Creative Cities in Italy: new scenarios and projects (2012)

Creative Cities in Italy: new scenarios and projects

By Maurizio Carta University of Palermo, Department of Urban and Regional Planning

New urban scenarios Reflections on and experimentation with urban creativity as a competitive factor put together in recent years, starting with the works of Florida and Landry, gave rise to further theoretical/operative reflections aimed at providing a greater territorial dimension to the creative city, lessening the rhetorical character and increasing that of the concrete effects on the quality of life. In 2007 my book “Creative City: Dynamics, Innovations, Actions” identified the need for concrete evolution and pointed out the factors that make it possible for urban creativity to become a launch pad for new economies and a creative force for new cities and not simply an attractive force for intellectual resources. Today the paradigm of the creative city calls for a further evolutive leap forward – the third – because it is capable of producing multiplication and regeneration effects on urban development.

In the current crisis situation, with the world’s GDPs dropping, the strong flows of financial, social, and relational capital that powered urban redevelopment over the last fifteen years are no longer available to be tapped in on in an indiscriminate manner as it seems was the case until just a few months ago. The most dynamic cities in the near future will no longer be those that are able to attract urban projects driven by the real estate market, but the cities that have extensive cultural and identifying resources and that are able to use them as the basis for creating new culture and new urban value.

Revitalising cities is no longer easy opportunity for long-term investments or for using the financial capital gains of multinationals or sovereign funds, but the new creative city has to provide precious opportunities for real development – not only quantitative but more and more qualitative – that is able to produce effects in both the domain of collective assets and that of private capital.

The Creative City 3.0 is therefore no longer simply a category used for interpretation among economists and sociologists or an urban planning challenge, but rather calls on decision-makers to take action and demands a vigorous commitment on the part of town planners and architects, as the development of nations and wellbeing of the community will only be measured according to the cities that tackle the financial global change in a creative manner. The urban century is not filled by only “hyper cities”, but also shows the emergence of intermediate metropolises, widespread conurbations and networks of micropolises, especially in Italy, the network of the “global cities” is supporting by middle cities, the “small capitals” that produce alternative visions – founded in quality and powered by culture – to that of the explosion of megalopolises.

One commitment that cannot be put off by governors and managers, planners and designers, promoters and communicators, entrepreneurs and investors, will be that of creating dynamic, vibrant cities that generate new urban values and multipliers of invested capital. These cities must be places people want to live, work, and train in and get to know, productive places that attract investments.

In the “Quinary Era” (the Era of Knowledge and Communication) we are entering the ambitions of men and women, desires of the young generations and their tensions, motivation of the productive class, imagination of the creative class, and knowledgerelated activities are new structural factors in constructing development. However, the

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city is not merely the sub-stratum of a settlement, but in itself it promotes the creation of places of creativity, which produce urban quality more and more. A number of cities are engaged in a process of creative self-stimulation (favouring the location of creative activities that consolidate the creativity of places in the city) consciously and with great determination, putting themselves forward as powerful “multipliers” of invested values.

Accessibility, relationality, experience, connectivity, and multiplicity are keywords for new urban dynamics: the Italian Creative City 3.0 no longer only configures itself by means of the traditional categories of sectoriality, property, and materiality. In the frenetic, differentiated, and multiple evolution of cities there are two common denominators: the rise of the creative class – some cities have made this a distinctive character and development asset – and the role of urban creativity as a resource and major tool for a new post-ford evolution that is able to compete in the soft and experience economy. In the evolution of the creative city the new competitive factors, especially for Italian vision, are Culture, Communication, and Cooperation.

In Italy Culture is the primary factor of urban creativity, a resource that puts down roots in the palimpsest of the history of the cities and stretches it branches out to the future. The culture of Italian cities comprises places and people, heritages as well as civic identity, and constitutes their “fibrous structure”, their distinctive character that is able to withstand the temptations of standardised globalisation. The cultural identity of a city therefore constitutes its talent, its distinctive and competitive resource, its value to bring into play, its excellence produced by history and passed on to evolution. Cultural resources do not therefore stop at cutting across the immaterial webs of history, art or training, they are not satisfied with launching temporary events and exhibitions, but that take concrete action in places and on the occasions of meeting for the community and consolidate their action in cultural services and centres (theatres, concert halls, media stores, archaeological parks, museums and galleries, auditoriums and libraries, as well as cafes, cultural associations, etc.).

The second factor in urban creativity is Communication, that is, the city’s capacity to inform, divulge, and involve in real-time its inhabitants and, more and more, its multiplicity of users that pass through it, permeate it, and connect it with other places.

The city has always been a powerful communication tool, and its communicative function is one of the most potent factors of creativity because it makes it possible to

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improve the milieu within act the transformation actors, orienting resources and players towards common objectives. In addition, urban communication facilitates participation and consolidates groupings, contributes towards reducing conflict and facilitating strategies and collaboration.

Finally, the third factor is Cooperation, seen as an active form of participation, a new dimension in the planning of the urban melting pot. In global and multicultural cities we can no longer be satisfied with tolerance, taken to mean simply accepting the existence of other cultures and other ethnic groups, but that remain cut off from the vital flow of the city. The challenge facing creative cities lies instead in cooperating in integrating the differences in the evolutive process, in the common pull towards collaboration of the various cultures in the plan for the future. New lifestyles arise and develop in Italian cities, resulting in remodelling of central and peripheral areas, redefining their parts from a multi-centre, multi-identity point of view. A creative city is not merely an open, multicultural and multi-ethnic city, but it is a city that is able to mobilise its diversity towards the new plan for the city, activating forums and creating “proximity places” where discussion and a collective vision can be facilitated, locating new multicultural centrality.

Against this evolutive background, with this dynamic of change it has become necessary to understand and judge how cities and territories are changing, convinced that it is not only necessary to recognise the role of the “creative agents” in the development of the cities, but also the commitment to this “urban creativity” being one of the primary factors in the evolution of communities and economic development. The city must once again become a “generator of value” starting with its own spatial, social, cultural, and relational resources.

Creativity as a planning strategy for Italian cities The challenge for the Italian creative city project is clear: going from being a passive city that “attracts” the creative class to a creative city that “produces” a new identity, new economies, and new geography of places. There needs to be a passage from a vision of an essentially financial creative city in which creative people attract investments in a planning vision in which creativity generates new morphologies and productive and innovative urban activities.

In getting away from a simplistic vision in which creativity is only a name, the question must be asked whether all cities can make effective use of the factors of urban creativity, whether all can strive to be a key point in the city armour of innovation that interlinks the planet. Only a thorough identification and evaluation of the presence of the creative milieu can it become possible to activate resources, using the genetic code to generate a creative city.

What is needed therefore is to “activate a creative city” using strategies, policies, and projects that can interact, multiplying the effects and producing dynamism, innovation, and urban transformation. Six strategic axes can be identified that have to be followed so that creativity can transform itself into a necessary “multiplier” of resources.

First and foremost a trans-scale approach must be adopted, combining a holistic, complex approach with an operating approach that is able to select the most effective tools for attaining concrete results. The adoption of strategic plans integrated with urban projects is one of the solutions that is producing results that are of greater interest. Bari, for example, is acting on the attractiveness front, using a strategic plan that it has

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declared is centred on creativity and innovation. The new University Technological Centre, for example, has been developed as a driving force for revitalising the city according to the competitiveness goals for “Bari Gateway City”. Even where creativity has had to deal with the crisis generated by the shutting down of key activities, it has produced its best results when it has been used as a tool within processes with a larger scope. In recent years Turin has completed the process of changing from a company town to a culture city, looking again at its position in terms of culture, design, and technological research and taking steps towards new industrial competitiveness and international openness. In the strategic plan for Turin International, knowledge and culture become the lynch pins of the new “immaterial economy” that the city sees as a competitive factor within the armour of European metropolitan cities.

Secondly, a creative city must activate its function as a territorial switch intercepting the energies of flows, people, and know-how and of financial capitals that cross the planet and transform them into local resources. In the current period of crisis, faced with a reduction in flows, strengthening the switching function of the cities must be brought about more and more by establishing solid agreements, strategic accords, and sound processes of “co-planning”. In Bologna, for example, the Fair project sprung up around the great “gateway” formed by the new TGV railway station, with the intention of transforming the city into an international business centre and new focal point for the global economy, intercepting the flows of the network economy. Within the ever more keen competition between cities, Bologna presents itself as a global gateway between long distance High Speed railway networks and short-distance networks serving the local territory.

Due to their intrinsic culture-based identity, creative cities must guarantee a balance between conserving cultural and social heritage and promoting innovation, by using “interpretation plans” and “structural plans” to direct competitiveness towards sustainability. Genova and Bologna, for example chose as one of the key elements in their role as European Cultural Capital the interaction between technological-economic creativity and artistic-cultural creativity. The urban renewal realized in those occasions reinforced the city’s quality as a multi-dimensional place that is able to offer creative stimuli and exchanges that can act as milieu innovateur for companies and inhabitants, stimulating talent and promoting initiatives resulting from this talent. Tradition, innovation, and inclusion were used as factors for interpreting the port area in order to create new excellence based on cultural policies and loisir that form the indicators for guiding the numerous redevelopment plans. The transformations in progress in Trieste also aim to re-establish a symbiotic relationship between the city and the port by means of both infrastructural works and the quality of public spaces, while safeguarding the architectural heritage of the “Porto Vecchio” area. The city aims to be a smart-city able to experience the use of technological innovation in order to extend the principle of “adaptability”, seen as a tool for feeding the new ways of using the city.

Creativity's third axis involves providing incentives for genre or generational policies (children's city, actions for working women, protected spaces for the aged, etc.) that are able to reduce social conflict and generate the necessary sense of cooperation increasing, for example, the use of times and timetables, as well as community planning processes that go beyond pure rhetoric of participation to implement new lifestyles.

Planning solutions must feed urban, cultural, social, ethnic, and functional diversity in a rich mixture of languages, customs, and lifestyles that go beyond plans that mimic the “archi-stars” and rather produce creative solutions fed by “local talent”

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rather than that of the planners. The urban centres and quarter workshops play a fundamental role, as does the linking the urban plan to the training and research system that must take on the city’s “creative agent” role more and more. Today is born a network of Italian urban centres formed by many cities (Palermo, Firenze, Genova, Bologna, Milan, Roma, etc.) with the goal of helping the stimulation of creativity in urban policies.

The fifth axis relates to promoting multi-player, multi-level decision-making processes (multi-level governance) that are able to be both rational, organising material resources, and instinctive, mobilising human and relational resources. These processes are capable of integrating competitiveness and social cohesion by balancing the operational aspect of the “mayor’s plan” with the cooperation of the “local companies”.

Finally, the last axis of the urban creativity project demands that transformations come about by enhancing cooperation, integrating the various social communities within the city in the processes of valorising a real strategic and cooperative process, while also putting together action viewpoints and sectors that are normally separated. In fact, creativity is a powerful tool for revitalising the “urban metabolism” in which the cities’ inputs and outputs find a new balance between energy efficiency and environmental quality. In Cagliari the “seafront” quarter is one of the most important experiments in the field of eco-sustainability. This quarter will come across as being technologically advanced and respectful of the environment - 100% of the energy used is derived from natural and renewable sources and the buildings are designed for low energy consumption when they themselves do not produce energy. Environmental sustainability and renewable energy are the component parts of the creative way of developing Cagliari, a pilot city for experimenting with innovative urban planning methods fed by the urban metabolism.

Activating urban creativity to regenerate cities In recent years Creativity Group Europe has analyzed the main Italian cities, by developing an index (Italian Creativity Index) that demonstrates the ability of cities to generate “urban creativity” and give a strong boost to their dynamism, competitiveness and cohesion. The ICI has a merely descriptive and interpretive role, and its purpose is simply to synthesize multiple measures into one single figure that gives a snapshot of every city. But few general insights emerged from the synthetic index: • the highest scores correspond to the largest cities (Roma, Milano, Bologna, Firenze, etc.), which are better able than smaller ones to balance each of the 3 Ts and have good performances on all of them; • yet, we can also observe a good competitive edge from medium-sized cities, although they appear to have a lower balance between the three Ts. In general, the medium cities that are at the top of the ranking owe their positioning to rather tolerant and open environments, and in some cases, also to a strong and quite innovative industrial context (like Modena, Parma, and Padova); • there still exists a significant northern/southern divide within Italy. In particular, southern cities show major weaknesses in their technological capability as well as in their cultural environments, which appear very traditional and still far from open as is the case within most multicultural societies; • however, many traditional industrial cities in the north-east also seem to struggle in the creation of creative economies and societies (like Rovigo, Cuneo, and

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Vercelli) where the traditional economic structure is accompanied by a similarly traditional social structure.

Table 1 – The Italian Creativity Index computed by Creativity Group Europe (2006).

The index, however, does not take account of creative cities in Italy, it shows the state of the art and not the trend. Especially do not take into account that the presence and attractiveness of the “creative class” is an important factor, but others are the parameters with which to measure the “creative dynamism”.

A more detailed analysis of the Italian cities shows instead that there are many urban project in progress and best practices that draw the scene of an Italy of the city acting with courage by the new generation of creative cities, the 3.0. A generation of creative cities that invest in urban renewal projects, which enhance the role of “gateway cities” that are able to create value by making the system of cultural excellence.

A more planning-based approach, therefore, when it comes to creative cities demands that one does not stop at identifying the role of the creative class or the characteristics of the creative milieu, but that goes on to recreate the contextual aspects and local declinations that are useful for extracting the good practices to be used as methods or for being transformed into components for making new urban revitalisation and development tools.

Creativity as planning tool may be able to reactivate the “urban metabolism” of Italian cities, giving rise to new energy.

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Therefore, in addition to regenerate spatial quality, areas of urban transformation seek to become real “creative clusters” in which, starting with pre-existing activities, economic, social, and infrastructural initiatives make it possible to generate “innovative projects”, implemented as part of adequate planning strategies for local development based on the soft economy produced by territorial qualities and local areas of excellence. Specifically in times of financial crisis and economic recession, investments in creativity can be more effective, losing some connotations that are too immaterial or purely speculative and acquiring the soundness of the effects on the local socioeconomic system. An effective policy for developing creative urban clusters can be broken down into three levels that interact with one another.

Policies aimed at strengthening the competitiveness of the cluster form the first level, and this involves adopting grading and development strategies that are able to valorise the city’s potential and to facilitate integration with the metropolitan dimension. This objective takes the form of extending local infrastructures, especially those for transport and communication, focussing mainly on the connection hubs for large transport networks (ports and airports), as well as by developing the services offered to companies, especially innovative services with high added value, which facilitate networking. The importance of extending the human resource assets and level of skill and professionalism available must not be overlooked, with training and research actions being taken and interaction being facilitated between players within the cluster as well as inter-cluster, besides extending to the setting up of intermediaries (agencies, mixed companies, advisors, etc.). Finally, implementation of fiscal and financial incentive tools is essential. Florence, for example, has launched a project for redeveloping the two banks of the Arno River. Work on the left bank involves refurbishing spaces for commercial and social uses, the elongation of the old market in the Uffizi quarter, a Park and recreation areas, and the location of green areas in the Hill quarter as well as a park in Santa Croce. Meanwhile, on the right bank the works are more structural and able to generate new investment, and include integrated action using concerted town planning tools and economic incentive.

In Italy, Milan has long been a true events-city, something which can also be attributed to recent developments such as the New Fair and the City of Fashion. Design and fashion are increasingly the two market sectors where Milan is focusing its efforts for economic development: “the future of the city is creativity” is one of the most frequently used slogans and one which has underpinned numerous projects in recent years. Certain recent re-location decisions also point in this direction: one only needs to think of the new University of Bicocca and the Arcimboldi Theatre, both set up in the old Pirelli industrial district, the decentralization of the Polytechnic and the Faculty of Design, in addition to the relocation of the Milan Triennial to the Bovina district, or indeed the creative micro-districts found along Via Ventura, Via Savona and Via Tortona. The future city of Milan, based also on EXPO 2015 event, shall be dominated by energy, human resources, collective intelligence and creativity, all forging together in the sustainable creation of an “infinite city”, a selector switch for the whole region where “culture”, “trade”, “technology” and “identity” are at the basis of the transformation of creativity-related immaterial resources into substantial material, economic outcomes and the improved quality of urban environments.

The second level relates to the policies for distributing the effects of the creative cluster to the entire city, aimed mainly at active works for sustainable development, based not only on reducing the environmental and energy impact, but also at stimulating

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the social responsibility of companies, incentivising monetary compensation and redirection of some of the profits into working on urban quality.

The centrality policies must go hand in hand with rationalisation of the location of activities and companies within the cluster in order to redesign flows and restore the centrality balance, thereby avoiding the risk of congestion caused by a new demand for land and services.

Finally, transferring the effects of the success of the cluster must be activated by means of actions to communicate and valorise the city’s image in order to increase its credibility and the resulting attraction for investments, population, and users, also including flagship projects used as accreditation elements. In Catania the renewal of the former industrial area was without doubt the starting point for building and architectural redevelopment that transformed the “Le Ciminiere� quarter, making it a symbol of cultural rebirth. The presence of contemporary art gallery and many atelier and leisure places puts the city on the principal international circuits and allows it to draw benefit from the cultural exchanges with the extensive network of the contemporary art.

For all of these large-scale works we do not yet know how the deadlines will be affected by the global economic crisis and completion of which parts will be put off until better times return. However, there is no doubt that, at times of anti-crisis action in terms of infrastructure and building, a city having specific far-reaching, coherent strategies and plans facilitates focussing public resources where there is already private interest, so as not to lose the initial investments.

Actions to reduce the negative effects of development of the creative cluster constitute the third level, and involve tackling the dynamics of the real estate market to avoid gentrification phenomena and to keep building speculation under control, especially where there are not compensation policies (rent controls, social building reserves, tax incentives, etc.). In Salerno for example, the building of the new district is linked to the need to recover some areas of the waterfront for social buildings. This quarter will become a laboratory for experimenting with new settlement models based on the principles of accessibility, diversity, and freedom of choice. The plan for areas to be used for residential purposes experiments with completely new town planning models involving high housing density and the principles of a garden city, and provides for building two and three-storey houses with a private garden, the basic principle behind which is the link between living space and the water. This gives rise therefore to a new view of the home in the urban fabric, not only reserved to a few, but open to the community thanks to the action taken by the Municipality. The plan does not overlook the social dimension, which is guaranteed by greater care being taken over the arrangement of the public spaces and services related to community activities that also lessens the gentrification of the area, and seeks to reduce situations of marginality and physical and social decay. In La Spezia too, the port quarter is the experimental ground for a group of young Italian architects that are enthusiastically engaged in experimenting with some architectural innovations and urban planning new processes, giving rise to creativity as a driving force behind the most lively transformations of the city. Residential properties have been given their central role again in planning the city, doing everything possible to avoid the forming of ghettos and causing residential buildings spring up, both municipal and private, and linking them with the infrastructures and services.

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The improvement of urban transport conditions by planning infrastructures and public transport systems also makes an active contribution to avoiding aggravating congestion, in part by upgrading the use of various modes of transport. These objectives are developed by a network of twenty “innovative cities”, selected by the Ministry of Infrastructure, that are designed leading the creative city principles the relationship between port, station and human settlements, considering themselves as dynamic knots of a urban armature.

Finally, action must be taken to improve the offer of qualified work and assistance to the local job market in order to assist with the transformation towards creative industry sectors, with strong links to the training and professional system. In terms of locating super-local “magnets” related to universities and the attraction of talent, Ferrara has created a new urban university campus, formed by reintegrating an industrial area into the city’s fabric in order to take authoritative, competitive steps towards the system of senior education in Europe. A similar strategy was adopted in Florence with the Festival della Creatività, become a research and development event, able to attract visitors at an international level. Every year the “Fortezza da Basso” becomes a vibrant centre of Italian and International creativity.

The intensity and proximity of the relations between institutional subjects and those with interests that are at work in the cluster is a factor in its success, which calls for adequate “venues” and “conditions” that facilitate such occasions occurring. In this sense, the development of nearby, related venues and the promotion of cultural, sporting, or entertainment events, are important conditions for reinforcing the social capital among the players that make up the district.

City Bologna Cagliari Catania Ferrara Genova Milano Palermo Parma Perugia Pescara Pisa Rimini Roma Siena Torino Trieste

Creativity factors culture

communication

l

l l l l

l l l

l l l l l l l l l l

Creativity effects

cooperation

Technology innovation

Environment sustainability

¡ l

Social cohesion

¡ ¡

¡ l l l l l l l l l l

¡ ¡

Quality of life

¡ ¡

¡ ¡

¡

¡

¡

¡ ¡ ¡ ¡

¡ ¡ ¡

l l l

¡

¡ ¡ ¡ ¡ ¡

Table 2 – Creativity factors and creativity effects in principal Italian cities (2009).

Creative planning process of two port-cities: Genova and Palermo Today in Italy the urban waterfronts are one of the most prolific variants of creative cities: dense, hybrid locations where the resources, opportunities, aspirations and ambitions of cities are translated into visions, new relations and designs. The creative

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port-city is capable of generating new urban forms, of producing new landscapes and through the permanent flow of urban culture, of fuelling the great relational networks, making them more dynamic, communicative and competitive. The most important implication of waterfront regeneration is that this particular area should be addressed as a structural element of the city as a whole.

In Mediterranean scenario, one of the inevitable consequences of tightly inter-woven relations between a city and its port is that tools of intervention used on urban waterfronts must be capable of intercepting, interpreting and transforming the entire city and not be restricted purely to areas along the coast. Rising to the challenge of the urban waterfront as a “spark of urban regeneration” demands targeted efforts to create the sensation of a waterfront not so much as a physical location but more in the form of a fluid aspect of the whole city.

In Genova, first renewal of old port area were financed in 1992 by “Esposizione Colombiana” and were localized around the Magazzini del Cotone, the new Aquarium and the entire area comprised between Piazza Caricamento, Calata Rotonda, Mandraccio and Porta Siberia. To these firsts projects has added others configuring a new dynamic and vibrant waterfront, able to be one of the most important engine power for new creative economies. Genova took on the challenge of transforming its harbour waterfront area as a way to set off a process of urban regeneration throughout the historic centre, combining building restoration with the organization of cultural events and resulting in an explosion of leisure time facilities and environmental awareness.

Starting with the Old Port, the effects of the regeneration process, implemented through the City Plan, have been felt along the entire coastline, in keeping with Renzo Piano’s proposals for a new fluid city. The new creative functions of the Old Port, integrated with the renewal of the historic centre, now represent the new cultural, recreational and productive heart of Genova. Further projects followed the initial intervention, producing a dynamic, vibrant waterfront capable of becoming a powerhouse of new urban economy.

The strategic plan adopted by Genova makes the port, culture, tourism, environment and territory the very cornerstones of a new “educational, sympathetic city”. Renzo Piano was single-handedly responsible for the entire realization of the urban harbour park, a strategic choice guaranteeing the project both continuity and coherence. The project’s mission was to equip the city with cultural structures, general services and new infrastructure which would hinge together the historic port with the rest of the city, including the nearby Strada Nuova which had recently been included in the Unesco World Heritage List.

The process involved the co-planning efforts of more than one body: the general town planning scheme of Genova, the Landscape Plan and the Plan for Coastal Conservation. To these were added numerous and complex programmes set in motion by the local council, focusing on the historic centre as an area of great importance situated behind the port where new tertiary activities could be developed alongside new residential developments.

The overall, concrete development plan of urban policies was contained in the City Plan, a strategic plan governing the transformation process, in keeping with the concepts of polycentrism and administrative devolution: interventions aimed at increasing social cohesion, subsidized residential construction within historic buildings, the maintenance and redevelopment of roads, interventions in the socio-economic and labour sector, the urban renewal of the municipal dockyard and the Parodi Bridge, and

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business improvements in various areas of the city. The same strategic approach is also set to be adopted over the next few years in an extra-urban waterfront regeneration project, the so-called “affresco”, once again drawn up by Renzo Piano as a new Masterplan for the fluid city.

Of all the areas involved in the project, the Cotton Warehouses have undergone the most incisive of upgrading processes. These now fulfil a variety of functions and offer a range of entertainments to a public of all ages (libraries, discos, shopping centres, cinemas, bars, restaurants and play areas). Along with the Aquarium, restaurants and numerous other attractions scattered throughout the Old Port, together with tourist accommodation, residential and business facilities, these set the pace for intense usage throughout the whole area. More recently, renewal projects have focused on the old dockyard and the renovation of the Galata district, coinciding with the creation of the Museum of the Sea, set up in an old naval building and now housing a sea-themed, educational museum.

The city has also implemented a series of social policies aimed at reducing problems of marginalization amongst youngsters, the elderly and immigrants, concerting its efforts on promoting residents’ quality of life and wellbeing, protecting their rights and reducing situations of hardship amongst the elderly.

Palermo designed its quality development starting by Urban Project in 1994.

Learning from that experience, the city has set its sights on becoming a Gateway City of the Mediterranean: a metropolitan hub within the European urban framework, capable of intercepting the flows of long distance networks and transforming them into interests, investments, production and localization, feeding the city’s development and innovation as part of a new strategy focusing on recentralization within the Mediterranean Union.

A key location in the strategy is the waterfront: the first “swing power” for generate the new creative city. In Palermo the ambiguities and complexities of the waterfront will condense and intertwine, presenting itself as powerful resource to engine the project for “fluid city” regeneration. The Central Waterfront offers itself as a pilot project on both to connect the gateway area to historic centre and to offer the opportunities of cultural heritage to port area regeneration. The central waterfront in Palermo, tightly inter-linked with the historic centre, must be viewed as one of the city’s most fertile areas of urban creativity, where strategies, plans, services and businesses come together in the name of quality and productivity. The waterfront does not merely imply a new port but also a new city: a fluid city intertwined with a city of stone.

Starting with the vision of the Strategic Plan which sees Palermo as a Gateway City, the Central Waterfront has been identified as one of the principle Areas of Integrated Transformation, guided by a well-defined strategy organized into two operative fronts: the first addressing improvements to port functions and the other planning a city-port in the form of a “creative city”, capable of generating new potential and renewed urban economies, providing the city with new spaces but also, and more importantly, new modes of being and lifestyles. The waterfront will become the new “City of Exchange and Innovation”, where port functions are integrated with large-scale urban services and new neighbourhood housing and services will create an obvious city effect along the seafront.

The Masterplan puts into action an integrated strategy of infrastructural improvement, urban optimization and competitive development, acting primarily on the urban “junctions” between city and port, a structural plan for the section of the city

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interfacing with the sea. The powerhouse behind the Masterplan is the “Officina del Porto” set up by the Port Authority and the Municipality of Palermo in 2006 and directed by Flavio Albanese and Maurizio Carta. The Port workshop is an innovative atelier for analysing, interpreting, planning and communicating the waterfront regeneration.

The waterfront project does not only concern coastal areas but also examines and intervenes on other areas of interface : piazza Kalsa as a vibrant creative and cultural district of the city, the new commercial, cultural and accommodation centres housed in the ex-Fruit and Vegetable Market and the Sampolo Station areas, used for metropolitan-standard services, the whole area in its entirety rendered more accessible through improvements to pedestrian, road and rail networks.

The Masterplan proposes three waterfront variants, two of which are strictly urban: the fluid port associated with sailing, cultural and free time facilities and accommodation, as well as new housing connecting the city with the porous port, namely an area for cruise-ships and passengers, enjoying close ties with the city and transport system, including facilities and buildings along the wharf to encourage the opening of the urban front onto the sea. The third variant foresees a rigid port, inaccessible to the public and thus enabling the harbour to work to full capacity.

The place which best sums up the regeneration strategy along the waterfront is the Trapezoidal Pier: the main junction between city and port, the landmark of the “creative city” which allows the urban fabric to penetrate as far as the water and marine imagery to connate new housing styles. The “Creative Waterfront District” project provides for the renewal of existing buildings and the redevelopment of industrial buildings to be used as venues for the creative class; artists, designers and musicians who will utilize loft spaces as accommodation, workshops and exhibition spaces for contemporary arts and dynamic forms of artistic expression. A canal and dockyard will provide the locations for new forms of socialization and waterfront living. And lastly, the outermost section, that closest to the sea and in perfect harmony with the new creative character of the district, will become the “city of contemporary arts and innovation”: a complex system of public spaces and buildings acting as a powerhouse of artistic, musical and multimedia production and integrated with waterfront services and facilities.

Conclusion The analysis of the Italian context also pointed out some peculiarities that are worth mentioning as they have important implications for new policy design and implementation. A first one is the existence, in many cities, of a gap between creative factors and other measures of development. For example, there are cities with good performances on scientific talent but with low levels of creative class, and cities that, instead, have good levels of creative factors that are not accompanied by similar good levels of human and/or scientific capital or adequate urban policies (like Naples, Palermo, or Catania).

Such a gap characterizes various Italian cities and is probably related to two main features: a) the presence of strong public research institutions loosely related to the productive structure of a city/area (this could be the case of some important “university towns” such as Padova or Trento); b) the high diffusion of small firms with low technological innovativeness might lead to, in certain cases, high levels of creative class

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(which includes entrepreneurs and managers) without affecting significantly the level of overall human capital and/or scientific talent.

In the passage from cities that attract the creative class to creative cities that generate new forms, relationships, and economies, the presence of an international district linked to global network brings with it the risk of uprooting a part of the city from its local context and projecting it directly onto the world network. Suitable lines of action must therefore be defined so that development factors brought into play by the presence of clusters are not only in line with the identity and model for sustainable growth of the city, but in fact feed this process bringing the entire city into the global network of creative cities.

Creative city, economy of experience, strategic planning, and effective governance are new watchwords for guiding the processes of developing cities, but at the same time they must constitute resources and procedures for new city planning and design.

To paraphrase Antoine de Saint-Exupéry: a creative city must be built, not by gathering people to collect stones and sharing out tasks and not using gold to buy the crew - but by transmitting the powerful energy of creativity to them.

References Amadasi G., Salvemini S. (eds.), La città creativa. Una nuova geografia di Milano, Milano, Egea, 2005.

Begg I. (ed.), Urban Competitiveness. Policies for Dynamic Cities, Bristol, Policy Press, 2002.

Bonomi A., “Il modello italiano di capitalismo”, in AREL Informazioni, 2, 2005.

Caroli M.G. (ed.), I cluster urbani, Milano, Il Sole24Ore, 2004.

Carta M., Next City: culture city, Roma, Meltemi, 2004.

Carta M., Creative City. Dynamics, Innovations, Actions, Barcelona, List, 2007.

European Commission, KEA, The Economy of Culture in Europe, 2006.

Florida R., The Rise of the Creative Class, New York, Basic Books, 2002.

Florida R. e Tinagli I., Europe in the Creative Age, London, Demos, 2004.

Florida R., Cities and the Creative Class, New York, Routledge, 2005.

Institute for Metropolitan and International Development Studies, Accommodating Creative Knowledge – Competitiveness of European Metropolitan Regions within the Enlarged Union, Amsterdam, University of Amsterdam, 2006.

Landry C., The Creative City. A Toolkit for Urban Innovators, London, Earthscan, 2000.

Landry C., The Art of City Making, London, Earthscan, 2007.

Lloyd R., Neo-Bohemia. Art and Commerce in the Postindustrial City, New York, Routledge, 2006.

Klingmann A., Brandscapes. Architecture in the Experience Economy, Cambridge, Mit Press, 2007.

Kotkin J., DeVol R., Knowledge-Value Cities in the Digital Age, Santa Barbara, Milken Institute, 2001.

Rozenblat C, Cicille P. (eds.), Les villes européennes. Analyse comparative, Paris, Datar-La documentation française, 2003.

Tinagli I., Florida R. (eds.), Italy in the Creative Age, Milano, Creativity Group Europe, 2006.

Urban Affairs and Patteeuw V. (eds.), City Branding: Image Building and Building Images, Rotterdam, Nai Publishers, 2002.

Urban Age Group, Towards an Urban Age, London, Lse, 2006.

13

清华大学出版社

唐燕 [ 德] 克劳斯•昆兹曼 等著

创意城市实践 —— 欧洲和亚洲的视角 I SBN9787302325192 定价:58.

00元 2013年10月

近年来，“创意城市”概念在中国引发了浓厚的关注和兴趣，许多中国城市都 渴望能够变得更具创意。为了增强地方的创意氛围，这些城市对文化设施进行 了大规模投入，并设法促进文化创意产业的发展。它们在城市中划定文化艺术 街区，兴建博物馆和剧场，通过艺术活动来再生废弃的工业建筑，发起文化节 庆与文化事件，乃至于鼓励新艺术农村的开发建设。 《创意城市实践:欧洲和亚洲的视角》一书汇集了大量欧洲和亚洲的创意城市或 地区的概况，并由来自这些地方的学者和专业人士写作完成——他们非常熟悉 当地为提升城市的文化和创意所付出的努力。本书收录的欧洲城市包括威尼斯 、毕尔巴鄂、里尔、安特卫普、马斯特里赫特、苏黎世、柏林、莱比锡、里加 、赫尔辛基、斯德哥尔摩和汉堡，亚洲城市案例则包括了香港、北京、台北、 光州、金泽和横滨。这一个个案例都是为中国读者量身打造的。 本书适合于所有对创意城市概念及其实践方法感兴趣的读者们，也适合作为 本书适合于所有对创意城市概念及其实践方法感兴趣的读者们，也适合作为大 学课程与学生学习的资料，以及供城市规划咨询者与政策顾问参阅。

作者简介: 唐燕，清华大学建筑学院城市规划系副教授。2007年获德国洪堡总理奖学金赴

德研究城市与区域规划方法，并由此激起对东西方国家比较研究的兴趣。已分 别为《国际城市规划》和《城市规划（英文版）》合作编辑了以“创意城市” 为主题的两期专刊。目前正从事城市设计、历史街区保护以及亚洲创意城市等 方面的教学和研究工作。

克劳斯· 昆兹曼，多特蒙德工业大学荣誉退休教授。1974至2006年在多特蒙德工

业大学从事教学。曾以客座教授身份在诸多欧美和亚洲高校讲学，并屡次受邀 来到中国大陆和台湾地区高校授课。已从事德国文化和创意产业研究二十余年 ，并作为地方和地区政府顾问，为城市和区域文化创意发展战略提供支持。

波茨坦和 王纺，旅居德国的华人摄影创作者，本书插页照片提供者。现居柏林/

北京。其摄影艺术注重对亚洲和欧洲城市转型的记录。本书登载的作品旨在反 映城市的创意氛围。2013年秋，她受邀加入台湾艺术进驻计划。

清华大学出版社 |地址：北京市海淀区清华大学学研大厦A座 |邮编：100084 网址：www. t up. com. cn,www. wqbook. com |邮购电话：01062786544

|

文章编号 ：1673-9493（2012）03-0042-07

本期主题

中图分类号 ：C912.81

文献标识码 ：A

意大利创意城市 ：新景象与新项目 Creative Cities in Italy: New Scenarios and Projects

毛里齐奥 · 卡尔塔 著 胡敏 译

Written by Maurizio Carta Translated by Hu Min

《国际城市规划》（UPI）于 2009 年出版了一辑专刊，介

方式应对全球金融危机，创意城市将不再仅是经济学家、社

绍了意大利城市规划的相关情况和背景。意大利是一个具有

会学家内部讨论或者阐述城市规划问题的简单学术分类，创

2 000 多年文化创造传统的国度，城市在意大利的发展历程

意城市将更强调呼吁决策者采取实际行动，要求规划师和建

中始终发挥着重要作用。作为一个事实上的城邦国家，意大

筑师作出坚实承诺。城市时代（The urban century）的构成

利的城市发展深受根植于当地的市民文化。

不单是超级城市（hyper cities），也包括中等城市群、分布广 泛的城镇聚集区以及小城市网络。这在意大利尤其明显，其

1 城市新景象

“全球城市”网络由中等城市和“较小的中心城市” （small

最近几年，从佛罗里达（Florida）和兰德利（Landry） 的著作开始，人们对“创意”这一城市竞争要素的反思和实

capitals）共同构成，这些小城市呈现出一种有别于特大城市 的发展愿景——依托文化，追求品质。

验交织在一起，引发了对其理论与实践的进一步反省，其目

建造活力四射的城市以创造新的城市价值和获取翻倍的

的是为了给创意城市提供更宽阔的空间，付诸实际行动，提

投资回报，是执政者、管理者、规划师、设计师、创办者和

高实施效果，改善生活品质。《创意城市：活力、革新、行动》

传播者、企业家以及投资者无法拖延的承诺。在未来，这些

（Carta, 2007）一书指明了产生实效的必要性，明确了哪些

城市应当成为人民乐于居住、工作、前往和认知的地方，和

因素可能让城市创意不仅仅作为吸引人力资源的磁石，而是

能够吸引投资的多产之地。 ”（即知识和传播时代） ， 在“第五时代（Quinary Era）

能成为新经济的驱动力和新城市的创造力。今天，创意城市 的范式需要进一步地向前跨越——第三次跨越——以实现城

我们开始了解、认识和理解男人和女人的理想、年轻一代的

市的跨越式发展和更新。

诉求和压力、生产阶层的积极性、创意阶层的想象力，以及

在当前经济危机的背景下，随着全球性 GDP 的下滑，

与知识相关的、作为开发建设中新结构性要素存在的活动。

那些连续 15 年强劲推动城市发展的金融、社会和相关资本

然而城市不仅仅是聚居地的基质，而是从本质上能够促进创

已经无法轻易获得。在不远的将来，最具活力的将不再是那

意空间的建立，进而大大提升城市品质。许多城市都致力于

些依靠房产市场吸引开发项目的城市，而是那些拥有广泛独

自觉自愿地推动创意发展（支持创意活动选址来巩固城市创

特的文化资源，并能够依托这些资源创造新文化和新价值的

，推动城市自身成为强有力的投资“增效器” 。 意场所）

城市。长期投资、跨国公司的资本所得或主权基金很难再轻

可达性、相关性、经验性、连通性和多样性是《新城市

易从城市复兴中获得金融收益，但新的创意城市必须为城市

活力 ：意大利创意城市》一书的关键词，该书没有沿用传统

的真正发展——不仅是量的问题，更是质的问题——提供良

的类别、性质和重要性去划分城市。在城市激烈、分化、多

机，并应能使公共资产和私人资本均从中获益。

级的演化过程中，存在两个共同之处 ：创意阶层的出现——

由于评价国家发展和社会幸福的唯一依据是如何以创意

有些城市已经将其作为与众不同的特征和发展资本 ；城市创

作者 ：毛里齐奥 · 卡尔塔，意大利巴勒莫大学城市与区域规划系 译者 ：胡敏，清华大学建筑学院博士研究生，中国城市规划设计研究院城市规划师

42

2012 Vol.27, No.3

国际城市规划

毛里齐奥·卡尔塔

意大利创意城市 ：新景象与新项目

意的作用——新“后福特时代”的发展资源和工具，能够应

意城市不仅是开放的城市、多元文化共存的城市、多民族聚

对疲软的经济环境和体验经济时代的竞争。在创意城市发展

集的城市，还是一个能够运用多样特征勾勒新蓝图的城市 ：

过程中，文化、交流和合作成为新的竞争要素，这在意大利

“毗邻空间”（proximity places）将用 各种论坛将活跃起来，

。 尤其突出（图 1）

于 公众讨论并谋划共同愿景，确定新的多元文化中心的所

在意大利，文化是城市创意的基本要素，是根源于城市

在。

层叠的历史、并使之延续发展的一种资源。意大利城市文化

在这一演变的背景之下，由于其动态变化，有必要了

包括场地、民众、遗产以及市民认同，这构成了城市的“纤

解并判断城市和地区如何发生变化。人们确信这不仅对判别

维结构”（fibrous structure），造就了抗衡常规全球化的独特

“创意媒介”在城市发展中的作用不可或缺，也是让“城市

个性。城市文化特性是城市的禀赋特色、优势资源、有待发

创意”成为社区和经济发展过程中首要因素之一的保证。从

挥的价值以及在历史中累积传承的声望。因此，文化资源不

空间、社会、文化、关系资源开始，城市必须再次成为“价

能局限于作为理解无形的历史、艺术或者教育培训的一种捷

。 值创造者”

径，也不应满足于兼作产品发布与展览的临时之用，而应当 通过采取切实措施满足社区聚会的空间需求，巩固其文化服

2 作为意大利城市规划策略的创意 意大利创意城市项目所面临的挑战很明显 ：如何从一个

务和公共中心职能（剧场、音乐厅、媒体商店、考古公园、 博物馆、画廊、讲堂和图书馆，以及咖啡馆和文化协会等）。

吸引创意阶层的被动发展城市，变为一个能够创造新特性、

城市创意的第二个要素是交流，即能够实时通知、宣告

制造新经济和谋划新布局的真正创意城市？意大利城市要成

和让城市居民参与进来，而且多种多样的非城市居民途经或

为规划中设想的真正意义的金融创意城市尚需努力。在金融

进入城市，成为城市与外界联系的纽带。城市始终是强大的

创意城市里，富有创意的人能够获得投资，创意将创造新的

交流工具，其交流功能是最有效的创意要素之一，通过转换，

城市形态，激发丰富创新的城市活动。

其使社会环境提升成为可能，并引导资源和创意工作者实现

要摒弃仅将创意作为标签的简单认识，必须回答以下两

共同目标。此外，城市交流还能方便参与、巩固组群、减少

个问题 ：是否所有的城市都能够有效利用创意要素？是否它

冲突、促进战略形成和协作开展。

们都能够努力成为连接整个地球的创新城市链中的关键？只

城市创意的第三个要素是合作，合作通常被看做是一种

有对当前创意环境进行一次彻底鉴别与评价，才有可能激活

积极的参与方式，一种审视城市大熔炉特性的新规划视角。

资源，因地制宜地建造创意城市。因此，需要运用战略、政

在全球城市和多元文化城市中，人们已经不能满足于包容，

策和项目去“激活创意城市”，这些战略、政策和项目应当

换句话说，就是不再简单地接受与其他文化和民族的共存，

能够相互影响、扩大效果、激发活力、引起变革、促进转型。

因为这种包容没有改变城市活力流动受阻的现状。创意城市

人们确信只有遵循以下 6 项战略性措施，创意才能变成不可

面临的挑战在于整合演变过程中的差异时如何开展合作，以

。 或缺的资源“倍增器”

及在谋划未来时如何实现不同文化的协作。新生活方式在意

首先，也是最重要的，必须采用跨尺度方法（trans-scale

大利城市中的出现和发展，引发了对城市中心和边缘地区的

，它融合了整体综合方法与能够为具体目标挑选 approach）

重塑，促使了多中心、多特性的视角下角色的重新界定。创

出最有效工具的实际操作方法。而实施整合城市发展项目的 战略规划，就是获得更为丰硕成果的方式之一。例如，巴里

资源

（Bari）由于正在实施的一项据称主要关注创意和创新的战 略规划，而在城市吸引力方面处于领先地位。根据“巴里门

文化

户城市”的目标，巴里已经开始建设新的大学技术中心来促

市

城

进城市复兴。即使一些地方由于重要的经济活动被迫取消而

意

意 创

创

引发了危机，创意作为更大尺度策略中的一种工具也已经取

资 创意

本

得了上佳效果。近年来，都灵已经完成从企业之城向文化之

包容

城的转型，城市的发展定位回归文化、设计和技术研究，采

阶层 技术

交流

取措施构建全新的产业竞争力，实现国际化的开放。在都灵

合作

的国际化战略中，知识和文化成为新“非实体经济”的关键， 工具

图 1 创意城市发展中的竞争要素

社区

而人们认为“非实体经济”是欧洲大都市内部的竞争要素之 一。

国际城市规划

2012 Vol.27, No.3

43

本期主题

其次，创意城市必须激活其“地域开关”（territorial

衡，这一过程能够实现社会竞争与社会凝聚的糅合。

switch）职能，截流下全球网络中的现金、人力、技术和资

最后一个关键是提升合作，实现转型。合作将城市中

本能量，并将其转化为本地资源。在当前危机下，面临流动

不同社会群体整合起来，同时也将通常分离的观点和行动统

性减少的困境，必须更加重视通过建立坚实协议、达成战略

一起来。实际上，创意是激活城市新陈代谢的有力工具，能

一致和实现协作规划来进一步强化城市的地域开关职能。例

够让城市的输入输出在能源利用效率和环境品质之间实现平

如，博洛尼亚在新高铁火车站门户地区周边建设会展项目，

衡。卡利亚里的滨海区是探索生态可持续的最重要试验场之

截流住经济网络中的各种能量，其目的就是将城市变成国际

一，它采用高新技术，尊重地域环境——全部使用天然和再

商务中心和世界经济的新焦点。在越来越激烈的城市竞争中，

生能源，建筑也经过专门设计，如果建筑自身不能产生能量

博洛尼亚的自我城市定位为衔接长途高铁网和短途交通网，

则其被设计成能耗很低的建筑。环境可持续和再生能源是卡

服务于地方的全球门户城市。

利亚里建设创意城市的重要组成部分，作为先锋城市，卡利

因其内在的文化特性，创意城市须通过“阐释规划” （interpretation plans）和“结构规划”（structural plans）引 导可持续竞争力的构建，以确保在保护遗产和促进创新之间 实现平衡。例如，热亚纳和博洛尼亚将技术—经济创意和

亚里通过实现城市新陈代谢探索城市规划的创新之路。

3 激活创意再造城市

• 近年来，创意欧洲组织对意大利主要城市进行了分析，

艺术—文化创意的相互作用作为它们担负欧洲文化首都职

建立指数揭示各个城市实现城市创意的能力，有力地促进了

能的关键。由此引发的城市更新提升了城市品质，使其成为

城市活力、竞争力和凝聚力的提升。意大利创意指数（ICI :

能够刺激创意、革新环境、激发才能、促进创新的多元空间

Italian Creativity Index）仅作为描述和解释之用，其目的在于

（multi-dimensional place）。在指导众多重建规划的指标——

将多项度量综合成单一指数，便于人们直观了解每个城市，

文化政策与休闲活动——的基础上，里亚斯特（Trieste）港

但是其不涉及整体性评价（表 1）：

口地区再创辉煌，传统、创新、包容是其成功的关键要素。

• 规模最大的城市其得分也最高（罗马、米兰、博洛尼亚、

依靠基础设施的建设和城市公共空间质量的提升，以及对韦

佛罗伦萨等）。与小城市相比，这些城市能够更好的在 3Ts

基奥港（Porto Vecchio）地区建筑遗产的保护，里亚斯特开

（Talent, Technology, Tolerance）中取得平衡，并在 3Ts 整体

始了转型，希望能够重建城市和港口的和谐关系。里亚斯特

上取得更好表现 ；

同样希望能够成为运用技术革新的智慧城市（smart-city）

• 然而，我们同样观察到中等城市也具有良好的竞争力。

以扩展“适应性”原则的内涵，这种“适应性”通常被看作

尽管在 3Ts 平衡上略有不足，中等城市的排名仍较为靠前，

是满足新的城市利用方式的一种工具。

这是归结于它们相当包容、开放的环境，部分也是因为拥有

创意的第三个关键是推动按性别或年龄分类制定政策 （适合儿童的城市，为职业女性采取的措施，老年人的安全 空间，等等）。这些政策的制定和实施能够减少社会矛盾，

一个强大和富有创造力的产业背景（比如摩德纳、帕尔玛和 帕多瓦）；

• 意大利的南北差异显著，南方城市的技术能力、文化

增强合作意识，例如，通过运用时间表以及真正参与的社区

环境存在明显欠缺，其文化环境中显现出的传统和保守在大

规划，促使新的生活方式得以实现。

部分多种文化并存的城市都能感受到 ；

规划必须契合城市、文化、社会、种族和功能的多样性，

• 但是，意大利东北部的很多传统工业城市似乎也在同

让语言、习俗和生活方式充分融合。规划不应是简单的建筑

样努力发展创意经济，创建创意城市（如罗维戈、库里奥、

模仿，而创意应出自本土人才而不是规划师之手。随着城市

，在这些城市，传统经济结构与单一社会结构并存。 维琴察）

规划与训练、研究体系的结合，城市的创意媒介作用越来越

然而，该指数仅表示当前情况，并不反映未来趋势。尤

突出，城市中心和季节性研讨会（quarter workshops）也变

其是该指数没有考虑“创意阶层”的存在和其吸引力的重要

得十分关键。今天，在意大利出现了一个由多个城市（巴勒

性，也没有将衡量创意活力的参数纳入进来。

莫、佛罗伦萨、热那亚、博洛尼亚、米兰、罗马等）构成以 推动城市创意政策制定为目标的城市中心网络。 第五个关键与推进多人参与、分层决策（分层管治）程 序的建立相关，这将保证决策既充满理性也兼顾直觉，既是

但是，一个对意大利城市更为深入的分析显示出，许多 城市项目正在进行之中，并已经出现成功典范。新一代创意 城市投资城市更新项目，提升门户城市作用，通过系统化文 化优势而创造价值。

实现对物质资源的组织，也达到对人力社会资源的动员。通

因此，对创意城市而言，一个更依托规划的解决之道不

过在“市长计划”的操作和“当地企业”的合作之间寻求平

仅要求继续识别创意阶层的作用和创意环境特征，还需要继

44

2012 Vol.27, No.3

国际城市规划

毛里齐奥·卡尔塔

续再造环境要素，重建衰落地区，这将有助于汲取好的经验 方法并将其转化为城市振兴和发展的手段要素。 创意，作为规划的手段，应当能够使城市迸发新的能量， 重启城市的新陈代谢。 因此，除了提升空间质量，城市转型地区还寻求成为真

意大利创意城市 ：新景象与新项目

第二个层次与使创意集群成功扩散到整个城市的政策相 关，重点关注通过有效工作促进城市可持续发展。可持续发 展的基础不仅包括减少环境污染和能源依赖，同样也包括激 发公司的社会责任，促使企业拿出补偿资金并将部分盈利用 于提升城市品质。

正的“创意集群”（creative clusters）。在这里，从已经存在

中心区政策必须与集群内的各种活动和公司建设的合理

的活动开始，经济、社会和基础设施的创造力使得创造“革

选址相互配合，以重新规划交通流向，恢复中心区平衡，避

新项目”（innovative projects）成为可能，这些项目将作为

免由于土地和服务的新需求带来交通堵塞风险。

促进地方发展规划战略的组成部分。特别是在金融危机和经

最后，为了增强城市信誉，加强对投资、人口、使用者

济紧缩期间，投资创意的效果更佳，一些纯理论的概念被丢

以及重大项目的吸引，必须通过对城市形象的传达和巩固将

弃，而当地社会经济系统从中获益良多。建设创意城市集群

集群的成功引向城市。在卡塔尼亚，旧工业区的更新无疑是

的有效政策能够分解为以下相互作用的三个层次 ：

“Le Ciminiere”地区新建和改造的开始，该地区未来将成

第一层次由加强集群竞争力的政策构成，包括分期实

为文化复兴的象征。当代艺术画廊、工作室和休闲场所的存

施和发展策略，发展策略能够稳固城市潜力并促进都市区整

在，使得卡塔尼亚迈入主流国际（艺术）圈，并从与当代艺

合。该层次的目标是延伸当地基础设施，尤其是交通和电信

术网络的交流中获益。

，同时为 设施，重点是大型交通网络的节点（港口和机场）

我们不知道全球经济危机何时开始影响这些大项目，也

公司提供服务，特别是提供具有较高附加值、有助于网络构

不知道哪些项目直到经济好转后才能完成。但毫无疑问的是，

建的创新服务。必须重视人力资源的拓展和专业技能的提

在利用基础设施建设抵抗经济危机的当前背景下，那些详尽

升，除了加大力度设立中介机构外（代理商、混合公司、顾

制定了长远、连贯战略规划的城市能够推动公共资源用于私

，还应在城市集群和城市内部集群的参与者中开展培 问等）

有化领域，从而避免早期投资的损失。

训和研究，促进相互作用。最后，运用财政、金融手段也是

第三个层次由减少创意集群发展负面影响的行动构成，

十分有必要的。例如，佛罗伦萨已启动亚诺河两岸重建工程。

这涉及对房地产市场的调控，以避免出现下层住宅绅士化现

其左岸项目包括修整商业场所和社会空间，扩建乌菲兹地区

象（gentrification）和保证市场投机行为不失控，这在那些

旧市场和公园休闲区，对希尔地区的绿地和圣塔卡罗斯地区

没有制定补偿政策（租金控制、私人房屋储备、税收优惠等）

的一个公园的进行规划选址。比较而言，右岸项目更具结构

的地区尤为重要。例如，萨勒诺的新区建设就与恢复滨水地

性，能够吸引新的投资，采用了协同规划工具和经济刺激手

区的私人建筑补偿相关，这一地区未来将成为探索满足可达、

段的综合措施。

多样和自由选择要求的居住模式的试验场。居住规划采用新

在意大利，长期以来米兰都是一座真正的“事件之城”

模式，遵循高居住密度和花园城市的建设原则，建造二三层

（events-city），这某种程度上归功于近年来诸如新博览会

带私家花园的房屋，重视生活空间和水体之间的联系。这为

（New Fair）和“时尚之都”活动的举办。设计和时尚日益

城市住宅建设提供了新思路，由于市政当局的行动，住宅不

成为米兰经济发展的两个着力点 ：大家最耳熟能详的“创意

仅为少数人享有，还面向社区开放。此外，规划没有忽略社

是米兰未来所在”的宣传口号指引着大量项目的发展和建

会需求，相反，通过公共空间和与社区活动相关的服务设施

设。某些新项目的重新选址顺延这一思路 ：除了米兰三年展

的布局保障了社会需求，避免了该地区的下层住宅高档化，

（Milan Triennial）重新选址于 Bovina 地区，以及小型创意

降低了边缘化的危险，减缓了物质空间和社会空间的衰落。

区沿着 Ventura 、Savona、Tortona 设立外，人们还需要考虑

同样，在拉斯佩齐亚，港口区成为一群年轻意大利建筑师的

位于 Pirell 旧工业区内 Bicocca 大学和 Arcimboldi 剧院的重

试验场，他们充满激情地探索建筑创作和规划革新，使得创

新选址以及将工学院和设计系外迁的问题。2015 年的世博

意成为城市变革的最活跃驱动力。在该地区的规划中，居住

会将是米兰未来发展的另一重要支撑，活力、人才、集体智

被再次赋予了城市的核心功能，规划竭力避免平民窟的形成，

慧和创意将主导米兰的未来，这些要素将协力建设一个可持

推动公共和私有居住建筑的建设，并将其与基础设施和公共

续的“无限之域”（infinite city）、构建一个服务于整个地区

服务设施联系起来。

的“地域开关”，在这里，以文化、贸易、技术、特性为基

通过规划基础设施和公共交通系统，以及对不同交通模

础，与创意相关的非物质资源将转变成为物资资源和经济收

式的升级，城市交通环境得以改善，为避免交通堵塞作出了

入，并促进城市环境的提升。

积极贡献。20 个“创新城市”构成的城市网络实现了上述

国际城市规划

2012 Vol.27, No.3

45

本期主题

表 1 创意欧洲组织测算的意大利创意指数（2006） 总排名

意大利

人才

技术 包容度

创新指

排名

排名 排名

总排名

数部分

意大利

人才

技术

包容度

创新指

排名

排名

排名

总排名

数部分

意大利

人才

技术 包容度

创新指

排名

排名 排名

数部分

1 罗马

0.786

1

4

1

35 维琴察

0.353

84

11

34

69 阿斯科利皮切诺

0.247

47

76

70

2 米兰

0.720

5

1

2

36 里窝那

0.351

34

15

61

70 雷焦卡拉布里亚

0.245

22

59

96

3 博洛尼亚

0.665

4

2

4

37 阿雷佐

0.350

48

42

33

71 科莫

0.242

68

96

52

4 的里雅斯特

0.602

2

8

9

38 马切拉塔

0.342

45

24

49

71 莱切

0.242

60

72

69

5 佛罗伦萨

0.585

6

6

3

39 特伦托

0.341

27

69

35

73 贝卢诺

0.231

87

23

81

6 热那亚

0.555

3

7

20

40 格罗塞托

0.336

63

54

30

74 桑治奥

0.230

92

82

48

7 都灵

0.518

19

3

17

40 拉奎拉

0.336

10

60

65

75 阿斯蒂

0.228

98

83

40

8 帕尔马

0.516

11

8

6

42 戈里齐亚

0.329

41

39

53

76 卡坦扎罗

0.225

26

79

85

9 里米尼

0.489

21

12

5

43 费拉拉

0.327

56

37

47

77 拉古萨

0,219

89

44

76

10 佩鲁贾

0.477

12

19

10

44 皮斯托亚

0.325

77

52

31

78 维泰博

0.218

85

85

63

11 摩德纳

0.468

58

5

12

45 拉斯佩齐亚

0.320

31

46

62

79 锡拉库扎

0.217

49

55

90

12 帕多瓦

0.466

15

10

19

46 乌迪内

0.320

55

27

55

80 韦尔巴诺

0.216

95

93

44

13 比萨

0.463

9

34

14

47 巴勒莫

0.312

13

28

83

81 马泰拉

0.213

30

71

95

14 雷焦艾米利亚

0.413

78

13

11

48 诺瓦拉

0.311

67

67

32

82 卡尔塔尼塞塔

0.212

86

57

75

15 拉文纳

0.407

57

14

21

49 马萨卡拉拉

0.306

32

24

73

83 卡塞塔

0.210

39

73

89

16 特尔尼

0.406

17

40

28

50 亚历山德里亚

0.305

65

65

37

84 基耶蒂

0.207

52

86

80

17 维罗纳

0.403

75

18

13

50 帕维亚

0.305

36

78

42

85 洛迪

0.204

91

86

64

18 锡耶纳

0.398

15

73

16

52 卡利亚里

0.302

27

38

72

86 韦尔切利

0.202

99

84

54

19 皮亚琴察

0.395

38

21

25

53 巴里

0.301

42

29

67

87 库内奥

0.198

101

90

50

20 佩萨罗

0.392

29

43

23

54 波代诺内

0.291

82

26

57

88 弗罗西诺内

0.190

83

67

84

20 佩斯卡拉

0.392

7

41

56

55 克雷莫纳

0.290

79

62

38

89 塔兰托

0.184

96

48

87

22 普拉托

0.391

72

17

18

56 奥斯塔

0.284

81

35

59

90 恩纳

0.178

71

103

74

23 因佩里亚

0.384

51

44

15

57 曼托瓦

0.283

89

49

43

91 坎波巴索

0.176

44

91

92

24 弗利

0.375

59

19

29

58 墨西拿

0.280

14

58

86

92 伊塞尔尼亚

O.174

32

101

97

25 萨沃纳

0.372

25

33

39

59 拉蒂纳

0.279

76

32

66

93 阿韦利诺

0.171

35

94

99

26 波尔查诺

0.368

80

56

7

60 泰拉莫

0.273

49

75

58

94 维博瓦伦蒂亚

0.170

46

97

91

27 瓦雷泽

0.365

53

51

22

61 萨萨里

0.271

36

64

71

95 克罗托内

0.167

62

98

88

27 布雷西亚

0.365

87

46

8

62 列蒂

0.267

72

61

60

96 阿格里真托

0.163

60

89

98

27 安科纳

0.365

24

35

46

63 贝尔加莫

0.262

94

92

24

97 福贾

0.189

72

70

102

30 特雷维索

0.364

69

21

27

64 特拉帕尼

0.256

63

29

79

98 罗维戈

0.152

103

66

82

31 威尼斯

0.363

53

16

41

65 克森扎

0.255

18

81

78

99 贝内文托

0.150

43

98

103

32 卢卡

0.362

40

53

26

66 萨莱诺

0.253

23

80

77

100 布林迪西

0.139

100

62

93

33 卡塔尼亚

0.361

20

50

45

67 莱科

0.251

70

88

51

101 波坦察

0.135

66

100

100

34 那不勒斯

0.357

8

29

68

68 比耶拉

0.249

97

77

36

102 努奥罗

0.094

93

101

101

103 奥利斯塔诺

0.092

102

94

94

目标，这些城市由基础设施部挑选以引导创意城市合理规划 港口、车站和居住地的相互关系。

馆成为了意大利和国际创意的活力中心。 制度主体和在创意集群中发挥作用的利益相关者之间

最后，为了促进城市向创意产业转型，必须采取行动

关系的强弱程度和接近程度是成功的要素，要求足够的“场

提供合格就业岗位，帮助当地就业市场，并将培训和就业紧

地”和“条件”促进其发生。从这个意义上讲，周边地区和

密结合。在与大学和吸引人才相关的选址问题方面，费拉拉

相关场地的发展、文化体育娱乐活动的举办是增强区域中城

将工业区与城市结合，建立了一个新的城市大学校园，以

。 市社会资本的重要条件（表 2）

官方和竞争姿态去迎接欧洲高等教育系统中的挑战。佛罗 伦萨采用了类似的策略，它主办的“创意节”（Festival della

4 两个港口城市的创意规划过程 ：热那亚和巴勒莫

Creatività）已成为一个有关创意研究和发展、能够吸引到国

滨水区是今日意大利创意城市最富变化的地区之一——

际游客的盛事，每年的创意节使得“Fortezza da Basso”展

一个高密度、混合使用地区。在这里，城市的资源、机遇以

46

2012 Vol.27, No.3

国际城市规划

毛里齐奥·卡尔塔

表 2 意大利主要城市的创意要素和创意效果（2009） 城市

创意要素

博洛尼亚

l

l

l

l l l

卡利亚里 卡塔尼亚

l

l

米兰

l

l l

帕尔马 佩鲁贾

l l l l l

佩斯卡拉 比萨 里米尼 罗马 锡耶纳 托尼诺 的里雅斯特

l l l l

环境可持续

l l l l l l l

l

提升人们的环境意识。城市更新过程贯穿于整个城市规划实

社会凝聚力

¡

¡ ¡

生活质量

¡

¡

热那亚

巴勒莫

技术革新

¡

l l

费拉拉

修缮和文化活动组织，这将大量增加休闲设施的数量，大幅

创意效果

文化 交流 合作

意大利创意城市 ：新景象与新项目

¡ ¡

¡ ¡

¡ ¡

¡

¡

施，从旧港口地区开始，人们在整个海滨都能感受到更新效 果，这也符合伦佐 · 皮亚诺①（Renzo Piano）的新流动城市 设想。与历史中心区更新相结合的旧港口地区，其创意功能 代表着热那亚的文化、休闲和多产特性。通过后续项目，这 里将成为一个充满动感、活力四射的滨水区和城市新经济的 引擎。 热那亚的战略规划以港口、文化、旅游、环境和区域为

¡ ¡ ¡

l l

¡

皮亚诺全权负责城市港口公园的建设，这一策略性的选择保 证了项目的连续性和一致性，其任务就是为城市构建文化架 构，提供综合服务和完善基础设施。该项目将历史港口地区

¡ ¡ ¡

。伦佐 · 基石，将城市规划为全新的“教育之城、和谐之城”

¡ ¡ ¡ ¡ ¡

与城市其他部分联系起来，其中包括港口附近被列入联合国 。 教科文组织世界遗产名录的新街②（Strada Nuova） 实施过程包括规划之间的相互协调 ：热那亚总体规划、 景观规划和海岸地区的保护规划。为此，当地议会设定了多 重复杂程序，对港口后面的重要历史地区给予重点关注，而 在港口地区第三产业能够沿着新住宅项目发展。 总体来看，城市规划包含城市政策的具体发展规划，作

及梦想和雄心转化成新的愿景、新的关系和新的设计。创意

为控制着整个转型过程的战略性规划，其思路与多中心主义

港口城市有能力创造新的城市形态和城市景观，实现城市文

和权力下放理念相一致 ：采取措施增加社会凝聚力、对历史

化延续，为重要关系网提供能量，使其更具活力、沟通和竞

建筑住宅改造的补助、对道路的建设和维护、对社会经济和

争力。滨水区重建的最重要意义在于应当将这一特殊地段作

劳动力的干预、对市政造船厂和帕罗迪桥（Parodi Bridge）

为构成城市整体的结构性要素予以对待。

地区的更新、对城市不同地区的商业升级。在城市外围的滨

在地中海地区，城市与港口紧密联系的必然结果之一就

（affresco），也计划采用 水区更新项目，即所谓的“壁画”

是对城市滨水区的处理不能仅限于海岸沿线，必须对整个城

相同的战略，该规划同样由伦佐 · 皮亚诺操刀，是一个构建

市进行截流、展现和改变。化解将城市滨水区变成“城市更

流动城市的全新总体规划。

新”的挑战，需要有的放矢地采取措施营建滨水氛围，不是 指某个具体场所，而是指整个城市的流动感。

在 项 目 涉 及 的 所 有 地 区 中， 棉 花 仓 库 地 区（Cotton Warehouses）的升级转变最为深刻。该地区功能丰富，能够

在热那亚，旧港口地区于 1992 年得到了“哥伦比亚博

为各个年龄阶层的民众提供休闲娱乐服务（图书馆、迪厅、

览会”（Esposizione Colombiana）对其首次更新的资助，此

购物中心、电影院、酒吧、餐馆和游戏场所）。在旧港口地区，

次更新项目的选址位于 Magazzini del Cotone、新水族馆、以

散布着水族馆、餐馆和其他游乐设施，以及旅游接待、居住

及 Piazza Caricamento、Calata Rotonda、Mandraccio 和 Porta

和商业设施，这为整个地区的土地紧凑使用树立榜样。此外，

Siberia 之间的整个地区及周边。上述更新项目赋予了该地区

更新项目最近关注旧船坞地区以及加拉塔（Galata）地区，

动态、活力的滨水特色，而滨水特色是新创意经济发展的最

这与海洋博物馆创意相契合。博物馆选址于一栋海军老建筑，

重要推动力之一。热那亚将港口变为滨水区是其在整个历史

是一个以海洋为主题的教育博物馆。

中心区开展城市更新的开始，历史中心区的更新要兼顾建筑

该市也实施了一系列的社会政策，以减少年轻人、老年

① 伦佐 · 皮亚诺是著名的意大利建筑师。1998 年第 20 届普利兹克奖得主。他出生于热那亚，目前仍生活并工作于这一古城，因对热那亚古城保 护的贡献，获选联合国教科文组织亲善大使。他受教并于其后执教于米兰工学院（MilanPolitecnico） ，代表作有巴黎的蓬皮杜艺术中心、提巴 欧文化中心等。——译者注 ② 2006 年，热那亚的新街和罗利宫殿体系（Genoa: Le Strade Nuove and the system of the Palazzi dei Rolli）因符合文化遗产遴选标准 C(ii)(iv) 被列 入《世界遗产目录》，新街（Strada Nuova）是该遗产项目的组成部分。——译者注

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本期主题

人和移民中出现的边缘化现象，通过共同努力提升居住品质、

就是为船只和游客准备的地方，在这里人们可以享受城市与

保护居民权益、方便老年生活。

交通系统密切联系的便捷，而沿着码头区展开的各类设施和

巴勒莫提升城市品质的规划始于 1994 年的城市项目。 回顾历史，巴勒莫希望在未来成为地中海的门户城市 ：欧洲 城市框架中的一个都市中心，能够截流大网络中的各种能量，

建筑则引导城市向海发展。第三类为纯粹的港口，为了保障 港口的满负荷运转，该地区不对公众开放。 最能体现滨水区更新战略的是 Trapezoidal 码头区 ：该

并将其转化为利益、投资、产品，实现本土化，满足城市发

地区是城市与港口的主要连接区，是“创意城市”的标志，

展和更新的需要。城市发展与更新是新战略的组成部分，该

“创 使城市骨架能够伸展至大海，让住宅建筑采用新风格。

。 战略重点关注地中海联盟内的再集中（recentralization）

意滨水区”改造现有房屋，更新工业建筑，将它们作为创意

上述战略中的关键之一就是滨水区 ：创意城市建造的启

人士的工作场所 ；艺术家、设计师和音乐家能够将这些灵活

动力。在巴勒莫，滨水区发展的雄伟目标与复杂现实交织并

空间用作起居场所、工作场地、当代艺术展厅、艺术的动态

存，滨水区是启动“流动城市”重建的强有力资源。作为试

表达形式。运河和船坞为社会活动和滨水生活的新形式提供

点的中央滨水区不仅将门户地区与历史中心区连接起来，还

了场所。最终，最外围的地区，也就是离海最近和最符合该

为港口地区提供利用文化遗产开展重建的机会。中央滨水区

地区创意特征的地区，将变成“当代艺术和创新之城”：公

紧密地与历史城区相连，必须被作为城市创意最为丰富的地

共空间和建筑构成的一套复杂系统，为艺术、音乐、多媒体

区对待，在这里，须将战略、规划、服务和商业结合起来以

作品的创作提供动力，并与滨水区的公共服务相结合。

提高品质和生产率。滨水区不仅代表了一个新的港口区，同 样也代表了一座新的城市 ：融合石头古城的流动城市。

5 结论

从战略规划将巴勒莫作为门户城市开始，中央滨水区就

上述分析得出的这些特质非常值得一提，因为其对新政

被定位为城市整体转型的主要地区之一，战略规划从两个层

策的制定和实施产生了重要影响。首先，在许多城市，创意

面引导该地区的发展 ：首先是提升港口功能，其次用“创意

要素和其他发展条件间存在差距，例如，很多城市拥有良好

城市”理念去规划能够让城市经济发挥潜力、恢复活力的城

的科技人才但缺乏创意阶层，而有些城市的创意要素水准很

市—港口，为城市提供新的发展空间，更为重要的是提供新

高，但是缺乏相对应的人力 / 科学资源或者合适的城市政策

的存在模式和生活方式。滨水区将成为新的“交易和创新之

（如那不勒斯、巴勒莫和卡塔尼亚）。

，在这里，港口功能将与更大范围的城市服务及新的邻 城” 里居住服务整合起来，海岸沿线将出现清晰的城市景象。 总体规划提出一个改善基础设施、优化城市功能和提

这种差距是意大利城市的共性，可能与下述两点相关 ： a）存在强有力公共研究机构，但其与城市 / 地区的生产组 织关系松散 ；b）某种程度上，高度分散、技术革新能力低

升竞争力的整体战略，城市与港口的交接地区是该战略的主

， 的企业可能产生高水准创意阶层（包括企业家和经理人）

要承接空间，此外还提出了一个连接该地区与大海的结构

但不会对人力资源和 / 或技术人才的整体水平产生显著影响。

规划。总体规划得到港口办公室（Officina del Porto）的有

从吸引创意阶层的城市到能够产生新形式、发展新关系

力支持。该机构由港区当局和巴勒莫市政府于 2006 年共同

和发展新经济的创意城市，连接全球市场的国际地区的出现

设立，受弗拉维奥 · 阿尔巴尼亚（Flavio Albanese）和毛里

让城市面临进入国际网络、丢失地域文化的威胁。因此，必

奇奥 · 卡尔塔（Maurizio Carta）的领导。港口工作室（port

须界定适宜的行动标准，以确保发展要素能够因创意集群的

workshop）是一个创新机构，负责对滨水区的更新进行分析、

存在而发挥作用，这不仅与城市特性和可持续发展模式相一

阐述、规划和沟通。

致，事实上也将帮助整个城市进入全球创意城市网络之中。

滨水区项目不仅重视海岸地区，同样也关注毗邻地区 ：

创意城市、体验经济、战略规划以及有效管治是指导城

Kalsa 市场是城市中一个具有活力、创造力和文化底蕴的地

市建设的新口号，但同时它们也必须转化成新规划需要的资

区，新建的商业、文化和接待中心座落于该地区原有的水果

源和程序。

蔬菜市场和 Sampolp 车站，能够提供都市级标准的服务，并 提升整个地区居民步行、车行以及铁路出行的可达性。 总体规划提出了三种滨水类型，其中两种严格意义上属 城市类型： 具备航海、文化休闲和接待功能的流动港口（fluid port）；将城市和港口地区联系起来的新居住区。换句话说

最后，套用安东尼 · 德 · 圣—埃克苏佩里 ① 的话 ：建 设创意城市，依靠傻干苦干和有限的人才投入是难以成功 的，只有将强大的创意之能传递给人们，才能使其得以实 现。 （下转 53 页）

① 安东尼 · 德 · 圣—埃克苏佩里，1900 年 6 月 29 日生于法国里昂市。他是飞行家，作家，著名童话《小王子》的作者。——译者注

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2012 Vol.27, No.3

国际城市规划

查尔斯·安布罗西诺 文森特·吉隆

法国视角下的创意城市

（上接 48 页）

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