Creative Class

I was talking to a 60-year-old, retired entrepreneur at a party the other night. Successful guy, very sharp. I asked him what he thinks is next for Florida and he said he did not have much hope for Florida, mostly due to lack of visionary leadership. Then he said something that really struck me. He suggested that Florida is on a course to reset to its old state of being “cheap, sunny, and dumb.”

That really struck me because while we are all talking about the great reset that is going on, I had not thought to ask the question, “What does Florida reset to?” And he may very well be right. At the state level, we are relaxing the rules for developers  to encourage even more sprawl to try to kick-start our construction industry again. We are actually lowering impact fees in places. We are lowering protections on the environment. This seems like a reset towards “cheap, sunny, and dumb.” There are powerful forces and attitudes that could very well push Florida back into this reset mode. And that is pretty scary.

While we all generally agree that this reset is needed and welcomed in some cases, we should be careful that we don’t reset back to a point so far back that we actually lose too much of our hard won progress. We all have to ask ourselves and our leadership what the plan and vision is for this reset. Each community is facing this and we act as if the reset is just something that will happen. That is not the case, yet I hear far too little  debate as to how we actively shape the reset.

I recently had the opportunity to visit Milwaukee, WI, for the first time (thank you FUEL Milwaukee!). And visiting cities for the first time, to me, is particularly exciting. Arriving for the first time is a pure and unadulterated experience. First impressions matter and how a city presents itself to a first-time visitor is very important. I learned this from my friend Charles Landry.

Milwaukee Art Museum

I arrived via the airport with the typical location outside of city. My host takes the highway toward the city. As we approach the Hoan Bridge, we pass amid the Port of Milwaukee. On both sides, there are mountains of bulk materials and cranes. While not beautiful, there is the appearance of activity and a muscularity that says “we work here.” As we crest the bridge (with its own very strange design element) I am startled because the city presents itself there in panorama. The city in the hills to the left, the waters of Lake Michigan to the right. And to the right, near the lake, your eye is drawn to the white sails of the Santiago Calatrava masterpiece at the Milwaukee Art Museum.  It looks so different and unexpected in the tableau that one cannot help but to stare. Unexpected because this is the Midwest where modern iconic design is not the norm and that is not a shot; I am originally  from the Midwest!  More photos click here.

While many question the value of “starchitects” and iconic design, I have to say that my impression of Milwaukee was and is shaped in no small part because of that building. It is different and it says something about Milwaukee that no amount of advertising and marketing could equal. It says in a profound way “we are not what you expect” and that Milwaukee is looking to the future and beyond the beer brewery image of its past. The building says it in a visible and demonstrable way that one cannot deny.

Cities that are arguing over the cost/benefits of such iconic architecture should consider the context in which the new building will occur. In starchitect-rich Singapore, one more Calatrava or Libeskind is just keeping up with the crowd. In cities with a dearth of quality architecture (lots of those) or cities that need to redefine themselves in the 21st century, a new building can be a catalyst for new design and a whole host of other values.

In her September 3 blog post, “Creative Florida”, Rana Florida asked for thoughts about Florida tourism. As a resident of St. Petersburg, Florida, I thought I should respond.

Tourism has long been the golden goose in Florida but it is also a double-edged sword. We have no state income tax in large part due to the sales tax revenue that tourism provides. When the tourists come, the coffers fill and all is well. When we have downturns in the economy or other disruptions (such as hurricanes or 9/11) our budgets shrink. This volatility prevents us from having a predictable revenue stream which in turn means less long-term planning.

For better or worse, tourism also defines Florida. For many it is great to have that identity but I know a lot of creative class entrepreneurs in high-tech who lament that they can’t attract talent or VC interest because no one takes Florida seriously as a business environment.

But to me the largest impact of tourism is that it has made us lazy (I say this with love, Florida!). Tourism is easy money and we have coasted on that for too long. When the tourists just arrive with bags of money, why innovate? Why invest in our schools or our infrastructure? Why make the hard tax choices when we can raise the bed tax on hotel rooms or local tax on car rentals? We need to rethink tourism and make it a higher value experience, one that leverages the service economy and makes it more creative and innovative.

Florida had a wake-up call last year when, for the first time since WW2, we had a net outflow of population. That is a seismic shift in the underpinnings of Florida’s economy and I hope that it forces us to look at diversifying our economy and making the harder choices of developing industries beyond the beach and theme park.

I thought in my first blog post for CCE I should give props to Richard for helping me get to this point. I first met Richard in 2003 when he came to speak in Tampa, Florida for the first time. I had read TROCC at the suggestion of my wife (at the time), Michelle Bauer, who was the executive director of the Tampa Bay Technology Forum. They were part of a unique coalition of groups that brought Richard to Tampa.  Also key in the process were the Tampa Chamber of Commerce, the Arts Council, and Workforce Tampa.  Getting these four entities to agree on one speaker truly was historic!

TROCC and Richard’s talk got me excited about ideas in a way that I had not been excited by ideas since college. It spoke to how I worked, how I thought about my life and my community. I suspect I am not alone in this capacity. I got to know Richard and his former associate Rod Frantz and we became friends, conspirators, and colleagues.  Creative Tampa Bay was founded in 2004 and took up the mission of developing the creative economy in the region. I became its second president and within two years I had the honor of sharing a stage with Richard in Perth, Australia, where we talked about the impact of his work on communities like mine.

Richard’s work shifted the direction of my own work and has led me to other incredible thinkers and practitioners in this arena such as Charles Landry, John Howkins, and Carol Coletta. In true creative class fashion, I have been able to create my own career and am doing work I love.  Richard had a direct influence on that, and for that, I will always be grateful.