Wyznaczanie obszarów kreatywności – creative syntax – jako narzędzie ożywiania przestrzeni śródmiejskiej w aspektach przestrzennych i społeczno-gospodarczych

Dominika Pazder

doi:10.37190/arc240411

Podsumowanie

W artykule poruszone zostały zagadnienia związane z rolą kreatywności w ożywianiu obszarów śródmiejskich. Autorka podjęła próbę zidentyfikowania związków między rozwojem kreatywności a zachodzącymi w śródmieściu zmianami przestrzennospołecznymi. Kluczowym elementem pracy jest badanie wyznaczonych przestrzennie za pomocą przyjętej autorskiej metody obszarów kreatywności (creative syntax) w celu zidentyfikowania ich roli w kontekście pobudzenia aktywności społecznej, ożywiania przestrzeni śródmiejskiej, a także zapewnienia podstaw do rozwijania innowacyjnej idei ekonomii doznań i gospodarki przeżyć. W badaniach skoncentrowano się na warstwie przestrzennej i znaczeniowej kreacji wysokiej jakości i atrakcyjności przestrzeni publicznych śródmieścia. Zastosowano wielokryterialną autorską metodę badawczą ujmującą poruszaną problematykę w aspektach: przestrzennokompozycyjnym, semantycznopercepcyjnym oraz społecznoekonomicznym.

Podgląd pełnego artykułu jest możliwy wyłącznie na większych ekranach.

2024

4(80)

Dominika Pazder*

Designation of creative syntax

as a tool for revitalizing downtown area

in spatial and socio-economic aspects

DOI: 10.37190/arc240411

Published in open access. CC BY NC ND license

Abstract

The research addresses issues related to the role of creativity in revitalizing downtown areas. The author attempts to identify the relationship

between creativity and spatial and social development. The key element of the work is the study of the importance of designated creative syntax

areas with the use of the author’s original adopted method. The analysis is conducted in order to identify their role in the context of stimulating social

activity, revitalizing the downtown space, as well as providing a basis for developing the innovative idea of the experience economy. The research

focuses on the spatial and semantic layer of creating high-quality and attractive downtown public spaces. The research used a multi-criteria, author’s

research method, capturing the addressed issues in spatial-compositional, semantic-perceptual, as well as socio-economic aspects.

Key words: creativity, socio-spatial attractiveness, downtown, public space

Introduction

The article presents studies focused on identifying re-

lationships between spatial activities at the stage of devel-

oping and designing downtown space (engineering hard-

ware) and attainable social eects (software) in the context

of its revitalization. For that purpose, the author has made

an attempt to dene creative syntax using her own, orig-

inal method of identication, assessment and promotion

of downtown creative capacity. In spatial terms, creative

capacity demonstrated via concentration of creative busi-

nesses is a potential to harness opportunities, which can

increase attractiveness of the downtown space by furnish-

ing it with various cultural and artistic functions. “Cre-

ativity” was dened, following the concept propagated by

Charles Landry (Landry 2013; Green 2013), as a process

of changing concepts and perceptions of the environment.

Adhering to that view, it is important to ensure that the

downtown space is open for new and revitalizing com-

ponents. This can be achieved by designing solutions of

dened useful life for specic places, to activate and en-

gage local communities

. The proposed herein concept of

creative syntax refers to the space syntax theory proposed

among others by Jean Doulliez (1983, 198–218), who

compared the built environment creation to the forma-

tion of a specic architectural and urban planning spatial

syntax, governed by specic rules and principles of in-

tegration of a network of units into one coherent whole.

Space syntax can be dened as a set of interconnected

principles organizing interrelated units, relationships and

processes into a relevant spatial arrangement, reecting

the morphic language syntax (Hillier et al. 1976; Space

Syntax… 2024). Mahshid Shokouhi (2003) similarly per-

ceives space syntax in his research. He proves that space

syntax in urban practice will render more enhanced and

recognizable spatial patterns. Space syntax facilitates syn-

tactic hierarchy of spatial layouts by ordering units of lev-

The concept incorporates selected assumptions of design inter-

ven tion, intended to individuate spaces in the space-time function – the

changing space users have dierent needs and perceptions, thus, morphic

units of space should be able respectively respond thereto in the dened

time span and scope.

ORCID:

0000-0002-0071-3540. Faculty of Architecture, Po znan

Uni versity of Technology, Poland, e-mail: dominika.pazder@put.poznan.pl

110 Dominika Pazder

3. Delineating – within the creative syntax – a sequen-

tial system of road oer in the three case studies, to be fol-

lowed by a rating in view of spatial and emotional values

in reference to the adopted indicators of visual composi-

tion and user/visitor experiences and by rating the road at-

tractiveness in view of quality assessment categories such

as instrumental, sensual and semantic quality referred to

as AIDAS quality components (attention, interest, desire,

action, satisfaction) (Steinecke 1999, 58).

Territorial and time scope of the research

The research focuses on downtown areas in three cities

– Poznan, Cracow and Wrocław, which have been selected

based on a rating of the European Commission “Cultural

and Creative Cities Monitor” (2024) (Pazder 2018; 2019).

These cities obtained the highest “C3-Index”, which means

the highest Cultural Vibrancy and Creative Economy rat-

ing in the group of cities populated by at least 500,000.00

up to 1,000,000.00 inhabitants. The research included

a comparative analysis of designated downtown creative

syntax intended to identify similarities and dierences of

cultural and economic scores allocated to the ratios of cre-

ativity to quality of the downtown space. The research was

conducted in the period from 2016 to 2018. The results

were published in a scientic monograph (Pazder 2018).

Purpose of the research

The research aims to highlight the importance of cre-

ating places revitalizing social life within the downtown

public space, and thus, to promote urban planning as a tool

facilitating spatial development of social structures, going

beyond the role of mere art of spatial and functional urban

arrangement. In view of the foregoing, two basic goals can

be proposed for the research:

1. Identication of current tendencies and criteria un-

derlying the role of creativity in shaping, stimulating and

revitalizing the downtown space.

Development of the author’s original research meth-

for the following purposes:

– identication of topology of the existing functional

and spatial downtown resources to be used and qualied as

capable of designating creative syntax and relevant spatial

connectivity,

– identication of the sequential system of road oer

and its multi-criteria assessment, taking into account crea

tive public spaces of high quality and attractiveness and

delineation of focal points of spatio-social activity within

the functional and spatial decit places.

Research hypotheses

The following research hypotheses have been proposed

by the author on the basis of a thorough analysis of the

eld specic literary references, observations of Polish and

European practices and her own experience:

– spatial decits stimulate development of creativity

and may contribute to vibrancy and vitality of downtown

areas,

els on a scale of importance or subordination and thus, by

rendering a harmonious composition.

Identification of the research problem

The research aims to study the relationships between

downtown areas with creative capacity and social and eco-

nomic eects of spatial activities undertaken to enhance

spatial attractiveness by making it inspiring, inclusive and

revitalizing. The concept of creative space is connected

with another term, i.e., “the experience economy”, rst used

by the economists Joseph Pine and James Gilmore (1998),

who noticed that customers were willing to pay more if

a sales transaction became a memorable experience for

them (or in order to have extraordinary experiences).

This work adheres to the creative economy model as

proposed by John Howkins (2013), based on intangible

capitals, people’s use of their talents, imagination, skills,

knowledge and creativity. This perception of economy is

shared by Michael Hutter (2011), who notes that in the

sector of culture, economy plays no major role, however,

combination of culture and the experience economy ren-

ders new opportunities. Economy of goods is prot driven,

while creative economy is based on the potential of cre-

ative assets. The model of experience economy proposed

by Hutter is demand driven but in an interactive way (Naro-

dowy Instytut Kultury…). Demand for creativity is viewed

as sparking the consumer interest and supply – as an oer

of intangible capitals; at the same time prot attains other

than nancial dimension, since it additionally allows peo-

ple to use their creative potential and satisfy social needs

in the downtown space. In this sense, vibrancy and vitality

play a key role. Owing to relevant activities, re sources can

be applied towards cultural development (sti mulation of

creativity of the inhabitants), spatial transfor mation (de-

velopment and design of public spaces) and towards har-

nessing the semantic potential (enhancement of the local

character and genius loci) to shape to a large extent the

unique nature of downtown.

Architectural scenery and spatial oer create specic

conditions for orchestrating the urban stage open to human

creativity. The work shall focus on the study of the role of

designated – by means of the author’s original method – cre-

ative syntax areas to identify their importance in stimulating

social activity and revitalizing the downtown space. It shall,

moreover, provide reasons justifying the use of the experi-

ence economy model (Waitt, Gibson 2009; Hutter 2011), in

order to obtain measurable economic benets for the city.

Researched topics

The studies concern three topics:

1. Identication and designation of creative syntax in

downtown areas of the analysed cities according to the ad-

opted by the author criteria of creativity. Creative syntax

areas will then enable us to delineate a sequential system

of road oer.

2. Comparative analysis of the designated creative syn-

tax and its relationships to assess and benchmark the three

analysed cities (case studies).

Designation of creative syntax as a tool for revitalizing downtown area in spatial and socio-economic aspects 111

– formation of creative syntax may facilitate social ac-

cessibility to creative activities (from elitist to egalitarian),

– creative public spaces and focal points of spatio-so-

cial activity marked within creative syntax induce creative

activities, foster a friendly environment for development

of creative functions and facilitate social interactions and

contacts,

– accumulated creative capacity of space and aggrega-

tion of creative functions underlie a synergy of social ac-

tivities within creative syntax, which may in eect increase

visual and business attractiveness of downtown.

Case study

– Poznan downtown

The study employs a multi-criteria, original research

method

which enables the analysis of the following aspects:

spatio-compositional, semantic-perceptive, and socio-eco-

nomic. Creative syntax areas are dened by the author as

composed of trump and decit spaces. Trump spaces repre-

sent those areas in public space, which are connected with

creative functions, and which are conductive to cultural ac-

tivities and a creative business sector. Decit spaces

are de-

ned as degraded buildings or building complexes, which

can potentially serve new functions related to culture and

creativity or as undeveloped spaces visually perceived as

urban voids in the otherwise compact downtown fabric,

whether privately or publicly owned.

Identification of creative milieu

In accordance with the adopted for this research meth-

odology, the case study of the city of Poznan started with

identication of creative milieu within the area of down-

town designated in the “Study of Land Use Conditions and

Directions of Spatial Development of the city of Poznan”.

The area of Poznan downtown is 1,672 ha, which represents

6.4% of the entire surface area of the city (26,200.00 ha).

Relevant graphic markings (points) were made on the map

of the downtown area to show spatial distribution of cre-

ative businesses. 4,623.00 businesses registered in the cre-

ative sector have been identied within 812 ha, i.e., within

46.6% of the entire downtown area. Distribution of busi-

nesses shows that areas within the boundary of central and

north-western part of downtown (Fig. 1) demonstrate the

highest creative capacity.

Fig. 1. Identification of creative

capacity understood as creative

milieu, conductive

to development of creative

functions in the downtown

of Poznan

(elaborated by D. Pazder

based on Google Maps)

Il. 1. Identyfikacja potencjału

kreatywnego rozumianego jako

milieu sprzyjające rozwojowi

funkcji kreatywnych

w śródmieściu Poznania

(oprac. D. Pazder na podstawie

Google Maps)

112 Dominika Pazder

Delineation of spatial concentration

of creative capacity

Spatial concentration of creative capacity (Fig. 2) was

represented by a modular grid (100 ×100 m). The grid al-

lowed for the visualization of intensity of creative busi-

nesses via marking their number per 1 hectare surface area.

Six was assumed to represent the average value of con-

centration of creative businesses per 1 ha. It has been cal-

culated in accordance with the formula: i/p ~ 5,79, where

I – is the total number of marked points, p – area of iden-

tied creative capacity in the downtown area (calculated

in ha).

Next, based on the number of points scored per 1 hect-

are of area, creative capacity was classied according to

intensity of concentration:

– 0 points – no creative capacity,

– 1–5 points – low intensity of creative capacity,

– 6–10 points – moderate intensity of creative capacity,

– over 11 points – high intensity of creative capacity.

In eect of identication of concentration of creative

capacity, downtown area in Poznan was found to com-

prise:

– 98 ha of high intensity creative capacity (over 11

points per 1 ha),

– 319 ha of moderate intensity creative capacity (6–10

points per 1 ha),

– 395 ha of low intensity creative capacity (1–5 points

per 1 ha).

The aforementioned identication of concentration of

creative capacity underlay delineation of creative syntax

boundaries in areas characterized with over average (mod-

erate 6–10 points) and very high (over 11 points – almost

twice the average score) intensity.

Designation of creative syntax

Current spatial status quo was analysed in terms of trump

and decit spaces in order to delineate creative syntax

(Fig. 3).

Trump areas were dened to contain developed

land (facilities serving various creative functions, such as

institutions of culture, museums, theatres, cinemas, audi-

torium rooms) and undeveloped land (open spaces located

nearby facilities serving creative functions) connected with

creative functions. On the other hand, impoverished parts

of developed and undeveloped urban fabric were classied

as decit spaces. The study also found a system of con-

nectivity (relationships) between trump and decit spaces

within creative syntax demonstrated via nodes (squares or

parks) that retain the social ow and linear spaces (streets,

avenues) that linearly lead the social ow.

Four areas of creative syntax were designated in the

downtown area of Poznan (Fig. 4). Areas I, II and IV of cre-

ative syntax were found to be located within close vicinity

Fig. 2. Delineation of the spatial

concentration of creative

capacity on a modular grid

(100 × 100 m)

(elaborated by D. Pazder

based on Google Maps)

Il. 2. Wyznaczenie przestrzennej

koncentracji potencjału

kreatywnego na siatce

modularnej 100 × 100 m

w śródmieściu Poznania

(oprac. D. Pazder na podstawie

Google Maps)

Designation of creative syntax as a tool for revitalizing downtown area in spatial and socio-economic aspects 113

Fig. 3. Designation of creative

syntax in reference to spatial

concentration of moderate and

high creative capacity in Poznan

downtown (elaborated by

D. Pazder based on Google Maps)

Il. 3. Wyznaczenie obszarów

kreatywności w odniesieniu do

przestrzennej koncentracji

średniego i wysokiego potencjału

kreatywnego w śródmieściu

Poznania (oprac. D. Pazder

na podstawie Google Maps)

of the Old Town and to form a legible and well-connect-

ed system. Area III showed the lowest connectivity with

Area I. Creative syntax I, which encompasses the Old

Market Square, best facilitates the creative functions. High

numbers of trump and decit areas were identied within

its boundary, thus, according to the adopted methodology,

this area oers the best opportunities for the development

of creativity. Areas II and III contained fewer trump areas

but showed a higher development potential for temporary

use of spaces due to identied decit spaces. In Area IV,

only decit spaces were identied, which poses a chance

for development of creativity. Particular recommendations

were formulated in the course of the research on the select-

ed sequential system of road oer.

Delineation of the sequential system

of road offer within creative syntax areas

in the analysed cities

In the process of designation of creative syntax areas and

in eect of identication of a connectivity system between

them, we selected a relevant sequential system of road oer.

The system is demonstrated by an arrangement of nodes and

linear spaces that optimally connect creative syntax areas,

taking into account walking distances. The ultimate

visual

experience of a walking pedestrian increases the apprecia-

tion of space and enhances the interactive experience qual-

ity. A sequential system of road oer, composed of a linear

east-west oriented layout (approx. 3,000.00 m long)

was

selected within the designated creative syntax in Poznan

downtown. It was next subjected to thorough analyses

(Fig. 4).

Analysis

of scenic sequential continuity

To assess attractiveness of a selected fragment of the

sequential system of road oer, it was rst analysed in

view of scenic sequential continuity and major indicators

underlying perception of the quality of spatial relation-

ships (Fig. 5).

The analysis of the selected sequential system of road

oer concerned accentuation and rhythm of a continui-

ty (dominants, accentuated elements, directions), rhythm

of a sequence (urban interiors in the form of nodes and

linear spaces), perceptual continuity and functional con-

tinuity. The results of our research on a scenic sequential

continuity rendered the following perceptual indicators

aecting the quality of experienced spatial relations: four

114 Dominika Pazder

dominants and two accentuated elements. For the reason

that visual attractiveness and legibility of spatial layout in

some sections diered depending on the direction of the

social ow, the analysis was carried out for two oppos-

ing directions. Perceptual continuity refers to a rhythmic

arrangement of internal sequences (square-street). This

rhythm is best observed at the points of connection be-

tween sequences.

Assessment of spatial value indicators

The research next moved on to assess the space quality

indicators following the adopted scheme of orientation/ex-

perience/memorization with the use of the semantic dier-

ential (SD) method. The selected sequential system of road

oer was rated for quality in the following three categories:

instrumental quality (orientation), sensual quality (experi-

ence) and semantic quality (memorization) in reference to

AIDAS assessment components (attention, interest, desire,

action, satisfaction)

. Indicators of spatial value were an-

alysed for each point from A to L, marked on the selected

AIDAS: “A” – gain attention, “I” – hold interest, “D” – arouse

desire, “A” – elicit action and “S” – ensure satisfaction.

sequential system of road oer, in two opposite directions,

following the adopted scheme of orientation/experience/

memorization with the use of the semantic dierential

(SD) method referenced to components of AIDAS market-

ing tool, which method represents an emotional model of

generating demand for creativity and supply of creativity

(Fig. 6).

Marketing assessment with the use of AIDAS is com-

posed of valuation of attractiveness factors during the

customer purchase process: gaining attention, holding in-

terest, arousing desire, eliciting action and ensuring satis-

faction. In this article, assessment components of AIDAS

marketing tool have been transposed to evaluation of in-

dicators aecting spatial quality perception in such cate-

gories as instrumental quality (orientation)/sensual quality

(experience)/semantic quality (memorization) of space.

The level of orientation assessed for spatial quality, ranged

from intuitive to non-intuitive, has been correlated with the

rst level of AIDAS marketing tool – gaining attention.

The three mid-levels of AIDAS: holding interest, arousing

desire and eliciting action have been referenced to the ex-

perience of space rated as stimulating or suppressing. The

highest level of customer satisfaction has been assumed

to correspond to the memorization level, evaluated ei-

ther positively or negatively. Correlated levels have been

Fig. 4. Delineation of the

sequential system of road offer

within marked creative syntax

in Poznan downtown

(elaborated by D. Pazder

based on Google Maps)

Il. 4. Wyznaczenie sekwencyjnego

systemu oferty drogi w obrębie

wyznaczonych obszarów

kreatywności w śródmieściu

Poznania (oprac. D. Pazder

na podstawie Google Maps)

Designation of creative syntax as a tool for revitalizing downtown area in spatial and socio-economic aspects 115

additionally referenced to the levels of social interaction

– the lowest is connected with indicators of orientation

and attention, the highest – with memorization and satis-

faction in relations with space and other users.

Detailed analysis was carried out in the seven adopted

semantic dierentials in reference to quality in the follow-

ing categories: instrumental quality (orientation)/sensual

quality (experience)/semantic quality (memorization) of

space

. In eect of expert’s evaluation of spatial value in-

dicators, orientation was assigned with intuitive or non-in-

tuitive value. As regards spatial value indicators of percep-

tual quality measuring the sensual experience of a walking

pedestrian, such indicators were rated as stimulating or

suppressing. Semantic indicators related to memorization

of space were assessed as positive or negative (Fig. 7).

In the tables presenting the research conducted with the semantic

dierential method (Fig. 7), the three quality categories were marked with

dierent colours: black marked the instrumental quality, red – the per

ceptual quality, blue – the semantic quality. (The aforementioned colour

markings were consistently used in further research, in the summarising

charts prepared to graphically represent connectivity between individual

components at the dierent stages of our studies).

Fig. 5. The study of scenic

sequential continuity and

identification of major perceptual

indicators affecting the quality of

experienced spatial relationships

on the example of the selected

fragment of the sequential

system of road offer

in Poznan downtown

(elaborated by D. Pazder

based on Google Maps)

Il. 5. Badanie ciągłości

sekwencji malowniczych

i identyfikacja głównych

wyróżników wrażeń

wpływających na jakość

związków przestrzennych

na przykładzie wybranego

fragmentu sekwencyjnego

systemu oferty drogi

w śródmieściu Poznania

(oprac. D. Pazder

na podstawie Google Maps)

Fig. 6. A chart presenting relationships between categories

of spatial value assessment of indicators according to the scheme of

orientation/experience/memorization and components assessed

with AIDAS marketing tool (elaborated by D. Pazder)

Il. 6. Schemat graficzny ilustrujący zależności między elementami

oceny wyznaczników wartości przestrzennych według schematu

orientacja/doświadczanie/zapamiętywanie a komponentami narzędzia

oceny marketingowej AIDAS (oprac. D. Pazder)

116 Dominika Pazder

Fig. 7. An exemplary table

presenting detailed analysis

carried out in seven adopted

semantic differentials in

reference to quality: instrumental

quality (orientation), sensual

quality (experience) and

semantic quality (memorization);

A view of a sequential continuity

(elaborated by D. Pazder

based on Google Maps

and Google Earth Pro)

Il. 7. Przykład tabeli badania

szczegółowego w siedmiu

zakresach dyferencjału

semantycznego w odniesieniu

do jakości: instrumentalnej

(orientacja), doznaniowej

(doświadczanie) i semantycznej

(zapamiętywanie);

widok w ciągu sekwencyjnym

(oprac. D. Pazder na podstawie

Google Maps i Google Earth Pro)

Designation of creative syntax as a tool for revitalizing downtown area in spatial and socio-economic aspects 117

Research summary

The summary of the research focused on the assessment

of indicators of spatial values in respective points marked

on the selected sequential system of road oer has been

made in the form of charts presenting the results obtained in

the road evaluation from point A to point L, and next in the

opposite direction, from point L to point A. The research has

facilitated the assessment of quality at relevant sections of

the road, broken down by indicators of instrumental quality

(orientation – intuitive and non-intuitive), sen sual quality

(experience – stimulating/suppressing) and semantic qual-

ity (memorization – positive/negative). Based thereon,

spatial quality indicators of the sequential system of road

oer were evaluated in the researched points (A–L) in the

three quality categories: instrumental, sensual and seman-

tic for the opposite categories of the semantic dierentials.

Following the same rules of assessment for all the analysed

areas, upper points on the graph represented the follow-

ing results obtained in respective categories: instrumental

quality – intuitive, sensual quality – stimulating and seman-

tic quality – positive. Lower points on the graph represent-

ed the opposite rating in the said categories: instrumental

quality – non-intuitive, sensual quality – suppressing and

semantic quality – negative. The summary chart (Fig. 8)

represents a synthetic graphic presentation of the results

of detailed analyses carried out for the selected sequential

system of road oer, i.e., from point A to point L and in the

reverse direction, from point L to point A. Creative syntax

areas and focal points of spatio-social activity were desig

nated within the selected sequential system of road oer in

the downtown area of Poznan on the basis of the highest

and lowest rated spaces: above the average (over 5–7 points

in the assessment with the semantic dierential method),

rated as intuitive/stimulating/positive and those below the

average (5–7 points in the assessment with the semantic

dierential method), rated as nonintuitive/suppressing/

negative. The author aimed to observe opposing features

of space, rather than to describe the aforementioned assess-

ment ranges in the context of evaluation. The purpose was

to identify the key feature for the research, i.e., stimulating

potential. In compliance with such an assumption, stimulat-

ing spaces, which scored the highest rating, and the spaces

which scored the lowest result in a relevant category, i.e.,

those which were evaluated as non-intuitive, suppressing

and negative, were selected for further research. The selec-

tion of opposites stemmed from the conception proposed

herein that decit spaces stimulate creativity and show the

highest development potential.

The results were synthesized to designate creative syn -

tax areas and focal points of spatio-social activity. The re -

sults of the assessment have enabled the author to de signate

the most attractive sections of the sequential sys tem of

road oer in view of the research purpose. The map with

marked trump and decit spaces located nearby the ana

lysed road fragment was overlaid with areas that scored the

Fig. 8. Summary of the detailed road analysis from point A to point L (results represented by a continuous line)

and from point L to point A (results represented by a broken line) with designated white squares at the top and bottom of the chart,

(the highest and lowest scores), i.e., over 5 points in the opposite categories of the semantic differentials

(elaborated by D. Pazder)

Il. 8. Podsumowanie badania szczegółowego dla drogi od A do L (wyniki oceny linia ciągła)

i od L do A (wyniki oceny linia przerywana) z zaznaczeniem białymi polami u góry i u dołu wykresu przestrzeni,

które uzyskały skrajne oceny, czyli powyżej 5 punktów w przeciwstawnych kategoriach dyferencjału semantycznego

(oprac. D. Pazder)

118 Dominika Pazder

extreme results in the assessment of spatial value indicators

in the categories: orientation ( intuitive and non-intuitive),

experience (stimulating/sup pressing) and semantic (mem-

orization – positive/negative) (Fig. 9).

Conclusions and recommendations

Concluding the research, it is vital to present recom-

mendations for activities that can facilitate development

of creativity in the selected spaces of the highest develop-

ment potential in view of opportunities posed for develop-

ment of creative syntax areas and focal points of spatio-so-

cial activity, crucial for the revival of the downtown area

in Poznan. The proposed activities shall address the issues

of preservation, development and stimulation of local val-

ues (Fig. 9). The selected trump spaces were allocated to-

wards the preservation or development of the said values

(marked with black outline on Fig. 9). The most highly

rated spaces within the quality categories: instrumental,

sensual and semantic were qualied for preservation. This

means they were evaluated as follows: orientation – intu-

itive, experience – stimulating, memorization – positive.

On the other hand, trump spaces that encompassed the

identied decit areas in one of the aforementioned three

categories of quality were qualied for development. It is

recommended to introduce new interior design elements

into public spaces in those areas that show connectivity

with the existing creative functions. By their artistic and

creative value, such new elements may contribute to the

arousal of new stimuli increasing the level of spatial ac-

tivation. They may further ensure positive experiences of

the space, which will be permanently memorized. Decit

spaces were qualied for stimulation (marked with orange

outline on Figure 9 in the case of spatial voids and with

orange coloured geometric forms in the case of developed

areas) if they scored the lowest rating in the quality ca-

te gories: instrumental (orientation)/sensual (experience)/

semantic (memorization). These spaces were also evaluat-

Fig. 9. Development

recommendations for

the selected sequential system

of road offer

(elaborated by D. Pazder

based on Google Maps

and Google Earth Pro)

Il. 9. Rekomendacje w zakresie

rozwoju dla wybranego

fragmentu sekwencyjnego

systemu oferty drogi

(oprac. D. Pazder na podstawie

Google Maps i Google Earth Pro)

Designation of creative syntax as a tool for revitalizing downtown area in spatial and socio-economic aspects 119

ed as posing the highest creativity development potential.

It is recommended to create community activating plac-

es within their boundaries in the context of functions and

t out.

The degree of creativity development potential within

the analysed downtown is the resultant of identication

and evaluation of trump and decit spaces (key compo-

nents of development opportunities). In accordance with

the adopted research methodology, the more decit spaces

there are, which pose opportunities for implementation of

desired development processes and activities, the higher

the creativity development potential is. The following rule

governed the selection process: spaces were qualied for

detailed analyses, provided that only decit spaces were

identied therein or provided that they encompassed both

trump and decit areas. Areas that contained no trump and

no decit spaces or that contained only trump spaces were

disqualied (Fig. 10).

The performed multi-criteria assessment has enabled

the author hereof to select decit spaces for temporary

creative use in accordance with the needs of the inhabi-

tants; in the opinion of the author, this is an important

aspect of social life revival. Furthermore, certain desired

development directions were formulated in the context

of utilization of trump spaces for the purpose of creative

syntax stimulating the revitalization of public spaces via

creativity, culture and art. Designated decit spaces may

be temporarily arranged and used for the satisfaction of

needs of local communities before they are reclaimed for

the purposes of investment projects, the commencement of

which may take several or even several dozen years, on the

condition that proper organizational and nancial support

is granted by the city or non-governmental organizations

(NGOs). Spaces characterized by the highest creativity

development potential may – if the space is appropriately

used – improve the quality of spatial oer and aect social

and economic revitalization of downtown.

According to the adopted methodology, homeostasis,

understood as the state of internal balance of social, cultur-

al and economic driving forces, is a material aspect of the

desired development direction. In this sense, development

and protection shall be respectively balanced and shall

underlie stimulating and inspiring characteristics derived

from decits.

Translated by

Barbara Marszałek Words24

Fig. 10. The scheme, which represents relationships

between the existence of trump and deficit spaces

and creativity development opportunities

in the analysed downtown areas of the researched cities

(elaborated by D. Pazder)

Il. 10. Schemat ilustrujący zależność między występowaniem

przestrzeni atutowych i deficytowych a możliwościami rozwojowymi

w zakresie kreatywności analizowanych przestrzeni w obrębie

śródmieść badanych miast (oprac. D. Pazder)

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120 Dominika Pazder

Streszczenie

Wyznaczanie obszarów kreatywności – creative syntax – jako narzędzie ożywiania przestrzeni śródmiejskiej

w aspekcie przestrzennym i społeczno-ekonomicznym

W artykule poruszone zostały zagadnienia związane z rolą kreatywności w ożywianiu obszarów śródmiejskich. Autorka podjęła próbę zidentyko-

wania związków między rozwojem kreatywności a zachodzącymi w śródmieściu zmianami przestrzennospołecznymi. Kluczowym elementem pracy

jest badanie wyznaczonych przestrzennie za pomocą przyjętej autorskiej metody obszarów kreatywności (creative syntax) w celu zidentykowania ich

roli w kontekście pobudzenia aktywności społecznej, ożywiania przestrzeni śródmiejskiej, a także zapewnienia podstaw do rozwijania innowacyjnej

idei ekonomii doznań i gospodarki przeżyć. W badaniach skoncentrowano się na warstwie przestrzennej i znaczeniowej kreacji wysokiej jakości

i atrakcyjności przestrzeni publicznych śródmieścia. Zastosowano wielokryterialną autorską metodę badawczą ujmującą poruszaną problematykę

w aspektach: przestrzennokompozycyjnym, semantycznopercepcyjnym oraz społecznoekonomicznym.

Słowa kluczowe: kreatywność, atrakcyjność społecznoprzestrzenna, śródmieście, przestrzeń publiczna