北京創意空間建構與國家：宋莊畫家村案例研究

Construction of creative space and the state in Beijing：A case study of Songzhuang arts village

羅振倫(Jen-Lun Lo)

指導教授 ： 周志龍

國立臺北大學/公共事務學院/都市計劃研究所/碩士(2011年)

摘要

自二十世紀末，文化產業已成許多國家與城市的政策重點，試圖透過文化空間與經濟策略帶動地方發展。北京致力於「世界城市」的發展的過程中，推出文化做為建構因子，至今在全市共編定30 處的文化創意產業園區，策略是藉重科技產業群聚的模式，激勵文化經濟的創意與創新。這些群聚區大至可分為四種類型，其中傳統農工閒置空間經創作社群自發群聚形成的藝術村，提供了特殊的創作氛圍，使藝術家與媒體工作者能夠享受較多自我表現的自由，是近年來學術研究關注的重點。

本研究有別於西方在都市創意經濟的成功經驗論述，選擇北京的宋莊畫家村為中國當代藝術空間使用的重要案例，並以制度網絡的取徑觀察國家與創意空間中社群間的角色扮演，分析其對創意群聚制度化的影響，也將本研究結果作為後續國家推動創意文化園區制度建構的參考。

最後，本研究結果如下：一、北京的「文化創意產業園區」不僅反映了中國改革開放後，文化體制改革下”一手抓繁榮，一手抓管理”的政策體制，也印證了世界城市論述下，作為文化經濟發展策略的主導角色；二、宋莊創意空間的建構正好迎合了北京在文化創意產業發展與調整城市結構的策略；三、地方政府親成長的立場和經濟利益導向的本質，弱化了政府做為調節的第三部門角色，其強調”企業經營”的發展途徑，不但模糊化政府與企業的界線，並散播以「文化地標」的品牌塑造之名，吸引投資者進駐藝術區，卻造就無情的土地紛爭、社會排除等問題。

關鍵字

文化創意產業園區 ； 制度化 ； 宋莊畫家村 ； 北京 ； 國家

並列摘要

Since the late twentieth century, the cultural industry has become a prioritypolicy in many countries and cities. The policy maker attempts to promote localdevelopment by practicing cultural space and economic strategies. To commit the“world city” developmental process, “culture” has become the constructional factor of city in Beijing. The Beijing government has set 30 cultural creative industry
quarters in the city. The strategy of this program comes from science and technologyindustry cluster model, encouraging creativity and innovation culture and economy.
Beijing’s cultural and creative cluster includes four types. One of them is the artistic community cluster which was formed spontaneously by the traditionally agricultural
and industrial space, which offers a special creation of atmosphere, so that artists and media workers can enjoy more freedom of self-expression which are the focuses
of academic research in recent years.

This study is different from the successful experience of western creative economy discussion. We chose Songzhung arts village as case study because this case is an important example used for contemporary arts in Beijing, and we use the approach of ‘Institutional Networks’ to observe the roles of different groups and states play in creative space, and to analyze the effect of creative cluster institutionalization. The results of this study will become the reference materials for policy of cultural quarter.

Finally, the results of this study are as follows: (1)Beijing’s “cultural and creative industrial quarter” not only reflects the policy framework of “one hand grips prosperity and another grips management” after the reforming and opening up in China, but confirms its character as a leading role in culture and economic development under the discourse of “world city”. (2)The construction of Songzhuang creative space happens to meet the cultural and creative industry development and adjustment strategy of urban structure. (3) The position and oriented nature of pro-growth and economic interests of local government weaken the government’s role of third sector as a regulator, and its emphasis on the development of “enterprise management” approach, not only blurs the boundaries of government and business, but creates the “cultural landmarks” in the pretense of local marketing
in order to attract investors to enter the “arts area”, which results in ruthless land disputes, social exclusion and other issues.

並列關鍵字

cultural creative quarter ； institutionalization ； Songzhuang arts ； Beijing ； state

參考文獻

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