Creative Spaces: Opportunities for Social Inclusion and Practices of Social Exclusion

Yukhno Irina Viktorovna

St. Petersburg State University, Faculty of Sociology

undergraduate

Supervisor: Khokhlova Anisya Mikhailovna, Candidate of Sociological Sciences, St. Petersburg State University

Annotation:

One of the most relevant topics related to the design of the public social space of the city has recently been creativity as a factor in the successful development of cities and their "climate", as well as a resource for creating a positive image of urban infrastructure, stimulating financial investment in the improvement of districts and attracting new intellectual resources. In the past few years, in place of industrial centers that have closed or moved to other areas, creative spaces have begun to develop, which have become the embodiment of the idea of ​​a “creative city”. Creative spaces have become an example of solving the problem of depressed areas and a way to reconstruct unprofitable industrial zones. However, often, both in Western and Russian practice, the interests of the “creative class” do not coincide with the interests of other social groups, and the question of the possibility of influencing and regulating urban development plans is decided in favor of the former. As a result, new social

Abstract: One of the most actual questions of constructing public social spaces in the city is the role of creativity in successful urban developing and it "climate" and as a resource for constructing a positive image of cities infrastructure that stimulate financial investment for improving areas and attract new intellectual resources. In the last few years at the site of the closed or moved to other areas industrial centers began to develop creative spaces that directly have realized the idea of ​​"creative city". Creative spaces became an example of how to solve the problem of depressed regions and reconstruct unprofitable industrial zones. But often, both in European and Russian practice interests of "creative class" does not coincide with interests of other social groups, and the possibility of influence and control of urban development plans is solved in favor of the first. As the result appear new social boundaries for social exception to the less privileged classes, which leads to desta

Keywords:

creative spaces; social integration; social exclusion; public places; symbolic production

UDC: 301+303.642.022

Second half of the 20th century It is characterized by the decline of entire industrial clusters in North America and Europe, as a result of which, in cities where large industrial complexes were a resource for socio-economic development, the question of finding new jobs and a new source of self-identification became acute. One of the solutions for the revival of "dying" industrial centers was the reorganization of former industrial premises into various kinds of creative spaces. Powerful industrial clusters have turned into attractions for entertainment, tourism and a haven for creative industries: workshops have become venues for art centers and concerts and exhibitions. In the cities of the once largest coal and metallurgical cluster in Europe in the German Ruhr, music festivals are held and the film industry is developing. The city of Emscher Park, which housed the largest steel plant in the world, today is a city-museum of illuminated advertising.

The decline of Western industrial cities required the search for new development resources, which stimulated the formation of a modern creative city, in which the creative class is the main economic force, according to R. Florida. In fact, the creative class is a group of creatively oriented professionals who strive to live and work in creatively organized venues. It is the representatives of the creative class who boldly settle in yesterday's plants and factories, turning them into places of seething activity, testing grounds for the joint generation of ideas and public spaces. The peculiarity of the creative class lies in its heterogeneity, since creative professionals are representatives of various creative and science-intensive professions, but the ability to generate new viable business ideas that are a synthesis of creativity, high technology, fashion and culture is fundamentally important for all of them. On the other hand, the creative class is made up not only of creative entrepreneurs and freelancers, but also of the respective consumers of these advanced ideas.

“The creative professionals themselves, in turn, do not just concentrate where the workforce is needed. They live where they like and prefer centers of creative activity. Creativity has always flourished in certain places, from classical Athens and Rome to Medici-era Florence and Elizabethan London, all the way to Greenwich Village and the San Francisco Bay Area. As the great urbanist Jane Jacobs pointed out long ago, places that succeed are multi-dimensional and heterogeneous—they don't serve any one industry or a single demographic group; they are distinguished by an abundance of creative stimuli and creative interaction. In my consulting practice, I often explain to leading politicians and businessmen that a place needs a human climate - or a creative climate - as well as an enabling environment for business."

Thus, according to R. Florida, in order to ensure the vital activity of a creative city, it is necessary to stimulate the creation of specific spaces for the concentration of creative professionals and their intermediaries in them, which contribute to the development of innovative ideas and technologies. If the city is not able to accumulate within its borders a sufficient number of creative spaces, it inevitably loses the most active, capable, development-oriented part of the population. Talents striving for growth and self-realization always rush to where they can receive maximum development and recognition. Moreover, the creative urban environment is also a means of production: when a person enters the information enriched environment of a creative city, his own creativity and intellectual abilities grow. That is why at one time poets seeking success rushed to Paris, architects and artists to Florence, composers to Vienna, and so on.

And today, the trend that appeared centuries earlier has turned into an ideology for the development of modern post-industrial cities, where a person and his abilities are recognized as the most valuable resource. Therefore, in modern conditions, various options for territorial localization for the production and consumption of new products, ideas, emotions are connected into a certain typology of creative spaces, where more and more new units, such as art factories, art reserves and coworking zones, are connected to already traditional quarters, clusters and lofts. .

By creative spaces, we mean, first of all, a socio-cultural environment of interaction that unites communities of creatively oriented specialists that produce creative content and new symbolic images. This is a multifunctional platform that allows to accumulate on its territory a variety of cultural, business, educational, relaxation and work sites, cultivating a variety of communication practices and cultural patterns. Thus, a creative space is considered to be "a space provided with an appropriate organizational structure that ensures the concentration of creative processes and the density of communication between their participants, in which a synergistic effect occurs." In a broad sense, this is a new form of sociocultural communication that allows you to rethink the urban industrial heritage, connecting the dynamics of business processes and the potential of creative professionals and their intermediaries.

Similar models of spatial organization arose at the end of the last century in America and Europe. In recent years, the problem of stimulating creativity in society, in particular, through the design of creative spaces, has also touched Russia. At present, Winzavod, Danilovskaya Manufactory, Flacon, Red October, ArtPlay, etc. operate in Moscow; in St. Petersburg - "Weavers", "Floors", "Pushkinskaya, 10", "Rizzordi Art Foundation", "Asterisk", "Red Triangle", "Torch".

The unique identity of creative spaces is enhanced by certain forms of use of these spaces that link culture and consumer practices. The success of the actual meanings constructed here, which are becoming in demand by the modern capitalist market, is due to the contribution of creative specialists who managed to combine the avant-garde and a delicate attitude to the historical heritage. The symbolic capital produced by creative professionals is converted into economic capital, becoming very attractive for business structures. As a result, the space constructed by the creative class is transformed from an arena of cultural production into a platform for economic production.

As a result, the urban space is revitalized through the construction of modern multifunctional cultural centers with public functions, focused on the development of the service sector and the promotion of small business. That is why public spaces become the main object of urban planning policy in a post-industrial city. Following the tradition of L. Lofland, by public spaces we will understand spaces that meet such conditions of public life as diversity, openness, and general accessibility.

Assessing creative spaces from the point of view of these criteria, it should be noted that for representatives of the creative class, they are, first of all, an environment that transmits the ideas of free interaction, tolerance for “different” forms of self-presentation and behavior. According to R. Florida, the logic of the symbolic economy of post-industrial cities has transformed modern public spaces into spaces of consumption, where the main sources of attractiveness and economic efficiency are diversity and immediacy, which allowed the city to “draw into its orbit the talents of various groups of eccentrics and nonconformists, previously excluded from its economy. ”and to concentrate in the very center of progressive socio-economic life those who were previously considered marginalized and were excluded from public activity. Today they, as carriers of new cultural values, expressed in the desire for individualization and self-expression, for the search for a non-trivial rich social experience, are mainly concentrated in urban public spaces, which have a sufficient variety of communicative, professional, cultural and leisure practices.

In addition, numerous heterogeneous urban communities, constantly confronted with cultural diversity and new forms of communicative activity, "form special audiences that are able and ready to perceive creative ideas from outside and engage in creative communication themselves."

The openness, accessibility and tolerance broadcast by urban public venues also provide opportunities for constructing new identities and cultural alternatives, the presence of low entry barriers for various people and groups, which implies the inclusion in public life not only of the traditional layer of urban residents, but also of "innovative outsiders". »: migrants, homosexuals, bohemian elites, etc. Therefore, public places, where different ideas, initiatives, interpretations may collide, where strangers with different cultural experience, different value ideals, and taste preferences meet, become a powerful resource for the production of creativity. Postmodern culture, which defines itself through the denial of the principles of modern society: standardization, universalization, rationalism, relies on heterogeneity, playful rethinking of reality, theatricality, local specifics, and uniqueness. The general accessibility and openness of such public areas as creative spaces also means that in all the variety of potential audiences there are people with different cultural and social capital, who perceive and evaluate the creative initiatives of creative specialists in different ways, exposing their products to wide groups.

However, these criteria, which are associated with the conventional understanding of public spaces, are less and less likely to meet the realities of post-industrial cities subject to total commercialization. In light of this trend, public spaces are increasingly being appropriated by businesses and large corporations, which reduce urban public spaces to consumption sites, deriving private benefits from their operation in the form of commercial profits.

Considering the criteria described above in the context of the commercialization of public spaces and their privatization by business elites, it is worth noting that as creative spaces transform into spaces of consumption, where consumer rather than cultural and communicative practices prevail, the diversity assumed in them is reduced to a variety of publics who are ready and have the opportunity to practice the cash type of consumption. As a consequence, the openness and accessibility required to sustain urban public life is also being replaced by the demands of conformity to new cultural and consumer standards produced by creative innovators. As a result, in the conventional sense, the open public spaces of modern cities are being replaced by "semi-public" places.

Of course, this cannot be called a completely new trend, since “semi-privatized” public places have always existed, for example, stadiums, which are open only to publics that share certain interests, etc. However, today the importance of taste preferences in the design of public spaces is complemented by a financial barrier, since access to them is also limited on the basis of income and type of consumption. Creative spaces in this sense, having reduced their social and cultural mission, begin to function as commercial centers with owners and administrations who exercise formal control over these sites, restricting, if necessary, the access of unwanted public.

Analyzing modern urban trends, R. Sennet and later Z. Bauman describe the public spaces of post-industrial cities as nominally public, because, not being private or privatized, they are actually deprived of an important quality for public space - public culture. So, for example, shopping centers, entertainment venues are not focused on creating a culture of communication and interaction between different groups and people, which is an essential condition for constructing the public sphere.

Considering creative spaces in the context of this thesis, we note that, in contrast to the nominal public spaces described by R. Sennett and Z. Bauman, devoid of public culture, creative spaces, on the contrary, cultivate a fruitful communicative environment, allowing various publics that meet here to exchange ideas, create networks of relevant experience, professional communities, etc.

Thus, creative spaces as public places, despite the transmission of ideas of diversity and tolerance, despite the possibility of interaction between strangers, are more likely to become semi-public, since the very concept of creativity, declared as a powerful filter, restricts access to these places for anyone who does not have such a criterion. . On the other hand, the commercialization of creative venues also narrows the circle of potential participants in the interaction and the public able to share their creative experience and exchange creative ideas. The privatization of creative spaces by business elites also leads to the fact that the creative specialists who once worked here, unable to bring timely profits to their investors, are forced out of these sites, falling back into the marginalized group. The logic of late capitalism, which relies on what S. Zukin calls “capitalization through culture”, allows it to include in its orbit those who are capable of producing new cultural modes and meanings, and again excludes them if these symbolic systems are no longer relevant.

In addition, the growth of the symbolic significance of the place through the construction of various kinds of creative spaces in depressed areas leads to the concentration of not only creative practices, but also representatives of creative communities, investors and businessmen in the reconstructed areas, as a result of which local residents are forced to leave the revitalized neighborhoods at the same time. as housing becomes more expensive, prices for consumer goods rise, rents and rents increase. On the other hand, creative specialists: artists, architects, designers, etc., who have the opportunity to communicate with the administrations and business elites of the gentrified territories, can broadcast ideological values, political and economic preferences, placing their works in depressive places. “From this point of view, new art objects are rejected by many citizens for the reason that they are perceived as an attempt on the mythologized past and at the same time as images of alienated reality, as a product of dangerous social practices, as signs of the dominance of new elites not accepted by the collective consciousness.” As a result, local residents are forced to form alternative spatial tactics, agreeing with new transformations or excluding them from their daily practices (ignoring or destroying them). At the same time, the question of what happens to those who lived in these disadvantaged areas before they were occupied by creative professionals, not to mention what happened to them after the creative industries gave way to business structures, all more often remains somewhere on the periphery or even outside the discourse of the creative economy.

Therefore, the modern practice of constructing creative spaces in the broadest sense is a competent strategy for manipulating social patterns of interaction and serves as an example of the distribution of power in the modern world.

In addition to the above, a qualitative content analysis was carried out to analyze and test this idea. The documents used were lectures by leading urbanists of our time and ideologists of creative theories (lectures by J. Hawkins, T. Fleming, R. Florida, etc.), seminars dedicated to the development of creative spaces, since within the framework of such meetings one can clearly observe the clash of various discourses, as well as the official pages of the St. Petersburg creative spaces "Weavers" and "Etazhi" VKontakte. The results of the analytical work are presented in fig. one.

Figure 1: Shaping the discourse of creative spaces

The diagram shows how the discourse of creative spaces is built in various sources and how, at the level of social practices, the discourse of integration is, as a result, replaced by the discourse of social exclusion.

So, from the point of view of economic profitability, creative spaces that do not bring immediate benefits to their investors are commercialized and give their sites to the most financially profitable projects, and not those that provide more interest to the public and their creators. From the point of view of urban planning and local administrations, the design of creative spaces is welcomed and even encouraged in a number of countries, as it leads to the gentrification of areas and their increase in commercial value. At the level of theoretical discussions, such projects are of fundamental importance, since they make it possible to create conditions for the integration of various social groups in a single field and to concentrate a rich variety of social practices in a narrow space. However, the creative class, or at least representatives of the intellectual and creative circles, plays a key role in this discussion, which refers us to the elitization of theory and the isolation of the modern ideological construct from this discourse - the creative class. The ideological dominance of a few members of the population forces social scientists to address the problem of social exclusion, which arises against the background of the popularization of the theories of the creative city and the creative class.

One of the consequences of the privileged position of the representatives of the creative class is the gentrification of depressed areas, which implies generally positive changes - general improvement and beautification of territories. However, agreeing with the remark of P. Bourdieu, any aesthetics, any art also implies relations of power: "aesthetics can be - and almost always is - a means of drawing boundaries and social exclusion." Therefore, today low-status social groups are forced out of the limits of symbolically significant creative spaces, or isolated within revitalized areas, depriving them of access to new material and symbolic benefits concentrated in them.

On the other hand, the synthesis of political, business and urban rhetoric leads to the fact that through the rapid resolution of urban issues, in public discourse accompanied by the rhetoric of "city development" and "integration" of various groups (C. Landry, R. Florida), there is no solution to urgent problems, but attempts to create mechanisms for coexistence with these problems.

Therefore, the discourses of exclusion and elitism found around the idea of ​​constructing creative spaces become the reason for a skeptical and critical attitude towards the concept of “creative spaces”, which developed as a strategy for social interaction of various groups within a heterogeneous urban environment.

Thus, today the social mission of creative spaces, to which the theorists of the creative city, the creators and investors of these sites appeal, does not justify itself. In a broader sense, the struggle of discourses "integration" / "exclusion" appears as a struggle for the principles of structuring the modern socio-political system of society.

Bibliographic list:

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Reviews:

09/29/2014, 20:12 Klinkov Georgy Todorov
Review: The idea of ​​a "creative city" has primarily an urbanization character. The architectonics of a modern city has gone far beyond the pages of classical schemes and views. Pragmatism dominates. Because the design of the interior space of housing does not meet exterior expectations. Recommended for publication. direction. 2. The philosophy of a person in relation to his own home is shown delicately and at the same time categorically. 3. Creativity is primarily a stirrup for the utilization of a dynamic human society. Success

22.10.2014, 0:24 Oganyan Karina Kadzhikovna
Review: The article is relevant, is of particular interest in the context of the direction Sociology of the city. I consider the problems raised and considered in the article by the author to be perspective and multifaceted. The article can be recommended for publication.

ISSN 2304-120X

Ermakova Larisa Ivanovna,

Doctor of Philosophy, Professor of the Department of Historical and Social Philosophical Disciplines, Oriental Studies and Theology, Pyatigorsk State University, Pyatigorsk [email protected]

Sukhovskaya Daria Nikolaevna,

Candidate of Philosophical Sciences, Senior Lecturer of the Department of Historical and Social Philosophical Disciplines, Oriental Studies and Theology, Pyatigorsk State University, Pyatigorsk [email protected]

Gorohova Alexandra Evgenievna,

student of the Federal State Budgetary Educational Institution of Higher Education “Pyatigorsk State University”, Pyatigorsk

The specifics of the formation of creative space in single-industry towns*

Annotation. This article proposes to consider the features of the formation of creative spaces in single-industry towns. Here, the possibilities of their formation in large and small single-industry towns of Russia are analyzed. Key words: space, monocity, population, economy. Section: (04) economics.

Today, when political sanctions affect the economy, an important and key moment in the development of our country is the development domestic market. Its development can be carried out due to the fact that the main finances that were previously spent on imported goods can be redirected towards the development of large industrial cities. This topic also affects single-industry towns, that is, settlements where the economy and infrastructure depend on one or many enterprises that are interconnected. The word "single city" is an abbreviation of the concept of "single-profile city", where the Greek prefix "mono" means "single". These enterprises are also called "city-forming". These manufacturing enterprises employ the bulk of the population, which undoubtedly has an impact on the employment of the population, has a great impact on the socio-cultural life of this city. According to state legislation, in order for an organization to be recognized as a city-forming organization, it must employ at least twenty-five percent of the working population of the corresponding settlement. This fact confirms that the workers of these enterprises are the main working mass of the city. This statistics cannot be ignored, since the efficiency and quality of the company's work directly depend on the workers.

According to the latest data, the number of such municipalities in our country is 319. This includes both cities and urban-type settlements. After monitoring Russian single-industry towns that have a stable social

* The publication was prepared within the framework of the support of the Russian Humanitarian Foundation scientific project № 16-33-00035.

ISSN 2E04-120X

scientific and methodical electronic journal

Ermakova L. I., Sukhovskaya D. N., Gorohova A. E. The specifics of the formation of creative space in single-industry towns // Scientific and methodological electronic journal "Concept". - 2017. - No. S5. - 0.3 p. l. - URL: http://e-concept. ru/2017/470067. htm.

economic situation, we can say that in the vast majority these are not large cities. The population in them ranges from the largest of 705.5 thousand people. (Tolyatti, Samara region), to the smallest of 1.7 thousand inhabitants (Svetlogorye settlement, Primorsky Territory). It is necessary to take into account the fact that in this list the number of cities whose population "passes" over 300 thousand inhabitants is only 6. Further, the number of inhabitants decreases, and settlements up to 100 thousand inhabitants prevail.

Such small points are not always taken into account, which affects the development of infrastructure. This is especially true of its social side, that is, industries, enterprises that would provide an acceptable livelihood for the population. Each small town has a standard set of infrastructure, consisting of administration buildings, a hospital, military and police stations, stations of the Ministry of Emergency Situations and several buildings of philharmonic societies and theaters (which, for the most part, few people visit). All these buildings are in a state of disrepair, since no one cares about the transformation of the city, because all the power goes to work and the maintenance of the family. On the other hand, no funding is provided for this, although much is imposed by the state itself.

Since many of the single-industry towns are small points of accumulation of people (in comparison with ordinary cities), few people think about expanding, increasing, and improving infrastructure. But let's talk about infrastructure not only as a set of minimum life services, but also as an opportunity for the population's leisure activities, the identification and development of its creative potential, the development of its individuality.

Judging by the current and past state of the Russian economy, it is difficult to say that small single-industry towns have the same developed infrastructure as large cities have. Hence the problem of the formation of creative space.

Creative space is free zone for the exchange of innovative creative ideas between the creative population of the city. Also, the creative space is a platform for self-expression, demonstration to criticize one's own work or evaluate others. I would like to note that visitors to such creative spaces can be not only people of creative professions, but also residents of the city who are engaged in creativity in their free time. That is, it is a hobby for them, a kind of leisure activity that can diversify their daily life. In modern large cities, this is a fairly common occurrence.

Creative space can exist in several forms: 1) art space - huge spaces (most often former industrial areas) converted into housing, offices, cafes, work areas, exhibition areas and other multifunctional areas; 2) loft - a living space converted from a building that was built for other purposes (former factory shops, warehouses); 3) coworking - a modern scheme for organizing the workflow, when not always similar activities take place in the same workspace; 4) art center - a functional center, different from an art gallery or a museum, where a place is provided for exhibitions, seminars that encourage the practice of art, technical equipment is provided.

But in order for these forms of realization of the creative potential of people to become possible in a certain mono-city space, it is necessary to have

scientific and methodical electronic journal

Ermakova L. I., Sukhovskaya D. N., Gorohova A. E. The specifics of the formation of creative space in single-industry towns // Scientific and methodological electronic journal "Concept". - 2017. - No. S5. - 0.3 p. l. - URL: http://e-concept. ru/2017/470067. htm.

certain urban environment. The urban environment is a complex of many objects that form a special characteristic space where there is the possibility of relationships. Its quality mainly depends on how fully the real demands and needs of the townspeople can be satisfied here. Although the possibility of fulfilling communicative and cultural needs is generally related to the level of cultural potential of each individual city, the cultural potential itself is the ability of the population to create and maintain an environment for its development.

These conditions fit perfectly into the urban environment of large, developed cities, mainly administrative centers, where the bulk of the population is located and where people flock from the outskirts. That is why nowadays, especially in the last few years, coworking zones, loft zones and various art spaces have become so popular. St. Petersburg has become an innovator in this matter for our country, the degree of development of the urban environment of which is difficult to dispute.

But we are faced with the question of the development of these zones in the environment of monotown spaces, where, as I mentioned above, the vast majority of cities are by no means large. Basically, these are cities and urban-type settlements, where the number of citizens is up to 100 thousand people. Of these, approximately 15-20% are pensioners, approximately the same figures are assigned to the disabled population, that is, children and the disabled. Therefore, not all residents are interested in the development of the urban environment and creative spaces: someone who is not looking for opportunities to unlock their creative potential, and someone because of their inability. In addition, if we focus on the fact that these are small settlements, where almost everyone has their own land plot on which they do household chores, then the main time resources, in addition to working time, are spent on processing and caring for the land. This process is very time-consuming and takes almost all the free time, turning into a kind of hobby. For this type of society, the expression of one's creative "I" becomes a need far from being the main one. Therefore, the main problem is the formation of creative spaces in sparsely populated single-industry towns.

Many programs exist and are being developed to support the development of single-industry towns. The main commercial support, undeniably, is state support. At a recent meeting held on August 10, 2016, regarding the support of single-industry towns, President V.V. Putin instructed not to slow down the pace of economic diversification. a lot of funding has been allocated. In addition to commercial support, there are also non-commercial projects. One of them is the NPO "Fund for the development of single-industry towns", whose main goals are to attract investments, create jobs and train teams to manage single-industry towns. But all this concerns the economic component, while practically no one thinks about the social component.

Based on the above statements, it is necessary not only to create the same type of creative spaces, but to develop a specific strategy for the development of the individual social environment of each single-industry town. The social environment of the city is made up of the general cultural level of the inhabitants, which should provide basic information about what a particular resident of a particular area needs.

Perhaps there are such settlements where people cannot express themselves due to their enslavement, which appeared here and remains

ISSN 2E04-120X

scientific and methodical electronic journal

Ermakova L. I., Sukhovskaya D. N., Gorohova A. E. The specifics of the formation of creative space in single-industry towns // Scientific and methodological electronic journal "Concept". - 2017. - No. S5. - 0.3 p. l. - URL: http://e-concept. ru/2017/470067. htm.

to this day, as they had not had to do this before. Such a society needs some form of adaptation that will allow them to start learning about the opportunities that will be presented to them. And larger settlements already need the sites themselves, where there is an opportunity, and most importantly, the need to exchange their own experience.

The quality of work at the city-forming enterprises depends on the workers. Based on Maslow's pyramid of needs, a person's belonging to a certain group, his respect and, ultimately, self-expression occupy the final three steps after the most primitive physiological ones. This allows us to judge that spending leisure time and the opportunity to know oneself outside of working hours, to relax and be distracted by some other type of activity that can be done in those very creative spaces, gives a person complete satisfaction of needs. Everyone knows the simplest truth: if a person is satisfied, then his performance, the quality of work increases.

First of all, to achieve the above goal, it is necessary to monitor and analyze the settlement and its inhabitants. The data obtained will provide the necessary information to determine the degree of neglect of the state of the urban environment. These states can be divided into 4 categories: 1) neglected state, 2) depression phase, 3) stagnation phase, 4) developed urban structure. Each category should develop its own action plan for the implementation and improvement of creative spaces.

For this kind of activity, it is necessary to create organizations whose activities will be aimed specifically at identifying such categories. These organizations should continuously cooperate with economic ones, since these two indicators (social and economic) are inextricably linked. Particularly neglected cities and cities in depression should be directed step by step to the development and exit from the depression, following the general mood of the population, the economy will also rise. Cities that are stuck in a phase of stagnation (stagnation) should be filled with innovative ideas that would push them to get out of this phase. And accordingly, cities with a developed urban structure should be left under surveillance in order to develop certain schemes that affect the population and the economy.

The modern world is changing too fast. Someone knows how to quickly adapt to emerging conditions, while someone is not. But due to the fact that the conditions of existence are changing every day, it is necessary to create new ways of survival. In this case, single-industry towns are an important part of the Russian economy, the decay of which will lead to an inevitable collapse. You should pay attention to them, and the introduction of creative spaces is like a breath of fresh air after a long exhausting work, which can give new strength to show its importance and power again. Although experts predict a short life of creative spaces in today's arena, they will be followed by new innovative trends that can give fading cities another chance.

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Ermakova L. I., Sukhovskaya D. N., Gorohova A. E. The specifics of the formation of creative space in single-industry towns // Scientific and methodological electronic journal "Concept". - 2017. - No. S5. - 0.3 p. l. - URL: http://e-concept. ru/2017/470067. htm.

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7. Sukhovskaya D. N., Ermakova L. I. The role of FPE in shaping the strategy of sustainable development of the Russian society // Scientific and methodological electronic journal "Concept". - 2016. - T. 26. -S. 51-55. - URL: https://e-koncept.ru/2016/46411.htm.

Larisa Ermakova,

Doctor of Philosophical Sciences, Professor, Department of historical and socio-philosophical disciplines, Oriental studies and theology, Pyatigorsk State University, Pyatigorsk [email protected] Daria Sukhovskaya,

Candidate of Philosophical Sciences, senior lecturer of the Department of historical and socio-philosophical

disciplines, Oriental studies and theology, Pyatigorsk State University, Pyatigorsk

[email protected]

alexandra gorokhova,

Student, Pyatigorsk State University, Pyatigorsk

[email protected]

Specificity of the formation of creative space in single-industry towns

abstract. This article proposes to consider the features of the formation of creative spaces in these towns. It explores the possibility of their formation in large and small towns of Russia. Key words: space, mono, population, economy.

Nekrasova G. N., doctor of pedagogical sciences, member of the editorial board of the journal "Concept"

Received a positive review 03/15/17 Received a positive review 03/17/17

Accepted for publication Accepted for publication 03/17/17 Published 03/27/17

© Concept, scientific and methodological electronic journal, 2017 © Ermakova L. I., Sukhovskaya D. N., Gorohova A. E., 2017

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To form an idea of ​​the essential role of artistic technique, material and tool in creative activity; Contribute to the preservation of the immediacy and liveliness of the result of creative activity, the development of content, form, composition, enrichment of the color range of compositions; Expand artistic perception, develop the skills of observation, attention and building associative links of the idea through a variety of techniques; Stimulate creativity. We are guided by the following tasks:

The interest of the development community in the creation of so-called "creative spaces" does not fade away. During the last year in St. Petersburg every day there was a statement about a new "creative project". And therefore, it is quite timely to ask the question - are these spaces needed in such quantity, and if so, to whom and why?

The interest of the developer community in the creation of so-called "creative spaces" - projects designed to attract the creative community and implement all kinds of art ideas on their territories - does not fade away. During the last year in St. Petersburg every day there was a statement about a new "creative project". It is quite timely to ask the question - are these spaces needed in such quantity, and if so, to whom?

In total, the number of various lofts, coworking zones, art territories has long exceeded several dozen. However, large or simply recognized projects in their environment can be counted on the fingers. Among the most successful are "Etazhi" and "Tkachi", which can be called the pioneers of the industry (unless, of course, we take into account the legendary "Pushkinskaya, 10"). The Bulthaup Gallery and the Erarta Museum give their space for all kinds of art events, the Taiga project is working quite successfully. Less large-scale (in terms of occupied space and number of residents), but very interesting spaces - "Stool", "Third Place", "Zone of Action", the recently opened Kokon Space.

Some projects exist only on paper. Ambitious plans to create a creative cluster with an area of ​​about 20 thousand square meters. m are being built by the owners of the Lenpoligraphmash plant, while they have managed to gather under their roof only a few specialized residents - the A2 and Case Club clubs, the Make It design and urban center and a number of others. About plans to invest about 300 million rubles. Mekhanobr-tekhnika announced that more than 2 hectares of land on Vasilievsky Island will be converted.

Assessing the reality of these undertakings, it is worth recalling the history of the territory of the Red Triangle factory, which was predicted to be the center of rock culture and the underground. It has not yet been possible to implement the plan in a comprehensive manner due to lack of funding: the areas of some production buildings are simply rented out for offices and music studios.

The owners of the Krasnoye Znamya factory also encountered a similar obstacle, hoping to turn part of the workshops into a cultural and business center and a museum of modern art. However, the "Red Banner" has a chance to be rehabilitated - with the help of the administration of St. Petersburg, which intends to start creating its own creative cluster. "Red Banner" is one of the options for its placement, along with the "Crosses" insulator, the rope workshop of the "Red Gvozilshchik" plant, tram depot No. 2 on Vasilyevsky Island and the territory of the Admiralty, Petrovsky Dock and the Summer Garden in Kronstadt. At this point, the information that is known about the urban creative cluster is exhausted, and even experts close to the industry still do not really understand what this project will be like.

It remains unclear, perhaps, the most fundamental point - who will be the user of all these creative spaces? Is there enough "creative industry" in St. Petersburg that should bring income to the authors of such projects? And is it possible to expect that such projects will be long-lasting, especially against the background of the fact that investors in the development of the Krasny Oktyabr factory in Moscow have already decided to abandon the rather successful creative cluster that has formed here and return to the original plans to build luxury housing on this land.

RBC conducted several blitz interviews with industry experts and asked for their opinion on these issues. The main conclusion is that creative spaces are only a temporary option for using real estate objects, there is no business as such in these projects, however, without bringing serious income, creative industries allow to “warm up” interest in territories and increase their capitalization. This means that subsequently such a property - but with a completely different function - the owner will be able to sell or rent for more favorable prices. Thus, thanks to the experts, an explanation was also found why the creative cluster became so interesting for the city administration. It turns out that this is practically the only way to interest business in the redevelopment of urban areas.

Aleksey Neshitov, director for development of the creative space "Tkachi": "You can't build a business at theaters alone"

- Is there in St. Petersburg the same "creative industry" for which your project, and many others that continue to actively appear now, are intended?

Now we have about 60 tenants, and the number of organizations and creative start-up projects interested in the opportunity to stay with us has long exceeded one thousand. I think that if not three, then two of the same buildings (the area of ​​"Tkachi" - 13 thousand square meters) we would be able to fill even now.

- But, probably, only if this industry is understood quite broadly?

It is unlikely, of course, that we would be able to fill the project only with theater and musical groups. We simply could not afford this, because we have a market rent, 1,100 rubles per sq. m. m per month including taxes and utilities, and such projects, as a rule, are very poor and usually require various kinds of subsidies and subsidies. But they are among our tenants, but they are no more than 30-40%.

- Your rent is really good. How do representatives of the creative industry "survive" and what attracts them here, proximity to "their own kind"?

Since May last year, only two tenants have left us from the most demanding segment for us - shops on the ground floor. We do not have "special" commercial conditions for representatives of the creative industry, therefore, I think that the choice is made primarily in favor of the concept, the desire to be close to their own kind, since such companies very often become partners with each other and make some kind of joint projects.

- Is there any fear that the fashion for lofts and creative spaces will soon pass and the owners of such projects will find more cost-effective use of land, an example of this is "Red October" in Moscow?

For Krasny Oktyabr, the creative space was an anti-crisis solution, and the construction of premium-class housing and business centers was planned here from the very beginning, so I don't see any contradictions. We're not going to be "fashionable". Perhaps those tenants who rely on fashion will leave us, but those who really see the need for themselves in this project, the convenience of location, services, and so on, will remain. And I'm sure they are the vast majority.

Director of the Center for Applied Research at the European University at St. Petersburg, researcher at the Center for Independent Sociological Research, urban sociologist Oleg Pachenkov: "A creative cluster cannot be imposed" from above "

- Isn't there a feeling that there are already several creative spaces in St. Petersburg in abundance, while the city administration has announced five sites where such projects could potentially appear.

The potential of the creative industries, it seems to me, is enough for the existing and possible number of spaces. And if such projects continue to appear in the city, it means that there are still not enough of them. Another issue is that not everyone, perhaps, is suitable for placement within the same walls, some of such projects - probably a large one - should be dispersed throughout the city. But for me personally, for example, it is not entirely clear why the city administration chose five, not three, and not seven sites?

- That is, business should still initiate such projects?

A creative cluster is an element of public life and cannot be imposed "from above". Private initiatives in this area are more organic. In addition, in my opinion, there is a serious problem with the ideologists for such projects, and it was necessary to start not with the study of spaces, but to study people in this environment, and already with them to determine the points of intersection of the interests of the creative industry with specific places on the city map. The role of the state in this area should be similar to a curling player - he should not push the stones or show them the way, he should only rub ice in front of them so that they roll faster.

- But it is clear that the creative industry is not very profitable. Is there a danger that over time, when the fashion and excitement around this topic will pass, Russian businessmen will find more effective use for their buildings and land?

I see no reason why this should be feared. This is a standard process, and around the world, in eight out of ten cases, such projects are temporary. In the West, they also appeared as temporary use due to the closure of industrial sites. We can say that in order to remain relevant, such projects need to be updated, or, if you prefer, die and be reborn again. The most important thing in this situation is that the residents of such projects also understand this, but know that they have not a year, but, say, five years to work in this project and calculate their plans.

Vladimir Knyaginin, director of the North-West Center for Strategic Research: "To create a creative space does not mean to carry out development, but to fill it with interesting content"

- Is it possible to somehow assess the place of the creative industry in the economy of St. Petersburg, including in comparison with the main "creative" cities?

An example of the creative industry is London, where about 15-20% of the employed population are somehow connected with this industry. It includes all those who are engaged in the production of images, impressions, experiences: theaters, cinema, fashion industry, programming. Such activity presupposes an irregular working day, a certain way of being, independence of thought. Unlike London, on average, about 7-10% of the population is employed in the city's creative industries. If we talk about St. Petersburg, then it falls short of this level, however, the main part of its creative industry is the HORECA segment (hotels, restaurants, cafes).

- What about the quality of the creative industry and creative spaces in St. Petersburg?

It is important to emphasize that the creation of a creative space is not just a development. It is much more important to make a creative space interesting for a stay, to ensure its high-quality content. The Finns in this matter have advanced much further than St. Petersburg, not to mention the world capitals of creativity.

- And why does the city need its own "creative cluster" in the presence of a sufficient number of private projects?

With the advent of creative industries, the capitalization of the territory increases significantly. Berlin, for example, uses the format of a creative cluster to qualitatively reformat depressed areas. A similar situation with the factory number 798 in Beijing. And St. Petersburg will also follow this path. I see no other reasons for initiating such a project by the city administration.

Yana Kozak, an analyst at Strelka KB, has prepared for you a list of the top 10 public spaces opened in the past year. I give her the floor.

Developers involved in the development of public spaces this year set themselves goals in three main areas:
— Cheaper and easier space exploitation systems. Hence sustainable and environmentally friendly solutions: permeable coatings, rainwater drainage systems, bio-drainage ditches, light-colored paving surfaces that reflect light and prevent overheating.
– Increasing climatic comfort, so almost every selected object has sheds, awnings, elements of adiabatic cooling, that is, fountains, artificial ponds and lakes.
— Multifunctionality. Pedestrian spaces include not only places of recreation, but also playgrounds, sports, picnics, markets. They are equally comfortable for both a cheerful company and a lonely city dreamer.

Here are ten of the brightest projects of 2015 that meet the given criteria and are potentially useful for Moscow.

1. Bertha Kroeger Square
Hamburg, Germany
Project author: relais Landschaftsarchitekten

The aim of the architectural bureau was to create a public space with a cozy atmosphere that could become a symbol of the whole quarter. relais Landschaftsarchitekten managed to do what Moscow is trying to do now: to give a character of multifunctionality to the “lost” wasteland. Now there is a place for trade shops, and for walks, and for recreation.

The central part of the square is divided by seated islands called Sitztiden. The benches have different heights and resemble waves, trees grow right through them.

From the square there is a passage to the nearby railway station. It, like the square itself, is lined with gray paving stones. Its surface is crossed by light smooth lines of concrete slabs, their task is to indicate the direction from the station to the public space.

2. Central square in Emmen
Emmen, The Netherlands
Project author: LandschaftsArchitekten Stadtplaner

An example of a grandiose reconstruction of the entire city center. 26 thousand square meters have become a new attraction and the largest public space in Emmen. The square used to be filled with cars, but now it's reserved for pedestrians and cyclists, with lots of street furniture.

The area paved with natural stone, wooden sheds, green areas, unusual use of water, sun terrace and amazing lighting are the main features of this area.

Among the best projects, the square in Emmen turned out to be for how interesting and functional water is used on it. In the northern part of the square there is a pond in which ornamental aquatic plants are planted.

It is connected to the central part of the square by a long canal. Here, the water is poured directly over the stones, its depth is only 15 cm. There are also ground fountains. The smooth surface beautifully reflects the sky, buildings and trees.

3. Hafenpark
Frankfurt, Germany
Project author: Sinai

Hafenpark is an example of the successful transformation of an industrial wasteland into a public park. In 2012, the first part of the park appeared there - "Cement Jungle" - a skate and BMX park.

But starting in 2013, along the river there began to appear opportunities for recreation and calmer sections of the population. The Sinai company managed to rethink the territory of the embankment: sprawling groves, shady gardens, and elevated landscaped plateaus appeared here.

An amazing example of how to combine an aggressive type of sport, fields with fitness equipment and calm green areas. There is still the same commitment to the main trends of 2015: permeable surfaces that do not require drainage installations, and light, non-heating coatings.

4. Trade line and embankment
Ultimo area, Sydney
Project author: Aspect Studio

The opening of the renovated waterfront in the Ultimo area makes Sydney an even more innovative and sustainable city. The Goods Line is a strategic link and an important green space for the growing part of the city. Everything is organized in such a way that places for co-working, picnic, retail or a playground or a tennis table are carefully thought out and used for their intended purpose.

This unique park used to be a railway corridor that has been transformed into a green pedestrian vein in one of Sydney's most densely populated areas. This space has become a living metaphor for the transition from the industrial past to an innovative and informational future.

The waterfront offers the opportunity to host various events and festivals, and creates a sense of community in a previously abandoned space. The intentionally non-linear design creates a large number of small sub-spaces that can be used for different purposes.

5. Quarter Etienne-et-Foch Barack
Landau, Germany
Project author: A24 Landschaft GmbH

The State Horticultural Show Landau 2015 is a massive transformation of 27 hectares with a total budget of 13 million euros. It will provide a basis for the future development of a new residential quarter, for the same purpose, grounds for recreation and sports are being prepared on the territory of former military facilities.

This area is adjacent to the Edenberg Nature Reserve, so all measures for its reconstruction are aimed at preserving the natural landscape and its reasonable use for recreational purposes.

A huge green area has already played a role in the development of the area. She managed to bring the freshly built houses and barracks to harmony. In the center of the new quarter is a pond with many aquatic plants. The sports and recreation area is located on the territory of the former coal warehouse.

The design of the park is inspired by the shifting of tectonic plates in the Upper Rhine Rift Valley: raw edges, gaps and stratified stone look very aesthetic here. And, of course, everything is buried in greenery.

6. Monash University Campus
Melbourne, Australia
Author of the project: Taylor Cullity Lethlean Landscape Architecture

In the era of online learning, university campuses have become even more meaningful for teachers and students. Alleys, lawns, terraces and areas for various activities have a huge number of opportunities for learning, socializing and eating. The architectural bureau tried to create fertile ground at Monash University for the exchange of ideas and socialization, mental and physical development.

In the center of the campus there is now an event space and a terrace for relaxing outdoor recreation. The floor of the central platform is decorated with a large graphic pattern. There are basketball and table tennis courts.

The roads and parking lot have been converted into a walking area with water features that gives a real feeling of being on campus.

7. Port of Aalborg
Aalborg, Denmark
Project author: C.F. Moller Landscape

The medieval city center was connected to the fjord adjacent to it, which was previously inaccessible to pedestrians due to heavy traffic and the location of the industrial harbor here. What used to be the other side of the city has become a new, attractive center.

The pier has been turned into a boulevard for pedestrians and cyclists. The medieval castle of Aalborn has again become the central harbor, now framed by green areas. Stepped slopes to the water appeared on the embankment, platforms for trading, ball games and sunbathing were equipped. In general, the architects tried to create an attractive public space for different segments of the population.

The central area for active pastime is a play space useful for people of all ages. Here you can do anything from beach volleyball in summer to ice skating in winter. There are several steel pavilions that store sports equipment and sell ice cream.

In the neighborhood of the play area are green spaces, lush oases for a relaxing holiday. Near the embankment is the former icebreaker Elbjorn, turned into a floating restaurant.

8. University of Technology Sydney Alumni Green Campus
Sydney, Australia
Project author: Aspect Studio

UTS Alumni Green is the most significant open space on the City Campus of the University of Technology Sydney. It is divided into three parts. The "Green Zone" is a raised platform with a lawn that can be used for various activities and recreation. Figured borders of the zone are used as benches.

The "Central Zone" is a gathering space for students and visitors.

And the "garden area" is an oasis of trees, with tables, chairs, sockets, barbecues and ping-pong courts.

The space has been specifically designed to meet a variety of needs. Here you can hold concerts, show movies, have parties and picnics.

9. Park on the roof of the building
Oslo, Norway
Project author: OSLO Ontwerp Stedelijke en Landschappelijke Omgeving

On the banks of the river Dommel there is a low building, and on its roof there is a small park. This place is the shaft of Sint Jan, which was one of the four main entrances to the fortified old city. The remains of a gate and a wall made of medieval cobblestones were found here. The flank walls of the bastion were partially restored and a massive roof was erected on steel columns. It is one and a half meters above street level and it has a public space.

The park is only 700 square meters, but it has enough seating.

It is located on one of the bends of the Dommel, so the site offers a wide view of both sides of the river. The tiles used to pave the playground were made especially for this park: they are shaped like ice floes.

Trees planted around the perimeter create a shadow and shelter vacationers from prying eyes. The gravel carpet allows the roots of the trees to receive water and air. The barrels are painted with a brown natural pigment, which is combined with rusty structures.

10. Ulls Hus Park
Uppsala, Sweden
Project author: White Arkitekter

White designed the landscape area in front of the new building of the Swedish Agricultural University in Uppsala. The closed courtyard, alleys and several entrances became the basis for it. Vegetation plays a leading role here.

The large courtyard is a collective space for relaxation, meetings, everyday life and festive events. The site is covered with gravel, it is crossed by paths of large granite slabs. Granite channels level the gravel and drain rainwater. There is a minimalist fountain in the center of the site.

On the south side there is a yew fence, bicycle parking and a platform with tables.