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The Rise of the Creative Class Richard Floridas book has triggered a lot of controversial responses from various circles of the society at large; it is considered one of the most insightful pieces written by the author. Floridas main proposition is that Creative Class (and in particular its presence in particular regions) is responsible for the economic growth of those regions, while the regions where this class is not so numerous do not prosper that much. After carefully analyzing the arguments presented by Florida, and conducting a research of my own, however, I would formulate the proposition suggested by Florida somewhat differently: although Creative Class has a lot to do with economic growth, there is another factor that should not be underestimated family. In this research, I will first go through Floridas arguments.
To be followed by the discussion of how family affects economic growth of certain regions. Richard Florida offers a radical interpretation of economic development in the early 21 st century. He advances the thesis that the so-called creative class artists, educators, scientists, engineers and professionals who solve complex problems are the driving force behind innovation, entrepreneurial activity and economic growth. To prosper in the years ahead, Florida contends, metropolitan regions must focus on creating the conditions favorable to attracting and retaining members of this class. Many of Floridas ideas are common parlance in leading creative centers around the U. S. , from the San Francisco/Silicon Valley region to Austin and the Research Triangle, but they are largely absent from the discourse on economic development in Virginia especially downstate Virginia.
If Florida is correct, then the Commonwealth faces a dicey future. Most regions in the Old Dominion are pursuing hopelessly antiquated strategies such as industrial recruitment and the development of convention centers, sports stadiums and other high-profile real-estate projects. Even Northern Virginia, which is considerably more advanced in its thinking than the rest of Virginia, may have peaked. Increasingly, the creative class prefers to live and work in vibrant urban areas rather than in high-tech, suburban nerdistans. Floridas epiphany came in the mid- 1990 s when Lycos, owner of a powerful search-engine technology coming out of Carnegie Mellon University, decamped from Pittsburgh to Boston. Florida, a professor of economic development at Carnegie Mellon, was intrigued.
Pittsburgh seemingly had everything it took to survive in the Creative Age: a strong corporate base, world-class research universities and a high quality of life. Yet the economy putters along in a middling, flat-line pattern. (Florida 216) As he dug for an explanation, he found that many educated young people were moving to more diverse, more exciting locales. And in a switch from the conventional wisdom, he realized that corporations were following the workers not the other way around. According to Florida, the global economy is moving into a new economic age, the Creative Age, which is scrambling all the conventional rules for economic and community development. Competitive advantage comes increasingly from the ability to innovate -- the capacity to develop new technologies and business models. No longer is it sufficient to build an industrial-era infrastructure of roads, airports, water lines and power grids.
To spur innovation and entrepreneurial activity, Florida argues, a region must assemble the infrastructure of innovation, including R&D facilities, venture capital and, most importantly, the kinds of amenities from biking trails to a lively music scene that attract creative people. Florida defines the Creative Class as those occupational categories encompassing science and engineering, architecture and design, education, arts, music and entertainment, whose economic function is to create new ideas, new technology and / or new creative content. (Florida 8) In addition to this super-creative core, he counts creative professionals in business and finance, law, health care and related fields. All told, by his reckoning, the creative class numbers roughly 38 million Americans, or roughly 30 percent of the work force. Among cities with more than 1 million people, the proportion of creative workers varies regionally from a high of 38. 4 percent of the work force in metro Washington, D.
C. , to a low of 18. 5 percent in Las Vegas. (Florida 237 239) Not surprisingly, regions with large numbers of scientists, engineers and other creative professionals tend to rank among the most innovative places in the country, create more new businesses and be associated with technology companies. They also tend to have the strongest economies. Of greater interest, Florida argues that the Creative Class brings a new set of values to their careers and personal lives. Contrary to the dot. com hype over bonuses and stock options, creative workers are less entranced by such benefits than by jobs that offer personal challenge and growth. What a creative worker wants most, Florida says, is to exercise his creativity in building something, to experience the whole cycle of having ideas, putting them into action and seeing the rewards. (Florida 103) In a related trend, the massive corporate restructuring and downsizing of the 1980 s destroyed the compact between corporation and employee. (Caves 147) No longer expecting or wanting lifetime employment, members of the Creative Class change jobs frequently.
As hyper-mobility spreads through the economy, creative workers act like free agents, moving laterally from company to company, seeking more rewarding challenges and taking more control over their careers. Creative workers also require more flexible schedules. In households with two working parents, employees need more leeway to run errands or cope with children. Meanwhile, the nature of work itself is changing. Notes Florida: Much creative work is project work and projects tend to run in cycles, with periods of crunch time followed by slower periods. (Florida 121) Increasingly, creative employees are seeking and getting -- idiosyncratic deals such as sculpted job descriptions tailored to the individual. People in creative occupations also tend to work more than members of the working class or service class.
The longer hours combined with the blurring of work and personal time creates a perceived shortage of time. People cope through a complex interweaving of their work and personal lives, Florida writes. From morning to night and from workplace to home, they intersperse bursts of work with chunks of personal time for exercise, errands, socializing, family time or just plain downtime. (Florida 153) The time famine engenders new life strategies. Members of the Creative Class pursue activities that provide more intense experiences. Increasingly, they seek to pack their lives full of high-quality, multi-dimensional activity.
They prefer biking or rock climbing to passively watching sports on television. They enjoy up-close, street-level culture cafes, sidewalk musicians, galleries and bistros to the formal settings of museums and opera halls. Above all, they crave authentic ambience as opposed to the ersatz sensations of the shopping mall or a Disney World. This sea change in values has become a driving force in the geography of economic development. Successful regions dont achieve superior economic results by investing in traditional infrastructure like freeways, sports stadiums, suburban malls and theme park-like entertainment districts.
Successful regions dont outperform their peers by undermining their tax bases with incentives to lure foot-loose corporate investment. They excel by providing what creative workers are looking for: abundant, high-quality amenities, openness to diversity of all kinds, and above all else the opportunity to validate their identities as creative people. (Florida 219) Rather than losing significance in the New Economy, Florida contends, geography is becoming more important. Under the rules of the Creative Economy, larger metro areas enjoy a big advantage. People pick a region not to take a single job but to pursue a career.
They expect to change jobs frequently, so they look for job markets conducive to a horizontal career path in their field. In other words, says Florida, people look for a thick labor market. But lifestyle can trump labor markets, as demonstrated by the high rankings of a number of smaller cities with universities. Creative people seek communities that offer an experience compatible with their priorities and values. Where people once were willing to travel great distances to enjoy weeklong vacations at the beach or in the mountains, the time famine drives them to seek recreational amenities close at hand. When they want to take a quick break to recharge their batteries, a beach house or country getaway spot doesnt do them much good, Florida says.
They require trails or parks close at hand. (Florida 223) Likewise, creative people want a vibrant nightlife they can partake in spontaneously when time permits -- cafes, coffee shops and small jazz clubs not operas, symphonies or ballets bound by strict schedules. Creative-minded people also want to live in communities that are tolerant, culturally diverse and open to newcomers. They crave excitement, energy and the interchange of ideas and perspectives. They relish encountering people unlike themselves to trade views and spar over issues. They savor fine architecture and beautiful natural views.
In particular, I would add to Floridas list, creative people appreciate the availability of well designed public places, from parks to plazas, which facilitate human interaction and serendipitous encounters. Some places possess these attributes; others dont. As a result, Florida says, the 1990 s experienced a wholesale resorting of people among cities and regions nationwide. Regions are polarizing between those that are predominantly creative and economically successful, and those that are comprised mainly of Working Class or Service Class people. Those regions that are bypassed by the Creative Class face dim prospects. Ironically, Florida argues, communities characterized by strong social cohesion are often unattractive to the Creative Class.
The old social structures have their advantages: They engender lasting relationships, mutual respect, trust, civic-mindedness and social stability. Commentators often wax sentimental about those virtues, but social cohesion also can inhibit creativity. Innovation is built upon the interchange of ideas. The interchange of ideas is abetted by the intermingling of diverse people with weak social ties, not strong ones. By definition, strong relationships consume more time and effort to maintain. People with weak ties can manage larger social networks, allowing more interchange.
Says Florida: Weak ties are critical to the creative environment of a city of region because they allow for the rapid entry of new people and rapid absorption of new ideas. (Florida 277) Florida suggests that economic developers must pay more attention to the people climate than the business climate. Instead of subsidizing companies, stadiums and retail centers, communities need to be open to diversity and invest in the kinds of lifestyle options and amenities that people really want. (Florida 283) Invest in universities, which are magnets for creative people. Support R&D. Build recreational amenities.
Create cultural districts. Maintain public spaces where people can interact. Develop pedestrian-friendly town centers filled with a diverse mix of coffee shops, cafes, designer artist studios and renovated office lofts. Finally, dont recruit businesses -- recruit artists and other culturally creative people. Florida's thesis rings a chord with everybody. A variety of readers find an encouraging message in Rise of the Creative Class, she explains: people struggling to make a vibrant downtown; people who care about diversity, tolerance and multiculturalism; people concerned about historic preservation; and people advocating smart growth and compact cities.
Creativity is the most highly prized commodity in our economy, which, over the past 50 years, has become increasingly knowledge-driven. Leading this creative economy is the growing Creative Class, about 30 percent of the U. S. work force, whose average salary is much higher than that of the Working and Service classes. A machinist or truck driver is Working class. A janitor or clerical worker, Service class.
But an ad copywriter, actor or graphic designer is Creative Class -- a term Florida coined. With all kinds of research to back the notion that a city's Creative Class has a direct correlation to its economic success, Florida's book turns traditional notions of urban development upside down. The reason certain places are succeeding economically is because Creative Class people want to live there, not because of transportation, stadiums, malls or tourist districts. So instead of just trying to attract big companies and conventioneers, civic leaders should be trying to lure the Creative Class itself, which includes a Super-Creative core of anyone who works in directly creative activity -- artists, scientists, professors, engineers, writers, entertainers, designers, analysts, architects, filmmakers and software programmers -- rounded out by creative professionals who work in knowledge-intensive fields such as the law, medicine, business management, finance and high-tech.
Companies follow this pool of talent, which is drawn to cities that offer a certain lifestyle. But what creative workers want is a lot more complicated than people used to think, and that's why Florida's ideas have become so hot. "Does Phoenix want to stick with retirement homes and manufacturing and service jobs, or make the transformation into a creative economy?" asks Florida. (Florida 111) It's been widely noted that the inspiration for Florida's theory was born in nearby Pittsburgh -- a city known more for its blue-collar history than its high-tech future -- with an empty, staid downtown to go along with it. In Pittsburgh, he first noticed the phenomenon that inspired his research: Creatives fleeing the city because the right lifestyle amenities weren't there. Yes, his adopted hometown had sports facilities and other major attractions. But Florida noted the absence of the connective tissue that makes city life exciting. In short, Florida's recipe for a prosperous city boils down to making an environment where creativity can flourish.
Cities and companies can't ignore this formula if they " re going to succeed, he argues. Traditional ideas about what constitutes culture -- a major art museum, a symphony orchestra, an opera company and a ballet company -- aren't enough. And big-ticket, large-venue events alone won't cut it, either. The Creative Class finds creative inspiration in random moments on a busy sidewalk, in a jazz club, at a cafe. The experience needs to be social, spontaneous and interactive, like checking out a new rock band at a downtown Austin, Texas, hangout, or people-watching at a crowded sake bar in Manhattan's East Village. "I think many times local political leadership is the biggest obstacle, " Florida says. "They really believe that this two-stadiums-and-a-convention-center' formula works. But no one cares!
Look at Austin or the Raleigh-Durham-Chapel Hill area. They succeeded without any of those. " (Florida 170) What does the Creative Class really want? Street-level culture that's authentic and eclectic, part of an accessible district of theaters, bookstores, coffee shops, bars, galleries and restaurants. Clearly, Phoenix...
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