The author focuses on how urban policies and the clustering of creative industries has influenced urban outcomes. The set of creative industries include those with output protectable under some form of intellectual property law. More specifically, this sub-sector encompasses software, multimedia, video games, industrial design, fashion, publishing, and research and development. The cities that form the basis for the empirical investigations are those where policy-induced transitions have been most evident, including Boston; San Francisco; San Diego; Seattle; Austin; Washington, D.C.; Dublin (Ireland); Hong Kong (China); and Bangalore (India). The key research questions are: 1) What types of cities are creative? 2) What locational factors are essential? 3) What are the common urban policy initiatives used by creative cities? The author explores the importance of the external environment for innovation and places it in the larger context of national innovation systems. Based on a study of development in Boston and San Diego, he isolates the factors and policies that have contributed to the local clustering of particular creative industries. In both cities, universities have played a major role in catalyzing the local economy by generating cutting-edge research findings, proactively collaborating with industries, and supplying the needed human capital. In addition, these two cities benefited from the existence of anchor firms and active industry associations that promoted fruitful university-industry links. Many cities in East Asia are aspiring to become the creative hubs of the region. But their investments tend to be heavily biased toward infrastructure provision. Although this is necessary, the heavy emphasis on hardware can lead to underinvestment in developing the talents and skills needed for the emergence of creative industries in these cities.

"Wu focuses on how urban policies and the clustering of creative industries has influenced urban outcomes. The set of creative industries include those with output protectable under some form of intellectual property law. More specifically, this subsector encompasses software, multimedia, video games, industrial design, fashion, publishing, and research and development. The cities that form the basis for the empirical investigations are those where policy-induced transitions have been most evident, including Boston; San Francisco; San Diego; Seattle; Austin; Washington, D.C.; Dublin (Ireland); Hong Kong (China); and Bangalore (India). The key research questions are: What types of cities are creative? What locational factors are essential? What are the common urban policy initiatives used by creative cities? The author explores the importance of the external environment for innovation and places it in the larger context of national innovation systems. Based on a study of development in Boston and San Diego, he isolates the factors and policies that have contributed to the local clustering of particular creative industries. In both cities, universities have played a major role in catalyzing the local economy by generating cutting-edge research findings, proactively collaborating with industries, and supplying the needed human capital. In addition, these two cities benefited from the existence of anchor firms and active industry associations that promoted fruitful university-industry links. Many cities in East Asia are aspiring to become the creative hubs of the region. But their investments tend to be heavily biased toward infrastructure provision. Although this is necessary, the heavy emphasis on hardware can lead to underinvestment in developing the talents and skills needed for the emergence of creative industries in these cities. This paper--a product of the Development Research Group--was prepared for the East Asia Prospect Study"--World Bank web site.

The so-called ‘creative industries’ are increasingly being presented as an important tool of urban regeneration and economic development. Until now, research on the clustering of such activities has been limited to economics, geography and urban policy. This book is the first to gather together emerging research in urban design and spatial planning that explores what characteristics of the built form of cities support the distinctive activity patterns of various creative industries, and how and why they cluster together at a range of local scales. The book offers detailed case studies and comparative analyses of creative city neighbourhoods on five continents. Contributions examine urban forms, building types, and other qualities of place that attract and retain creative workers and foster creative production, outlining a range of methodologies for studying them. Taken altogether, Creative Milieux offers new insights for urban design practice, and for its role in wider urban policy. This book was originally published as a special issue of the Journal of Urban Design.

Justin O’Connor and Lily Kong The cultural and creative industries have become increasingly prominent in many policy agendas in recent years. Not only have governments identified the growing consumer potential for cultural/creative industry products in the home market, they have also seen the creative industry agenda as central to the growth of external m- kets. This agenda stresses creativity, innovation, small business growth, and access to global markets – all central to a wider agenda of moving from cheap manufacture towards high value-added products and services. The increasing importance of cultural and creative industries in national and city policy agendas is evident in Hong Kong, Singapore, Taiwan, South Korea, Beijing, Shanghai and Guangzhou, Australia, and New Zealand, and in more nascent ways in cities such as Chongqing and Wuhan. Much of the thinking in these cities/ countries has derived from the European and North American policy landscape. Policy debate in Europe and North America has been marked by ambiguities and tensions around the connections between cultural and economic policy which the creative industry agenda posits. These become more marked because the key dr- ers of the creative economy are the larger metropolitan areas, so that cultural and economic policy also then intersect with urban planning, policy and governance.

The concept of creative industries has developed considerable academic and policy momentum in the 21st century. There has been a connection identified between the rise of creative industries and the urbanisation of the world’s population, particularly in relation to the significance of cities as sites of cultural production and consumption. Much of the work on creative industries and cities, however, has drawn upon 'imagined geographies' about the relationship between creativity and place. This collection draws together contributions that critically appraise recent urban cultural policy discourses, as well as reflecting on the role of culture and creative industries in the future development of cities. This book is based on a special issue of The Information Society: An International Journal.

Recognising that creativity is a major driving force in the post-industrial economy, the Chinese government has recently established a range of "creative clusters" – industrial parks devoted to media industries, and arts districts – in order to promote the development of the creative industries. This book examines these new creative clusters, outlining their nature and purpose, and assessing their effectiveness. Drawing on case studies of a range of cluster models, and comparing them with international examples, the book demonstrates that creativity, both in China and internationally, is in fact a process of fitting new ideas to existing patterns, models and formats. It shows how large and exceptionally impressive creative clusters have been successfully established, but raises the important questions of whether profit or culture is the driving force, and of whether the bringing together of independent-minded, creative people, entrepreneurial businessmen, preferential policies and foreign investment may in time lead to unintended changes in social and political attitudes in China, including a weakening of state bureaucratic power. An important contribution to the existing literature on the subject, this book will be of great interest to scholars of urban studies, cultural geography, cultural economics and Asian studies.

Discussing global society entails discussing the predominant characteristics of knowledge-based activities in all walks of life. Its main characteristics are based on creativity, innovation, freedom, and networking. The emergence of such a society poses several challenges to all disciplines of social sciences. Within such a context, sociologists must have practical encounters to the theoretical, methodological, and empirical challenges imposed within contemporary global society. In this vein, studying creative cities from an interdisciplinary perspective helps provide critical readings of the phenomenon and the different levels of the concept in reality. The Handbook of Research on Creative Cities and Advanced Models for Knowledge-Based Urban Development provides global models and best practices of creative cities worldwide and illustrates different theoretical blueprints for the better understanding of contemporary global society. While defining key concepts of creative cities, global society, and creative class, the book also clarifies the main differences between hubs, parks, and precincts and their contributions to knowledge-based development. Covering topics that include knowledge economy, social inclusion, and urban mobility, this comprehensive reference is ideal for sociologists, urban planners/designers, political scientists, economists, anthropologists, historians, policymakers, researchers, academicians, and students.