مروري بر مفهوم شهر خلاق با تأكيد بر سنجش وضعيت خلاقيت شهري (نمونه موردي: مناطق 3 گانه قزوين)

A Review Study on Creative City with an Emphasis on Urban Creativity Assessment (Cas

ريچارد فلوريدا نظريه‌پرداز شهرخلاق معتقد است شهرها ظرف بروز خلاقيت بوده و هميشه چرخ‌هاي حركت، تمركز و هدايت انرژي خلاق بشر بوده‌اند؛ بنابراين پژوهش حاضر سعي بر آن داشته كه بـا اسـتفاده از روش توصيفي- تحليلي وضعيت خلاقيت شهر قزوين را موردسنجش قرار دهد، كه جهت انجام آن با بهره‌گيري از داده‌هاي ثانويه و تهيه پرسش­نامه از شهروندان به جمع‌آوري اطلاعات پرداخته و در امتداد آن با استفاده از مدل‌هاي Topsis، AHP و نرم‌افزارSPSSسعي شده است شاخص‌هاي شهرخلاق را در مناطق3 گانه شهر قزوين با سه فرضيه مـوردتحليل قرار گيرد. در آخر فرضيه سوم، مبني بر اينكه شهر قزوين طي چند سال گذشته به سمت انطباق بيشتر با معيارهاي شهرخلاق حركت نموده است. با استفاده از نتايج به‌دست‌آمده توسط تكنيك تاپسيس معني‌داري فرضيه سوم رد گرديد. درنهايت از 3 فرضيه مطرح‌شده 2 فرضيه تأييد و 1 فرضيه رد شد. بنابراين مي‌توان گفت: شهر قزوين پتانسيل لازم جهت حركت به سمت شهرخلاق را داراست هرچند كه اين روند از سال 1392 دچار ركود گشته است اما با توجه به ظرفيت‌هاي خلاقيت شهر قزوين، پيشنهاد مي‌گردد كه؛ نسبت به تقويت زمينه‌اي كه اقبال جهاني بيشتر در آن وجود دارد اقدام گردد.­

In postmodern era, cultural economy plays an important role in economic development in the world. Thus, global cities in the framework of global economy are as nodes of networks, competing heavily, and each of them tries to improve its hierarchical structure. In this regard, since the mid-1990s, with the introducing the idea "Creative City," this new strategy in the field of revitalization of the old industrial cities has been a leading idea for urban and economic development planners. Creative city is a city that because of its aesthetic importance and its ability to cultivate perception and communication is respected; where cultural diversity is respected and expression of creativity in all its forms is encouraged. Iran's cities also accommodate a wide range of facilities and services that attract creative capital, a fertile ground is provided for maintenance, and supply of life with relative prosperity, in order to attract this class. However, the whole discussion in this area is much larger than the capacity of this study. In this paper, the classification of the Qazvin city regions and determination of the importance coefficient of each criterion are addressed using the models of regional planning. To sum up, the test of measuring assumptions is performed for responding the proposed questions. For the first time, Debore (1967) raised a discussion entitled "Spectacular City or Show City". The first one who put forward the argument "Spectacular City or Show City" was Richard Florida. He published his first book in 2002, called "Creative Class", and then in 2005 published another book to strengthen its subject. In 2007, using language that was proposed by Richard Florida, Alan Scott raised issues in connection with the cities and creative regions. Creative city is a strong city in terms of culture and intercultural learning. In this city, every citizen is confident of his capacity to use scientific, technical, artistic, and cultural systems. Creative city theory tries to explain the qualities that make the image of a city nicer for citizens, and make its memories more lasting. To date, the creative cities network consists of 34 members, firstly from Europe, Latin America, and Asia. UNESCO is committed to encourage candidates from regions under representativeness of Africa and Arabic countries seeking to join the network. It can be said with emphasis that Richard Florida's publishing two books, the rise of the Creative Class in 2002, and a part of the creative class (2005) have led to the great interest among economists and regional scientists in the analysis of the concept of the creative class and led to creative capital. He explains the creative class in detail as follows: "a Class that Consists of People who Produce Economic Value through Their Creativity".