Back in 2002, urban guru Richard Florida published his influential book “The Rise of the Creative Class,” which highlighted the importance of so-called “creatives” — artists, graphic designers, architects, and others — to the vitality of cities trying to overcome long-term decline. Florida’s book helped set the agenda for many a city, including Detroit, where the CEO group Business Leaders for Michigan launched the Detroit Creative Corridor Center in 2010.
In a new book titled “The New Urban Crisis,” Florida reverses much of his earlier optimism about the potential of knowledge-hub cities. These metropolises, he contends, have now become engines of inequality and exclusion.
Are successful cities built on their creative workers? Urban theorist Richard Florida talks to Caroline Kinneberg
From 1995 to 2015, Fast Company looks back at the people, products, and ideas that have transformed business and culture.
The book, The Rise of the Creative Class: And How It’s Transforming Work, Leisure and Everyday Life, has placed the recruitment and retention of the so-called “creative class,” at the forefront of city planning.
Richard Florida is the day’s last speaker at the London Conference, an annual gathering of influencers to debate the city’s challenges and opportunities, in November 2012.
The author of The Rise of the Creative Class has been cited — by such diverse figures as David Cameron and Bono — as an expert on how cities must evolve.
Omaha’s quality of living appeals to what Richard Florida calls the ‘Creative Class’.
Thomas Frey shares eight shocking statements made in 2012, judged to be trend-setters for 2013 and beyond and discusses briefly how they will invariably shift our outlook on the future.
What does it take to revitalize Atlantic City and other places hit hard by the recession, the housing-market collapse and the vanishing manufacturing industry? Economist Richard Florida answers by looking at how this market upheaval differs from others in American history.
Richard Florida, father of the ‘creative class’ concept, finds one at work in his new part-time hometown of Miami, Florida.
Florida has published several books on the theme of the creative class including, most recently, The Rise of the Creative Class Revisited, a substantial revision of his 2002 volume.
The thrust of Florida’s thesis is unchanged: growth of creative industries depends on the “3Ts” — technology, talent and social tolerance. But he has refined his arguments and updated statistical evidence.
In this new millennium, the most influential class in society is something Richard Florida calls the “Creative Class” who boost the economy not through financial ability or skill alone, but rather through their ideas.
The relationship between economic growth and a strong arts presence in a community has really been stirred up by Richard Florida’s book The Rise of the Creative Class.
Florida finds that communities with large number of gays and lesbians and artists project an image of tolerance, openness and diversity which attracts creative people of all types. Where there is a large talent pool of such people, business thrives.
This essay is an excerpt from Richard Florida’s article “The Rise of the Creative Class,” which originally appeared in the Washington Monthly magazine.
Richard Florida with his naming of the “Creative Class” has become a popular economist. His talent at forseeing what class has risen and will continue to rise is discussed in The Rise of the Creative Class. At the heart of economics is a city’s center.
Economic development officials are increasingly concentrating on the types of jobs created, in this case, engineering and the Rock River Valley’s economy.
Ken-ichi IMAI (Director of the Board, Stanford Japan Center), Japanese Institute of Global Communications – March 2004
