350 research outputs found
From planning the port/city to planning the port-city : exploring the economic interface in European port cities
In last three decades, planning agencies of most ports have institutionally evolved into a (semi-) independent port authority. The rationale behind this process is that port authorities are able to react more quickly to changing logistical and spatial preferences of maritime firms, hence increasing the competitiveness of ports. Although these dedicated port authorities have proven to be largely successful, new economic, social, and environmental challenges are quickly catching up on these port governance models, and particularly leads to (spatial) policy ‘conflicts’ between port and city. This chapter starts by assessing this conflict and argue that the conflict is partly a result of dominant—often also academic—spatial representations of the port city as two separate entities. To escape this divisive conception of contemporary port cities, this chapter presents a relational visualisation method that is able to analyse the economic interface between port and city. Based on our results, we reflect back on our proposition and argue that the core challenge today for researchers and policy makers is acknowledging the bias of port/city, being arguably a self-fulfilling prophecy. Hence, we turn the idea of (planning the) port/city conflicts into planning the port-city’s strengths and weaknesses
Hobson’s choice? Constraints on accessing spaces of creative production
Successful creative production is often documented to occur in urban areas that are more likely to be diverse, a source of human capital and the site of dense interactions. These accounts chart how, historically, creative industries have clustered in areas where space was once cheap in the city centre fringe and inner city areas, often leading to the development of a creative milieu, and thereby stimulating further creative production. Historical accounts of the development of creative areas demonstrate the crucial role of accessible low-cost business premises. This article reports on the findings of a case study that investigated the location decisions of firms in selected creative industry sectors in Greater Manchester. The study found that, while creative activity remains highly concentrated in the city centre, creative space there is being squeezed and some creative production is decentralizing in order to access cheaper premises. The article argues that the location choices of creative industry firms are being constrained by the extensive city centre regeneration, with the most vulnerable firms, notably the smallest and youngest, facing a Hobson’s choice of being able to access low-cost premises only in the periphery. This disrupts the delicate balance needed to sustain production and begs the broader question as to how the creative economy fits into the existing urban fabric, alongside the competing demands placed on space within a transforming industrial conurbation
Cluster Performance reconsidered: Structure, Linkages and Paths in the German Biotechnology Industry, 1996-2003
This paper addresses the evolution of biotechnology clusters in Germany between 1996 and 2003, paying particular attention to their respective composition in terms of venture capital, basic science institutions and biotechnology firms. Drawing upon the significance of co-location of "money and ideas", the literature stressing the importance of a cluster's openness and external linkages, and the path dependency debate, the paper aims to analyse how certain cluster characteristics correspond with its overall performance. After identifying different cluster types, we investigate their internal and external interconnectivity in comparative manner and draw on changes in cluster composition. Our results indicate that the structure, i.e. to which group the cluster belongs, and the openness towards external knowledge flows deliver merely unsystematic indications with regard to a cluster's overall success. Its ability to change composition towards a more balanced ratio of science and capital over time, on the other hand, turns out as a key explanatory factor. Hence, the dynamic perspective proves effective illuminating cluster growth and performance, where our explorative findings provide a promising avenue for further evolutionary research
Innovation in Creative Industries: From the Quadruple Helix Model to the Systems Theory
Knowledge and creativity have always played a key role in the economy. Since the 2000s, the relevance of the creative industries, a high growth sector, has been pointed out as long as its strong and positive effects on jobs and economic growth. In the current context of rapid globalization and technological development, the innovation system is getting even more complex because it implies a shift in research focus from the supply to the demand side environment (consumption-driven economy). The authors focus on theoretical approaches coming from management and media studies able to explain the current paradigm shift in innovation and knowledge production and use: the Triple Helix model (and its developments) and Systems Theory. As an interesting case study, the Creative Enterprise Australia (CEA) is analyzed according the theoretical approaches shown. The paper tries to shed new light on the evolving role of knowledge pointing out the overlapping relationships between all the actors involved and the interpenetration of systems, and the prominent appointment of the media as an interpretative framework of the convergence of the depicted theories
"Open Innovation" and "Triple Helix" Models of Innovation: Can Synergy in Innovation Systems Be Measured?
The model of "Open Innovations" (OI) can be compared with the "Triple Helix
of University-Industry-Government Relations" (TH) as attempts to find surplus
value in bringing industrial innovation closer to public R&D. Whereas the firm
is central in the model of OI, the TH adds multi-centeredness: in addition to
firms, universities and (e.g., regional) governments can take leading roles in
innovation eco-systems. In addition to the (transversal) technology transfer at
each moment of time, one can focus on the dynamics in the feedback loops. Under
specifiable conditions, feedback loops can be turned into feedforward ones that
drive innovation eco-systems towards self-organization and the auto-catalytic
generation of new options. The generation of options can be more important than
historical realizations ("best practices") for the longer-term viability of
knowledge-based innovation systems. A system without sufficient options, for
example, is locked-in. The generation of redundancy -- the Triple Helix
indicator -- can be used as a measure of unrealized but technologically
feasible options given a historical configuration. Different coordination
mechanisms (markets, policies, knowledge) provide different perspectives on the
same information and thus generate redundancy. Increased redundancy not only
stimulates innovation in an eco-system by reducing the prevailing uncertainty;
it also enhances the synergy in and innovativeness of an innovation system.Comment: Journal of Open Innovations: Technology, Market and Complexity, 2(1)
(2016) 1-12; doi:10.1186/s40852-016-0039-
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Reconceptualising the relationship between the creative economy and the city: Learning from the financial crisis
This paper uses the financial crisis as an opportunity to examine a number of key questions about the relationship of the creative economy and the city. We argue that weak conceptualisation of the nature of the relationship between the creative economy and the city, as well as a lack of clarity about what the creative economy is, has subverted debates about this important topic. This paper comprises four major sections: the first introduces the field of the creative economy, the second section seeks to clarify what exactly we mean by the term financial crisis; here we highlight the multifaceted character of the financial crisis and is variable impacts across the field of the creative economy. The third part outlines the range and diversity of the actually existing relations between the creative economy and the city. In the fourth section we reflect upon the earlier argument to consider what we can learn about the impacts (actual and expected) of the financial crisis on the creative economy and the city, and additionally to reflect upon what this might indicate about the changing and perhaps transformed relationship between the creative economy and the city in the last quarter century
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