上海濱江創意產業園的生與死-全球化下創意產業集聚區的製造

The Death and Life of Shanghai Binjiang Creative Industry park-The Making of Creative Industry Districts in Globalization

梁暉昌(Hui-Chang Liang)

指導教授 ： 夏鑄九

國立臺灣大學/工學院/建築與城鄉研究所/博士(2013年)

https://doi.org/10.6342/NTU.2013.10531

摘要

現今討論上海市的創意產業集聚區，往往會從幾個方面進行論述。首先是將其當成一種文化消費空間，而這種討論的理論依據，往往是從西方發展經驗所得之分析結果，但是只有極少的上海市創意產業集聚區，符合這種理論分析。大部分的創意產業集聚區，仍然被當成生產的空間，而非文化消費的空間。而另外一種研究取向，便是從集聚效應與區位理論的角度去探討上海創意產業集聚區，但是他們忽略了上海雖然對創意產業集聚區的設置訂立了相關辦法，卻沒有嚴格的執行，以至於絕大部分的創意產業集聚區都無異於一般的辦公大樓。因此，不論是從區位理論或是從集聚效應去討論上海的創意產業集聚區，都無法切中問題核心。
我們該問的是，為何上海市的創意產業集聚區會變成一種現有理論都無法解釋的空間，而這又與上海市政府的政策有何關聯。如果僅僅將上海的創意產業集聚區與創意產業政策或是產業結構轉型關聯在一起，這樣的討論是不足的。因為這樣的關聯，並無法解釋為何創意產業集聚區成立之後，政府並沒有嚴格執行限制集聚區內的進駐企業類別。也無法解釋，為何絕大部分的創意產業集聚區的開發商，以集聚區空間出租為主要經營模式，而非真正的經營創意產業。但是，如果因此認定上海的創意產業集聚區就是房地產開發，卻又無法解釋為何這樣的模式會被中央政府認可，並且推展至全國。
因此本論文試圖從都市政權理論的角度來探討創意產業集聚區政策的推動。我們必須了解，上海市政府面對國家給予的指標壓力，一方面必須積極發展城市GDP，另外一方面，政府官員也必須不斷的創造可以被看見的政績。因此要解決產業轉型下而閒置的工廠，必須尋找出一個符合多方面要求的方案。濱江創意產業園，正是一種新的空間商品，這種空間模式，不僅讓創意產業集聚區的數量，作為地方政府配合國家政策的依據，同時也可讓原有閒置空間產生經濟效益，增加了城市GDP，更重要的是，在政府引進開發商進入此一市場時，不僅改變了城市景觀，同時也促進了上海的土地財政收入。
因此，上海創意產業集聚區真正的意義，並不在於是否促進了創意產業的發展，而是它同時聚集各方利益的具體化產物。創意產業集聚區促進了城市治理聯盟的出現，同時也作為發展上海城市的成長機器。但是這種城市發展政策的推動，其實仍然排除了部分群眾的利益，創意產業集聚區藉由工業遺產再利用的口號，合理化其政策推動。實質上卻是將公共的工業遺產，變成私人管理的空間，不僅排除了社區居民的集體記憶的存在，更以安全管理的方式，排除了群眾的進入，也從而使得工業遺產喪失了公共性。

關鍵字

創意產業集聚區 ； 文化消費 ； 區位理論 ； 集聚效應 ； 治理聯盟 ； 政權理論

並列摘要

Shanghai Creative Industry Agglomeration Districts are often discussed from several aspects today. In the first aspect, the industry areas are being discussed as a kind of cultural consumption space. The theoretical basis of this discussion often is resulting from the results of Western development experience analysis, but only a few of the Shanghai Creative Industry Agglomeration Districts are consistent with this theory. Most of the Creative Industries are still being seen as the space for production rather than the cultural consumption. In another research aspect, the Shanghai Creative Industry Agglomeration Districts are being explored from the angle of Agglomerative Effectiveness and Location Theory. But the fact that the regulations have not been strictly enforced has been ignored and most of the Creative Industry Agglomeration Districts are being viewed as no different from general offices. Therefore none of these two discussion aspect is able to expose the core of the problems.
What we should ask is why the Shanghai Creative Industry Agglomeration Districts have become spaces that cannot be explained with existing theories and how this is related to the Shanghai Municipal Government's policies. We need to realize that it is not enough to include only the Shanghai Creative Industry Agglomeration Districts, Creative Industry policies or Industrial Restructuring in the discussion scope. Because such association cannot explain why the government did not strictly enforce the restrictions for the business category stationed in the region after the establishment of Creative Industry Agglomeration Districts, and it does not explain why most of the Creative Industry Agglomeration District developers focus on leasing the space to the Creative Industries rather than operating; and why such model can be recognized by the Central Government and extended to the whole country if the Shanghai Creative Industry Agglomeration Districts are established only as real estate development.
This paper attempts from the perspective of Urban Regime Theory to discuss the policy promotion for Creative Industry Cluster. We must realize that the pressure being faced by the Shanghai municipal government from the central government for being a national indicator. On one hand, it must actively develop urban GDP; on the other hand, government officials must also continue to create achievements that are visible. In order to solve the problem of industrial transformation and idle factories, the solution must meet various requirements. Binjiang Creative Industry Park is just the new kind of space product that not only allows the number of Creative Industry Area being used as an indicator for national policies by local governments, but also allows economic benefits being generated with the existing vacant spaces and urban GDP increases. More importantly, it not only changed the urban landscape, but also promoted Shanghai's real estate revenue when the government introducing real estate developers into this market,.
Therefore, the true meaning of Shanghai Creative Industry Area are not only with whether to promote the development of creative industries, but that it aggregates the interests of all concrete products, thus promoting the emergence of governing coalition and as the growth machine for Shanghai city's development. However, in fact, some people are still excluded from the benefits of this urban development policy. Industrial Heritage Reuse is being used as a slogan to rationalize the policies’ promotion, but in essence, it is turning the public's industrial heritage into privately managed space, this not only excluded the collective community memory of from the existence, but also to created a way preventing the people to enter under “Safety Management” requirements and resulted to the loss of the Industrial Heritage‘s public characteristic.

並列關鍵字

creative industry agglomeration districts ； location theory ； cultural consumption ； Agglomerative Effectiveness ； governing coalition ； urban regime theory

參考文獻

參考文獻

英文部分

1. Adorno, T., Horkheimer,M. The Cultural Industry: Enlightenment as Mass Deception. The Dialectics of Enlightenment [M].London: Allen Lane, 1973

2. Allen Scott. The Cultural Economy of Cities [J]. International Journal of Urban and Regional Research, 1997, 21 ( 2) :323-339.

3. Allen Scott. On Hollywood , The Place The Industry [M]. Princeton University Press,2005 .