The designer in the city and the city in the designer

Abstract

Studies on the origins of style and creativity are no longer the domain of art historians and cultural critics. The competitive pressures of a global economy and a growing segmentation of mass markets have made aesthetic innovation the new mantra of late capitalism and, consequently, a new focus in the fields of management, business and economic geography (see, for example, Bjorkegren, 1996; Leadbeater, 1999; Scott, 2001; Howkins, 2001; Florida, 2002). These new studies are centered on the increasing convergence between culture and the economy, as the “symbolic” attributes of goods and services are now deemed key elements of productive strategy. The competitive nature of such goods and services (or “cultural products”), it is argued, flows from their ability to entertain, provide a form of social identity, or confer status, over and above their utilitarian value (Harvey, 1989; Lash and Urry, 1994; Scott, 1996). And the key questions that this line of inquiry poses are how best to enhance the creative process and to realize its economic value.

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