacturing, Furniture Manufacturing

Culture, Tourism, Real Estate

Multiple Value of Other Industry Graph: The Value of the Creative Industry Production System Graph explaining the extrinsic value of the creative industry in relation to the direct value of the Creative Industry Manufacturing system.

Adapted from Zhang & Wang (2010).

As we can see on the graph, production, manufacturing, reproduction and distribution mechanisms within the Creative Industry Clusters can affect the direct value obtained from the creative industry mechanism. Zhang argues that the extrinsic value aggregated to the creative industries can potentially affect the value of culture, city beautification, cultural characteristics, city image and urban development. Zhang argues that there is a strong connection to the value of the city to improve its urban image thanks to sponsoring of creative industries.

A mechanism that has been thoroughly employed has been the revitalization of old industrial sites near, or within, city cores. Many cities around the globe have left behind many industrial relics and moved into a post-industrial city, given that tertiary, service-based industry becomes the key industry in the city core. The industrial buildings, typically found in the city’s periphery during the Industrial Revolution, are now found empty or semi-abandoned within the current ‘inner city.’ Examples of these post-industrial revitalization projects include the High Line Project, an old railway line that previously was used to transfer meat products throughout the Meatpacking District in New York City, or the urban conversion of the Rhine River Valley Steel Industry factories converted into a public park thanks to efforts conducted by the IBA (Internationale Bauaustellung) in Germany.

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Rather than demolishing these industrial relics, many of these buildings have been re-integrated into the urban fabric by injecting creative industry programmatic features and offering subsidized rents for lower-income artists to move in. Mommaas explains, “The central idea was that the use by the artistic community of these vacant spaces would set in motion a chain of developments, which would make these rundown quarters attractive again for middle class residents and consumers.” (Mommaas, Found in Kong, O’Connor, 2009, Location 659/3365). The Shanghai Creative Industries Center clarifies this construct better, stating, “Creative industry parks differ from leisure consumption areas: the main source of creative park income is settled in enterprise office rent, rather than on commercial consumer income (http://www.021ci.com/html/201010/27/095354801.htm). The economic structure of creative industry clusterings are therefore an intrinsic characteristic to their spatial forms within cities.

Creative Industry Clusters are a contemporary example of urban clustering theory. In China, the most famous example of this urban conversion is found in the 798 Creative Industry Park in Beijing. In New York, this would be SOHO. By providing the amenities suitable for a lower-income, creative, and entrepreneurial Creative Class, cities managed to transform entire neighborhoods, reducing crime, or DIAGRAM 13

URBAN TRANSFORMATIONS INTO A CREATIVE CITY

INDUSTRIAL CITY CORE AND ADJACENT INDUSTRY CENTERS

INDUSTRIAL CITY - CITY BOUNDARY ABSORBS INDUSTRIAL ZONES

EXODUS OF INDUSTRIES FROM CITY CORE (e.g., POLICY, HEALTH) INDUSTRIAL ZONES ABANDONED

The Transition from an Industrial City into a Creative City Diagram: Christian Wagner

RETROFIT OF OLD INDUSTRIAL CORES IN CITY CENTER, INDUSTRIAL PARKS MOVED TO PERIFERY

PHOTOGRAPHS 14

EXAMPLE: HIGH LINE PROJECT, NEW YORK CITY

High Line Project: Designed by Diller & Scofidio-Renfro. New York City - A great example of urban revitalization of old industrial relics.

Photos: http://perspectives.charlesluck.com/cultural-observations/agri-tecture-urban-infrastructure-overrun-by-nature-and-brought-into-the-publicspotlight/

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SPATIAL DISTRIBUTIONS AND CITY-WIDE ORGANIZATIONAL PATTERNS | CHRISTIAN WAGNER

repopulating areas that had experienced an industrial exodus.

These abandoned post-industrial buildings have sparked new ideas of innovation. Wuwei explains: “an important factor is the old buildings with exposed beam structures, which stimulate memory and imagination. Furthermore, the buildings are often wide and spacious, making them easy to re-fit for their new purpose. The environment and atmosphere provided by old factory and warehouse buildings inspires imagination and creative ideas. New ideas arise from the process of exchange, learning and integration of different cultures.” (Wuwei, 2011, loc 1839/2867) The poetic nature of these semiabandoned buildings and their spaciousness for re-adaptation are perfect for the establishment of Creative Industry Clusters. Or to put this in the words of Jane Jacobs, “new ideas require old buildings” (Florida, 2009, Pg.260).

Many of these post-industrial spaces combine outdoor public spaces (in the form of shopping and leisure corridors or plazas) or green-scapes filled with activity on the ground level (cafes, bars, restaurants, night clubs, or shopping areas), and in floors above home to ateliers, studios and offices.

They are a mixture of production spaces, manufacturing, reproduction and distribution spaces. They frequently hold events, fairs, shows, performances, exhibitions, festivals, or even cultural celebrations.

Formally, many of these post-industrial landscapes have become landmarks to the surrounding region, contribute to district-by-district tourism, and establish nodes and corridors of activity. This is the building typology of the Creative Industry Cluster.

These new urban landscapes differ from new construction, as they are embedded with memories of the city’s industrial past. Formally, they also differ as these older buildings were previously designed for maximum output efficiency, hence developing an architectural style that is unique to the postindustrial city.

PHOTOGRAPHS 15

EXAMPLE: 798 ART DISTRICT, BEIJING, CHINA

798 Art District in Beijing is perhaps the most documented, the largest, and most successful art district established in Mainland china. Situated in the North-East corner of Beijing (also in direct connection to the Beijing Capital Airport), this art district combines both the relics of an industrial past, contemporary art and innovative architecture.

Photos: Christian Wagner

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SPATIAL DISTRIBUTIONS AND CITY-WIDE ORGANIZATIONAL PATTERNS | CHRISTIAN WAGNER

2.6 OBSERVATIONS

A breadth of research has been conducted in order to understand the role of creativity in a city. One of the more tangible outputs of the role of creative industry lies in the construction of Creative Industry Clusters. They are typically assembled through the urban regeneration of industrial sites that have lost their intended original purpose, yet are situated within or nearby the city core. Cities with an industrial past have the strongest opportunity to reexamine the way they treat their industrial heritage buildings.

As a result, municipal governments can perceive these abandoned industrial sites not as an eyesore to the city, but rather a space for creative opportunity. These spaces, as a result, can be transformed with the purpose of serving the Creative Class.

The Creative Class is concentrating into particular regions. The contemporary planning of cities requires municipal governments to consider how to attract and retain the best talent within their cities.

Of the regions that are successfully retaining talent, there is a strong push to provide lifestyle amenities that are usually attractive to the Creative Class. Not only are cities adapting to this phenomenon, as Li Wuwei explains, the internal structures of offices are adapting as well. But one cannot understand the role of creativity on the physical landscape of a city alone. Mommaas argues that there one needs to understand the motivations and outputs within 3 separate axis. Richard Florida explains that intangible constructs such as Technology, Talent, and Tolerance (Tolerance perhaps being the most intangible of constructs) are important when developing a creative strategy for a city. When these complex networks beneficially affect each other, the role of creativity within a city structure and its imbedded dynamic can be great. Next chapter will focus on how these constructs apply to the Chinese (and Shanghai) contexts.

PHOTOGRAPHS 16

AALTO DESIGN FACTORY, TONGJI UNIVERSITY

The Sino-Finnish Center at Tongji University usually runs international workshops that redefine the constructs of traditional collaboration. These spaces are frequently becoming hubs of creative processes where collaboration superceeds heirarchy.

Photo: Christian Wagner

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SPATIAL DISTRIBUTIONS AND CITY-WIDE ORGANIZATIONAL PATTERNS | CHRISTIAN WAGNER

3. CONTEXT CHINESE POLICY AND CIC’s 3.1 Policy and the Creative Industries in China 3.2 Shanghai as a Context to Creative Industry Clusters 3.3 Shanghai’s Post-Industrial Transformation 3.4 Policy in Shanghai and the Creative Industry Clusters 3.5 Shanghai: City of Design (UNESCO Creative Cities Network) 3.6 Utilizing Creative Industry for City Branding - Case: Seoul, South Korea 3.7 Observations

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Previous Page: Bridge 8 Creative Park Photo by Christian Wagner

SPATIAL DISTRIBUTIONS AND CITY-WIDE ORGANIZATIONAL PATTERNS | CHRISTIAN WAGNER

3.1 POLICY AND THE CREATIVE INDUSTRIES IN CHINA

Last chapter began by introducing the notion of clustering

DIAGRAM 17

KEY TOPIC IN CHAPTER 3 Y t TR ec Y S bj OR DU su E IN TH E V TI EA CR

the historic roots of creative industry concepts, introduced a few key players and different views regarding the creative

SHcon AN te GHxt AI

in an urban planning context. It gave a brief overview to

industry organizational structures. Taking into consideration the different theories from the previous chapter, this chapter will analyze the social-cultural-political intangible spheres that apply to the Chinese and Shanghai contexts; important because they affect the tangible, physical features within the urban fabric of a city.

SPATIAL ANALYSIS object SecondThread: Creative Industry Theory in Relation to the Context Diagram: Christian Wagner

The discussion of ‘Creative Capital,’ ‘Creative Cities,’ ‘Creative Strategy,’ and the ‘Creative Class’ have all been imports from the West into China - first in London with the DCMS, followed by numerous academics and institutions researching the topic, followed by stakeholders implementing these theories into the urban sphere. When speaking about China, Kong and O’Connor explain, “in short, though the promise of the ‘Creative Industry, Creative City’ agenda has a very real appeal, its implementation in the distinct contexts outside of European and North American cities in general is fraught with ambiguities, tensions, and ‘mistranslations’ (Kong, O’Connor, 2009, Location 77/3365).

Although the West and East have increased collaboration and have become codependent in more recent memory, it is also important to bear in mind that they are entirely different cultures, with different value systems and social norms. China has cautiously imported these new terms for urban development, however, instead of replicating the European model, has chosen to interpret, adapt, and assimilate certain elements into the social, economic, political and physical fabrics in a unique manner.

In China, “the conjoining of culture and creativity (in the term cultural and creative industries) does reconcile with the traditional Chinese world view” (Keane, cited in Wuwei, 2011, loc207/2867 similar constructs mentioned in Zheng, 2008). Culture and creativity cannot be seen as independent constructs that lie at opposite ends of a spectrum, where culture translates into tradition and creativity translates to freedom. With the co-joining of these contexts, the Chinese government creates a sense of control within this realm. This interpretation has resulted in an evolution of creative industries unique to China.

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In fact, one could argue that the dialogue between Creative Class, city, and economy was only initiated in a post-Open Door Policy China. Keane explains: “The Chinese creative society may be a long way off - 2020 in Li’s reckoning - but its roots go back to the 1990’s, a decade when the terms ‘cultural market’ and ‘cultural industries’ became accepted in ways of describing the secularization of Chinese culture. By secularization I refer to the fact that Chinese culture, even representational art, from the 1940’s until the 1990’s was effectively aligned to ideology.” (Keane, cited in Wuwei, 2011, loc 94/2867) Because there was a cautious avoidance to promote an independent, non-ideology-driven creative industry for over 50 years, one could argue that creativity was subdued, or lost its importance, during that time. Only after social and economic reform, was it possible for the Creative City dialogue to emerge.

DIAGRAM 18

WORLD AND SHANGHAI EVENTS

World

Shanghai Shanghai upgraded from village to market town 1074 Decline of Qing Dynasty 1839-1860

First Industrial Revolution 1750-1850

Treaty of Nanjing - Establishment of Concessions 1842

Treaty of Nanjing cedes Hong Kong to the British 1842 Great Exhibition London 1851

Shanghai Municipal Council Established 1854

Second Industrial Revolution 1871-1914

Shanghai Municipality Established 1927

World War II 1939-1945

Japanese Occupation 1941

World War II 1947-1991

People’s Liberation Army Takes Control of Shanghai 1949

Korean War 1950-1953

IDEOLOGY-DRIVEN CREATIVE INDUSTRY Industrialization & Cultural Revolution 1966-1976

Vietnam War 1957-1975

Economic Reform 1989-1991

Fall of the Berlin Wall 1989 Beijing Hosts Olympics 2008

Shanghai Hosts World Expo 2010 Shanghai designated as World Design Capital 2011

Timeline of Shanghai’s Development, in relation to other major events happening around the world.

Diagram: Christian Wagner; Content: en.wikipedia.org

Keane goes further to explain that there are 3 key Western misconceptions and perspectives toward understanding the role of creativity in the Asian context. First, he argues that “Western-style pluralism is not necessary for creativity to flourish; in other words, creativity is a pragmatic solution to economic issues more so than an essential component of civil society.” (Keane, 2011, Pg. 2) Notions of selfexpression, independence and individualism do not match the social normalcy of the Chinese social structure, which values harmony, hierarchical centrality, family and interdependence. Regimentation

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SPATIAL DISTRIBUTIONS AND CITY-WIDE ORGANIZATIONAL PATTERNS | CHRISTIAN WAGNER

and authoritarian control is also embedded into the Chinese mainstream culture. This means that China will not socially change based on establishing a creative industry strategy.

This, however, proves to be a challenge with other scholars. Are the people within the creative industry sector at odds with their motivations with the central government and does this create mutual paranoia? Jing Wang, an American scholar, writes, “The thorniest question triggered by the paradigm of creative industries is that of “creativity” – the least problematic in the Western context. How do we begin to envision a parallel discussion in a country where creative imagination is subjugated to active state surveillance?” (Obtained from Keane, 2009, Wang 2004, p. 13). It could be argued that too much control from a central entity (e.g., the Municipal Government in Shanghai) might limit the extent of the creative process and potentials for innovation embedded in the Creative Class. Rather, if there is too much careful planning, too much control, or too many ‘hidden’ motivations (e.g., capital gain) will limit the creative output of individuals and groups.

Keane’s second Western misconception is “that China’s national competitiveness will be enhanced by providing managed work spaces for artists, designers, media producers and related occupations.”

(Keane, 2011, Pg. 2) Is the fostering of the development of creative spaces a solution to create greater competitiveness and to reward the creative individual, or can it be perceived as a mechanism to inflate growth statistics? When too much emphasis is placed on financial gain, we lose sight of the quality of the output. Keane goes further and explains that this policy-driven creative infrastructure is actually detrimental to the creative city, explaining that “in spite of the proliferation of creative clusters and a higher number of international creative businesses in Shanghai than Beijing (Liu Kai 2008), the city may be just too regimented - or paradoxically as O’Connor and Gu (2006) suggest ‘too commercial’ for the creative industries” (Keane, 2011, Pg.135). It is an immense challenge to provide a successful infrastructure without being over-bearing or over-commercializing the contents in the process.

Provinding spaces alone is not enough; it is important to consider the motivations beforehand of the people that provide these spaces in the first place.

Organization and creativity at times are at odds with each other. In Florida’s research, he concludes that too much control stifles the creative process (Florida, 2002, Location 805/7234). Chris Bilton, director of the Center for Cultural Policy Studies at the University of Warwick in England writes: ‘The challenge of managing and structuring creative processes and people centers on the management and tolerance of contradictions’ (Bilton 2007: 20, obtained from Keane, 2011). Different stakeholders, from the central government to the entrepreneurial artist, will always have differing opinions and motivations. Keane explains: “In China creative endeavor is dispersed over three levels. On the top

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government aspires to turn cultural resources into value by adding creativity... On the market level there are a multitude of businesses scrambling to make money but encountering difficulties because market players either lack autonomy or are engaged in low-value activities ... On the grassroots levels thousands of artists, would-be entrepreneurs, and amateur producers form a large ‘creative community’.

(Keane, 2011, Pg.132) In China, this construct affects the effect of creative industries on national competitiveness. If one provides spaces for artists (or the Creative Class) it is not guaranteed that these spaces will output quality work (given aforementioned constraints), might not successfully function as a financial mechanism (as in an economic-entrepreneurial driver), or might not boost a city’s competitive ‘edge’ over other cities.

Last, Keane argues about the weakness of Florida’s Creative Class in the Chinese Context.

In Florida’s research, he argues that people will easily flock to particular cities based on their attractiveness. However, in China, mobility is limited among the Chinese population, since people in China cannot migrate freely and “are far less mobile due to the need to have residency permits.”

(Keane, 2011, Pg.2) Foreigners in China also have a limitation with obtaining Visas. In order to create a truly ‘open’ society, these emigration/immigration policies can also stifle the import of talent within China. Cities that have more relaxed Hukou policies, or attract a large number of students (which sponsor the residency), are therefore more apt at attracting talent.

These three misconceptions must be taken into account when understanding the role of the Creative Industries in the Chinese context. Keane’s argument teaches us about the unique assimilation that has happened in China. Organization occurs from the entrepreneurial artist all the way until the central government in Beijing. Although this might stifle the creative process, it enhances policy and directs funds in an efficient manner to bolster the creative economy. In China, creativity has taken the role of driving the economy rather than steering social norms into a different direction and “in order for it to be validated by the Ministry of Culture it has to connect with the policy mainstream” (Keane, cited in Wuwei, 2011, loc200/2867) As a result, there has been a push to develop the creative industry in the main urban centers. But there is still a strong political influence despite its desire to welcome new innovation and talent.

In a contrasting viewpoint, in an article written to the Atlantic Cities newspaper, titled China’s Development Disconnect, Florida, Mellander and Qian explain that China still has a long way to go before it becomes an advanced center for innovation and creativity. In his research, Florida discovered that “[China’s] college grads and members of the Creative Class are even more geographically concentrated ...in Beijing 10% of population in the Creative Class, Tianjin 5% of population in the

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SPATIAL DISTRIBUTIONS AND CITY-WIDE ORGANIZATIONAL PATTERNS | CHRISTIAN WAGNER

Creative Class, and Shanghai 5% in the Creative Class, still far below the levels of global cities in the advanced nations, many of which boast Creative Class shares of 30 or 40 percent or more.” (http://m. theatlanticcities.com/jobs-and-economy/2012/04/why-china-lags-innovation-creativity/1604/) According to UNESCO 2010 statistics, it is believed that as many as 1 million people participated actively in the creative industry [in Shanghai].... a number which only accounts to 4% of the city’s population according to the city census. It is clear based on the Chinese centralization of power that key regions are established to foster economic development. Mellander, Qian and Florida in Why China Lags in Creativity observe: “The enormous political, economic, and social resources brought to bear by the central government render Beijing, Shanghai, and Tianjin unbeatable in attracting talent and high-tech industries and in fostering economic growth.” (Florida, Mellander, Qian, 637) Although only a small proportion of the population works in the creative industry, one must take into account the quantity of population available and concentrated in Shanghai as a powerful driver to further improve the status of the creative industry. Proportionally, Shanghai’s service and industrial cores still maintain Shanghai’s economy, and it will take long before it reaches levels in Europe. It is clear that Shanghai’s diversity of industrial, cultural, service, and creative industries could also be considered an asset to Shanghai. A diverse market can build resilience in the event of crisis.

MAP 19

CONCENTRATIONS OF 3 SHARES IN CHINA: CREATIVE CLASS HIGH TECH INDEX HUMAN CAPITAL

In Florida’s research, it can be seen how there is a concentration of Creative Class, High Tech Shares, and Human Capital Shares are concentrated in a few particular regions of China Content: http://m.theatlanticcities.com/jobs-and-economy/2012/04/ why-china-lags-innovation-creativity/1604/

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SPATIAL DISTRIBUTIONS AND CITY-WIDE ORGANIZATIONAL PATTERNS | CHRISTIAN WAGNER

For example, according to Florida’s research in The Flight of the Creative Class, the Netherlands, with a net population of 16.5 million people has a staggering 47% of its population working within the creative industries, accounting therefore to a total of approximately 7.7 million of the entire nation.

(Florida, 2009, Pg.145) But comparing a country to a region is also inaccurate. While Shanghai still lags in its openness to talent on the global scale, relatively speaking it is still the most ‘open’ city in the Chinese context. Shanghai, in terms of population and area, are both greater than that of the country of Netherlands; and as a result it is difficult to ascertain whether measuring these factors will prove a successful measure.

3.2 SHANGHAI AS A CONTEXT TO Creative Industry Clusters

Shanghai is a culturally rich city with a varied history. Li and Hua explain: “First, Shanghai has a well-developed industry infrastructure. Second, as the cradle of modern Chinese industry, Shanghai possesses a historical industrial heritage. Third, historical as well as today, the mix of Eastern and Western cultures has given Shanghai a distinctive diversity in culture. Fourth, Shanghai has attracted talent from all over the country and around the world due to the China’s open-door policy.” (Li and Hua, Found in Kong, O’Connor, 2009, Location 2388/3365). It is no question that Shanghai’s unique landscape and people make it a melting pot that incubates creative talent and constrantly attracts a creative pool of people.

Shanghai’s rapid development resulted from its industrial capacity, with its key historic industries including steel, iron, metals, shipping, textile and transportation infrastructure. The city prior to its industrial boom, served as an international hub, linking trade, knowledge and power between East and West, helping the creation of ‘concessions’ that allowed for international powers to interfere with the shape and growth of the city. It is difficult to imagine today’s Shanghai, with soaring skyscrapers, a population of over 24 million, and a network of talent that is unique to this region (en.wikipedia.com/ Shanghai). Today, Shanghai is transitioning from its industrial roots, though it still accounts 40% of the municipal GDP into a service-based economy (That’s Shanghai, cover story ed. June 2012).

Since the economic reform from the 1970’s to the 1990’s, Shanghai has experienced unprecedented growth. This unprecedented growth has put the spotlight on Shanghai as a current and future metropolitan center rivaling the likes of London, Tokyo, and New York. (GaWC Rankings, 2012).

Manuel Castells describes the 21st century city as a “metropolitan region is constituted by a multicentered structure (with different hierarchies between the centers), a decentralization of activities,

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SPATIAL DISTRIBUTIONS AND CITY-WIDE ORGANIZATIONAL PATTERNS | CHRISTIAN WAGNER

residence and services with mixed land uses, and an undefined boundary of functionality that extends the territory of this nameless city to wherever its networks go.” (Journal, Urban Studies 47:2737).

Shanghai embodies these principles, as a city that seeks to create a multi-centered core, where diverse urban experiences are available to the city’s dwellers.

Since Shanghai’s relatively short history (considering that it was only a upgraded into city status in 1927, from its previous designation as a market town), it has been a beacon toward accepting new ideas, talent, and technology. President Hu Jintao mentioned in 2010 that “creative industries bears great potential [in China] for development to further improve the park planning, and constantly improve the service system, efforts to create a climate for innovation, the real creative industry into a new bright spot of Shanghai’s economic development” (http://shszx.eastday.com/node2/node4810/ node5136/node5144/userobject1ai43302.html). The city has adopted the creative industries as a new mechanism for branding.

Given China’s centralized political system, there is a clear road map established for the development of the country’s landscape, as established in the 5-Year Plan. The 5-Year Planning system establishes guidelines, parameters and targets from the country-wide level to municipal-level decision-making.

One can argue that China’s rapid growth is due to the success of the centralization of power, which allows for rapid development and execution of ideas. As a key central city, Shanghai serves as a catalyst for other major cities in the region, with 7 key indicators: “financial capability, technological innovation, international competitiveness, radial driving ability, transportation accessibility, information exchange, and sustainable development capacity.” (Translated by author: http://news.163. com/10/0208/10/5V09SGAS000125LI.html)

RUSSIA

KAZAKSTAN

Ulaanbaatar

Almaty

UZBEKISTAN

MONGOLIA

Tashkent` Bishkek KYRGYZTAN

MAP 20

Dushanbe TAJIKISTAN

CHINA’S REGIONAL CONTEXT

NORTH KOREA

AFGANISTAN

Kabul

Pyongyang

Beijing

JAPAN

Seoul

Islamabad

SOUTH KOREA

Tokyo

PAKISTAN

New Delhi Shanghai

NEPAL

Kathmandu

500 KM

BHUTAN

Thimpu

1000 KM

Dhaka

INDIA

Taipei 2000 KM

TAIWAN HONG KONG

Hanoi

BURMA`

MACAU

LAOS

Rangoon

Hong Kong

Vientiane THAILAND

Manila

Bangkok

4000 KM

VIETNAM

CAMBODIA

Phnom Penh

PHILIPPINES

Sri Lanka`

Colombo Bandar Seri Begawan

MALAYSIA

Kuala Lumpur

4 Asian Tigers

BRUNEI

Singapore

Capital Cities Distance Radii Jakarta

0 KM

INDONESIA

1000 KM

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Shanghai lies at a strategic regional location, within 2000 km of major economic hubs like Tokyo, Seoul, Beijing, Taipei, and Hong Kong. Furthermore, it is within 4000 KM of the “Four Asian Tigers - Seoul, Taipei, Hong Kong, and Singapore. Due to its proximity, location, and access to the ocean, Shanghai has become not only an economic hub, but the contains also the world’s largest freight harbor.

Source: en.wikipedia.com/ Image: Christian Wagner

SPATIAL DISTRIBUTIONS AND CITY-WIDE ORGANIZATIONAL PATTERNS | CHRISTIAN WAGNER MAP 21

CHINA’S NATIONAL STRATEGY

Harbin

Urumqi Shenyang

Hohhot Beijing` Tianjin Shijiazhuang Yinchuan

Yellow Riv er

Xining

Taiyuan

Lanzhou

Xian Nanjing Hefei

e tz

Wuhan

ng Ya

Chengdu

Lhasa

er Riv

Shanghai Hangzhou

250 KM 500 KM

Chongqing

Nanchang 1000 KM

Changsha Primary Economic Zones China

Fuzhou Guiyang

Taipei

Capital Cities Kunming Provincial Capitals Nanning

Guangzhou Macau

Distance Radii

Hong Kong

Primary Rivers Haikou

0 KM

500 KM

In February 2010, the China Central Government established a key city strategy involving Shanghai to the East (Yangtze River Valley), Beijing-Tianjin (Bohai Economic Region), Guangzhou in the Pearl River Delta, and Chongqing inland. 5-city strategy for key economic growth was also supplemented by regional central cities, such as Xi’an, Wuhan, Chengdu, Shenyang, and Shenzhen.

Adopted from Class Lecture, Cha Yongjie Image: Christian Wagner MAP 22

YANGTZE RIVER DELTA STRATEGY

Yangzhou

200 KM

Nantong Nanjing

Zhenjiang Jiangyin Jintan

100 KM Changshu 50 KM

Wuxi Taicang

Liyang Yishing

Suzhou Shanghai

Changxing

Water Bodies

Huizhou Jiashan

Primary Vehicular Connections Hub Cities Zhoushan

Haiyan

Secondary Cities

Distance Radii

Hangzhou

0 KM Ningbo

Shanghai plays a powerful role today in the global economy. Situated south of the mouth of the Yangtze River, Shanghai is in an optimal location from other key players in the Asian market.

Adopted from Class Lecture, Cha Yongjie image: Christian Wagner

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50 KM

SPATIAL DISTRIBUTIONS AND CITY-WIDE ORGANIZATIONAL PATTERNS | CHRISTIAN WAGNER

MAP 23

SHANGHAI’S 1-9-6-6 STRATEGY

1-9-6-6 Planning System distribution for Shanghai. One Central city, 9 Satellite sub-centers, 60 towns, and 600 villages.

Adapted from the Short-term City Development Plan of Shanghai (2006-2010) - Rural-Urban Planning Framework and The Comprehensive Plan of Shanghai Metro Region (19992020) Shanghai is divided into 17 Administrative Divisions, creating diversity and autonomy among the different districts. Puxi, literally meaning “West of the Huangpu River” is considered the old city, is comprised of 8 individual districts.

Primary Highways Inner City Core

9 Towns 60 Villages

0 KM

10 KM

3.3 SHANGHAI’S POST-INDUSTRIAL TRANSFORMATION

Shanghai has a strong physical infrastructure capable of hosting the creative industries. In fact, some claim that Shanghai has the greatest number of Creative Industry Clusters in the world, adding yet another element to the list of Shanghai superlatives. (http://www.icreativecity.org/news_detail.asp?N ewsId=726&BigClassName=Creative%20ecology). By the end of 2009, for example, Shanghai had already established over 74 Creative Clusters with a total construction area of nearly 2,687,100 m2 (http://shanghaichase.blogspot.com/2007/08/latest-update-on-creative-clusters.html). Of these Creative Industry Clusters, about two-thirds are built through the protection and creative regeneration of old factory buildings and warehouses. This number is actually quite low, considering that there is “over 30 million square meters of old and idle factory space in Shanghai” (http://shanghaichase.blogspot. com/2007/08/latest-update-on-creative-clusters.html.) Zhong Sheng, in her PhD Thesis titled Industrial Restructuring and the Formation of Creative Industry Clusters: A case of Shanghai’s Inner City, offers some insights to the development of Shanghai’s industrial core from 1930, 1981, and present-day locations of industrial hubs:

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SPATIAL DISTRIBUTIONS AND CITY-WIDE ORGANIZATIONAL PATTERNS | CHRISTIAN WAGNER

MAP 24

INDUSTRIAL MAP SHANGHAI: 1930’S

Map of Shanghai’s Industrial Core - 1930 Source: Sheng Zhong, 2010, pg 96 but original document sourced at: Shanghai Urban Planning Design and Research Institute, 2007, pg15.

MAP 25

INDUSTRIAL MAP SHANGHAI: 1980’S

Map of Shanghai’s Industrial Core: 1981 Source: Sheng Zhong, 2010, pg 100

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SPATIAL DISTRIBUTIONS AND CITY-WIDE ORGANIZATIONAL PATTERNS | CHRISTIAN WAGNER

MAP 26

INDUSTRIAL MAP SHANGHAI: 2012

F

A A

NJ

EE

K

CC A A EE

M

E

A

PP PP P O AL

Z

G

W

R VFF E

U

C G

Y

X

DD DD

K

A Shanghai Baoshan Industrial Zone B Shanghai Caohejing Export Processing Zone C Shanghai Caohejing Hi-Tech Park D Shanghai Caohejing Pujiang Hi-Tech Park E Shanghai Chemical Industry Park F Shanghai Chongming Industrial Zone G Shanghai Comprehensive Industrial Development Zone H Shanghai China Fengpu Industrial Park I Shanghai Fengjing Industrial Zone J Shanghai Fuhua New & Hi-Tech Park K Shanghai Hengsha Island Tourist Holiday Resort L Shanghai Hongqiao Economic & Technological Development Zone M Shanghai International Automobile City/Anting N Shanghai Jiading Hi-Tech Park O Green Economic City, Shanghai Jiading Industrial Development Zone P Shanghai Jinqiao Export Processing Zone Q Shanghai Jinshan Industrial Zone R Shanghai Lujiazui Finance & Trade Zone S Shanghai Minhang Economic & Technological Development Zone T Shanghai Minhang Export Processing Zone U Shanghai Pudong Chuansha Economic Park V Shanghai Pudong Economic and Technological Development Zone W Shanghai Pudong Heqing Industrial Park X Shanghai Pudong Kangqiao Industrial Zone Y Shanghai Qingpu Export Processing Zone Z Shanghai Qingpu Industrial Zone AA Shanghai Songjiang Export Processing Zone & Industrial zone BB Shanghai Spark Development Zone CC Shanghai Waigaoqiao Free Trade Zone DD Shanghai Xinzhuang Industrial Zone EE Shanghai Xinyang Industrial Park FF Shanghai Zhangjiang High-Tech Park GG Shanghai Zizhu Science-based Industrial Park

B D

AA AA AA AA AA

Developmental Path S

GG Developmental Influence

I

G H T G

1966 Plan

QQ Q

Primary Industrial Centers BB

Primary Highways Inner City Core

0 KM

10 KM

Sources: en.wikipedia.org /List_of_economic_and_technological_development_zones_in_Shanghai Developmental corridors and influences adapted from diagram found in: Pan Haixiao Diagram overlays created by author

The maps to the left showcase a couple of particularly interesting elements. First, the riverbanks, both in the Huangpu River and Suzhou Creek were the primary vehicles for the industrial might of Shanghai. In 1980, we can see there was a strong push to move the industrial sites to the periphery of the city, which makes a very interesting ring around the central core of the city. Today, this ring has been absorbed into Shanghai’s central city, which has left a gap between the development of the industrial sites and the development of the city. In the current plan of development, the outlying satellite towns around Shanghai have now become hubs for Shanghai’s industrial capacity. Although there are still some industrial sectors within the Third Ring Road, one can see that there is a new push to move Shanghai’s industrial capacity further outward, and establish corridors of development that radiate outward based on Shanghai’s infrastructure network. The city therefore keeps growing outward, and more industrial spaces will be situated with nearby adjacency to sub-city centers, creating a developmental pattern that is only limited by the municipal division line.

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3.4 POLICY IN SHANGHAI AND THE CREATIVE INDUSTRY CLUSTERS

As we have seen, Mommaas, Keane, Li and Florida describe the relevance of understanding how policy drives and organizes the creative industry, and that there is a fine line between over-surveillance and autonomy of self-expression in the Chinese context. As Shanghai transitions from being an industrial-sector city to a tertiary-based service economy, there will be an increase in the role of creative industry cluster development in city planning. Scholar Zheng, for example, claims that creative industry research is not a new construct. She states, “the local state is revenue-oriented and exploits the expansion of cluster projects as a means to stimulate urban growth.” (Obtained from Keane, 2011, pg.

3) Therefore, it can be observed that establishing a strategy for the creative industries in cities is more about economic success rather than shifting social norms.

In the Chinese context, a government that takes an “entrepreneurial stance” directs its energies to achieving economic success. Investing in creativity has become a strong investment with good returns. In Shanghai, for example, at the end of 2011, “ the city’s 89 creative industry gathering areas generated a business revenue of about $ 780 billion, an increase of 20% from the previous year” (http:// sh.eastday.com/m/20120502/u1a6525596.html). According to Dr. Pan Jin, Deputy-Secretary General of the SCIC, “as of 2009, 6110 companies from 30 different countries had entered one of the 80 creative industry parks, creating job opportunities for more than 80,000 people, and producing a 114.9 Billion Yuan turnover.” (http://sh.eastday.com/m/20120502/u1a6525596.html). As a business model for example, Shanghai’s CIC’s have performed rather well. The existing Shanghai economic model and support from the central government has made the investment in Creative Industry Clusters a profitable business, not to mention has also contributed to a positive image abroad and a sustainable vision of adaptive reuse. The success of establishing a city-wide creative strategy can therefore push Shanghai forward in the race to attract and retain more talent.

Due to the quantity of creative clusters amid the Shanghai landscape, organization becomes essential.

Third-party intermediary entities have been established to aid in the support and organization of the Creative Industry Clusters. “It is the result of a joint effort by the government, the market, and intermediary institutions; that is, it is driven by all three forces. To be specific, it is coordinated by the Shanghai Creative Industries Association, operated by the Shanghai Creative Industries Center, and supported in terms of theoretical research by the Research Center for Creative Industries, SASS” (Wuwei, 2011, loc 528/2867) Most notably, the Shanghai Creative Industry Center was established in 2004, a semi-official institution affiliated to the Economic Committee of the Shanghai municipal government. One of the SCIC’s main objectives is to “consolidate the (Party’s) leadership in

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GRAPH 27

PERCENTAGE OF GDP TO CREATIVE INDUSTRIES IN SHANGHAI Graph: Creative Industries as a % output of GDP of Shanghai 13% 12% 11% 10% EXPO 2010 9% As part of the Shanghai 12th 5-year plan, the Municipal government wishes to increase the total revenue of Creative Industries to 12% of the city’s GDP, and increase the number of official CIC’s to 100 by 2015. - source; Shanghai 12th 5-year plan.

8% 7% 6% 5% SCIC Established 4% 3% 2%

20 15

20 14

20 13

20 12

20 11

20 10

9 0 20

8 0 20

07 20

6 0 20

5 0 20

20

0

4

1%

The percentage of growth in the creative industries changed drastically since the Expo 2010 Diagram: Christian Wagner Sources: http://sh.eastday.com/m/20120502/u1a6525596.html

developing creative industries” (SCIC 2006a). Their mission, “ to continue to strengthen the trend towards globalization, the increasingly fierce international competition, the size and extent of the development of creative industries as the core of innovation, creativity, has become an important symbol of one measure of a country and regional level of overall competitiveness.” (http://www.021ci. com/about/aboutus.htm) This central organizing structure steers policy to further influence the possibility of positively affecting the urban environment.

In Shanghai, fostering the creative industry is therefore is a market-driven force, stemming from successful incentives of city management and government entrepreneurship. According to He Zengqiang, Secretary General of the Shanghai Creative Industry Center (SCIC), “a creative industry indicates that it is based on creative thought and an intensity of knowledge. Supporting them will lead to an increase in job opportunities in these fields.” (http://shanghaichase.blogspot.com/2007/08/latestupdate-on-creative-clusters.html) However, one must bear in mind the challenge of not over-saturating the market with people in creative fields. If done incorrectly, there might also be a social and economic downturn, where highly-skilled individuals will not be able to find suitable salary jobs considering the oversaturation of people within the creative fields. When this occurs, companies will be able to hire quality for less salary, which in itself down plays the roles of education and talent in the first place.

Despite its relatively small proportion of population working within Florida’s creative industry, Shanghai is still considered one of China’s powerhouses with relation to developing a successful policy-driven creative infrastructure. Not only is it home to numerous cultural events (i.e., Shanghai

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Film Festival, Shanghai Creative Industry Week) it also has a strong network of enterprises, institutions, training centers, intermediary service agencies, professional research centers, policy entities and studios. We must also bear in mind that different stakeholders interpret the creative landscape differently. Zhang Wang (Investigation and Analysis of the Creative Industry Cluster) argues there are 5 different mechanisms that drive the development of Creative Industry Clusters in Shanghai. They are: DIAGRAM 28

5 DRIVERS OF THE CREATIVE INDUSTRY

THE COLLECTIVE e.g., Tianzifang

THE ENTREPRENEUR e.g., M50

THE 5 DRIVERS OF CREATIVE INDUSTRIES IN SHANGHAI

THE DEVELOPER e.g., 1933

THE RETAILER e.g., Tianzifang

THE UNIVERSITY e.g., the Sino-Finnish Center

The five different drivers for Creative Industry Clusters in Shnaghai. Each with individual motivations, they compete for space yet simultaneously can collaborate to provide unique settings within Shanghai. image: Christian Wagner

We must bear also bear in mind that different entities classify Creative Industry Clusters differently.

In the diagram on the next page, we can see how Howkins, (2001, on the Creative Economy), the DMCS (London 1999), the UNESCO Shanghai Creative Cities Network (2011), and the SCIC (2012) all use different measuring standards to explain the clustering mechanisms in their respective cities.

The four classifications prove a challenge to anyone studying the factors that comprise the creative industries: when different interpretations are offered, it is difficult to ascertain which measure best characterizes the elements of Creative Industry Clusters. Academics and policy-makers will establish the ‘best’ measures and indicators of success, which then qualifies their planning and decision-making processes. In the Shanghai context, the 2007 “Key Guide for the Development of Creative Industries in Shanghai” was established, stating the five main areas of creative-industry development were:

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5 CLASSIFICATIONS OF CREATIVE INDUSTRY CLUSTERS IN SHANGHAI

R&D, including advertising, animation, software and industrial design; ARCHITECTURAL DESIGN, including engineering and interior design; CULTURE AND MEDIA, including art, books, newspaper publishing, radio, television, film, music and performing arts; BUSINESS SERVICES, including education, training and consulting services; and LIFESTYLE, including fashion, leisure, tourism and sports.

(By Prof. He Shou Chang, Executive Vice Chairman, Shanghai Creative Industry Association)

It is clear that the discussion behind Creative Industry Clusters remains heavily disorganized and loosely defined. One recommendation that must be established, therefore, is to create a standard measure and classification system for the development of the creative industries worldwide. Otherwise, there will always be a challenge to compare cities’ successes and failures when implementing a creative strategy if not everyone is utilizing a similar language.

One can therefore conclude that within the Shanghai urban fabric there is enormous potential to sustainably retrofit existing industrial spaces and convert them into culturally rich environments that incubate new ideas, develop innovative products and solutions, sponsor a positive tourism image, and are financially profitable. Developing the future post-industrial landscape in a strategic manner will be a challenge for the Shanghai municipal government.

TABLE 29

FOUR DIFFERENT CLASSIFICATION SYSTEMS FOR THE ESTABLISHMENT OF CREATIVE INDUSTRIES Boutique Advertising Animation & Comics Antiques Architecture Art Automobile Computer Games Crafts Design Exhibition Fashion Film Furniture Graphic Design Household Appliance Household Textile Industrial Design Interior Design IT Industry Jewelry Design Light Industry Make-Up Music Online Publishing Performing Arts Photography Printing/Packaging Publishing R&D Radio Ship Building Software Tourism Toys & Games TV Video Games

HOWKINS

DCMS

UNESCO

X

X

X X

X X

X X X

X X

X X X

X X

X X

SCIC X X X

X X X

X X

X

X

X X

X X

X X X X X X

X X X

X X X X X

X X X X X

X X X

X

X

X

X

X X X

X X X

X

Different classifications of creative clusters in different landscapes: a widely used Howkins classification system (en.wikipedia.com), DCMS (London 1999), The UNESCO Creative Cities Network, and the SCIC (respective web sites) Diagram: Christian Wagner

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3.5 SHANGHAI - CITY OF DESIGN (UNESCO CREATIVE CITIES NETWORK)

In 2011, Shanghai was awarded by UNESCO the title “City of Design 2011,” a mere one year after hosting the world’s largest Expo which attracted over 73 million visitors (http://en.expo2010. cn/a/20101101/000002.htm). As mentioned earlier, the creative industry manufacturing system has a strong potential in aiding in a positive manner city image, cultural characteristic, and urban development. Through the partnership with 3rd-party external entities, such as the UNESCO City of Design, a clear framework can be established for the development of a city-wide creative strategy.

MAP 30

WORLD MAP OF UNESCO CREATIVE CITIES NETWORK

The 10 cities in the creative cities network labeled as “Design Cities” are highlighted in green. The more cities that join the network, the greater possibilities there are for international collaboration under UNESCO. Map: Christian Wagner

According to the official website, “UNESCO established the Creative Cities Network at the end of 2004 to support social, economic and cultural development. The cities that join the network promote their local creative scene, share their experiences with a wider audience, and create new opportunities, especially in collaboration with other member cities, to drive joint development results for creative industries. The development of partnerships between the public and private sectors is a key feature of the network.” In other words, it becomes just as essential to sponsor the creative industries internally, and also to reveal the success stories (or obstacles) internationally. Once these stories are shared, the next step is to establish new vehicles for collaboration between entities around the globe. The network “aims at developing international cooperation among cities and encouraging them to drive joint development partnerships in line with UNESCO’s global priorities of “culture and development” and “sustainable development”.” (http://www.unesco.org/new/en/culture/themes/creativity/creativeindustries/creative-cities-network/dynamic-content-single-view/news/test-7/) This emphasis on design, collaboration, organization, and creativity allows cities to clarify their strategy for the development of a city-wide creative industry strategy.

In March 2010, Shanghai was nominated into the creative cities network, under the category “Design.” According to the official press release:

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PRESS RELEASE BY UNESCO

“In the case of Shanghai it was for the city’s rapid growth and innovative development of design activities and the opportunities offered to the professional community through a solid basis of resources and diverse platforms of international exchange leading to a lively cooperation across borders. Shanghai’s clear vision on the significant role creative industries can play in urban development as well as its goal to make the city an internationally recognized center of design were highly appreciated. The city was also acknowledged for its strong links between culture, technology and economy.

In addition, Shanghai’s undertaking of a principal role in enhancing the development of a balanced design landscape on a sociocultural and environmental level was also greatly appreciated.” (http://www.unesco.org/new/en/culture/themes/creativity/creative-industries/creative-cities-network/dynamic-content-singleview/news/test-7/) DIAGRAM 31

Gr az

-E tie Se nn e ou Sh l an g Sh ha en i zh e n Ko be N ag oy M on a tre al Be Bu rli n en os De Ai re si s

DISTRIBUTION OF 7 CATEGORIES UNESCO

Sa in t

Incheon Kanazawa

t

a

lle

gn

ta

en

w go

as

gn

no

Po p

aya n

en

gd

u

un

d

Sydn ey

Film

Brad

ford

ic

us

M

Art

Lyon

Media

UNESCO CREATIVE CITIES NETWORK

str o

Os ter s

vi Se

lo

Bo

Craft/Folk

Ga Ch

Gh

Gl

Santa Fe

go

Bo

Aswan

my Li

e tur a r te gh r

bu

in Ed

rne

ou

lb Me

ity aC Iow n bli Du

ik

jav

yk Re

Breakdown of the UNESCO Creative Cities Network by the different categories. As a newer rating system, only 30 cities are included in the designation.

Diagram: Christian Wagner

The rapid growth of Shanghai served to its advantage in being nominated into the Design category.

However, one key limitation with rankings of this kind are that they often carry political implications.

Cities that are not in the network are perceived not to contain successful creative industry strategies, which is a false. Cities like Milan (design), Cannes (film), or New York (fashion) are also creative hubs outside the scope of the UNESCO creative cities network. This particular network does not include all creative industry centers, which might pigeonhole research or over-emphasize cities that do not

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perform to the best of their potential. Furthermore, one must also be cautious at branding a city within the category it is found. For example, Shanghai is in the design category, however has a booming film industry. While it may seems that joining a network of this kind implies several limitations, it also creates a powerful platform for communication and collaboration.

DIAGRAM 32

MAIN PREMISE FOR BEING SELECTED INTO UNESCO CREATIVE CITIES NETWORK

CREATIVE HUBS promote socio-economic and cultural development through creative industries

MEMBERS

SOCIO-CULTURAL CLUSTERS connection socioculturally diverse communities to create a healthy urban environment

Official Logo: Shanghai City of Design (Left) Members of the UNESCO Creative City Network have to be both creative hubs and sociocultural clusters to be nominated into a specific category (source UNESCO Creative Cities Network) Diagram: Christian Wagner Logo obtained at: http://www.unesco.org/new/en/culture/themes/creativity/creative-industries/ creative-cities-network/design/shanghai/

3.6 UTILIZING CREATIVE INDUSTRY FOR CITY BRANDING - CASE: SEOUL, SOUTH KOREA

Another third-party organization that cities can vouch for is the “World Design Capital” (WDC) designation, this time promoted by the International Council of Societies of Industrial Design. Every 2 years one different city is awarded as City of Design. Each city, for that year, provides signature events celebrating this accomplishment, designates new infrastructure, allocates funding for new projects, and provides design-related programs for its citizens. Torino (2008), Seoul (2010), Helsinki (2012), and Cape Town (2014) have all been designated as World Design Capitals in recent years. In a recent visit to Seoul, I was able to see the result of being a host city.

The WDC seeks to specialize the city’s cultural heritage and potentiality into one of the 7 categories or themes: literature, cinema, music, folk art, design, media art and gastronomy. By organizing the city’s physical amenities into creative opportunities, new possibilities for urban planning were possible for the greater context of Seoul. Neighborhoods were given autonomy, individuals and groups creative freedom, and the infrastructural changes were provided b the central government to allow individuals and groups to maximize on the creative capacity of the city.

Li Wuwei explains the creative strategy of Seoul (and of Korea) as “limited resources, unlimited creativity” (Wuwei, 2011, loc1478/2867) After the economic crash of Korea in the 1990’s, the Korean

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government realized that it needed to reset some of its policies (both social, resource, and land policies) in order to maximize its creative capital. This successful integration of policies has made Seoul today one of the strongest world cities that promotes the creative industries as an integral part to their social, economic and political structures. As a case study, Seoul reveals how to develop an urban creative strategy that both appreciates individual autonomy and political control, self-expression and entrepreneurial ventures, public-private partnerships, and co-creative and co-productive processes.

Seoul undertook the task of establishing a city-wide unified creative industry strategy based on 4 guidelines and 4 principles: FOUR GUIDELINES

I. Envisioning the brand value of Seoul II. Strengthening the international competitiveness of creative industries III. The development and industrialization of touristic assets IV. The Contribution in creating a higher life quality for the citizens Source: Pamphlet of the World Design Capital Seoul 2010

The vision was based on 4 principles; Universal (a comfortable and sustainable city that has a focus on people); Ubiquitous (a city that allows seamless communication anywhere and anytime); Unique (a differentiated city that expresses itself uniquely through distinguished characteristics of Seoul), and By ‘U’ (a creative city formed by every citizen of Seoul). Similar visions and guidelines could easily be applied to the city of Shanghai: already as the most technologically and interconnected city in China, its potential to become a creative capital with a clear design-oriented vision is possible.

DIAGRAM 33

FOUR PRINCIPLES FOR SEOUL, SOUTH KOREA

http://www. worlddesigncapital.com/ world-design-capitals/pastcapital-seoul/

UNIVERSAL

UBIQUITOUS

A comfortable and sustainable city that has focus on people

A city that allows seamless communication anywhere and anytime

UNIQUE

BY U

A differentiated city that expresses itself uniquely through distinguished characteristics of Seoul

A creative city formed by every citizen of Seoul

The 4 pillars that define the city’s creative strategy under the “World Design Capital” Status

Seoul’s strategy worked on three different levels: city branding, policy-driven decision-making networks, and urban and architectural-scale design outputs. First, Seoul established a clear city branding strategy. It developed an official city-wide color scheme, its own font, and created a recognizable contemporary city mascot, all with hopes that this would elevate the image of Seoul internationally.

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PHOTOGRAPHS 34

CREATIVE CITY BRANDING STRATEGY- SEOUL

Exhibition demonstrating the Seoul “Brand” - from the Font chosen, the official city mascot, and the color scheme derived from Seoul’s built and natural landscapes Photos: Christian Wagner

Second, the designation as WDC also positively affected decision-making channels between different entities. On March 2, 2009, the Seoul Design Foundation was officially launched by the Seoul metropolitan Government. According to the DDP (the Dongdaemun Design Plaza) Factsheet, it is a “group of experts in charge of the operation of the Dongdaemun History & Culture Park, the DDP and the management of projects related to the UNESCO Creative Design City Seoul (like in Shanghai), the Seoul Design Fair and design industry support programs around the city” (Dongdaemun Design Plaza pamphlet obtained 04/12). All these factors together make the Seoul Design Foundation a similar entity to the Shanghai Creative Industry Center.

Third, on the urban planning sphere, Seoul established a strategic development of four cluster in different parts of the city: the Mapo Design Cluster, the Dongdaemun Design Cluster, the Guro Design Cluster and the Gangnam Design Cluster. We must also bear in mind that these 4 districts are by no means the only sources and epicenters of creative talent in the city of Seoul. Rather, there is a strong policy-driven push to develop these areas, whereas other centers are left to flourish independently (as in the case of Hongik University in Hongdae District, where Seoul’s most prestigious art school is situated). They also established thematic corridors of development that unify the city’s creative clusters: the Historic Corridor, the Digital Media Corridor, the Green corridor, and the Creative Corridor. Working together these corridors and epicenters create a new interpretation of a city-wide urban planning strategy that fits both the creative industry agenda and a master planning construct.

Two primary projects were visited to understand the creative urban strategy in a more architectural scale. The first is the Dongdaemun Design Plaza. According to the Zaha Hadid official website, “this inspiring hub provides an important link between the contemporary culture, historic artifacts and

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MAP 35

PROMOTING THE DESIGN INDUSTRY PROMOTING THE DESIGN INDUSTRY - 4 PROJECTS Dongdaemun Design Cluster Dongdaemun Design Plaza

Seoul Design Support Center

Mapo Design Cluster

Transmission of Cutting Edge Design Information

Seoul Design Studio

Mapo Design Support Center

- Incubating Facility for Design Businesses - Offering Office Space, Facility and Training Programs for Designer

- Supporting for Designer Job Opportunities - Offering Design Exhibition Space

- Design Trend-setter - Design Launching Pad - Design Experience

- Offering Design Infratech (R&D) - Research on Material, Finish, Color Trend - Training in Design Management and Specialized Training Program for Designer

DONGDAEMUN MAPO v

GANGNAM GURO

Guro Design Support Center - Design Support for Small and Medium Enterprises - Offering Design Training Program - Legal Consulting Service for Design Businesses

Mapo Design Cluster

Seoul Design Marketing Support Center

Gangnam Design Support Center

- Domestic and International Marketing Support - Overseas Exhibition and Marketing Events - Online shopping mall for Design Products: wwww.designtag.co.kr

- Specialized Center for Design Trend - Holding Design Trend Seminar and Trend Festival

Gangnam Design Cluster Seoul’s Creative Master Plan: 4 Districts, each with its particular specialization and support center. Map: Adapted from the Exhibit of Seoul, Dongdaemun Diagram: Flyer from “World Design Capital” Seoul 2010

emerging nature at the center of Dongdaemun, Seoul. A learning resource for designers and members of the public combined with an urban oasis for leisure, relaxation and refuge, its continuous landscape promotes fluid thinking across all disciplines.” When completed, the DDP will serve as an incubator for the transmission of cutting-edge design information. In other words, it becomes a hub that adapts to the functions that lie within. Although a new structure (as many creative industry hubs come from the retrofit of post-industrial landscapes), it will be interesting if, once completed, it performs at the capacity of creative incubation it was meant to serve.

PHOTOGRAPHS 36

DONGDAEMUN DESIGN PLAZA

Dongdaemun Design Plaza Photographs: www.zahahadid.com

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Another major project that was visited was the Digital Media City, which falls in the Mapo District design cluster of Seoul. The Digital Media city is cited in Wuwei’s How Creativity Is Changing China as being in the ‘parasitic’ category, meaning that it “is supported by government policy, funding, and infrastructure” The DMC has become a world-class information media complex (digital media and entertainment) inside the Sangam Millenium City, once home to one of Seoul’s largest landfills. Now, it is conveniently located with 2 subway lines (of which one leads directly to both of Seoul and Incheon’s airports), and is adjacent to the World Cup Stadium. This new neighborhood is an excellent example of utilizing design as a catalyst for city planning on a pedestrian level.

The DMC will include one of Seoul’s tallest towers, the Seoul Lite, and is now host to the Digital Media Street, a test-bed for ubiquitous computing on a street level. The Digital Media street (DMS) “consists of different areas featuring a variety of high-tech facilities such as high-tech intelligent streetlights, as well as a futuristic space for ubiquitous exchanges.” (Pamphlet obtained from the DMC Exhibition Hall). This demonstration neighborhood has elevated the potentials of IT-Infrastructure and ubiquitous computing to the street level. Set for completion in 2015, the DMC serves as an interesting precedent of new construction to brand a neighborhood within a particular node of design.

DIAGRAM 37

DIGITAL MEDIA CITY MASTER PLAN, MODEL, AND PHOTO Water Space Earth Space Fire Space

Art Park

Light Space

An exhibition park featuring IT artwork including digital environmental models, video art, light art and holography, among others

Air Space

Experimental Park A venue for demonstrating high-tech products produced by companies operating in the DMC as well as a multi-purpose public space where large-scale events can be held

Exhibition Plaza

A plaza for meetings and exchanges and the gateway into the DMC

Media Plaza An open stage over pedestrian walkways where Nodes can perform

Spatial Distribution of the DMC, highlighting public gathering areas along the Digital Media Street.

Diagram and Photos: Christian Wagner

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SPATIAL DISTRIBUTIONS AND CITY-WIDE ORGANIZATIONAL PATTERNS | CHRISTIAN WAGNER Incheon Airport Railroad

MAP 38

SITE LOCATION OF THE DIGITAL MEDIA CITY

The 2nd Jayuro

Kyungui Line (seoul-Sinuiju)

SANGAM NEW MILLENIUM TOWN

DMC

570,000 m2

Susaek Station

RESIDENTIAL 834,000 m2

Digital Media City Station

OLYMPIC PARK 3,630,000 m2

OLYMPIC STADIUM

Gayang Bridge

Naebu Expressway World Cup Stadiu Station

214,000 m2

Olympic Expressway Subway line 6

Gangbyon Expressway Sungsan Bridge

DMC

7 km City Hall

Gimpo International Airport

5 km

Incheon International Airport

Location of the DMC in relation to the greater context of Seoul. As a public-private investment, the DMC is an excellent example of urban regeneration of an otherwisee forgotten landscape into a new mechanism for creating jobs, establishing international connections and a quality-oriented international reputation, and showcases the success of different stakeholders onto the built environment.

Diagrams and Photographs: Christian Wagner

3.7 OBSERVATIONS

The creation, maintenance, and support of creative industries exists within a complex network among different entities collaborating at all levels - from the entrepreneurial artists making a living to the central government allocating space and funds for economic benefits. It is within this complex structure that Shanghai performs in relation to its Creative Industry Clusters.

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When understanding the socio/political/economy-driven factors in the creative industries, some key questions have risen: whether the overarching

PHOTOGRAPHS 39

DESIGNATION PLACARDS

control of the government on the creative industries might impede maximizing creative potential? Or how is it possible to reinterpret the image of ‘Creative Shanghai’ as a place where the creative process is celebrated rather than perceived for financial/entrepreneurial/commercial gain? How can cities attract and retain talent if they are restricted by local residency permits to migrate freely to different locations? These three questions will be major obstacles many of the contributors to the creative industries will have to face in the future as the Shanghai creative industries mature.

Although there are many challenges facing Shanghai, we can see that many steps are being taken in the right direction. The government-designated Creative Industry Clusters have contributed to the branding of the city, or, as Wuwei explains “”the urban creative clusters have actually become the business card of the city.”( Wuwei, 2011, loc 1894/2867). In the next chapter, these creative clusters will be mapped spatially and connected to other locational factors within the city.

It is through the understanding of the existing conditions that surround the Creative Industry Clusters that one will be able to define whether there is a specific spatial distribution or a city-wide organizational strategy already put in place. Seoul’s case study gives us some insight to how a top-down approach can collaborate simultaneously with a bottom-up approach to cty design.

MAP 40

SHANGHAI’S URBAN EVOLUTION

Maps: Public Shanghai City Planning Bureau: 1959, 2009

66

Placards outside the 800 Show Creative Park showing the Government Designation Photo: Christian Wagner

SPATIAL DISTRIBUTIONS AND CITY-WIDE ORGANIZATIONAL PATTERNS | CHRISTIAN WAGNER PHOTOGRAPHS 41

EXAMPLES OF SHANGHAI’S CREATIVE INDUSTRY CLUSTERS

M50 DESIGN CLUSTER

THE COOL DOCKS

CREATINFINITY

RED TOWN

1933

HAI SHANGHAI

CREATION (YAN’AN LU)

CREATION (ZHONGSHAN XI LU)

800 SHOW

98 CREATIVE PARK

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SPATIAL DISTRIBUTIONS AND CITY-WIDE ORGANIZATIONAL PATTERNS | CHRISTIAN WAGNER

4. ANALYSIS SHANGHAI’S CLUSTERS 4.1 Mapping as a Tool for Spatial Analysis 4.2 Survey of Creative Industry Clusters 4.3 District-driven Spatial Analysis 4.4 Existing Spatial Structure of the Shanghai Cityscape 4.5 Mapping Shanghai’s Technology, Talent and Tolerance

4.5.1 Technology Composite

4.5.2 Talent Composite

4.5.3 Tolerance Composite 4.6 Composite 3Ts Mapping

4.6.1 interpretation 1: Understanding the Peaks

4.6.2 interpretation 2: Understanding Fields

4.6.3 interpretation 3: Understanding Every Grid point

Independently

4.6.4 interpretation 4: Designing for Iterative Outputs or Values 4.7 Observations

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SPATIAL DISTRIBUTIONS AND CITY-WIDE ORGANIZATIONAL PATTERNS | CHRISTIAN WAGNER

4.1 MAPPING AS A TOOL FOR SPATIAL ANALYSIS DIAGRAM 42

challenges and limitations associated with the establishment

Y t TR ec Y S bj OR DU su HE IN T E IV AT

Clusters in Shanghai were identified. It revealed the

E CR

and economic factors that affect the Creative Industry

SHcon AN te GHxt AI

In the previous chapter, an analysis of the social, political,

KEY TOPIC IN CHAPTER 4

of Creative Industry Clusters in the Chinese context, both in its historic roots and in its complex socio-political structure.

As a Western researcher, I understand certain sensitivities when analyzing this topic. I must bear in mind that the notions established in Chapter 3: CONTEXT have certain

SPATIAL ANALYSIS object Third Thread: Analyzing Spatially the Creative Industry Theory in Relation to the Context Diagram: Christian Wagner

unique implications in more specific spatial terms.

This chapter brings together the theories of Mommaas, Keane, Florida and Wuwei in a spatial manner. This chapter is divided into 4 parts. First, a general survey of the Creative Industry Clusters in Shanghai is conducted. This analysis will serve as the base by which other elements will later be analyzed against. Second, various mappings were created to represent the existing spatial conditions of the Shanghai landscape. These maps include: new industrial sites, subway station exits, areas of high economic activity, tourism sights, performance art centers, universities, areas of nightlife, government creative industry strategies, and expatriate and minority population densities by district. Each of these maps will reveal a certain concentration of activities (a unique spatial distribution or a particular organizational pattern) that can later be compared against Creative Industry Clusters. Third, these maps have been categorized under Florida’s construct of the 3Ts of creativity: Technology, Talent and Tolerance, and then superimposed with varying degrees of importance (measured by opacity). This generates peak and valley maps (in 3-D) and spectral maps (in 2D) that identify regions within the Outer Ring of Shanghai that have key spatial qualities (which imply having a strong creative ‘energy’) that can ultimately affect a creative city master plan. To read these maps, finally, four interpretations are offered. One way is to study the highest peaks to see what makes them special. Second, the spectral maps can be simplified into fields of influence to establish more general and inclusive conclusions.

Third, individual grid points has embedded data which can be analyzed and interpreted in the long term to reveal new constructs in the built environment of Shanghai. Finally, an alternative map is offered removing Florida’s theory to compare spectral maps against each other. Are the places that

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peak in Tolerance, Talent and Technology representative of the unique and creative environments that the rest of Shanghai can learn from? Or better, do the spatial distributions analyzed reveal a new Shanghai landscape that can steer future development?

4.2 SURVEY OF CREATIVE INDUSTRY CLUSTERS

As mentioned in Chapter 1, only government-designated Creative Industry Clusters were measured and analyzed spatially. According to Keane: “In China the Cultural (and Creative) cluster concept is applied liberally to precincts (yuanqu), theme parks (zhuti gongyuan) culture streets (wenhua jie), film, tv and animation bases (duomeiti zoulang)” (Keane, 2011). Formally, these Creative Industry Clusters can take on a variety of forms, such as “in new building complexes, renovated industrial and harbor buildings, in quarters and districts” (Mommaas, Found in Kong, O’Connor, 2009, Location 633/3365) TABLE 43

SURVEY OF CREATIVE INDUSTRY CLUSTERS Name Xuhui Xuhui Xuhui Xuhui Xuhui Xuhui Xuhui Xuhui Xuhui Xuhui Xuhui Xuhui Xuhui Xuhui Changning

Changning Changning

Changning Changning Changning Changning Changning Changning Changning Changning Changning Changning Hongkou Hongkou Hongkou Hongkou Hongkou Hongkou Hongkou Hongkou Hongkou Hongkou Hongkou Hongkou Huangpu Huangpu Huangpu Huangpu Huangpu Huangpu Huangpu Huangpu

Yangpu Yangpu Yangpu Yangpu Yangpu Yangpu Yangpu Yangpu Yangpu Zhabei

Zhabei Zhabei Zhabei Zhabei Zhabei Zhabei Zhabei Zhabei Jing'an Jing’an Jing'an Jing'an Jing'an Jing'an Jing'an Jing'an Jing'an

Putuo Putuo Putuo Putuo Putuo Putuo Pudong Pudong Pudong

Name of Creative Industry Cluster Leshan Software Park / 乐山软件园 Hongqiao Software Park / 虹桥软件园 Design Factory/ 设计工厂 No. 2577 Creative Park/2577 Creative Garden 2577创意大院 X2 Creative Space Digital Entertainment Center/Building SVA Beyond Boundary/Surpass-Space / SVA Cross-Border Wending Living Style Plaza / Wending Life Huifeng Creative Park / HSBC Creative Park Highstreet Loft/Shangstreet Loft Westbank Creative Park / West Coast Creative Garden D1 International Creative Space Living Design Center/ Build Park

Conversion

Area

Prior Use

Conversion Y Y Y Y Y N N Y Y Y Y Y Y

Area 21300 14000 5000 40000 13000 23000 103600 11100 13000 41000 18200 20800 33600

Former Use former xinfeng textily dying factory former sh jingchang textile dying factory former Shanghai bakery former Jiangnan Firearms Factory former yahua printing machinery plant new new former SH Cold roll steel sheets factory former SH xinfeng felt factory former three gun clothing factory former hansen handkerchief factory former shanghai fruit company former shanghai building material hall

Tianshan Software Park Shanghai Fashion Industry Park/时尚产业园 Zhoujia Bridge Creative Gate / Zhoujiaqiao 周家桥/ Zhou Bridge New Ten Steel Creative Industry Cluster (Red Town)/ Xin Shi Gang UDC Innovative Plaza Husizhan Creative Zone / Lake wire Stack Creation River Creation Spring Juwei Park / poly for park Shanghai Fashion HUB R & G Loft/ Y&G Creative Arts Center / The original bow artists library IIInShangHub727 / Mapping Lane Creative Workshop

N Y Y Y Y Y Y Y Y Y N Y

25000 10000 12000 75000 10000 7000 4500 4000 4600 8000 6000 13000

new former shanghai clutch factory former asia welding electrode factory former shanghai tenth steelworks former haiou no5 brewery former silk processing factories former warehouse 5 National cotton factory former daming rubber factory former no1 construction team of Shanghai textile construction company former Changning Bean Products factory new former shanghai plastic mold factory

Tongli Park Wisdom Bridge 1933 Old Millfun Greenland Sunny Garden Yozo 173 Fallow Square / Youzu 173优族173/ Excellent Family 173 Wuhua Park Jianqiao 69 / Bridge 69 Xinxing Harbor/Xinxinggang Creative Park / Emerging in HK Rainbow Rain/Rainbow Creative Park Garden Lane Energy Saving/ Garden Square Space 188

Y Y Y Y N N Y Y Y Y Y

7000 14000 32000 8200 25000 12000 6000 12000 10000 40000 30000

former shanghai radio molding factory former hongkou building materials factory former Shanghai Municipal Council Slaughterhous former Shanghai Bao Steel Construction Company new new former Shanghai hudong Machine tool plant former Sh electronic instrument factory consulting & planning/software design/training/fashion design former Shanghai quantong automobile accessory company former SH no8 Radio Factory

Tianzifang Excellent Pioneer 700 / Zhuowei 700 卓维700 No. 8 Bridge Design Center for Toursim Souvenirs South Suzhou Creek/ South Soho Shanghai Beach (The Cool Docks • The Happiness Docks • The Outer Docks) Innovationyard

Y Y Y Y Y Y N

15000 12300 20000 10000 10100 40000 210000

6 former factories former shanghai no 2 hoisery knitting mill former Shanghai automotive brake company new former fruit wholesale market, warehouse fo Shanghai textile warehouses/shipyard new

Angli Design Creative Park/ Onlly Design Creative Park Hai Shanghai Dongfang Gu Creative Park - Dongfang Valley Dongfanggu 东纺谷 Creative Confederation/ Creative Alliance Architectural Design Factory/Design Originality Workshop Middle Ring Riverside 128 / Central Riverside 128 Mingda Creative Plaza Shanghai International Design Exchange Center

Y N N N Y Y Y Y

31000 234000 42000 22000 32000 35000 20000 34000

former yuanyang plaza new new new former hudong hitech park former dareast printing & dying mill former SH welding machine works former SH knitwear mill

Creative Warehouse / is company Industrial Design Park / 工业设计园 Alloy Factory/ The Factory JD Manufacturing/Creation Neowithub/Innovative Brand Park of SJTU Science Park Peacock Park Shanghai Fashion Hub Old Sihang Warehouse

Y Y Y Y Y Y Y Y

12000 9300 19383 5000 10500 13700 41000 30000

former sihang warehouse former Shanghai pengpu machinery plant former SH Alloy material factory former SH petrochemical machinery plant former yanzhong photocopier factory former SH peacock flavor and fragrance factory Former shanghai no1 socks factory former sihang warehouse

The New Factory / Tonglefang 同乐坊 Jing'an Modern Industrial Park/Tower Media Culture Park / 传媒文化园 98 Creative Park Jing'an Creative Space 3 Joy Space 800 Show Creative Industry Park Huizhi Creative Park/ Wise Creative Park

Y Y Y Y Y Y Y Y

19300 14000 4730 14200 19400 10300 22000 15400

former Milling Machine Factgory, Metal Net Factory, molding factory former shanghai no 3 radio factory former SH window catch factory former SH electrical apparatus works former wuhe knitwear no2 factory former SH no 9 pharmaceutical factory former People's Electric Motor factory former SH hongxin textile dying factory

M50 Shanghai Universal Software Park/Heaven and Earth Park 天地园 E Warehouse E Storage E仓 Jiansha Valley Creation/Creation • Golden Valley Jingyuan Fashion Industry Park

Y N Y Y Y

40000 20000 6000 23000 200549

former Xinhe cotton mill, SH no 12 woolen mill, shanhai chunming woolen mill new former Chengfu motice pwer machinery plant former SH clutch factory former Shanghai textile Material company

Zhangjiang Culture and Technological Creative Park /Auto World 车博汇 Xinling Creative Garden

N Y

100000 11264

new former dongzing handkerchief factory

Source: SCIC Website Published Information, available at: http://www.021ci.com/creative_industry_cluster/index.htm

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Unless the Creative Industry Clusters are awarded by the SCIC, it would be virtually impossible to survey every building that somehow houses a creative industry. Or, as Li Wuwei explains “Creative Industry parks and Creative Industries have one key distinction: not all creative industries are situated inside one of these parks” (Wuwei, 2011). By applying this limitation, one will be able to see whether the implementation of government-sponsored Creative Industry Clusters actually stir an effect on the physical landscape of Shanghai.

As of 2012, there are 74 official government-sponsored Creative Industry Clusters found within the Outer Ring Road of Shanghai (as published on the SCIC website: http://021ci.com/creative_industry_ cluster/index.htm). These creative clusters have a strong connection to the municipal government and as a result have a more focused relationship with the urban fabric.

The table on the previous page classifies the different Creative Industry Clusters awarded by the SCIC situated by district. Clusters in the Baoshan, Minhang, Jiading, and Songjiang (1 in each district) districts are not considered, as they are situated outside of the contextual scope of this research.

Little research has ever been conducted with regards to the spatial distribution of creative clusters in the Shanghai region. Most of the research discovered involves describing the strategies implemented, however there are no maps available that showcase the general framework that showcase the strategies involved by the different stakeholders involved in shaping the Shanghai landscape. Based on the literature researched, the following maps will emphasize different interpretations of spatial distributions and organizational patterns in the Shanghai context.

The map on the next page shows the location of the creative clusters within the Shanghai landscape.

If one superimposes the map developed by Sheng Zhong (2010), we can see that the retrofitting of old abandoned industrial sites relates almost perfectly with the spatial distributions of Creative Industry Clusters in Shanghai. One can observe that there is immense potential in further developing these industrial sites - whether for the establishment of more Creative Industry Clusters, or for the development of adaptive architecture that can fit multifunctional uses. If we consider Li Wuwei’s theory that there are 4 different developmental stages in the master planning of a “Creative City,” we could consider that Shanghai is perhaps still in the ‘Parasitic’ stage, where there is a strong influence of individual creative clusters in the landscape, however there is still no unifying element that binds the Creative Industry Clusters as a whole.

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SPATIAL DISTRIBUTIONS AND CITY-WIDE ORGANIZATIONAL PATTERNS | CHRISTIAN WAGNER MAP 44

MAP OF SURVEYED CREATIVE INDUSTRY CLUSTERS

The map to the left shows the clustering of different creative clusters throughout the spatial distribution of Shanghai.

Utilizing a walking radius of 500 m (diameter approximately 1 km), one can see whether there is a possible trend in the spatial distribution of Creative Industry Clusters in Shanghai. Geotagged Creative Industry Clusters on the Shanghai Landscape: Diagram: Christian Wagner

MAP 45

COMPARISON TO INDUSTRIAL CORES (1981)

Geotagged Creative Industry Clusters on the Shanghai Landscape: Superimposed with Sheng Zhong’s 2010 Map of abandoned industrial sites Diagram: Christian Wagner

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It also becomes apparent the space that is not considered within the post-industrial focus. The area, for example, where the North-South Elevated Highway and the Yan’an Elevated Highway meet contains a dearth of post-industrial areas. On the other hand, an interesting element to note is that there is a strong connection to the distribution of creative clusters and the historic drawings provided

by Sheng Zhong. We can see there is essentially a ring of creative clusters while a dearth of them near the center. In another research paper for the Department of Geography, Shanghai Normal University, Chu Jin-Feng understood the spatial distribution as a C-Shaped ring that surrounds Shanghai’s center.

This signifies that there already is a driving aesthetic to the development of Creative Industry Clusters in the Shanghai landscape. Although not blatant, there appears to be a certain methodology the city’s industrial past is giving to Shanghai’s creative future. This C-Shaped ring serves as a more general understanding of Shanghai’s post-industrial landscape.

MAP 46

COMPOSITE MAP: INDUSTRIAL RING AROUND SHANGHAI’S CENTER CITY

Creative Industry Clusters superimposed with Sheng Zhong’s 2010 Map of abandoned industrial sites, and Chu Jin-feng’s Creative Cluster Rings Diagram: Christian Wagner

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Both Zhong’s and Chu’s perspectives on the spatial distribution reveal an interesting center-periphery relationship which was also analyzed by Li Wuwei. He explains that there are two contrasting strategies that the municipal government can take with respect to designing for the creative industry. He states: “Creative Industries optimize the ‘center - periphery’ spatial layout of a city through two approaches.

One approach accords prominence to the Central Business District (CBD) as the locus of culture and art, a concentration of large museums, opera houses, ballet theatres, more theatres, libraries and concert halls. An alternative approach is to generate a cultural atmosphere by gathering various kinds of creative activities in different urban and suburban districts” (Wuwei, 2011, loc 1886/2867) A key conclusion based on this map is that the Shanghai utilizes its periphery ring to establish its Creative Industry Clusters, however this ring is still bound by the center city, creating a unique dichotomy in the urban sphere.

4.3 DISTRICT-DRIVEN SPATIAL ANALYSIS

Understanding the role of how districts function was the first level of information analyzed. Based on the distribution by district, a few interesting factors were revealed. At the bottom row, for example, the number of distinct CIC’s demonstrates the quantity and opportunity for the establishment of Creative Industry Clusters. On the second row from the bottom, the area of the CIC’s demonstrates that in some districts, although they might contain fewer CIC’s, offer greater opportunities for large-scale places by area. Dividing the bottom two rows one gets the density by district, which then demonstrates whether DIAGRAM 47

DISTRICT-BY-DISTRICT DISTRIBUTION & COMPARISON

FIRST

LAST

nearby access?

POPULATION DENSITY

36.306

33.171

32.387

28.383

23.507

21.624

19.81

18.03

4.167

concentrated vs. dispersed

CIC DENSITY

BY DISTRICT

57909.8

25250

55632

45342.8

27507.7

17836.4

17610.4

14925

14196.3

scale

AREA OF CICS

450,000

357,600

317,400

289,549

196,200

179,100

40,883

119,330

111,264

quantity

NUMBER OF DISTINCT CICS

13

12

11

7

8

8

8

5

2

Xuhui

Changning

Hongkou

Huangpu

Yangpu

Zhabei

Jing’an

Putuo

Pudong

Breakdown of Creative Clusters by District . The goal was to see if conclusions could be drawn by separating each district . Here, we can see that the southwest region of the city - comprised of Xuhui and Changning Districts, hold a large number of Creative Industry Clusters. Source: Zhong Cheng PHD Thesis, UNESCO city of design, Both (above), Source: icreativecity.org

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a district chooses to concentrate their creative clusters or disperse them into the urban fabric. In comparison, population density is also showcased, such that one can get a grasp as to whether there is an interesting relationship with nearby population adjacencies.

A couple of elements to note from the diagram above: (1) Xuhui District has the greatest number of Creative Industry Clusters and greatest designated floor area, but it is a region with lower population density. This means this district has a strong appreciation to the renovation of industrial sites and the preservation of industrial heritage. (2) Hongkou District has different strategy: its creatve clusters are not concentrated in one particular area, but are dispersed throughout the entire neighborhood.

(3) Pudong District has a high concentration in clustering with only two designated clusters, but the distribution of people in terms of density is rather low. These factors are important to note because it shows how each District could potentially be considered its own city, with its own sets of rules and strategies for the development of a creative strategy.

4.4 EXISTING SPATIAL STRUCTURE OF THE SHANGHAI CITYSCAPE

Over time, and from the micro level, “creative clusters start to gradually impact on and actually change the spatial structure of cities.” (Wuwei, 2011, loc 1901/2867) Upon conducting the initial research of the spatial distributions in Shanghai, it became interesting how a city performs in relation to Creative Industry Clusters. In other words, it became interesting how a city is read under the lens of creativity. Shanghai is a city where many stakeholders have managed to drive the city in many directions, and as a result one could argue that all outputs happened in an organic and perhaps somewhat random manner. Trying to make sense of these random decisions, 9 distinct physical, permanent elements within the Shanghai landscape were chosen which relate to the creative industries. They were chosen as areas of focus since published, accessible, and accurate information was readily available that made it possible to map with a better degree of accuracy.

Issues regarding adjacencies, outlying prominence (e.g., landmarks or scales), and proximity to public facilities have been studied, in hopes that as a city planner there could be a greater understanding to the present and future developments of Creative Industry Clusters in the Shanghai urban fabric. To create a better structure for the mapping and analysis section, Richard Florida’s theory of developing a Creative Class through spaces of Tolerance, Technology, and Talent (3-T’s) (Florida, The Rise of the Creative Class, revised 2012) was utilized. Each (T) offers the possibility to map a different element in relation to the creative industry cluster.

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In an article published by BOP Consulting, a team of creative industry researchers based in the United Kingdom, they state there are some intrinsic opportunities in creating maps to reveal information. They argue that “a mapping exercise seeks to assess the value of the creative industries to the wider economy. This might be demonstrated through measures such as employment, the number and size of creative businesses, exports, gross value added, or the composition of the workforce (by gender or ethnicity, for instance).” In this instance, I have chosen to create maps that reveal the creative industries in a greater urban context. In creating these spatial maps, it coincides with the 5 goals BOP consulting states as being beneficial to utilizing mapping as a spatial tool: 5 REASONS TO USE MAPPING AS A TOOL FOR CREATIVE INDUSTRIES

1 ⁄ To raise the profile of the creative industries.

2 ⁄ To learn more about the sector – what is happening and where is it taking place?

3 ⁄ To plan for future growth.

4 ⁄ To engage leaders in the policy issues affecting creative industries.

5 ⁄ To support wider political or economic objectives.

Source: (BOP Consulting, pg. 26,27) DIAGRAM 48

9 MAPS STUDIED IN THE SHANGHAI URBAN LANDSCAPE BUSINESS DISTRICTS

EDUCATION CENTERS

EXPATRIATE AND MINORITY POPULATION

SUBWAY SYSTEMS

TOURISM VENUES

PERFORMANCE CENTERS

GOVERNMENT STRATEGY

NIGHTLIFE DISTRICTS

PRESENT-DAY INDUSTRIAL CENTERS To Baoshan Industrial Zones

To Chongming and Hensha Industral Zones

To Jiading & Anting Industrial Zones

CHINAXINYUAN.COM

NCACG.ORG

张江国家数字出版基地

To Pudong Industrial Zones To Qingpu Industrial Zones

To Songjiang Industrial Zones

SHESHAN

JINSHAN

78

To the Industrial Zones of: Xinzhuang Minhang Zizhu Fengpu Jinshan Spark

To Deepwater Harbor

SPATIAL DISTRIBUTIONS AND CITY-WIDE ORGANIZATIONAL PATTERNS | CHRISTIAN WAGNER MAP 49

MAP A: KEY INDUSTRIAL CENTERS

Chemical Industry Park To Baoshan Industrial Zones

Waigaoqiao Free Trade Zone

Baoshan Industrial Office To Chongming and Hensha Industral Zones

To Jiading & Anting Industrial Zones

Chemical Industry Park

Green Economic City, Jiading Industrial

Jinqiao Export Processing Zone

Lujiazui Finance and Trade Zone Pudong Economic and Technological Development Zone Chemical Industry Park Offices

Zhangjiang High Tech Park

Comprehensive Industrial Development Zone

To Qingpu Industrial Zones

To Pudong Industrial Zones

Hongqiao Economic and Development Zone

Kangqiao Industrial Zone

Comprehensive Industrial Development Zone

Caohejiang Industry Park

To Songjiang Industrial Zones

To the Industrial Zones of: Xinzhuang Minhang Zizhu Fengpu Jinshan Spark

To Deepwater Harbor

Key Industrial Sectors are Highlighted in this map with respect to the Creative Industry Clusters (with a 500-m radius around the center point.

Diagram: Christian Wagner

The map above highlights the a few of the key industrial and high-technology sector locations in Shanghai. Because much of Shanghai’s industrial capacity has been moved to its satellite towns, there has been a large drain of industry from the center of the city. However, one can still see that there are still strong industrial cores situated in Pudong, especially with the Lujiazui Finance and Trade Zone (‘the Center of Future East Shanghai’), the Jinqiao Export Processing Zone (‘a New Industrial Town’), Waigaoqiao Free Trade Zone (‘China’s Free Trade Zone’) and Zhangjiang High-Tech Park (‘China’s Future Silicon Valley’) (Wu, 1999). The other industrial zone to note is at Shanghai’s Western end, with its proximity to the Hongqiao Airport. Some exceptions were found within the inner ring of Shanghai, however they might only relate to office centers that have connections to the industrial parks.

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SPATIAL DISTRIBUTIONS AND CITY-WIDE ORGANIZATIONAL PATTERNS | CHRISTIAN WAGNER MAP 50

MAP B: SUBWAY SYSTEM Subway 1 Subway 2 Subway 3 Subway 4 Subway 6 Subway 7 Subway 8 Subway 9 Subway 10 Subway 11 Maglev

Subway Lines with their respective exits (again, at 500 M) Diagram: Christian Wagner

At first glance, it is difficult to find a strong relation of understanding the role of the subway system with relation to the Creative Industry Clusters. However, by understanding the Shanghai subway system, one can begin to understand the areas of the city that have the greatest amount of economic significance. The Shanghai Municipal Government has established the world’s longest subway system (en.wikipedia.com) such that it can affect and aid the citizens of Shanghai in the most efficient manner possible. The subway stations are situated in relation to key areas of development, which suggest they are the most technologically interwoven areas of the city. If we speak about mapping Technology as one of the key areas in Florida’s research, the subway lines are perhaps the best measure to assess the technological landscape of Shanghai. To note: this map is the most current subway map in 2012. Later this year more lines are expected to open, changing once again the spatial dynamic of the city.

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SPATIAL DISTRIBUTIONS AND CITY-WIDE ORGANIZATIONAL PATTERNS | CHRISTIAN WAGNER MAP 51

MAP C: KEY BUSINESS CORES

Wujiaochang

Hongkou Football Stadium Sichuan Road

Shanghai Railway Station

North Bund

E+W Nanjing Road Bund

Pudong CBD

People’s Square

Zhongshan Park Jing’an

Old City

Huaihai Lu Hongqiao Economic Zone

Xujiahui

Expo Site

Creative Industry Clusters superimposed with Sheng Zhong’s 2010 Map of abandoned industrial sites, and Chu Jin-feng’s Creative Cluster Rings, and the key finincial centers identified by the author. Diagram: Christian Wagner

As a poly-centric city, one can say Shanghai is comprised of various ‘downtowns.’ Although some have greater draw than others (e.g., the Pudong Lujiazui CBD, for example), one must bear in mind that other districts also seek to establish their own business core. From this map, one can identify one key feature: the business zones (zones of high economic activity or of spatial economic significance) are inversely connected to the belt of industrial sites as cited by Chu Jin-Feng. One can therefore conclude that Shanghai has adopted a center-periphery relationship with regards to the development of business and finance. This, in turn, suggests the importance of finance, economics, entrepreneurship and income on the landscape. Shanghai is a market-driven city, and at its core lies its most important asset.

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SPATIAL DISTRIBUTIONS AND CITY-WIDE ORGANIZATIONAL PATTERNS | CHRISTIAN WAGNER MAP 52

MAP D: KEY TOURIST ATTRACTIONS

Key tourist locations as established by the 2011 Shanghai Factbook Diagram: Christian Wagner

Key tourism zones or sights of interest are important to map spatially considering the Chinese context. As mentioned in Chapter 3: CONTEXT, China established the term Chuangyi Chanye Jijuqu (Cultural and Creative Cluster) as a medium to import the Western concept of creative industry with culture; a more traditional, conservative perspective. The map above highlights the key zones (all with a 500-meter radii) that showcases the ‘best-of’ Shanghai’s tourist sites. The information for this map was gathered by comparing tourism web sites (Frommers, Lonely Planet, SmartShanghai) and spatially mapping their locations. One can see that there is still a strong draw in the People’s Square-East Nanjing Road-Bund-Lujiazui axis, and now thanks to the Expo there is also a stronger draw toward the south of Shanghai.

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SPATIAL DISTRIBUTIONS AND CITY-WIDE ORGANIZATIONAL PATTERNS | CHRISTIAN WAGNER MAP 53

MAP E: KEY PERFORMANCE VENUES

Key Performance Venue Locations as advertised by http://www.culture.sh.cn/ english/venue_catlist.asp?vcatid=27 Diagram: Christian Wagner

Another spatial map that is important to analyze when understanding the role of ‘Talent’ in a city is its performance venues. In the map above, areas in dark red pinpoint the performance art venues as established in the culture.sh.cn website. Here, it becomes interesting to note that the distribution, although still rather centralized, is rather dispersed throughout the entire city. Further, some performance venues are in direct locational proximity of the Creative Industry Clusters, especially in the area south of Suzhou Creek. The highest concentration, however, occurs West of the Bund.

Historically, this part of the city belonged to the European concessions (French and British). This map therefore also brings forward constructs of historic preservation which can be later interpreted into the ‘Tolerance’ category.

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MAP 54

MAP F: KEY UNIVERSITIES

Main campuses of the universities found within the Third Ring Road of Shanghai Diagram: Christian Wagner

Florida, Keane and Mommaas all argue the importance of universities in attracting the top talent to regions and cities. With 63 universities (all which have multiple campuses throughout the city of Shanghai) Shanghai attracts talent not only from China, but also from other parts of the world. By partnering with worldwide universities and establishing programs of creativity, one could potentially argue that the university is also an incubator for tolerant environments. Tongji University College of Architecture and Urban Planning and the Aalto Design Factory of Tongji University are excellent examples of this international cooperation. Universities therefore will play a large role in designing for Talent, Technology and Tolerance in the next section. The map above highlights the primary campuses around Shanghai. In fact, the Yangpu District is transforming its industrial roots into a university and knowledge-based economy as part of its key branding strategy.

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MAP 55

MAP G: KEY AREAS OF NIGHTLIFE

Key locations of nightlife as advertised by www.smartshanghai.com Diagram: Christian Wagner

In terms of Tolerance, a similar analysis was conducted utilizing a similar mechanism Bianchini utilized in analyzing the night-time culture of Rome, Italy. (Night Cultures, Night Economies, Planning Practice and Research, 1995). By understanding the areas that attract the highest degree of nightlife, in particular areas that offer the Creative Class, in relation to the location of these Creative Industry Clusters, one can understand the Shanghai equivalent of Richard Florida’s Tolerance Index. In Florida’s research, he states that Tolerant communities “are more likely to attract coveted high-level human capital and technological innovation than those that are not. Indexes like the Gay and Bohemian Indexes help to quantify a signal of diversity of backgrounds that strengthen the creative process.” (http://www.euractiv.com/enterprise-jobs/author-talent-technology-tolerance-key-attracting-creativeworkers/article-184822) For the scope of this research, areas that attract a high degree of advertised nightlife locations were utilized.

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MAP 56

MAP H: KEY GOVERNMENT CREATIVE INDUSTRY PROJECTS

People’s Square Cultural Tourism

North Bund Shipping Center Regulations & Consulting

North Zhabei River Bend

Yangpu Binjiang Industrial Design Operations District

M50 ‘Classic Hongkou’ Creative Demonstration District

Jing’an Suzhou Riverside Fashion District

Changning Husizhan old factory

Shanghai International Fashion Center ‘Tongji Sphere’ Creative Industries District

East Nanjing Road First Ring Shopping Area

Putuo Changfeng ecological and culture park CHINAXINYUAN.COM

Lujiazui Tourism Finance and Development District

Shiliupu Shanghai Harbor Creative Cultural Tourism Operations District

NCACG.ORG

张江国家数字出版基地

Jing’an Fashion Creative Demonstration District

Xintiandi Zhanghong National Digital Publication Base

Jing’an Contemporary Performing Arts Center

Zhanghong Cultural Science Creative Industries and Animation

‘Design Harbor’ Creative Demonstration District

Expo best creative practices district Hongqiao Commercial District

Shanghai Hongqiao International Dance Center

Huandonghua Fashion Industry District

‘Expo’ Creative Demonstration District

Xuhui Binjiang Creative Business Operations District

Huaihai Middle Road Fashion Shopping District

SHESHAN

JINSHAN

Government Designated Projects mapped by dfdaily.com Diagram: Christian Wagner

Another important factor to Tolerance is how the government sets its plan to help and contribute to the formation of Creative Industry Clusters in Shanghai. The map above utilizes two sources of information: first, it looks into the 2010 12th 5-year Plan for the city of Shanghai and a map devised by dfdaily.com which spatially maps the location of the 27 projects the Shanghai government is investing in. The 12th 5-year plan included this spatial description: The third is to optimize the industrial layout, the formation of the new space layout of “one axis, two rivers, multi-turn” cultural and creative industries. “Axis” The center of the city east-west axis of the West from the Hongqiao Business District, east to Pudong Jinqiao, Zhangjiang. “Two Rivers” refers to the Huangpu River Riverside cultural and creative gathering with gathering with the cultural and creative industries and Suzhou River riparian. “Circle” for the city’s cultural industry and the creative industries concentrated area, the formation of a number of national cultural industry demonstration base, demonstration base of industrial design, dozens of cultural industry and more than one hundred creative industries gathering area.

Full article at: http://www.gxi.gov.cn/tj/201207/t20120710_441009.htm

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MAP 57

MAP I: MINORITY AND EXPATRIATE DENSITY

Proportional Shading according to minority and expatriate population in Shanghai Source: http://www.stats-sh.gov.cn

The map above breaks down the density of foreign-born and minority populations by district.

Proportionally shaded, Jing’an area that has the highest density of foreign-born expatriates, however one of the lowest proportion of minorities in Shanghai. When combining both numbers, however, we can see there is a large concentration of non-Han Chinese who wish to live in a particular part of the city (Jing’an District, for example). From this map one can conclude 3 factors: that the expatriate community clusters to Changning and Jing’an areas, that some areas simply do not have the amenities and lifestyle opportunities many expatriates are looking for, the city is gentrifying, and finally, given the physical size of Pudong, although having the greatest number of expatriates, is dispersed and therefore difficult to say that there is a good measure for clustering. In the following page, one can further see the distribution in a non-spatial manner.

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SPATIAL DISTRIBUTIONS AND CITY-WIDE ORGANIZATIONAL PATTERNS | CHRISTIAN WAGNER

DIAGRAM 58

PROPORTION OF EXPATRIATE AND MINORITY POPULATION BY DISTRICT

Minority Community

% within Inner City % outside inner city

Foreign-Born Expatriate Breakdown by district of total proportion of population that is either a foreign expatriate or of a minority populations Diagrams: Christian Wagner Sources: Source: http://www.stats-sh.gov.cn

% within Inner City % outside inner city

GRAPH 59

Foreign-Born Expatriate & Minority Community

By District BY DISTRICT FOREIGN-BORN EXPATRIATE AND MINORITY COMMUNITIES 50000

00

4 45

0

20

42

40000

30000

00

211

00

0

0 52 0 50

0

0 75 0 50

5

4

2

ZHABEI

88 0 0 0

HUANGPU

YANGPU

0 00 00 00 0 7 65 0 0 55 3 0 3 8 2 80 14

HONGKOU

16

113

PUTUO

CHANGNING

PUDONG

58

XUHUI

2 10

34

10000

2

13

0

60

14

LUWAN

00

00

JING’AN

20000

http://www.stats-sh.gov.cn/fxbg/201112/237137.html http://www.stats-sh.gov.cn/fxbg/201109/232633.html

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4.5 MAPPING SHANGHAI’S TALENT TECHNOLOGY AND TOLERANCE

The maps in the previous section have been organized with depths of importance within the scopes of Tolerance, Talent and Technology. The methodology chosen allows for numerical distributions to be altered by value, or refined by the introduction of new overlaid information. This is one of the key benefits of parameter-oriented design, as it allows more information to be introduced in a seamless manner. The resultant can dynamically change as more information is embedded. Similarly, when new indicators are established, it can morph the final output.

DIAGRAM 60

SUPERIMPOSING DIFFERENT LAYERS YIELD NEW RESULTS

CREATIVE INDUSTRY CLUSTERS TOLERANCE LAYERS TALENT LAYERS TECHNOLOGY LAYERS

CITY UNDERLAY

Diagram Explaining the how superimposing various layers will reveal a new and unique landscape.

Diagram: Christian Wagner

The most essential starting point to the parameter-driven urban research is having large-scale data sets available. Once these data sets are put in place, then geospatial mapping can occur. Thanks to the software chosen for this research, information, analysis, interpretation and design can happen seamlessly. This can eventually yield an area of focus that takes into account both the macro scale of the research as well as the micro scale of the site chosen for development.

This thesis perceives the urban landscape from a bottom-up approach, yet with a top-down intention.

Rather than envisioning the urban landscape as a blank canvas, the landscape has been interpreted and partitioned into a grid-like structure (approximately 250m x 250m) where each block has embedded information of Technology, Talent, and Tolerance indicators. This embedded memory becomes the bottom-up construct, where sensitivity to the existing landscape is considered. From a top-down approach, one grid point can be assessed in comparison to the other 5624 points around it (the number total number of grid points remaining); a landscape that can evolve as more information is plugged into the model.

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SPATIAL DISTRIBUTIONS AND CITY-WIDE ORGANIZATIONAL PATTERNS | CHRISTIAN WAGNER

DIAGRAM 61

TRANSITIONING FROM DATASETS TO AREAS OF FOCUS Baoshan

Jiading

Yangpu Zhabei

Hongkou

Putuo

Jing’an

Huangpu Changning

Pudong

Xuhui

Minghang

DATASET

MAP

PROXIMITY QUANTITY PROMINENCE ADJACENCY

Area of Focus

ANALYSIS

CONCLUSION

?

From Data sets to Conclusions - Utilizing the Methodology to Read the City in a new manner.

Diagram: Christian Wagner

Even though Richard Florida argues that it is “a major pitfall trying to correlate amenities to economic growth,” no prior research has been conducted that attempts to map out spatially these intangible constructs (Florida, 2009, Pg.71). However, in a more recent article, when speaking about the Chinese context, he states that his “research examines the effects of three key factors on Chinese regional development in an attempt to gauge to what degree China has transformed from an industrial to a knowledge-based economy, based on higher levels of (1) technology and innovation, (2) human capital and knowledge/professional/creative occupations, and (3) factors like tolerance, universities, and amenities which act on the flow of the first two.” (Florida, Qian, Mellander, page 1) Perhaps within the Chinese context this methodology performs better than in a Western context?

The 9 maps from the previous section are compared to the Creative Industry Clusters in the following manner: a composite map of 5-6 maps creates a composite map for the particular indicator that is being analyzed (e.g., Talent). These maps are then superimposed with one another with varying degrees of importance (or, in this case, opacity). The opacity of each map will darken as more layers are superimposed on top of each other. The darkest areas, therefore, are the areas that best represent the targeted indicator. The areas that have no information, as a result, can amount to having a weaker presence with that particular indicator. In the chart below, one can see the indicators chosen: DIAGRAM 62

BREAKDOWN TECHNOLOGY, TALENT & TOLERANCE TECHNOLOGY CREATIVE INDUSTRY CLUSTERS

30%

TALENT 15%

IDLE FACTORY SPACE

15% 15%

CONTEMPORARY INDUSTRIAL SITES

20%

SHANGHAI SUBWAY SYSTEM

10%

ECONOMIC NODE POLYCENTERS

20%

10%

20%

TOURIST AMENITIES ATTRACTIONS

20%

PERFORMANCE CENTERS

15%

UNIVERSITIES

TOLERANCE

20%

20%

20% 20%

NIGHT AMENITIES

20%

GOVERNMENT-SPONSORED PROJECTS

10%

MINORITIES AND EXPATRIATES

Breakdown of Distribution of Maps in Accordance to Florida’s 3Ts of Creativity Diagram: Christian Wagner

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Finally, by superimposing the three different maps, it was hypothesized that there would be some key areas that fit all the three parameters best. These are the areas of the city that have the strongest draws to the creative industry of the city, and are perhaps the best areas to begin with establishing a general city-wide strategy. The Shanghai Municipal Government has established a goal of creative industries to reach 12% of the city’s GDP (Shanghai 12th 5-year Plan, Pg. 11) by 2015. If this is the case, then it becomes essential to spatially map out a road map to successfully reach this goal.

MAPS 63

COMPOSITE MAPS: TECHNOLOGY, TALENT & TOLERANCE

To Baoshan Industrial Zones

To Chongming and Hensha Industral Zones

To Jiading & Anting Industrial Zones

To Pudong Industrial Zones To Qingpu Industrial Zones

To Songjiang Industrial Zones

To the Industrial Zones of: Xinzhuang Minhang Zizhu Fengpu Jinshan Spark

To Deepwater Harbor

To Baoshan Industrial Zones

To Chongming and Hensha Industral Zones

To Jiading & Anting Industrial Zones

To Pudong Industrial Zones To Qingpu Industrial Zones

To Songjiang Industrial Zones

To the Industrial Zones of: Xinzhuang Minhang Zizhu Fengpu Jinshan Spark

To Deepwater Harbor

Composite Technology, Talent, and Tolerance Mappings before they are converted into a 250m250x black-white grid that takes into account different opacities for all the areas studied.

Diagram: Christian Wagner

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4.5.1 TECHNOLOGY COMPOSITE

Technology is possibly the most tangible of the factors chosen to be analyzed. Technology is a result of 5 factors: 1. Universities develop between different entities, inspire innovation through cross-, inter-, and multidisciplinary collaboration.

2. Business districts (or also possibly the areas with high commercial activity) usually headquarter locations for large-scale business entities that hold up Shanghai’s economy.

3. Existing industrial zones, manufacturing centers, and distribution areas create technological output. In China, the high-tech industries are officially defined as electronic and telecommunications, computers and office equipment, pharmaceuticals, medical equipment and meters, and aircraft and spacecraft. (Florida, Mellander, Qian, 634) National Economic and Technology Development Zones in China are most attractive place for high-tech firms, largely because of preferential policies approved by the central government. Tianjin and Beijing have two of the largest and best such zones in China.

Shanghai is home to four such zones and is the only city with more than two. In addition, Shanghai, as the economic center of China, receives economic development support from the central government in all possible forms. (Florida, Mellander, Qian, 639) 4. The subway system is designed to maximize the city layout, some subway stations can actually become eventual unforeseen technology centers.

5. Creative Industry Clusters have a strong impact on innovation; in this case, I chose to mark them as having the strongest impact on the technology-driven landscape.

The resultant spectral map is outwards moving (thanks to the subway system), but is rather centralized among the inner city ring. The area north of Tongji University (Wujiaochang), Xujiahui (to the south), and nearby Hongqiao (to the West) are areas that also demonstrate areas of increased technological activity.

To Baoshan Industrial Zones

To Chongming and Hensha Industral Zones

To Jiading & Anting Industrial Zones

To Pudong Industrial Zones To Qingpu Industrial Zones

To Songjiang Industrial Zones

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To the Industrial Zones of: Xinzhuang Minhang Zizhu Fengpu Jinshan Spark

To Deepwater Harbor

SPATIAL DISTRIBUTIONS AND CITY-WIDE ORGANIZATIONAL PATTERNS | CHRISTIAN WAGNER

DIAGRAM 64

TECHNOLOGY PEAK MAP

MAP 65

TECHNOLOGY

TECHNOLOGY SPECTRAL MAP

Universities - 20% Business Districts - 20% Industrial Zones - 20% Metro System - 10% Creative Industry Clusters 30%

Composite Technology Spectral Map and Peak Maps Diagram: Christian Wagner

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4.5.2 TALENT COMPOSITE

Measuring Talent as a tangible object in a landscape the size of Shanghai is more challenging. In this case, some factors still remained consistent with technology, but with differing percentages and intentions. They included universities, business districts, industrial sites and Creative Industry Clusters.

The differing factors were the performance areas and tourism amenities.

1. Universities bring the best talent from around the country and the world. Being home to 63 universities, Shanghai is actually a university town. In 2010 statistics, according to UNESCO Creative Cities Network website, “There are 10,950 persons with college education or above in every 100,000 persons in Shanghai, ranking second in China.”

2. Areas of Performance were chosen as having a strong connection with creativity. Talent in the form of performance became a very tangible and representative locational factor. Being that it is a specific indicator, I lowered its importance.

3. Tourism areas link the past to the present. They represent areas of local pride and of cultural heritage. Local arts and crafts are interpreted as an appropriate measure of local talent.

4. Business districts and industrial sites become important city catalysts that attract the strongest talent pool.

5. Creative Industry Clusters are held as a standard to elevate their importance to the clustering mechanism.

The resulting spectral map demonstrates that the cloud generated is more concentrated than that of Technology, where most of the Talent is situated along the Yan’an Elevated Highway. Universities still play a large role in the spatial distribution.

To Baoshan Industrial Zones

To Chongming and Hensha Industral Zones

To Jiading & Anting Industrial Zones

To Pudong Industrial Zones To Qingpu Industrial Zones

To Songjiang Industrial Zones

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To the Industrial Zones of: Xinzhuang Minhang Zizhu Fengpu Jinshan Spark

To Deepwater Harbor

SPATIAL DISTRIBUTIONS AND CITY-WIDE ORGANIZATIONAL PATTERNS | CHRISTIAN WAGNER

DIAGRAM 66

TALENT PEAK MAP

MAP 67

TALENT

TALENT SPECTRAL MAP

Universities - 20% Theater Districts - 15% Tourism Areas - 20% Business Districts - 20% Industrial Sites - 10% Creative Industry Clusters - 15%

Composite Talent Spectral Map and Peak Maps Diagram: Christian Wagner

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4.5.3 TOLERANCE COMPOSITE

Tolerance is perhaps the most intangible aspect to be measured. Again, universities and Creative Industry Clusters are kept as standards, but other aspects become important in this composite.

1. Universities play an importqant role in understanding different cultures and backgrounds.

Furthermore, universities play a stronger role in affecting the hukou system. Florida, Mellander, Qian, argue “ Most employers in big cities, especially in star cities like Beijing and Shanghai, have quotas of local Hukous they can issue. The local university graduates, due to their networks and other advantages in accessing job information, are better able to find and compete for opportunities, and subsequently become locally registered. This process is much more difficult for graduates from outside the local area.:(Florida, Mellander, Qian, 638) Therefore, this might be the strongest measure to establish tolerance between cities that are already challenged by established Hukou system.

2. The government-designated Creative Industry Cluster strategy established by the municipal government differs from the existing established creative industry cluster strategy. The 27 projects relate to the top-down acceptance that this is an important element to the city brand.

3. Night districts are an important component to a city’s 24-hour cycle. Amenities provided at night relates to where the Creative Class wishes to live according to Florida. (Florida, 2002, Location 4408/7234) 4. Creative Industry Clusters further sponsor the tolerant agenda of the Creative Class.

5. Expatriate and minority populations are perceived as a percentage to diversity by district.

6. Finally, the factory space ‘ring’ (established by Chu Jin-Feng) was also considered , as it gives a broader understanding of a physical landscape the can be further retrofitted and preserved for heritage.

The ring of factories becomes the most prominent element in this diagram. The space within this ring is the area with the highest density of tolerance. This is perhaps the most concentrated of the mappings, with Shanghai’s Tolerance center matching almost perfectly the center city of Shanghai (though slightly West-South of the intersection of the North-South and the Yan’an elevated highways).

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DIAGRAM 68

TOLERANCE PEAK MAP

MAP 69

TOLERANCE

TOLERANCE SPECTRAL MAP

Universities - 20% Government Designated CICs - 20% Night Districts - 20% Creative Industry Clusters - 15% Expat and Minority Population - 10% Factory Space Ring - 15%

Composite Tolerance Spectral Map and Peak Maps Diagram: Christian Wagner

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4.6 COMPOSITE 3T MAPPING - 4 METHODS TO INTERPRET THE INFORMATION ANALYSIS

When all six maps are superimposed with equal importance (33.3% for the three maps), one begins to see a highly concentrated city. The resultant is a multi-tiered city with varying densities. Four distinct approaches can be taken with interpreting and utilizing this analysis.

4.6.1 INTERPRETATION 1: UNDERSTANDING THE PEAKS

The peaks can be visited and understood in the greater context of this city. What makes these places more unique than others? Do they provide the necessary mix of amenities and lifestyle opportunities that Florida argues in his book? Some key conclusions included: 1. Puxi (West of the river) is still more prominent, yet one location was found in Pudong (East of the river, at Lujiazui) are beginning to show signs of promise.

2. Most locations were found within or around the inner ring of the city.

3. There is a clear attraction of creative industry clustering and their adjacency to universities.

Universities are an important catalyst for the development of a city’s creative brand (e.g., Donghua University, Tongji University, Fudan University and Jiaotong University) 3. There was also an attraction of creative industry to key landmark areas. In fact, one could argue that clustering creative industries alone does not make a creative city, but rather, there are many influential factors that make up a creative city. (e.g., Hongkou Football Stadium, the Bund, Lujiazui, or Xujiahui) 4. Some areas depend heavily on creative industry clustering, like Taikang Lu or Red Town.

Xintiandi, East Nanjing Road, and People’s Square also played a strong influence.

5. Some areas, in fact the largest, is not the physically tallest, but one that is walkable, diverse, and has a great level of street-level activities (the largest concentration of hotspots were found between Jing’an Temple and the former French Concession). This coincides with Florida’s theory, which states that “The Creative Class is strongly oriented to large cities and regions that offer a variety of economic opportunities, a stimulating environment and amenities for every possible lifestyle” (Florida, 2002, Location 655/7234), or that “[Florida] was finding that the Creative Class preferred a more active, informal, street-level variant of amenities”..... (Florida, 2002, Location 4890/7234) 6. There was an interesting effect of the Yan’an Elevated Highway. On a similar note, areas like M50 or 1933, which are possibly the most successful Creative Industry Clusters, do not have the

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amenities around it to make them top areas of creative talent. Or, as Mommaas explains, “generally, these questions have to do with the scale, the quality, the interaction and the co-evolution of different dimensions of proximity of clusters.” (Mommaas, Found in Kong, O’Connor, 2009, Location 801/3365) DIAGRAM 70

COMPOSITE PEAK MAP

MAP 71

COMPOSITE SPECTRAL MAP

Composite 3T Map with highlighted top 3 levelsl and Peak Maps Diagram: Christian Wagner

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SPATIAL DISTRIBUTIONS AND CITY-WIDE ORGANIZATIONAL PATTERNS | CHRISTIAN WAGNER MAP 72

TOP LOCATIONS IN THE ANALYSIS

10

17 8 14

11

1

16

2

3

15 5

6

4 9

13 12

Top “peaks and their respective locational photographs” Maps and Photographs: Christian Wagner

100

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1

800 SHOW

JING’AN TEMPLE

ZHONGSHAN PARK

4

TIANZIFANG

5

FUMIN ROAD, FORMER FRENCH CONCESSION

7

LUJIAZUI PARK

http://www.dreamworlds.com/news/

8

10

MULTIMEDIA TRAINING CENTER

12

11

XUJIAHUI CATHOLIC CHURCH

http://www.shanghai.gov.cn/shanghai/ node27118/node27968/node26489/ userobject22ai36135.html

15

14

HONGKOU FOOTBALL STADIUM

16

PEOPLE’S SQUARE

9

SHANGHAI JIAOTONG UNIVERSITY

THE BUND

13

6

FAHUAZHEN LU

TONGJI ARCHITECTURE DESIGN INSTITUTE

FUDAN UNIVERSITY

3

2

HUAIHAI ROAD

17

TONGJI UNIVERSITY

EAST NANJING ROAD

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4.6.2 INTERPRETATION 2: UNDERSTANDING FIELDS

Rather than taking into consideration the peaks, perhaps it becomes important to understand the valleys (or the fields) by decreasing the number of levels. In the diagram below, the map has been clarified to only have three tiers of information: High, Medium and Low. The result, therefore, is more inclusive. However, a key limitation is that it becomes more abstract in its output. Some areas that might be in adjacency to creative hotspots might not necessarily be hotspots. However, this map does take into consideration the other Creative Industry Clusters that still are considered key projects (e.g., M50, 1933, the Cool Docks and the Expo site). This map is more comprehensive and highlights the creative energy of the place in a different manner than in Interpretation 1.

MAP 73

VALLEY MAPPING

Measuring fields in a more broad sense gives the focus to key locations that make Shanghai unique. Eg., Yu Garden, Nanjing Road, Wujiaochang, The Chinese Pavilion or the Oriental Performing Arts Center.

Photos and Diagram: Christian Wagner http://www.lushtone.com/china/cimages/oriental_art_centre.jpg

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4.6.3 INTERPRETATION 3: UNDERSTANDING EVERY GRID POINT INDEPENDENTLY

The third interpretation strategy is about approaching each quadrant independently. Given the parameters chosen for the study, each grid point, as a result, has a different ‘composition’ of Technology, Talent and Tolerance. If we look at individual outputs on a case-by-case scenario, we could potentially learn what is successful in a particular site, and what does it still ‘lack.’ Bear in mind that the analysis conducted on a point-by-point scenario is not representative of the quality of the individual places studied. In fact, it is an analysis of the amenities that are around that particular grid point that affect its status in the ranking classification. For this reason, places that were ranked the highest were a result of the parameters chosen in Tolerance, Talent and Technology. The spaces outlined below are considered by many some of Shanghai’s most prominent creative landmarks - which is why I found it surprising that they were not the highest-ranked locations in my research. Four examples are shown below:

DIAGRAM 74

MEASURING INDIVIDUAL QUADRANTS TECHNOLOGY TALENT TOLERANCE

Each quadrant has embedded information of Tolerance, Talent and Technology. Maximizing for either one of these elements can benefit the existing urban fabric.

Photos and Diagram: Christian Wagner

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4.6.4 INTERPRETATION 4: DESIGNING FOR ITERATIVE OUTPUTS OR VALUES

The unprecedented growth of Shanghai still lags behind the technological evolution that has occurred in the same period of time. New technologies have begun to emerge in the past couple of decades regarding the spatial understanding in urban design. BIM (Building Information Modeling), REVIT (embedded architecture-information software), and arcGIS (Geographic Information Systems), and Grasshopper (parametric-aided design) have started to become commonplace in design firms substituting or working simultaneously with more user-friendly Sketch-Up or Autodesk Auto CAD interfaces.

More research is needed in the spatial planning field to understand the potentials of Parameter-driven design. Often, the use of parametric modeling is used as a design software, where designers utilize it to design interesting formal and unique characteristics that the hand could not draw otherwise. A designer inputs geometries in a spatial manner and internalizes embedded information through “plugging” inputs with outputs. Different input plugs, therefore, perform a wide array of outputs, in a similar manner to how telephone operators connected different individuals to each other in the first-generation communication systems.

This thesis attempts to utilize parameter-driven design as a form of analysis. The last interpretation strategy studied was to design various alternatives. The more maps that can be superimposed, the higher degree of detail can one obtain in the final output. In the map below one can see what happens if every parameter chosen is given equal emphasis. In this report, the parameters of Technology, Talent and Tolerance drove the results. A judgment from the author’s point of view gave each category a particular value. If this step is eliminated, the resulting map can be seen in the following page.

Parametrer-driven design establishes the possibility to iteratively design alternate scenarios, which allows for a greater understanding of the implications and variables involved in relation to each other.

By superimposing varying layers, one can begin to reveal elements that would not otherwise be seen or understood within the Cityscape. As more information gets superimposed, the design software can transition from dataset to analysis, and analysis into a design output in a seamless manner.

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MAP 75

ALTERNATIVE 1: NO EMPHASIS

MAP 1: ALL PARAMETERS HAVE EQUAL WEIGHT @ 10% MAP 76

ALTERNATIVE 2: VALUE-ADDED EMPHASIS (3TS)

MAP 2: COMPOSITE PARAMETER DRAWING AFTER 3Ts ARE SUPERIMPOSED

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4.7 OBSERVATIONS & LIMITATIONS

This thesis sought to answer two questions: What are the patterns and spatial distributions of Creative Industry Clusters in the Shanghai context? How can the information gathered be interpreted and later utilized to steer the direction of Shanghai’s creative city urban strategy? Shanghai is a heavily centralized region that attracts a high level of the Creative Class within the Chinese context. The maps shown in this section amount to the creative ‘energy’ that exists within different quadrants of the city, if interpreted under the lens of Richard Florida’s 3Ts of creativity: Technology, Talent and Tolerance.

Shanghai can be perceived as a city with peaks and valleys of creative energy. In a post-Expo Shanghai, these maps are an important step in understanding Shanghai’s capacity to brand itself as a creative city.

The four strategies outlined through this research included: - Understanding the ‘peaks’ and interpreting how, what and why these spaces attract a stronger creative energy over their adjacent counterparts - Understanding fields as a more general understanding to the creative capacity of a place. This information becomes increasingly relevant when one compares to the municipal government’s urban strategy on Creative Industry Clusters.

- Understanding individual quadrants as having a unique composite 3T index based on amenities that are within or adjacent to other amenities studied.

- Designing iterative outputs that reveal different parameters as having greater importance over others.

As a designer, one of the most important aspects in developing a project is to understand the underlying context of the place being designed for. The methodology conducted in this thesis reveals a spatial mapping technique that allows designers, urban designers, and policy-makers to understand the underlying context of a city when designing for the creative industries in an innovative manner.

The spatial distributions of Creative Industry Clusters in Shanghai is unique; it becomes important to understand how it relates in the greater adjacencies. As a spatial distribution, the creative clusters disperse creativity throughout the urban fabric of Shanghai; however some areas become more successful than others in affecting the urban fabric in the long run, considering the variety of amenities available in their immediate respective proximities. In terms of organizational patterns, the context around the Creative Industry Clusters also play an immense role. Some key tangible conclusions one can see from this analysis include:

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- One must consider the notions of proximity, adjacency, quantity, prominence and accessibility when designing for creative industries - Universities play an important role in developing strong environments within the characteristics of the 3Ts (Tolerance, Talent and Technology).

- Unofficial clusters will surface and affect how a city is perceived. However they will be difficult to map as they are also more impermanent and constantly shifting.

- Shanghai is rather a concentrated city with regards to the creative industries; usually within the inner subway ring (line 4). The periphery still lacks amenities for a more mature effect for creative industries.

- The area around Suzhou Creek, which holds many older industrial relics, still lacks certain elements within the 3Ts. This provides an opportunity for future design to elevate its status.

- Areas with particular landmarks also are areas with an elevated creative energy (e.g., the Bund or the Lujiazui area) - Every district approaches the creative industry cluster constructs differently. Some districts concentrate their creative spaces in particular regions (e.g., Pudong), whereas some districts (e.g., Jing’an) follow a more dispersed clustering. Therefore, it is more accurate to analyze Shanghai as a varied landscape with varying strategies within regions.

- Areas with a strong access to the subway system, and areas with a strong pedestrian-level activities rank higher in the 3T ranking category (e.g., the area of the Former French Concession, Image 5 on page 101).

- Time will play a big factor in the creative capacity of Shanghai, as it develops into a more mature creative environment.

The methodology conducted would only benefit greater the more maps get superimposed on top of each other. Arguably, it becomes an open-ended methodology, where one needs to establish a judgment to say how much is enough to obtain valid solutions. Like with any design project, judgment and intuition therefore plays a big role as a starting point. Refinement until a final output is conducted was attempted by establishing four concluding strategies. These strategies can further aid different stakeholders in planning for the creative industry.

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5. CONCLUSIONS FUTURE RESEARCH 5.1 Conclusions 5.2 Future Research Questions

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SPATIAL DISTRIBUTIONS AND CITY-WIDE ORGANIZATIONAL PATTERNS | CHRISTIAN WAGNER

5.1 CONCLUSION

The research basis established is unique as it utilizes a

MAP 76

FROM THEORY TO CONTEXT TO ANALYSIS

(1) a spatial planning methodology not typically used in SHcon AN te GHxt AI

of future developments, (2) contributes to the discussion

Y t TR ec Y S bj OR DU su HE IN T E V TI EA CR

the field of Urban Planning in order to reveal possibilities

URBAN THEORY

of the development of Creative Industry Clusters in the CORE RESEARCH

Shanghai Cityscape, (3) showcases some prior case studies that reveal the potentials of parameter-driven design within the context of urban planning, (4) establishes new questions, observations, and suggestions for future implementation of

URBAN OUTPUT

URBAN ANALYSIS

SPATIAL ANALYSIS object The core research is found at the intersection of the three threads. Diagram by Christian Wagner

this methodology in with a design perspective.

A contemporary theory suggested by Richard Florida states that cities are being shaped by the flow of the ‘Creative Class.’ Cities are now competing for the best talent by providing diverse amenities, inclusive job opportunities, and daily unique lifestyle choices. In his theory, cities that have a strong mix of Tolerance, Talent and Technology factors will become the forerunning regions of our time. No prior research has ever been conducted to look at a particular region to see whether there is a special spatial distribution or a particular organizational pattern that contributes in attracting and retaining the Creative Class. This thesis sought to interpret Florida’s theory of the 3Ts in spatial terms to see how Shanghai can be perceived as a landscape of creativity. In doing so, one could understand if there are particular factors within the landscape that bring together Florida’s research into a spatial vocabulary.

The result is a regional map of peaks (areas with high creative ‘energy’) and valleys in the Shanghai landscape that offer amenities catering for technological innovation, developing a deeper talent base, and building a tolerant and inclusive environment. The resulting spatial analysis affects policy (to aid planners, municipal governments, and district-level decision-makers) in steering the Creative Industry Cluster strategy to the next level. The four interpretations in Chapter 4:ANALYSIS allow different stakeholders to build upon the existing dialogue and speak objectively in both micro (site-specific) and macro (city-wide branding, for example) scales.

This thesis wove three threads: Theory, Context, and Analysis. The first section dealt with the theoretical background behind the ‘Creative City,’ ‘Creative Class’ and the ‘Creative Industry Cluster.’

Lazeretti, Cooke, Feldman, Keane, Mommaas and Li provided different theories regarding the

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Cultural-Creative Cluster Landscape. Lazeretti and Cooke argued that there is not enough discussion created regarding ‘proximity’, or geographical propinquity. Feldman explains that the linkages created by proximity can create greater efficiencies and spillovers can occur with respect to creating this adjacency. Mommaas clarifies that notion of spatial structures cannot be isolated, but rather work within a complex network between culture, proximity and political-economic points of view. Mommaas explains that a place thrives or deteriorates based on its sensibility to cultural characteristics, the application of successful urban planning mechanisms, and the support (or lack there-of) from governing entities, hence creating a structure that is ‘confusing and tense.’ Wuwei explained that time plays a significant role when transitioning from a ‘primitive’ creative industry clustering strategy to a ‘mature’ strategy. Without understanding the core research method established prior to this thesis, one could not fully understand the magnitude of development and the key strategic opportunities in developing the creative industry. It can be concluded that the study of clustering is an ongoing process that shifts and evolves in a constant manner and that there is plenty of discussion, but no standard method of measuring or indicating a successful implementation of Creative Industry Clustering worldwide.

The ‘Creative City’ is therefore a complex concept that works within social, political, and economic spectrums, considers the spatial distributions based on amenities offered and infrastructures provided.

All these elements work together form a Tolerant, Talent-gaining, and Technology-driven environment.

The Creative City is both entrepreneurial and self-indulgent; it allocates capital, resources and builds stronger bonds to further connect the Creative Class with their respective cities. Zhang Wang exemplified this by claiming there was an added value on other industries that could potentially affect the value of culture, city beautification, city image, cultural characteristics, and urban development.

Examples of this effect can be noticed around the world: SOHO in New York or the 798 Art District in Beijing, for example.

The second section emphasized the contextual relation (Shanghai) to the theory of the Creative Industry Clusters. China has assimilated their own vision and attitude towards Creative Industries, as this has been a Western import rather than being developed exclusively in the East. In fact, the discussion of creative industries only came about in the 1990’s in China; in years prior, most of the creative industries were closely associated with political party ideology.

According to Keane, Western scholars have 3 key misconceptions when understanding the creative industry in China. They include the role of culture, personal mobility and freedom, and organization (as opposed to creative freedom). Within the Chinese context, creativity has essentially taken the role of driving the economy rather than steering social norms into a different direction. Perhaps this is one

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of the factors that contributes to why China “lags on Creativity” (according to Florida) or why it has become overly-commercialized and thus unattractive to Keane.

Given Shanghai’s rich history from a fisherman village to the driver of industrial and internationalization for China, one can attest that Shanghai’s unique landscape and charm has been developed thanks to the social-historical sphere, all of which further contribute to the development of the creative industry. As a city situated within proximity to other international powerhouses that attract talent, Shanghai must brand itself further to keep its competitive advantage. The research conducted in Chapter 4:ANALYSIS answers precisely to this challenge. By superimposing Shanghai’s existing amenities in the scope of Florida’s 3Ts, one can reveal peaks and valleys, points of interest, or iterations for development, all which can contribute positively to the Shanghai landscape.

Shanghai’s creative landscape is complex and organization becomes crucial. From its clear goals in the 12th 5-Year plan, the establishment of government-sponsored entities, to joining the UNESCO World Design Capital network, one can see how policy has aided in Shanghai’s “creative city” vision.

Within this structure, it was inferred the complex nature of Creative Industry Clusters in Shanghai.

Taking the notion of Creative City branding, Seoul was introduced as a case study. Seoul was home to the 2010 “World Design Capital,” a 3rd-Party international entity that helps cities establish a citywide urban strategy. Seoul’s case study reveals a different strategies, from the city-planning scale (the development of 4 key design districts), the urban planning scale (the case of the Digital Media City), the architectural scale (the Dongdaemun Design Plaza), to the development of a unified city brand based on city colors, fonts, mascots, and a clear 4-pronged vision (by U). This multi-faceted approach could serve as a lesson for establishing a city-wide creative strategy for Shanghai.

The social, political and economic intangible constructs play an immense role in the development of a creative industry strategy in the city of Shanghai. The tangible city-wide constructs, such as the government-designated Creative Industry Clusters, become a physical manifestation of these intangibles that drive the creative industry. Chapter 4:ANALYSIS looked into interpreting the intangible constructs of the 3Ts into physical manifestations. Nine different maps were analyzed as being physical manifestations of these constructs: business centers, universities, the existing subway system, tourism areas, performance spaces, the official government strategy, nightlife districts, industrial zones and expatriate/minority population areas. When the maps are superimposed given varying degrees of importance under the premise of Tolerance, Talent and Technology, a new urban interpretation is reached of the creative capacity of Shanghai. By superimposing different layers, it is possible to reveal items otherwise not seen before

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Based on superimposing these parameters with varying degrees of importance under Florida’s 3Ts theory, 4 different interpretations are revealed to utilize this new information. First, the peaks can be analyzed as key zones for creative development. These particular regions offer a varying degree of amenities within their adjacent proximities that offer a varied environment that becomes attractive to the Creative Class. Second, a more general field assessment can be interpreted in order to grasp how in the long term Shanghai is developing in accordance to the parameters studied. Third, each individual quadrant can be analyzed as having a unique composition of Technology, Talent, and Tolerance.

Individual design firms could potentially benefit from this research in establishing new creative zones around the city. Fourth, values analyzed could be altered such that one can get varying iterations. This will allow for further refinement.

The 4 interpretations offered a wide-range of opportunities for the Shanghai creative landscape.

The ‘peaks’ revealed a diverse network within the city structure that values walkable districts, access to transport, occasionally is adjacent to a city landmark, or are within proximity to a university or a park. Although all peaks have distinct characteristics, it becomes clear that they are places of spatial significance to Shanghai’s future planning and development.

The second interpretation deals with valleys. Although it is important to understand the programgenerated peaks, it also became clear that certain expected areas were not included (e.g., M50 or the 1933 clustering). It became clear the importance of understanding the context around each peak.

The resulting valley maps produced (split into three levels), becomes more representative of a citywide organizational creativity-driven pattern. It identifies areas that otherwise would be sidelined or forgotten, such as the Expo Site or the Oriental Art Center.

The third interpretation was to understand each quadrant independently. As mentioned earlier, I became interested in understanding why places like M50 or 1933 were not included in the peak mappings. The problem was not that these individual landmarks are not prominent in the landscape; the problem really related to their respective contexts. These places were situated in parts of the city where Tolerance, Talent or Technology were simply not strong enough to compare. As a result, on a more local level, planners and architectural designers could design for the missing ‘T.’ This would result in a more elegant approach to interpreting the design potentials of context-driven design.

The fourth interpretation deals with the broader, city-wide scale. It became clear in this process that a value judgment is needed in order to reveal new information from a the landscape. As a researcher, I selected 9 different maps that interpreted Florida’s research. More maps could clearly be superimposed, but it was a value judgment from the authors’ point of view to select a manageable number. However,

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more maps would only make the output richer. In a similar manner, when opacities were distributed in accordance to Florida’s 3Ts separation, another value judgment was tested. Future researchers should be able to challenge these values and bring new conclusions based on this methodology. Finally, the measurements selected for the grid (approximately 250x250 meters) or the radii (500 meters from each hotspot) was based on a 5-minute walking radii. These values could be altered even further (hence creating more value judgments) to further refine this research. It is very important to note that value judgment cannot be stripped from design - whether perceiving the landscape from a top-down approach or a bottom-up approach. If the value judgment is stripped from the analysis, then we are left with a spectral map of density of disparate objects that have little relation to each other (as seen on page 105)! It becomes imperative to define respective values in revealing something new or unique with the landscape being studied. The values one chooses to emulate, therefore, becomes representative of the values of the observer.

Rather than being a closed-ended thesis, it establishes new possible questions and mechanisms for future researchers to build in the future, both in the discussion of Creative Industry Clusters as well as in research in spatial mapping. By understanding the dynamics of what currently exists within the urban fabric, one is essentially interpreting the urban landscape from a ‘bottom-up’ approach, a significant shift from the traditional top-down methodology. Only with more research and maps avilable, will this methodology play a more crucial role in urban planning. It becomes clear that the future of the planning discipline will be based on understanding and interpreting large quantities of data in a spatial manner, and utilizing the data to create better informed decisions toward positive, sustainable, and resilient urban growth. The subject chosen as a framework for this research thesis was the Creative Industry Clustering; however it becomes clear that the methoodology established in this thesis is more openended and the opportunities for future applications is viable. Creative Industries, however, will play a large role in developing new and innovative ways to tackle the problems that may lie ahead.

It became clear to me that that the methodology chosen revealed a key fact about the urban designer: the urban designer must research comprehensively the context, both tangible and intangible, before developing value judgments in planning. Once the value judgments are defined (the parameters) and the context is understood, both in macro and micro scales, can good urban design occur. The methodology established in this thesis builds that ‘first step’ to the design process.

5.2 Future Research Questions Further research could potentially apply a similar methodology to a different context and see if the

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parameters chosen are representative to other cities. One key questions for future research arises based on the methodology established: Could all cities be measured spatially with the same parameters to reveal a creative landscape?

The study of Shanghai (with the limit of the Outer Ring Road) also proved to be a key challenge. The research approach is urbanistic with the concept of people’s experiences in mind. The main conclusion is that the spatial patterns, when organized, can reveal a landscape of peaks and valleys. Shanghai is at a developmental level high enough to welcome and accept the creative industries into its urban fabric and serve as an engine for economic growth. Different parts of the city have varying levels of creative energy. Is the landscape of Shanghai unique in the manner that it cannot relate in any way to other cities around the world? When speaking of the creative industry strategy, could other cities around China successfully implement a Creative City Strategy? Or is Shanghai at a developmental level that it can accept the creative industries as a driver for economic growth?

Second, the output from the analysis was refined through a manipulation of various different software: every underlay was created in AutoCAD, then imported into Rhinoceros, then altered through Grasshopper, then superimposed into Adobe Illustrator, extruded back in Rhinoceros, and finally merged utilizing gravity in Maya. The chain of commands was based on the limitations I had on the design software to conduct all research in one program. An opportunity, however, was the fact that many of these programs have begun to speak with each other seamlessly. Due to the advance of technology, a couple of questions might arise for future researchers: Could these maps, in the future, be generated by utilizing a singular software? Will knowledge of computer programming be necessary within the urban planning pedagogy? Is the role of the urban planner ultimately changing?

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MAP 78

OUTPUT MAP: SHANGHAI’S CREATIVE CITY STRATEGY

CHINAXINYUAN.COM

NCACG.ORG

张江国家数字出版基地

SHESHAN

JINSHAN

A comparison of the Government-Designated Creative Industry Cluster projects 2012-2015 as mentioned in the 12th 5-Year Plan and the Information Generated from this thesis: Peaks, Valleys, Creative Industry Clusters, and the Peripheral Ring by Chu Jin-Feng.

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ACKNOWLEDGEMENTS

I would first and foremost like to thank my family for giving me the support necessary to make this experience possible. I dedicate this thesis to my family, Ana,Willie, Joe and Andrea, which have actively supported my academic endeavors.

Second, I would like to dedicate and acknowledge the people that have become my ‘family away from home.’ Being far away in a new culture has always proven challenging, and it is the people you meet along the way that make the experience of being away from home worthwhile. It is through the small moments of dinners, active discussions, or smaller moments in Shanghai and in Weimar that I will always remember and cherish.

Third, the faculty and staff at Tongji University have been incredibly supportive and I thank them for making the thesis process run as smoothly as possible. I give a special thanks to Professors Tian Baojiang and Professor Hou Li, for taking their time outside of their daily commitments to give me direction and advice to further develop my thesis. I have been fortunate also to work with Ms. Wu and Ms. Li Wei at the International Student Office of the CAUP that aided me in every way possible to make my academic experience at Tongji an unforgettable experience. I would also like to acknowledge the professors I had while at Tongji for introducing some of the concepts that were necessary to conduct my research thesis.

Fourth, I would also like to acknowledge the faculty and staff at the Bauhaus University-Weimar.

I would like to thank Ms. Dittel, Ms. Coles, and Ms. Keuthe for answering my (many) questions throughout the process, as well as Professor Harald Kegler for helping me through this process.

Fifth, I would also like to acknowledge my mentors at Carnegie Mellon University: Volker Hartkopf, Vivian Loftness, Khee Poh Lam, Azizan Aziz, Kelly Hutzell, Rami El-Samahi, and Christine Mondor. Without your preparation I would not be able to interpret, understand and ask the right questions.

Finally, I’d like to thank Shanghai for being a great home, filled with opportunities and adventures. I will never forget this experience.

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DECLARATION

Schriftliche eidesstattliche Versicherung für eine Einzelarbeit Statutory Declaration for an individual work

Als Nachweis für die Urheberschaft der vorgelegten Master-Arbeit ist folgende Erklärung in entweder deutscher oder englischer Sprache als letzte Seite einzufügen und eigenhändig zu unterschreiben: To proof the authorship of the submitted Master thesis the following declaration has to be added as last page in either German or English language and has to be signed by hand.

Eidesstattliche Erklärung Statutory Declaration

Ich versichere eidesstattlich, dass die vorliegende Master-Arbeit von mir selbständig und ausschließlich unter Verwendung der angegebenen Quellen angefertigt wurde. Alle Stellen, die wörtlich oder annähernd aus Veröffentlichungen entnommen sind, habe ich als solche kenntlich gemacht.

I hereby affirm that the Master thesis at hand is my own written work and that I have used no other sources and aids other than those indicated. All passages, which are quoted from publications or paraphrased from these sources, are indicated as such, i.e. cited, attributed.

Die Master-Arbeit wurde bisher in gleicher oder ähnlicher Form, auch nicht in Teilen, keiner anderen Prüfungsbehörde vorgelegt und auch nicht veröffentlicht.

This thesis was not submitted in the same or in a substantially similar version, not even partially, to another examination board and was not published elsewhere.

…………………………………..

……………………………………

Place, Date

Signature (First name and Surname)

Ort, Datum

Unterschrift (Vor- und Nachname)

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