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  • Innovation Transfer Networks: the search is on for project ideas

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    Partner Search Tool - Innovation Transfer Networks
    19/01/2024

    URBACT’s call for Innovation Transfer Networks is open, and with it, the Partner Search Tool is ready to help cities develop European partnerships.  

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    URBACT’s call for Innovation Transfer Networks is open, and with it, the Partner Search Tool is updated and ready to help cities develop European partnerships. 

    Running until 20 March 2024, this call for networks is slightly different from other URBACT calls: the pool of available project ideas is based on Urban Innovative Actions projects carried out between 2016 and  2023 and only those cities can lead the transfer network. This is a unique opportunity to adapt a newly tested innovation to your city. 

    There are currently over 20 topics to choose from, covering urban poverty, migration, housing, security, renewable energy, land and air quality, culture and heritage, demographic change and digital transition. 

    We’ve taken a closer look at the pool of ideas, to help you identify the ones that could interest your city the most.

     

    Energy

     

    Energy poverty is a priority topic in many European cities, particularly as energy prices spiked following Russia’s ongoing war of aggression in Ukraine. Getafe (ES) has developed a new, data-driven model to identify and prevent energy poverty, collaborating across departments to identify hidden poverty. Targeted actions can then be carried out at the level of the individual, building or neighbourhood. Getafe showed that the approach was effective in reducing energy vulnerability. Does this sound like a tool your city could use? 

    Building on the participatory approach to energy transition, Leidel (BE) has put a local energy community in place, to provide affordable, renewable, locally-produced and autonomously managed electricity for citizens. RE/SOURCED builds on the momentum for clean energy across Europe, in line with the Clean Energy for all Europeans package. Its results are highly relevant for other cities putting circularity and citizens and the centre of the energy transition.

     

    Air/soil quality

     

    Cities looking to make advances in the quality of the air or the soil should look at three innovative actions in particular. Baia Mare (RO) proposes a revolutionary approach for reclaiming heavy metal-polluted land using plants and returning the land to the community. An adaptable dynamic platform and toolkit can help you determine the best use for the land. Two Italian cities have developed citizen-centric and data-led models to improve air quality. Ferrara (IT) has set up low-cost sensors and mobile air quality stations to map high emission zones and transform them into urban green forests. Portici (IT) also developed a widespread monitoring system based on citizen science, combined with educational activities and events to promote behavioural change.

     

    Digital tools

     

    Digital tools have been put to use in cities to support policy and decision-making in different domains. Vienna (AT) has developed ICT solutions to set new standards in building applications and planning permissions. The tool can be adapted to other permit processes in cities – making bureaucracy more efficient, more transparent and more cost effective. Heerlen (NL) has created an innovative digital platform to enhance public space, foster community engagement and revitalise local areas. It crowdsources public maintenance tasks, which citizens can carry out in return for credit that can be used in local shops and bars. A digital approach was also taken by Ravenna (IT) for an urban regeneration process in one neighbourhood, Darsena. Combining collaborative data collection, the digital infrastructure supports decision-making, storytelling and promotion. It has shown increased engagement in Darsena’s evolution from an abandoned dockland to an attractive urban ecosystem. The network could focus on adapting both the technological and methodological processes to other cities. 

    Rennes (FR) has taken on the issue of e-government solutions directly, designing a portal for the use and re-use of data while guaranteeing privacy and public service interests. The Reusable Urban Data Interface is 100% open source and ready to scale up to cities seeking to harness local data. 

     

    Jobs & skills

     

    The emphasis on green and digital transitions means that the skill profiles of the workforce in a city must adapt and evolve to these transitions. Eindhoven (NL) faces a paradox that, despite high economic growth, there is a significant shortage of qualified personnel, particularly in low-carbon technology development. The Platform4Work redesigns the employment journey, developing a ‘skills passport’, restructuring educational programmes and bringing employers and jobseekers closer together. Aveiro (PT) positions itself as a territory of digital innovation, but has faced severe shortages of digital skills. The city set up the first Tech City Living Lab to attract and retain talent through STEAM education, training, technology and addressing local challenges. Cuenca (ES) uses its specific location within a forest region to build an innovative bio-economy sector, combining training, research, and the incubation and acceleration of forest-related businesses. The award-winning model can be transferred to other EU cities with a forest or other niche bio-economy sector. 

     

    Culture/heritage

     

    Cities must use all of the resources available to them to improve citizens’ quality of life, whether digital, physical or cultural. In Újbuda (HU), culture and digital platforms were combined to create a bottom-up creative cultural resource management tool to strengthen social cohesion. Alongside the digital sphere, a physical cultural institution was created, integrating local cultural and technological initiatives, bringing together the local community, public and private sectors. Cities can explore low-budget interventions as well as major investments. Chalandri (EL) focused on an ancient monument – in their case, the Hadrian Aqueduct – as a vehicle for urban regeneration and revitalising community life. Using a cross-sectoral approach, it co-creates local projects and cultural events with communities, valorising local history and improving care of water and natural resources. It can be adapted to other cities with different types of local heritage, to build trust and nurture communities. In Tilburg (NL), the city uses culture as an agent for social transformation. Developing a cultural ecosystem in an ethnically mixed and disadvantaged area helps bridge the gap between those in the margins, and the public services they interact with. More than 3 000 young people were reached through 150 projects, with positive effects on health, behaviour and public safety. 

     

    Social inclusion

     

    Many cities are taking innovative and participatory approaches to tackling long-standing issues of social exclusion. Seraing (BE) takes on isolation and community-building through an experimental project to revitalise public spaces in the town centre. An inclusive urban planning process and training of local residents reinvented the spaces, resulting in ongoing civic projects. A more tailored approach was tested in Landshut (DE) to overcome the vicious cycle of single parents unable to work due to lack of childcare. Focusing on healthcare professions, which require long and flexible work hours, the city developed a new form of flexible childcare. Single parents receive training in childcare to look after the children of healthcare workers, in an interconnected building. This represents a novel approach to tackling the shortage of skilled workers in some professions that disproportionately affect women. 

    Verona (IT) is tackling loneliness, brought about by changing demographics and an erosion of family networks. By developing a ‘loneliness index’ and activating community resources in a combined approach, they aim to identify and reduce symptoms of loneliness for increased wellbeing.  

    Brussels (BE) is taking on the affordable housing headache that many citizens face through a co-housing project, developed within the framework of a Community Land Trust. By separating the ownership of the land from the ownership of the housing built on it, speculation is removed, and focus is put on ensuring accessible housing for those often neglected: low-income families, older people, homeless people, and single mothers. 

    Utrecht (NL) is proposing to share its innovative approach to the reception and integration of newcomers in the city, particularly asylum seekers. By revising completely how newcomers are housed, integrated and trained, they create meaningful encounters beyond the labels of ‘refugee’ or ‘local’. The flexibility and focus on the local immediate surroundings of reception centres will enable any city that joins the network to develop their own version which connects their locals and newcomers.  

     

    Urban security

     

    Making urban spaces safer at night is an issue for many European cities. We want to look at two cities offering new approaches to community-based urban security. Piraeus (EL) has developed an holistic model, establishing local collaboration for crime prevention, an online platform to assess physical and cyber threats, and spatial interventions to secure and beautify vulnerable buildings. Turin (IT) focuses on a multi-disciplinary approach to manage public spaces and improve residents’ perception of safety at night. Actions to boost the territorial potential, involving local communities, made neighbourhoods more liveable in the evening. 

     

     

    Which one is for you?

     

    These cities are looking for partners to transfer these practices and concrete innovation outputs. You can use the partner search tool to get in touch with any of the cities to find out more and develop your network together. 

    The Get Involved page has all you need to apply for the URBACT Innovation Transfer Networks!


     

     

     

     

  • CUP 4 Creativity

     

    With the CUP 4 Creativity project, the goal of Újbuda (District XI in Budapest, Hungary) was to strengthen local communities by awakening dormant creativity. Through the project, culture and creativity were the means used to boost local communities and develop and expand the existing cultural and creative industries (CCI) ecosystem.

     

    The project team worked with a large and diverse partnership, successfully covering the major stakeholders in the district: locals, NGOs, artists, university students and big business. The idea was to create links between not only individuals but also between different types of stakeholders.

     

    The project’s major outputs were the Adaptér, INSERT platform and INSERT programmes. Adaptér is a creative technological knowledge hub whose mission is to take advantage of new cutting-edge technologies. It aims to bridge the gap between modern technological advancement and public knowledge. The word “Adaptér” is a telling one: it literally means “adaptation space” highlighting our constant need to grasp change.

     

    The INSERT IT platform is a cultural creative resource management tool, which provides a framework to share skills, equipment and knowledge, to create an event, and through shared responsibility to form a community. The initial content was INSERT programmes which were new approaches to cultural programmes by the municipality or programmes to help bottom-up local initiatives. The project’s (un)official motto makes the desired user journey tangible: inspiration, education, creation.

     

    What SOLUTIONS did the Urban Innovative Action project offer?

     

    CUP 4 Creativity’s objective was to develop local communities and boost intersectoral links between different stakeholders. The aim was twofold. Firstly, to make event organisation communal via the INSERT platform, a creative cultural resource management tool. This framework has been powered by INSERT programmes, organised by the municipality or its support for bottom-up initiatives. 

     

    Secondly, the project renovated public places and established a new institution where creative cultural activities could lead to new communities. Apart from Adaptér, this also involved MU Theatre, an association, to experience with new democratic-participatory theatre but they also provided our big business partner, BT, with cultural programmes. The same goes for Eleven Blokk, an artistic NGO, whose workshops were frequented by many individuals, and major companies.  


    What DIFFERENCE has it made at local level?

     

    The project has made a significant difference in terms of intersectoral connections: large companies such as Allee (a shopping mall) and BT have been integrated more into the local CCI ecosystem. Local NGOs and associations were also linked closer to each other to organise local events, such as Eleven Autumn.

     

    Adaptér is not only an educational centre but also an integrator of local creative cultural and technological initiatives. Local communities have been strengthened through INSERT programmes. Thanks to the calls for bottom-up initiatives, new projects and local influencers surfaced whom we successfully organised into an informal network through shared workshops. 


    What PARTICIPATORY APPROACHES have been put in place for the project?

     

    On a management level, the project tried to make sure that the vast majority of the budget is spent after collective decision making among partners. On weekly, then bi-weekly, board meetings the majority of partners were invited to discuss ongoing processes within the project which provided everyone with an opportunity to be involved. Major investments were also decided on by the council. This shared management system has, however, its own boundaries. 

     

    The CUP 4 Creativity project involved locals in multiple ways. Some new, innovative cultural programmes were organised by the municipality to enhance citizen participation. Private Stage was an event series that blurred the line between public and private by organising cultural events in places like apartments, a musical instrument shop or a co-working office. The content was provided by the UIA CUP team. This not only provided an intimate, more community-oriented experience but also involved SMEs in the process.

     

    Other initiatives have been more explicit about participation. Szabad a tér was a public tender in which micro-local communities and NGOs could apply for small-scale funding to organise community events. Apart from the money, the project provided them with mentoring and also encouraged collaboration with other projects, hence they participated in each other’s project. This boosted bottom-up initiatives in the district.  

     

    How does the project tackle different aspects with an INTEGRATED APPROACH?

     

    CUP 4 Creativity has involved diverse partnership with a wide range of local stakeholders. It linked SMEs and large enterprises to local NGOs and creative cultural associations. The result was a strong support for local stakeholders by using the local ecosystem. It also meant economic benefits for local CCI actors. 

     

    The social aspect has been strong from the very beginning. The key aim sparking dormant creativity to fight digital loneliness might have faded during the project implementation, however, the focus on local community building has remained the cornerstone of this project. This dedicated attention to communities has strengthened social cohesion and reduced isolation. 

     

    As for the environment, several programmes had a strong focus on ecological issues. Ecology became one of the four overarching themes of Adaptér but it also reflected in INSERT programmes, for example, the plane tree project, which “recycled” cut down plane trees from Bartók Béla Boulevard through open workshops. The results were benches, insect hotels and street installations.


    Why should other European cities use the solution the project explored?

     

    The CUP 4 Creativity project accumulated a number of good practices that are worth adapting in different local setting. The project team can provide advice with regards to major investments such as establishing a creative technological knowledge hub or creating a resource management tool.

     

    However, low-budget interventions can be just as useful as above-mentioned big investments. The mapping of CCI actors or the research on types of local people and behaviour patterns are useful starting points for any city development projects. Organising new types of cultural events and supporting micro-local communities’ bottom-up initiatives are also worth exploring with other cities. This all has pointed to a new role a municipality should take, as a local hub creator, an integrator and ecosystem builder, rather than a top-down authority. 

     

    Máté Ábrahám
    Municipality of Újbuda (District XI of Budapest)
    150000
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    Are you a candidate Lead Partner looking for partners
    Yes
    Are you a potential Partner looking for a Lead Partner
    Yes
    Your job title
    Cabinet advisor, project manager
    Institution website
    https://www.ujbuda.hu
    Culture and heritage
    Cultural Urban Platform to nurture creativity and fight digital loneliness
  • METACITY

    LEAD PARTNER : Fundão - Portugal
    • Campobasso - Italy
    • Industrial Systems Institute, Athena Research Center - Greece
    • Písek - Czech Republic
    • Nevers - France
    • Razlog - Bulgaria
    • ÅBO AKADEMI UNIVERSITY - Finland
    • Újbuda - Hungary
    • Härnösand - Sweden
    • Mostar - Bosnia-Herzegovina

    Timeline

    First transnational meeting on 30-31 October 2023 in Písek, Czechia.

    Library

    Lead Expert

     

     

    Metacity aims to increase competitiveness of small and medium tech-aware cities, benefiting from the opportunity to enhance service efficiency and citizen satisfaction provided by the metaverse. By integrating metaverse technologies, cities can create immersive digital environments for education, healthcare, tourism and public services, enabling streamlined communication, remote access to services, and personalized experiences, leveling the playing field with larger cities. Metaverse-driven urban planning fosters innovation, economic growth, and ensures that citizens have access to cutting-edge solutions, ultimately improving their overall quality of life.

    People with virtual reality  glasses looking at the hologram of the city
    Virtual Solutions for Real People
  • CREATIVE SPIRITS

    Timeline

    Phase 1 kick-off

    Phase 2 kick-off

    Phase 2 development

    Final event

    Arwen Dewilde
    City of Ghent

    CONTACT US

    AYUNTAMIENTO DE BAENA

    Plaza de la Constitucion 1

    Baena (Cordoba) - Spain

    CONTACT US

    Artur Katai
    City of Újbuda

    CONTACT US

    The partner cities from this Implementation network have a common need to improve the implementation of their existing integrated urban strategies and action plans by including new approaches linked to creative and cultural industries (CCI) – creative places, people, and businesses. The joint policy challenge for the network is to better facilitate the above 'creative ecosystem' to be able to attract (more) creative entrepreneurs and boost creative entrepreneurship in dedicated urban areas, this comprises activities that create economic value through the generation and exploitation of intellectual property. A city is able to mobilise ideas, talents and creative organisations when it knows how to foster a creative milieu by identifying, nurturing, attracting and sustaining talent. Local governments all over the world are increasingly becoming aware of the CCI’s potential to generate jobs, wealth, and cultural engagement.

    Boosting creative entrepreneurship through creative-based urban strategies
    Ref nid
    8781
  • Come in!

    Timeline

    Kick-off meeting Phase I, Forli. City visits to Forli, Varasd, Gheorgheni and Komarno.

    Kick-off Phase II, Targówek (Warsaw). City visit to Warsaw.

    The joint policy challenge of the Come in! Transfer network partner cities is to mobilise citizens, foster civilian power and urban stewardship through raising awareness towards the values of built heritage to decrease social isolation. This also highlights the brokerage role of municipalities (reating conditions for stakeholders to creatively shape urban environment and public policies).

    Talking Houses - Shared Stories
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    12127
  • Specific approaches needed to implement policies for the creative sector

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    15/11/2022

    CREATIVE SPIRITS is a network of nine European cities, funded by the European Union in the frame of the URBACT III Programme. The nine CREATIVE SPIRITS partner cities have a common need to improve the implementation of their existing integrated urban strategies/action plans by including novel approaches linked to creative and cultural industries (CCI) – creative places, people and businesses. The joint policy challenge for the network is to better facilitate the “creative ecosystem” to be able to attract (more) creative entrepreneurs and boost creative entrepreneurship in dedicated urban areas.

    Articles

    The objectives of CREATIVE SPIRITS partners are focused on exchanging practices and ideas on how they could implement their “creative” strategies more successfully. The general implementation challenges defined by the URBACT programme will serve as a perfect basis for joint learning and knowledge transfer.

    In the Baseline Study and during the discussions held in the framework of the City Visits, these general challenges are connected to more specific challenges which are typical of the creative sector. These specific challenges have also been intensively discussed during the kick-off meeting of the project. They are strongly inspired by the findings in some relevant case studies from creative projects implemented in several European cities.

    Defining, updating and fine-tuning actions

    Though, each CREATIVE SPIRITS partner city has an integrated strategy or action plans, almost all of them face the challenge to turn these rather general strategies into operational action plans. Many partners are faced with the fact that as the environment of the urban development is constantly and quickly changing, the strategies can hardly follow them since policy making is generally a rather slow process. Therefore, this challenge can be translated into two main questions. The first one is how a creative development strategy can be translated into an effective action plan using fully integrated working methods and participatory approaches, and the second one is linked to how an already existing (approved) action plan can be updated in order to meet new requirements without losing commitment. It has also been considered as crucial that in order to create an early and firm committment from all stakeholders that they should include smaller (sometimes symbolic) projects which can have an effect in creating points of energy and initiating a snowball effect in the target area. For instance, municipalities can formulate a policy to tackle interim use in vacant places and pay attention to make empty shops or flats in creative locations available below-market prices (see picture of a co-working place for creative in Athens below). Another idea which can easily be implemented is the use of street-art on blank walls to create an outdoor gallery reflecting on the place. It is also in most cases very effective to build in a support model for creatives to build up their own platform which could serve as an inspirational engine for innovative ideas.  

     


    Learn more about Kerameikos Metaxourgeio which is a deprived area lying close to the frequented inner-city areas of Athens (Greece) having beautiful but dilapidated old housing stock. Currently the district is under regeneration: a young real estate developer (a change-maker) who wants to redevelop the area into a cultural district created an association of people for planning and invited the public to submit their ideas for the future of the district.
    http://www.oliaros.com/?p=143

     

    Tackling policy spill-overs through integration

    Another advantage of an integrated style of working is that their will be a sound basis for boosting so called creative spill-overs. This could be very well organised and orchestrated by the establishment of an intermediate agency like it is the case in Rotterdam. They have set up a Creative Commission  which has the mission to focus on the added value of CCIs in the Rotterdam economy rather than the sector’s internal growth in terms of revenues or turnover (Creative SpIN Final Report, URBACT, 2015). Also, the development of De Ceuvel in Amsterdam is a very good example of  integrating environmental aspects in the implementation of their action plan for giving space to creative sector developments (see the pictures of DeCeuvel below).

     

     

    De Ceuvel (Amsterdam, the Netherlands) is a city playground for innovation and creativity, an experiment in which co-creators achieved sustainability in a tangible and integrated way.
    http://deceuvel.nl/

    Refreshing our evidences

    For a successful and effective implementation process of the creative strategies, the setting up of an indicators & monitoring system is a crucial aspect. Although  the strategies and action plans of the CREATIVE SPIRITS partner cities were mostly prepared within EU programming processes (meaning that they include indicator and monitoring systems) measuring performance and success of the creative sector development policies is a rather complicated exercise also due to the lack of an internationally agreed definition of outputs and results . It is a real challenge for CREATIVE SPIRITS partners to deal with this aspect and to jointly define indictors which are well connected to the specific character of the creative sector. The key question in this regard mainly refers to the measurement of soft factors. Creative districts have often been developed as a slower step-by-step process, based on local resources and local demand. In this process, experimentation is a key factor, but how to measure experiments? How to measure CCIs on district or city level as targeted statistics are mainly available on national level. A particularly useful approach to the audit of local cultural-creative assets is the technique known as cultural asset mapping which will certainly be an element to be used while discussing this challenge in the future project meetings.

    Do it with people under a “letting them go responsibly” attitude

    The involvement of local creatives is of course crucial in implementing strategies for the creative sector. All partner cities have a great interest in further developing knowledge and specific skills to develop long-standing, reciprocal partnerships with stakeholders and to mobilise local people. Furthermore, cities need further knowledge on how to identify and make the most of local “catalysts” (the most innovative people) enabling them to act as change-makers on the long-term. Finally, deeper understanding of the importance of co-creation in connection with CCIs is necessary to create entrepreneurial friendly strategies. The main stakeholders in creative-based urban strategies must be the creative people (artists, craftsman, designers, makers, architects, culturpreneurs, start-upers, officers from public organisations), but inhabitants, youth, university students, real estate owners/agencies are also important actors.
    The stakeholder engagement challenge is very particular for the creative sector. Creative people are mostly rather “independent” and they must be approached in a rather individual way. The golden rule is that “invitation is stronger than intervention”. It also means that the municipality should be familiar with the unique interest of the different groups and should “speak their language” (see picture of Macao initiative below).

     

     

    Learn more about how Municipality of Milan engaged creative people in Macao!
    Instead of project-specific stakeholder grouping, the municipality of Milan created a platform for related co-creating urban policies. The negotiation board - which is not only an attempt to negotiate formally with squatters - is a way to include grassroot organizations directly in urban policymaking. Macao was able to have the negotiation board adopt the legislative tool of “istruttoria pubblica”: through this tool, citizens can directly contribute to policies: they can formulate draft regulations and the city council must discuss and vote on them.

    Diversifying the funding portfolio

    CREATIVE SPIRITS partners would like to learn more about innovative funding solutions which are especially applicable for supporting cultural-creative industries.  Crowdfunding can be a rather good tool for creative start ups. The public sector could play a role here in support to set up business plans and for “last mile” financial contributions to the crowdfunding campaigns.  A good example in this regard is the Creative City Berlin platform which is used as a marketing tool for collecting crowdfunding for specific creative-cultural goals . Also the method of a Social Marketplace  can provide an environment in which creative entrepreneurs can find funding solutions. Although this method is used for NGOs, it can be used also for smaller creative entrepreneurs as well (as Creative Marketplace). Similarly, the Social for Impact Bond method can be modified in order to promote local creative-cultural activities creating a Creative-Cultural Impact Bond.

    Designing smart public procurement frameworks

    Regarding the challenge related to public procurement, the most important issue is that while procurement regulations are mostly intended to ensure accountability and minimize risk, the process leaves little room for experimentation or creative engagement with entrepreneurs. Innovations are needed in procurement to correctly value creative services.

    Setting up Public Private Partnerships for delivery

    Based on the discussion of partner cities, classic Public Private Partnership (PPP) schemes are less relevant with regards to the network’s policy challenge. However a strong cooperation between the real estate sector and the public sector is very important. It would be a task for the city to find and discuss smart solutions on how the real estate  sector could be engaged in the process of creating opportunities for creatives to settle themselves in existing (sometimes unused and empty) shops and buildings in the target areas. Public/private cooperation can provide networking facilities, like the one in Rotterdam. Rotterdam’s Creative Factory, established in 2008 in an abandoned grain silo, has created a raft of new full-time jobs in one of the most deprived areas of the city and has provided a working space for over 180 small companies over the last five years.

    Conclusion

    The objective of the CREATIVE SPIRITS network is focused on creating an environment in which entrepreneurship in the sector can get a boost by tackling the above described challenges. These are what the partners have in common. The sub-objectives and sub-challenges however will vary, which creates a more precise basis for future knowledge transfer and learning in the implementation phase of the Creative Spirits network. This is the case with the question on which extent the support to creative entrepreneurs should be based and should contribute to the rehabilitation of deprived areas and to social cohesion in these areas. Discussing common CREATIVE SPIRITS goals to be implemented in different cultural and governmental settings and by including local people strongly contributes to a better understanding of the value of EU cooperation.

     

    [1] http://www.rotterdamcreativecommission.nl/

    [2] http://www.creative-city-berlin.de/en/good-to-know/about-creative-city-berlin/

    [3] http://www.social-marketplace-international.org/

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