公辦公營文創園區的創意產生及實踐：以臺中1916文創工坊為例

A Study on the Creative Dynamisms in a Government-run Creative Park:The Case of 1916 Creative Workshop in Taichung

朱育萱(Yu-Hsuan Chu)

指導教授 ： 陳良治

國立臺灣大學/工學院/建築與城鄉研究所/碩士(2019年)

https://doi.org/10.6342/NTU201900983

摘要

既有的相關研究發現臺灣現行創意產業園區發展成為展示、消費的櫥窗，而將生產放置於園區外，並指出當中經營型態是導致此現象的關鍵因素。因此，本研究選擇政府公辦公營文創基地為探討對象，以1916文創工坊為個案，藉以探討文創基地在政府公辦公營制度以及前店後場空間型態介入，對創作者創意產生及實踐過程的影響性，並用以回應本研究三項發問：1.公辦公營文創園區經營模式有何特色，為何選擇以公辦公營模式經營？2.1916文創工坊以前店後場的空間型態對於文創產業影響性為何？3.政府介入文創基地的制度以及規範有哪些？這對進駐創作者產生哪些影響？
本研究以質性研究方式，透過田野實地調查並與進駐創作者、政府經營管理單位、輔導媒合單位進行深度訪談，研究發現透過政府制度以及規劃空間型態所建構的文創基地，形成三層次的生產消費空間模糊化。大層次：定位上的模糊化，使文創基地在城市中被認識的機會更廣，非只吸引單一客群，而是有更多能力被不同性質的客群所注意到；中層次：透過空間配置形成的模糊化，園區在無形中打破生產跟消費邊界，而讓進入園區的使用者在不經意中改變或增加使用上的目的，也增加創作者額外被看到及認識的機會；小層次：生產消費邊界模糊空間，文創基地前店後場空間型態，在基地中很難明確區分何處是生產何處又是消費空間，因而創作者也能在模糊化中交織出更多創意能量、被市場認識的契機以及推廣自身工藝技術理念。
此外，研究也發現，公辦公營制度為創作者帶來後盾，如低租金成本及空間型態優勢、區位優勢、輔導媒合機制、資源交換實習生計畫，但同時也帶來矛盾現象，如園區客群型態所帶來的人潮不等於業者生存下去的收益、經營管理制度問題、園區非以營收考量的經營理念對創作者加分與否，制度所帶來的後盾與矛盾對創作者在創意產生及實踐的市場平台上都具有特殊影響性。

關鍵字

創意群聚 ； 鄰近性 ； 創意能量 ； 生產消費空間模糊化

並列摘要

Some studies have shown that the current creative parks in Taiwan have been developed into places for showcasing and consuming creative goods, while production of such goods have been located elsewhere. This study takes a government-run creative park, the 1916 creative workshop, as the example to study how the government-run system and the “front shop and back workshop” spatial pattern influence the creative dynamism and practices of creators. Specifically, this study aims to answer following questions:1.What are the features of the government-run creative parks in Taiwan?
2.What are the influences of the “front shop and back workshop” spatial pattern on the creative industry? 3.What are the influences of governments’ intervention in the development of creative parks on creative dynamism and practices of creators?
This study uses qualitative research methods, including such as field research, and in-depth field interviews with creators, government officials, and relevant actors in the creative park. It is argued that the creative hub has demonstrated three-level of ambiguities in its production and consumption spaces. Macro level: The Positioning Ambiguity that makes the creative hub more widely recognized in the city by not only attracting a single customer group, but also having more ability to be noticed by different types of customers. Meso level: The Spatial Ambiguity that breaks the boundary between production and consumption, allowing various actors easier access to the park and allowing creators more opportunities to be recognized. Micro level: the Production and Consumption Ambiguity manifested in the front shop and back workshop spatial pattern in the creative hub, allowing creators to engender more creative energy, to gain more opportunities to be recognized, and to promote their craftsmanship.
In addition, the study finds that, while the government-run system indeed supports the creators’ creative activities, it also brings negative impacts. For example, the inflows of crowds into the park are not necessarily equal to the profit of the owners. The non-revenue management philosophy does not have the absolute advantage. Therefore, the supports and contradictions of system bring profound influences on the creator's creative dynamisms.

並列關鍵字

Creative cluster ； Proximity ； Creative dynamisms ； Ambiguity of production and consumption spaces

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