By Helin Liu (auth.)
This publication explores the dynamics of the interplay among the advance of artistic industries and concrete land use. it's in response to the case urban of Nanjing, a city representing the second one tier of towns in China's city approach within the Yangtz River delta. This study adopts an interdisciplinary strategy which integrates GIS, ABM, Questionnaire research and Interview.
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Extra resources for Creative Industries and Urban Spatial Structure: Agent-based Modelling of the Dynamics in Nanjing, 1st Edition
Different from the owners of the firms, the workers care for something else when considering their residence location. The value judgement underlying their residence location decision is not primarily economic efficiency but also some other aspects, such as architectural style and mental satisfaction. This difference is well emphasised by Florida’s work on the “creative class”, a group of talents whose lifestyle and work style conspicuously differ from other population groups (Florida 2002). Emphasis on the creative workers’ distinctiveness, however, does not mean that the traditional factors, such as public transportation, shopping services and housing price, are not important.
Department of International Trade, Hunan University, Changsha Landry C (2000) The creative city: a toolkit for urban innovators. Earthscan, London Malanga S (2004) The curse of the creative class. City J Winter(Winter) 36–45 Miles S, Paddison R (2005) Introduction: the rise and rise of culture-led urban regeneration. Urban Stud 42(5/6):833–839 Miller R (1996) Measuring what people know: human capital accounting for the knowledge economy. OECD, Paris Mommaas H (2004) Cultural clusters and the post-industrial city: towards the remapping of urban cultural policy.
By studying the locational behaviour of the new industry, Vang (2007) uncovers that these businesses tend to cling to corresponding agencies such as government offices or sports stadiums for instant information access. Zˇaucer et al. (2011) proceed much further by examining the attractive power of seven locational factors to each of the 13 subsectors identified by the DCMS (1998, 2001). The results reveal that for each subsector, the importance of each factor is different. This is also the case for the creative workers in different sectors.