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Digital Collections at the University of the Arts The UniversiT y of The ArTs Non Profit Org 320 South Broad Street US Postage Philadelphia, PA 19102 PAID www.UArts.edu Philadelphia, PA Permit No. 1103 THE MAGAZINE OF The UniversiT y of The ArTs edg e THE edge MAGAZINE OF T he U niver si T y of T he A r T s WINTER WINTER 2013 2013 NO . 9 Edge9_Cover_FINAL.crw4.indd 1 1/22/13 12:50 PM THE from PRESIDENT A decade has passed since the publication In this issue of Edge, we examine the book’s of Richard Florida’s international bestseller theses and arguments a decade on, and The Rise of the Creative Class. This 10-year speak with a range of experts both on and of anniversary provides an opportunity to ex- the creative class, including Richard Florida amine the impact of that seminal work and himself. I think you will find their insights the accuracy of its predictions, some of them and perspectives quite interesting. bold. The book’s subtitle—“...And How It’s Transforming Work, Leisure, Community, Following on the theme of the power of and Everyday Life”—speaks to the profes- creatives, we also look at the creative econ- sor and urban-studies specialist’s vision of omy of the Philadelphia region and the far- the impact this creative sector can exert on reaching impact that University of the Arts virtually all aspects of our lives. alumni and faculty have on it. You will also find features on UArts students, alumni and Since its 2002 release, many of the ap- faculty who are forging innovative entrepre- proaches to urban regeneration proposed neurial paths of their own. ‘08 in Rise have been adopted in communities across the globe, and its author has become So please enjoy this issue of Edge. We wel- one of the most prominent consultants and come your thoughts on our lead story, and CHEN commentators on the economic and social on anything else in the magazine that inter- revitalization of cities. Close to home in ests you. JASON Philadelphia, the mayor expanded the City’s Office of Arts and Culture to add “the Cre- ative Economy” to its title and its portfolio. And while Rise has unquestionably had Warm regards, a major impact on the way cities on sev- eral continents have sought to renew their economies, and changed the way munici- pal governments view the creative assets in their communities, the reviews of Florida’s Sean T. Buffington theories and their results after a decade of President, the University of the Arts implementation and experimentation are not unanimous. 02 edge UArts_EDGE9_Final_web.indd 2 1/22/13 1:02 PM Contents 06 ‘The Rise of the Creative Class’ 10 Years After A LOOK BACK — AND AHEAD — AT A LANDMARK BOOK AND ITS IMPACT 12 ‘08 CHEN Moving the Region Forward ALUMNI AND FACULTY LEAD PHILADELPHIA S JASON ’ CREATIVE COMMUNITY 20 32 36 A Partnership Autism A New Paradigm Designed to Last Expressed for Emerging Artists 42 46 NEWS 22 Stitching Together Through the NEWS BRIEFS 26 a New Future Lens of Success FACULTY NOTES 38 for Design ALUMNI EVENTS 44 ALUMNI NOTES 48 IN MEMORIAM 63 FROM THE ARCHIVES 66 UArts_EDGE9_Final_web.indd 3 1/22/13 1:02 PM S EAN T. B UFFING T ON PRESIDENT L UCI ll E H UG H E S EDITOR - IN - CHIEF VICE PRESIDENT FOR ADVANCEMENT P AU L F. H EA LY EDITOR ASSOCIATE VICE PRESIDENT OF UNIVERSITY COMMUNICATIONS E LY ss E R ICCI B FA ’ 0 8 ART DIRECTOR & DESIGNER J AME S M AU R E R PRODUCTION MANAGER D ANA R O dr IGUEZ CONTRIBUTING EDITOR CONTRIBUTING CONTRIBUTING PHOTOGRAPHERS WRITERS J A R E D A N dr EW P AU L F. H EA LY J A S ON C H EN B FA ’ 0 8 S A R A M AC D ONA ld S H ANNON C O ll IN S P H OE B E R E S NICK C hr I S D AW S ON D ANA R O dr IGUEZ H A R VEY F INK L E J U L IANA R O S A T I J AIME H OGGE J OANNA S UNG C hr I st Y P E ss AGNO L AU R EN V I ll ANUEVA S E th S MOO T M I R A Z E R GANI M A R CU S Y AM COVER IMAGE M A tt R . P H I ll I ps B FA ’ 1 0 OF AN ELEVATOR , 2 0 1 0 POSTMASTER : SEND ADDRESS CHANGES TO edge c/o University Communications, the University of the Arts, 320 S. Broad St., Philadelphia, PA 19102 edge, Volume 1, Number 9 Edge is the magazine of the University of the Arts. Readers are encouraged to submit ideas for original articles about University students, faculty and alumni; advancements in arts and arts education; and visual, performing and media arts. The submission of artwork for reproduction is also encouraged. Please include contact information when submitting art. Unless requested, artwork will not be returned. Please send all comments, kudos and criticisms to edge c/o University Communications, Letters to the Editor, 320 South Broad Street, Philadelphia, PA 19102; or e-mail [email protected]. UArts_EDGE9_Final_web.indd 4 1/22/13 1:02 PM UArts_EDGE9_Final_web.indd 5 1/22/13 1:02 PM CHRISTY PESSAGNO FEATURE DAWSON CHRIS ‘The Rise of the Creative Class’ 10 Years After A LOOK BACK — AND AHEAD — AT A LANDMARK BOOK AND ITS IMPACT In 2002, a book by a professor of regional economic development at Carnegie Mellon University proposed an innovative idea: cities that attract, support and encourage what it termed the “Creative Class” have a much better chance of turning their ailing economies around than those that don’t. Already the dominant economic group, the book argued, this class was likely to continue to grow in size and importance as what it produces—ideas, information, technology—becomes an ever larger part of the nation’s economy. 06 edge UArts_EDGE9_Final_web.indd 6 1/22/13 1:02 PM FEATURE A decade after The Rise of the Creative Class hit the bestseller lists it and 80s thrived almost exclusively in vast suburban complexes— continues to have an impact. Its author, Richard Florida, now direc- ‘nerdistans’—in places like Silicon Valley, Research Triangle and tor of the Martin Prosperity Institute and professor of Business and along Boston’s Route 128 corridor, has taken on a distinctly urban Creativity at the University of Toronto’s Rotman School of Man- cast—in New York’s Silicon Alley, London’s Silicon Roundabout, agement, has become one of the world’s most sought-after experts LA’s Silicon Beach, Seattle’s South Lake Union District and in San on economic competitiveness, demographic trends, and cultural and Francisco,” he says. technological innovation. The theories in The Rise of the Creative Class have been implemented in cities ranging from San Diego to CHANGING THE GAME Seoul, Denver to Dublin, and Brisbane to Barcelona. Gary Steuer, head of the City of Philadelphia’s Office of Arts, Cul- ture and the Creative Economy, cites The Rise of the Creative Class “The Creative Class, which comprised less than 10 percent of the for “legitimizing the idea of a creative economy. The institution- workforce in the late 19th century and no more than 15 percent al arts sector had become mired in the perception of the sector as for much of the 20th, began to surge in the 1980s,” according to simply one of nonprofit arts organizations,” he says. “But Florida Florida. “Since that time, more than 20 million new Creative Class was right that it’s a larger ecosystem—entrepreneurial creative busi- jobs were created in the United States. This epoch-defining class now nesses often share the same customer base and workforce with the numbers more than 40 million workers…and it generates more than traditional organizations. It’s a much larger economic sector than $2 trillion in wages and salaries—more than two-thirds of the total was previously perceived.” U.S. payroll.” Florida estimates that the Creative Class accounts for nearly 30 percent of the workforce, comprising artists, musicians, Christopher Sharrock, dean of UArts’ College of Art, Media & De- technology workers, doctors, lawyers, engineers, entrepreneurs, and sign (CAMD) believes that Florida’s definition of “creative” jobs was what he calls “high bohemians.” too broad. “In the U.K., much was made of the economic contribu- tion of the creative economy, but its definition included just about everyone,” he says. “It also failed to discriminate between the likes “ Creativity has come to of Sir Terence Conran, the Saatchis and James Dyson—who make millions—and the vast majority of the workers in the creative econo- be valued because new my, often freelance, who make very little. ‘Creative’ and ‘creativity’ are overused words and often used incorrectly, as ‘designer’ was in technologies, new industries, the 1980s. This is not helpful to us who are nurturing a generation new wealth and all other of creative people.” good economic things LIES , DAMNED LIES AND STATISTICS A recent study by the Greater Philadelphia Cultural Alliance found flow from it.” the nonprofit arts sector to have a $3.3 billion dollar annual impact on the region, generating nearly $170 million in state and local taxes each year and supporting 44,000 jobs within the city and its four In The Rise of the Creative Class, Florida’s argument was an os- suburban Pennsylvania counties. tensibly simple one: “Creativity has come to be valued because new technologies, new industries, new wealth and all other good eco- Nationally, the organization Americans for the Arts (AFA) released nomic things flow from it.’’ He maintained—with reams of data as “Arts & Economic Prosperity IV” in May 2012, a broad study of backup—that the Creative Class fosters an open, dynamic, personal America’s nonprofit arts and culture industry.
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