During the 21 st century the city became a cultural factory. The urban environment acts as a magnet for artists, creative professionals and cognitive workers. The city not only offers them inspiration but also more professional opportunities for work and assignments. The high density of cultural institutions, cafés, creative hubs, and other 'places to be' provide freelancing creatives with the necessary networking opportunities to stay on the job. It was sociologist Richard Florida who at the turn of the millennium pointed to a new social segment of creative workers as a driving engine for economic growth. Cities who manage to attract the creative, artistic, bohemian type, one reads in The Rise of the Creative Class, will thrive economically. The link with deliberately gentrified 'cultural quarters' becomes significant.However, this urban working environment also means that the boundaries between private and public life, friends and colleagues, leisure time and work become particularly cloudy. Moreover, the capitalisation of culture generates cutting competition between creative professionals and friends, between artists and lovers. In other words, the creative city is also a crabs' basket that threatens sustainable creativity and thus the dynamics of a culture. The consequences are now well-known. From burnout on an individual level to gentrification that makes the city unaffordable for creatives: the creative engine starts to sputter. Today, the creative city appears to be biting its own tail.Hence this volume's rationale: in direct contrast with Florida's rise of the creative class, we explore the rise of the common city. Following from the research project Sustainable Creativity in the Post-Fordist City, carried out by the Culture Commons Quest Office (CCQO, Antwerp Research Institute for the Arts, University of Antwerp -FWO-Odysseus) between 2016 and 2021, we investigate in this book whether culture can play a role other than an economic one. We do this, among other things, by declaring culture as common again, as an initially and fundamentally shared good, that in fact can be used and made by everyone for free. Inspired