ISSN 2304-120X
Ermakova Larisa Ivanovna,
Doctor of Philosophy, Professor of the Department of Historical and Social Philosophical Disciplines, Oriental Studies and Theology, Pyatigorsk State University, Pyatigorsk [email protected]
Sukhovskaya Daria Nikolaevna,
Candidate of Philosophical Sciences, Senior Lecturer of the Department of Historical and Social Philosophical Disciplines, Oriental Studies and Theology, Pyatigorsk State University, Pyatigorsk [email protected]
Gorohova Alexandra Evgenievna,
student of the Federal State Budgetary Educational Institution of Higher Education “Pyatigorsk State University”, Pyatigorsk
The specifics of the formation of creative space in single-industry towns*
Annotation. This article proposes to consider the features of the formation of creative spaces in single-industry towns. Here, the possibilities of their formation in large and small single-industry towns in Russia are analyzed. Key words: space, monocity, population, economy. Section: (04) economics.
Today, when political sanctions affect the economy, an important and key point development of our country is the development of the domestic market. Its development can be carried out due to the fact that the main finances that were previously spent on imported goods, can be redirected towards the development of large industrial cities. This topic also affects single-industry towns, that is, settlements where the economy and infrastructure depend on one or many enterprises that are interconnected. The word "single city" is an abbreviation of the concept of "single-profile city", where the Greek prefix "mono" means "single". These enterprises are also called "city-forming". On data manufacturing enterprises the main part of the population is employed, which undoubtedly has an impact on the employment of the population, has a great impact on the socio-cultural life of this city. According to state legislation, in order for an organization to be recognized as a city-forming organization, it must employ at least twenty-five percent of the working population of the corresponding settlement. This fact confirms that the workers of these enterprises are the main working mass of the city. This statistics cannot be ignored, since the efficiency and quality of the company's work directly depend on the workers.
According to recent data, the number of such municipalities in our country it is 319. This includes both cities and urban-type settlements. After monitoring Russian single-industry towns that have a stable social
* The publication was prepared within the framework of the scientific project No. 16-33-00035 supported by the Russian Humanitarian Foundation.
ISSN 2E04-120X
scientific and methodical electronic journal
Ermakova L. I., Sukhovskaya D. N., Gorohova A. E. The specifics of the formation of creative space in single-industry towns // Scientific and methodological electronic journal "Concept". - 2017. - No. S5. - 0.3 p. l. - URL: http://e-concept. ru/2017/470067. htm.
economic situation, we can say that for the most part these are not large cities. The population in them ranges from the largest of 705.5 thousand people. (Tolyatti, Samara region), to the smallest of 1.7 thousand inhabitants (Svetlogorye settlement, Primorsky Territory). It is necessary to take into account the fact that in this list the number of cities whose population "passes" over 300 thousand inhabitants is only 6. Further, the number of inhabitants decreases, and settlements up to 100 thousand inhabitants prevail.
Such small points are not always taken into account, which affects the development of infrastructure. This is especially true of its social side, that is, industries, enterprises that would provide an acceptable livelihood for the population. Each small town has a standard set of infrastructure, consisting of administration buildings, a hospital, military and police stations, stations of the Ministry of Emergency Situations and several buildings of philharmonic societies and theaters (which, for the most part, few people visit). All these buildings are in a state of disrepair, since no one cares about the transformation of the city, because all the power goes to work and the maintenance of the family. On the other hand, no funding is provided for this, although much is imposed by the state itself.
Since many of the single-industry towns are small points of accumulation of people (in comparison with ordinary cities), few people think about expanding, increasing, and improving infrastructure. But let's talk about infrastructure not only as a set of minimum life services, but also as an opportunity for the population's leisure activities, the identification and development of its creative potential, the development of its individuality.
Judging by the current and past state Russian economy, it is difficult to say that small single-industry towns have the same developed infrastructure as they have it big cities. Hence the problem of the formation of creative space.
Creative space is a free zone for the exchange of innovative creative ideas between the creative population of the city. Also, the creative space is a platform for self-expression, demonstration to criticize one's own work or evaluate others. I would like to note that visitors to such creative spaces can be not only people of creative professions, but also residents of the city who are engaged in creativity in their free time. That is, it is a hobby for them, a kind of leisure activity that can diversify them. everyday life. In modern large cities, this is a fairly common occurrence.
Creative space can exist in several forms: 1) art space - huge spaces (most often former industrial areas) converted into housing, offices, cafes, work areas, exhibition areas and other multifunctional areas; 2) loft - living space, converted from a building that was built for other other purposes (former factory workshops, warehouses); 3) coworking - a modern scheme for organizing the workflow, when not always similar activities take place in the same workspace; 4) art center - a functional center, different from an art gallery or a museum, where a place is provided for exhibitions, seminars that encourage the practice of art, technical equipment is provided.
But in order for these forms of realization of the creative potential of people to become possible in a certain mono-city space, it is necessary to have
scientific and methodical electronic journal
Ermakova L. I., Sukhovskaya D. N., Gorohova A. E. The specifics of the formation of creative space in single-industry towns // Scientific and methodological electronic journal "Concept". - 2017. - No. S5. - 0.3 p. l. - URL: http://e-concept. ru/2017/470067. htm.
certain urban environment. The urban environment is a complex of many objects that form a special characteristic space where there is the possibility of relationships. Its quality mainly depends on how fully the real demands and needs of the townspeople can be satisfied here. Although the possibility of fulfilling communicative and cultural needs is generally related to the level of cultural potential of each individual city, the cultural potential itself is the ability of the population to create and maintain an environment for its development.
These conditions fit perfectly into the urban environment of large, developed cities, mainly administrative centers, where the bulk of the population is located and where people flock from the outskirts. That is why nowadays, especially in the last few years, coworking zones, loft zones and various art spaces have become so popular. St. Petersburg has become an innovator in this matter for our country, the degree of development of the urban environment of which is difficult to dispute.
But we are faced with the question of the development of these zones in the environment of monotown spaces, where, as I mentioned above, the vast majority of cities are by no means large. Basically, these are cities and urban-type settlements, where the number of citizens is up to 100 thousand people. Of these, approximately 15-20% are pensioners, approximately the same figures are assigned to the disabled population, that is, children and the disabled. Therefore, not all residents are interested in the development of the urban environment and creative spaces: someone who is not looking for opportunities to unlock their creative potential, and someone because of their inability. In addition, if we focus on the fact that these are small settlements, where almost everyone has their own land plot on which they do housework, then the main time resources, in addition to working time, are spent on processing and caring for the land. This process is very time-consuming and takes almost all the free time, turning into a kind of hobby. For this type of society, the expression of one's creative "I" becomes a need far from being the main one. Therefore, the main problem is the formation of creative spaces in sparsely populated single-industry towns.
Many programs exist and are being developed to support the development of single-industry towns. The main commercial support, undeniably, is governmental support. At a recent meeting held on August 10, 2016, regarding the support of single-industry towns, President V.V. Putin instructed not to slow down the pace of economic diversification, which in 2012-2014 many financial resources. In addition to commercial support, there are also non-commercial projects. One of them is the NPO "Fund for the Development of Monotowns", whose main goals are to attract investments, create jobs and train teams to manage single-industry towns. But all this concerns the economic component, while practically no one thinks about the social component.
Based on the above statements, it is necessary not only to create the same type of creative spaces, but to develop a specific strategy for the development of the individual social environment of each single-industry town. The social environment of the city is made up of the general cultural level of the inhabitants, which should provide basic information about what a particular resident of a particular area needs.
Perhaps there are such settlements where people cannot express themselves due to their enslavement, which appeared here and remains
ISSN 2E04-120X
scientific and methodical electronic journal
Ermakova L. I., Sukhovskaya D. N., Gorohova A. E. The specifics of the formation of creative space in single-industry towns // Scientific and methodological electronic journal "Concept". - 2017. - No. S5. - 0.3 p. l. - URL: http://e-concept. ru/2017/470067. htm.
to this day, as they had not had to do this before. Such a society needs some form of adaptation that will allow them to start learning about the opportunities that will be presented to them. And larger settlements already need the sites themselves, where there is an opportunity, and most importantly, the need to exchange their own experience.
The quality of work at the city-forming enterprises depends on the workers. Based on Maslow's pyramid of needs, a person's belonging to a certain group, his respect and, ultimately, self-expression occupy the final three steps after the most primitive physiological ones. This allows us to judge that spending leisure time and the opportunity to know oneself outside of working hours, to relax and be distracted by some other type of activity that can be done in those very creative spaces, gives a person complete satisfaction of needs. Everyone knows the simplest truth: if a person is satisfied, then his performance, the quality of work increases.
First of all, to achieve the above goal, it is necessary to monitor and analyze the settlement and its inhabitants. The data obtained will provide the necessary information to determine the degree of neglect of the state of the urban environment. These states can be divided into 4 categories: 1) neglected state, 2) depression phase, 3) stagnation phase, 4) developed urban structure. Each category should develop its own action plan for the implementation and improvement of creative spaces.
For this kind of activity, it is necessary to create organizations whose activities will be aimed specifically at identifying such categories. These organizations should continuously cooperate with economic ones, since these two indicators (social and economic) are inextricably linked. Particularly neglected cities and cities in depression should be directed step by step to the development and exit from the depression, following the general mood of the population, the economy will also rise. Cities that are stuck in a phase of stagnation (stagnation) should be filled innovative ideas that would push them to exit this phase. And accordingly, cities with a developed urban structure should be left under surveillance in order to develop certain schemes that affect the population and the economy.
AT modern world changes happen too fast. Someone knows how to quickly adapt to emerging conditions, while someone is not. But due to the fact that the conditions of existence are changing every day, it is necessary to create new ways of survival. In this case, single-industry towns - main part Russian economy, the damping of which will lead to an inevitable collapse. You should pay attention to them, and the introduction of creative spaces is like a breath of fresh air after a long exhausting work, which can give new strength to show its importance and power again. Although experts predict a short life of creative spaces in today's arena, they will be followed by new innovative trends that can give fading cities another chance.
Bibliography
1. Sukhovskaya D. N. Creative spaces of Russia as sources for the formation of national values // New ideas in philosophy: materials of the Intern. scientific conf. - Perm, 2015. - S. 41-46.
2. Sukhovskaya D. N. Socio-philosophical analysis of the creative structures of a modern urban settlement // Scientific and methodological electronic journal "Concept". - 2015. - T. 8. - S. 121-125.
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Ermakova L. I., Sukhovskaya D. N., Gorohova A. E. The specifics of the formation of creative space in single-industry towns // Scientific and methodological electronic journal "Concept". - 2017. - No. S5. - 0.3 p. l. - URL: http://e-concept. ru/2017/470067. htm.
3. Ermakova L. I., Sukhovskaya D. N. Creative spaces of settlements: technologies for creating modern creative sites of cities (in Russian and English): reference and information manual. - M., 2016.
4. Ermakova L. I., Sukhovskaya D. N. Characteristics of the creative space of the city as a creative locus of its living space. Art. International scientific-practical. conf. - Penza, 2016. - S. 53-57.
5. Ermakova L. I., Sukhovskaya D. N. The concept of space in determining the essence of the socio-philosophical category "creative space of the settlement" // Globalization of scientific processes: coll. Art. International scientific-practical. conf. - Kirov, 2016. - S. 15-17.
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7. Sukhovskaya D. N., Ermakova L. I. The role of FVE in shaping the sustainable development strategy Russian society// Scientific and methodological electronic journal "Concept". - 2016. - T. 26. -S. 51-55. - URL: https://e-koncept.ru/2016/46411.htm.
Larisa Ermakova,
Doctor of Philosophical Sciences, Professor, Department of historical and socio-philosophical disciplines, Oriental studies and theology, Pyatigorsk State University, Pyatigorsk [email protected] Daria Sukhovskaya,
Candidate of Philosophical Sciences, senior lecturer of the Department of historical and socio-philosophical
disciplines, Oriental studies and theology, Pyatigorsk State University, Pyatigorsk
alexandra gorokhova,
Student, Pyatigorsk State University, Pyatigorsk
Specificity of the formation of creative space in single-industry towns
abstract. This article proposes to consider the features of the formation of creative spaces in these towns. It explores the possibility of their formation in large and small towns of Russia. Key words: space, mono, population, economy.
Nekrasova G. N., doctor of pedagogical sciences, member of the editorial board of the journal "Concept"
Received a positive review 03/15/17 Received a positive review 03/17/17
Accepted for publication Accepted for publication 03/17/17 Published 03/27/17
© Concept, scientific and methodological electronic journal, 2017 © Ermakova L. I., Sukhovskaya D. N., Gorohova A. E., 2017
10.02.2020 27.01.2020 12.11.2019 22.10.2019 17.07.2019 25.03.2019 11.03.2019 12.11.2018 All articles 23.06.2015
The development of creative spaces is the main library trend in the next 15 years
The creation of creative spaces in public libraries where the community can come together for informal and collaborative learning has been a rapidly growing trend around the world in recent years. This trend is picking up speed, including in Australia. Here, the library strategic development program "Libraries 2030" defines this trend as the main one for the coming years. What is the significance of such spaces for libraries and their communities, and how can they be successfully organized?
Emily Boyle, Michelle Collins
Makerspace, hackerspace, techshop, production lab, creative space... - these are all different names for essentially the same phenomenon (although there are certain differences in how these spaces work). Simply put, creative spaces are places where the community can gather in an informal setting for shared learning. They are characterized by hands-on experimentation, innovation, games, craftsmanship and the spirit of DIY culture.
Creative spaces are not defined by the type of equipment and tools they provide (such as 3D printers, software, or woodworking machines) or the type of activity, but by the principles of self-learning, knowledge sharing, and community organization. Collaboration, commonwealth and co-creation are the three principles that underlie the very idea of a creative space. Each creative space is unique and reflects the needs and desires of its community and host library.
The spaces vary in the programs they offer, but generally feature workshops and workshops using digital and other technologies in the arts, crafts, "urban science" and other areas that reflect the interests and needs of the community. They allow people to learn new skills, invent and create things, and remake existing objects into something new. They bring together people of different ages, levels of education and skills.
As libraries continue to evolve in the digital age, so too does the search for ways to further engage with the community beyond their traditional role of storing information and providing access to knowledge. Public libraries are increasingly seen as communication centers integrated with various public services and serving a range of social needs. This trend invites libraries to re-evaluate what they can contribute to society and see what new possibilities they can open up for themselves.
Creative spaces also position the library as a place of creation, invention and "making" instead of consumption and absorption. This opens up significant prospects: libraries are becoming less a repository of books or information and more a center of social participation, offering innovative forms of service and education, and becoming laboratories for inventions and new ideas.
Undoubtedly, the expectation that the creation of a creative space will help libraries find their place in the future has a value. In a recent study by Slatter & Howard, participants concluded that the development of creative spaces reflects the "reshaping" of public libraries: "By providing materials, technologies and spaces, creative spaces create new opportunities for learning, enhance community collaboration, and enable equal access to learning." for a variety of users.
Creative spaces also allow libraries to adapt to changes in society and remain centers of learning. The development of creative spaces enriches the concept of literacy with new meanings and allows us to talk about “ creative literacy”, or “trans-literacy” (this is an umbrella term for all the new types of literacy that have been developed over the past ten years). Users have long been learning information literacy in the library, just as they can learn skills, tools, and the ability to create.
Libraries can strengthen their role as a center of knowledge not just through the lending of books, but through the direct exchange of experience between people. The creation of creative spaces in public libraries is in line with the library's mission to provide access to education for the entire community. Once libraries made self-education possible for the non-elite, now creative spaces make hands-on learning accessible to all. Access to hardware, tools and software that are not available due to their cost gives the community the opportunity to express their creativity and implement ideas. Tech creative spaces provide access for those who cannot afford expensive new gadgets, hardware and software, and give people the opportunity to learn new skills that they would be hard pressed to acquire on their own.
Creative spaces can be classified by type of activity, equipment and materials used:
If you decide to create a creative space, then the first thing to do is to understand what kind of space is best for your library and its community. Understanding your community, its characteristics and needs is the first step. You need to figure out what kind of creative space would be most useful to your community and what kind of audience it will be able to attract.
Here are some tips to help you collect data on age, ethnicity, education level, and other audience parameters:
A key element in achieving success in creating a creative space in the library is to reach out to the community and find out exactly what resources and information they need, what potential they would like to express through this space. If you carefully study the needs of your community, it will seek to participate, to contribute to the formation of a new space. But every audience is different, and what works for one library may not necessarily work for another. Creative spaces are the result of collaboration between the library and the community, and this balance must be constantly maintained throughout the life of the new space.
The interest of the development community in the creation of so-called "creative spaces" does not fade away. During last year in St. Petersburg every day there is a statement about a new "creative project". And therefore, it is quite timely to ask the question - are these spaces needed in such quantity, and if so, to whom and why?
The interest of the developer community in the creation of so-called "creative spaces" - projects designed to attract the creative community and implement all kinds of art ideas on their territories - does not fade away. During the last year in St. Petersburg every day there was a statement about a new "creative project". It is quite timely to ask the question - are these spaces needed in such quantity, and if so, to whom?
In total, the number of all kinds of lofts, coworking zones, art territories has long exceeded several dozen. However, large or simply recognized projects in their environment can be counted on the fingers. Among the most successful are "Etazhi" and "Tkachi", which can be called the pioneers of the industry (unless, of course, we take into account the legendary "Pushkinskaya, 10"). The Bulthaup Gallery and the Erarta Museum give their space for all kinds of art events, the Taiga project is working quite successfully. Less large-scale (in terms of occupied space and number of residents), but very interesting spaces- "Stool", "Third Place", "Zone", recently opened Kokon Space.
Some projects exist only on paper. Ambitious plans to create a creative cluster with an area of about 20 thousand square meters. m are being built by the owners of the Lenpoligraphmash plant, while they have managed to gather under their roof only a few specialized residents - the A2 and Case Club clubs, the Make It design and urban center and a number of others. About plans to invest about 300 million rubles. Mekhanobr-tekhnika announced that more than 2 hectares of land on Vasilievsky Island will be converted.
Assessing the reality of these undertakings, it is worth recalling the history of the territory of the Red Triangle factory, which was predicted to be the center of rock culture and the underground. It has not yet been possible to implement the plan in a comprehensive manner due to lack of funding: the areas of some production buildings are simply rented out for offices and music studios.
The owners of the Krasnoye Znamya factory also encountered a similar obstacle, hoping to turn part of the workshops into a cultural and business center and a museum of modern art. However, the "Red Banner" has a chance to be rehabilitated - with the help of the administration of St. Petersburg, which intends to start creating its own creative cluster. Krasnoye Znamya is one of the options for its placement, along with the Kresty isolation ward, the rope shop of the Krasny Gvozilshchik plant, tram depot No. 2 on Vasilyevsky Island and the territory of the Admiralty, Petrovsky Dock and the Summer Garden in Kronstadt. At this point, the information that is known about the urban creative cluster is exhausted, and even experts close to the industry still do not really understand what this project will be like.
It remains unclear, perhaps, the most fundamental point - who will be the user of all these creative spaces? Is there enough "creative industry" in St. Petersburg that should bring income to the authors of such projects? And is it possible to expect that such projects will be durable, especially against the background of the fact that investors in the development of the Krasny Oktyabr factory in Moscow have already decided to abandon the rather successful creative cluster that has formed here and return to the original plans to build luxury housing on this land.
RBC conducted several blitz interviews with industry experts and asked for their opinion on these issues. The main conclusion is that creative spaces are only a temporary option for using real estate objects, there is no business as such in these projects, however, without bringing serious income, creative industries allow to “warm up” interest in territories and increase their capitalization. This means that subsequently such a property - but with a completely different function - the owner will be able to sell or rent out at better prices. Thus, thanks to the experts, an explanation was also found why the creative cluster became so interesting for the city administration. It turns out that this is practically the only way to interest business in the redevelopment of urban areas.
Aleksey Neshitov, director for development of the creative space "Tkachi": "You can't build a business at theaters alone"
- Is there in St. Petersburg the same "creative industry" for which your project, and many others that continue to actively appear now, are intended?
Now we have about 60 tenants, and the number of organizations and creative start-up projects interested in the opportunity to stay with us has long exceeded one thousand. I think that if not three, then two of the same buildings (the area of "Tkachi" - 13 thousand square meters) we would be able to fill even now.
- But, probably, only if this industry is understood quite broadly?
It is unlikely, of course, that we would be able to fill the project only with theater and musical groups. We simply could not afford this, because we have a market rental rate, 1100 rubles per sq. m. m per month including taxes and utilities, and such projects, as a rule, are very poor and usually require various kinds of subsidies and subsidies. But they are among our tenants, but they are no more than 30-40%.
- Your rent is really good. How do representatives of the creative industry "survive" and what attracts them here, proximity to "their own kind"?
Since May last year, only two tenants have left us from the most demanding segment for us - shops on the ground floor. We do not have "special" commercial conditions for representatives of the creative industry, therefore, I think that the choice is made primarily in favor of the concept, the desire to be close to their own kind, since such companies very often become partners with each other and make some kind of joint projects.
- Is there any fear that the fashion for lofts and creative spaces will soon pass and the owners of such projects will find land plots more cost-effective application, an example of this - "Red October" in Moscow?
For Krasny Oktyabr, the creative space was an anti-crisis solution, and the construction of premium-class housing and business centers was planned here from the very beginning, so I don't see any contradictions. We're not going to be "fashionable". It is possible that those tenants who rely on fashion will leave us, but those who really see the need for themselves in this project, the convenience of the location, services, and so on, will remain. And I'm sure they are the vast majority.
Director of the Center for Applied Research at the European University at St. Petersburg, researcher at the Center for Independent Sociological Research, urban sociologist Oleg Pachenkov: "A creative cluster cannot be imposed" from above "
- Is there a feeling that there are already several creative spaces in St. Petersburg in abundance, and the city administration has announced five sites where such projects could potentially appear.
The potential of the creative industries, it seems to me, is enough for the existing and possible number of spaces. And if such projects continue to appear in the city, it means that there are still not enough of them. Another issue is that not everyone, perhaps, is suitable for placement within the same walls, some of such projects - probably a large one - should be dispersed throughout the city. But for me personally, for example, it is not entirely clear why the city administration chose five, not three, and not seven sites?
- That is, business should still initiate such projects?
A creative cluster is an element of public life and cannot be imposed "from above". Private initiatives in this area are more organic. In addition, in my opinion, there is a serious problem with the ideologists for such projects, and it was necessary to start not with the study of spaces, but to study people in this environment, and already with them to determine the points of intersection of the interests of the creative industry with specific places on the city map. The role of the state in this area should be similar to a curling player - he should not push the stones or show them the way, he should only rub ice in front of them so that they roll faster.
- But it is clear that the creative industry is not very profitable. Is there a danger that over time, when the fashion and excitement around this topic will pass, Russian businessmen will find more effective use for their buildings and land?
I see no reason why this should be feared. This is a standard process, and around the world, in eight out of ten cases, such projects are temporary. In the West, they also appeared as temporary use due to the closure of industrial sites. We can say that in order to remain relevant, such projects need to be updated, or, if you prefer, die and be reborn again. The most important thing in this situation is that the residents of such projects also understand this, but know that they have not a year, but, say, five years to work in this project and calculate their plans.
Vladimir Knyaginin, director of the North-West Center for Strategic Research: "To create a creative space does not mean to carry out development, but to fill it with interesting content"
- Is it possible to somehow assess the place of the creative industry in the economy of St. Petersburg, including in comparison with the main "creative" cities?
An example of the creative industry is London, there is about 15-20% employed population one way or another related to this industry. It includes all those who are engaged in the production of images, impressions, experiences: theaters, cinema, fashion industry, programming. Such activity presupposes an irregular working day, a certain way of being, independence of thought. Unlike London, on average, about 7-10% of the population is employed in the city's creative industries. If we talk about St. Petersburg, then it falls short of this level, however, the main part of its creative industry is the HORECA segment (hotels, restaurants, cafes).
- What about the quality of the creative industry and creative spaces in St. Petersburg?
It is important to emphasize that the creation of a creative space is not just a development. It is much more important to make a creative space interesting for a stay, to ensure its high-quality content. The Finns in this matter have advanced much further than St. Petersburg, not to mention the world capitals of creativity.
- And why does the city need its own "creative cluster" in the presence of a sufficient number of private projects?
With the advent of creative industries, the capitalization of the territory increases significantly. Berlin, for example, uses the format of a creative cluster to qualitatively reformat depressed areas. A similar situation with the factory number 798 in Beijing. And St. Petersburg will also follow this path. I see no other reasons for initiating such a project by the city administration.
Creative spaces, as places where creative people can realize their creative potential, practically do not exist in our country.
What we call the creative space is only formally so.
If we talk about creative space operators (those who will occupy the space), then it is extremely difficult to find them.
It is even more difficult to find a sufficient volume of consumers of a creative product.
Creative space - what is it?
What is a creative space - everyone understands in their own way. As well as the question: who should develop creative spaces: the city, the developer, or representatives of creative professions.
So far, all created creative spaces, to a greater extent, were created by developers. And fundamentally, they differ only in the volume of investments and management literacy.
Investments in creative spaces, or why developers choose a creative path
So far, creative spaces are developing in areas that are not interesting for classical development. When developing an industrial area, it is not always profitable for a developer to demolish a building, because demolition is associated with considerable costs for the demolition itself, clearing the territory, excavation and disposal of soil, etc. This causes a rise in the cost of the project and, as a result, it will be economically inefficient. In addition, in many cases, industrial buildings are architectural monuments and are protected by the state, which is very typical for our city.
Therefore, as is often the case, development is carried out within the framework of financial or urban planning constraints. That's why we have so many exes industrial buildings, which are now converted into offices, warehouses, car services and small industries. Precisely, they have been re-equipped, and not re-profiled, because, most often, no significant investments are made in the property complex and work is carried out in the original premises. Maybe with a little cosmetic work.
How do developers become creatives, or what tasks does the creation of a creative space solve?
But, nevertheless, more and more information appears in the media about plans to create a creative space or cluster on one or another former enterprise. Each owner understands that if he wants to accelerate the capitalization of the object and the marginality of the business, then he needs to develop the property. And when the classic concepts of an office or public business building are difficult to implement, the investor thinks about the formation of a "creative" concept, which for the developer is just a fashionable marketing chip. Fortunately, anything can be entered into this concept: from offices of design studios and advertising agencies to clothing stores from little-known brands. This concept forms a radically new approach to the positioning of the object and enables the developer to draw attention to his project.
Based on European and some domestic experience, it can be argued that with the advent of creative industries, the capitalization of the territory increases significantly. Berlin, for example, uses the format of a creative cluster to qualitatively reformat depressed areas. A similar situation with the factory number 798 in Beijing. Petersburg is still making timid attempts to follow this path.
But in order to implement a comprehensive creative concept, the developer must not only prepare the premises, but also select a pool of tenants in such a way that a general synergistic effect is obtained that will make the facility interesting for visitors. Those. the visitor must clearly understand why he goes there: to the exhibition, buying something along the way, for furniture and light, soaking in new ideas from design studios, for some kind of master class or lecture that will make him a client of craft schools of space and etc. There are few examples of such a balanced synergy and a coherent concept of space.
This is partly due to the fact that it is very difficult to provide high-quality filling of space. In St. Petersburg there is no "creative industry" that should act as a tenant and generate income. More precisely, it is, but it is necessary to look for and select it bit by bit. Representatives of creative professions are scattered, small in number in terms of group composition and are not reliable tenants.
Another nuance that does not allow creative spaces to develop actively is that, unfortunately, in Russia the creative industry is not very profitable, therefore it is used by developers as a temporary marketing function to popularize the place, until there is a more effective use for buildings and land plots with already increased price.
The low profitability of creative products is associated exclusively with low consumption. In our case (in the case of St. Petersburg), consumers in 80%, if not 90% of cases, are residents of the city. Despite the fact that now the country is going through hard times, the volume of consumption is declining. Thus, it is important for a creative product to expand the geography of its presence.
Why does the city need creative spaces
Why a developer needs creative spaces, it seems to be clear. But is it worth the city to spend energy and develop something that is not a highly profitable business? We need to look at the situation more broadly: for the city, the development of a creative business is a solution to a number of tasks. the main task creative spaces for the city is the creation of an innovative environment, because creativity is a prerequisite for innovation and the creation of not industrial, but creative or intellectual product: design objects, books, films, multimedia technologies, etc. Actually, from the point of view of the city, creative spaces can be defined as an infrastructure where you can hold or attend events, find supporters, employees, contractors, as well as partners for the implementation of innovative socially significant projects or commercial start-ups.
In addition to the innovative product, I would highlight a few more important, from an economic and social point of view, factors for the city that will develop with the development of creative spaces:
But such an interaction between the city and creative components requires the involvement of creative entrepreneurs in business cooperation and the creation of not only conditions for them, but also a legal framework. You can’t just single out a few zones, call them creative and stop there. This requires comprehensive work not only with the formation of infrastructure, but also to develop demand for creative products. Then the industry will attract more and more new people for the purpose of creative self-realization.
conclusions
If the city is interested in generating income from the work of creative spaces, then for their emergence, development and marketing of a creative product, the city should:
With the implementation of a set of measures, the self-employed creative population will be able to create an innovative product that will become a permanent source of income for the city.
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To form an idea of the essential role of artistic technique, material and tool in creative activity; Contribute to the preservation of the immediacy and liveliness of the result of creative activity, the development of content, form, composition, enrichment of the color range of compositions; Expand artistic perception, develop the skills of observation, attention and building associative links of the idea through a variety of techniques; Stimulate creativity. We are guided by the following tasks:
