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The Creative City

Cultural policies and urban regeneration between conservation and development

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Alessia Usai

This book focuses on the relationships between the creative city principles and the planning approach introduced by the European Landscape Convention in order to identify best practices for the development of innovative cultural policies and new urban regeneration tools.

The research is characterized by a cross-cutting approach to cultural heritage. It proposes a new model for the design of advanced cultural districts consisting of a benchmark methodology and a "toolbox" of spatial, economic and social indicators that can be used to build the necessary knowledge. Finally, having Sardinia Region (IT) as reference, the book offers a picture of programs and plans to which the methodology and the toolbox can be applied, outlining their potential impacts within cultural and spatial planning.

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2. Strategies for Creativity

Extract

Strategies for Creativity

Policies, Programs, Plans

2.1 Creativity and the historical urban landscape read through the international charters and declarations

International charters and declarations describing the relationship between creativity and historical urban heritage cover a century-long period of time: from the Athens Charter of 1931 to the UNESCO Recommendations for the Historic Urban Landscape of 2011.

These documents are a very important testimony of the progresses accomplished in the disciplinary fields of heritage protection and conservation, archeology, architecture, and urbanism. This is mainly true in the case of the historical urban landscape, which experienced a remarkable evolution in the last twenty years. The ‘monument’ category, which until the 1970s represented the ideal enclosure for the components of the historical architectonical heritage under protection, has shifted towards a much wider label: “landscape”. This was conceived as the result of the territorial transformations produced by nature, human activity and their interaction through time (Council of Europe, 2000; Gambino, 2003; Mautone, 2009; Niglio, 2009; Colavitti, 2009; Settis, 2010; UNESCO World Heritage Centre, 2010). Yet, by widening the ‘protection’ of these historical urban landscapes, they are put in danger of being harmed in the long run (Carta, 1999). Quoting Gambino “if you want to protect everything, you will not protect anything”1 (Gambino, 2003). This critique mainly emerges in relation to the need of circumscribing the sectors of the historical city to put under protection according to their landscape value. This is why in the Operational...

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