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完整後設資料紀錄
DC 欄位 | 值 | 語言 |
---|---|---|
dc.contributor.advisor | 陳良治 | |
dc.contributor.author | Yu-Hsuan Chu | en |
dc.contributor.author | 朱育萱 | zh_TW |
dc.date.accessioned | 2021-06-17T07:27:48Z | - |
dc.date.available | 2021-07-10 | |
dc.date.copyright | 2019-07-10 | |
dc.date.issued | 2019 | |
dc.date.submitted | 2019-06-21 | |
dc.identifier.citation | Amin, A., & Thrift, N. (2002). Cities: reimagining the urban: Polity Press.
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dc.identifier.uri | http://tdr.lib.ntu.edu.tw/jspui/handle/123456789/73311 | - |
dc.description.abstract | 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。 | zh_TW |
dc.description.abstract | 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. | en |
dc.description.provenance | Made available in DSpace on 2021-06-17T07:27:48Z (GMT). No. of bitstreams: 1 ntu-108-R03544002-1.pdf: 80451672 bytes, checksum: 74d6e331742bacd9410b4168e3a7abed (MD5) Previous issue date: 2019 | en |
dc.description.tableofcontents | 謝誌 I
摘要 II Abstract III 目錄 IV 圖目錄 VII 表目錄 IX 第一章 緒論 1 第一節 研究背景與動機 1 第二節 研究範圍與內容 3 一、研究範圍 3 二、研究內容 5 第三節 研究方法與架構 6 一、研究方法:質性個案研究 6 二、研究架構 9 第二章 文獻回顧理論與分析 10 第一節 創意園區經營型態 10 第二節 創意群聚效果 13 一、創意群聚形成 13 二、鄰近性探討 14 三、創意群聚功能 17 第三節 影響創意產業特質因素 19 一、聲譽 19 二、面對面交流 19 三、創意來源 20 第三章 1916文創工坊形塑 22 第一節 臺灣政策下形成的文創基地 22 一、政策制度形成 22 二、臺灣五大文化創意產業園區相關概況 22 第二節 1916文創工坊發展過程 24 一、發展背景脈絡 24 二、臺中1916文創工坊建立 26 第三節 公辦公營模式所建構的1916文創工坊 34 一、政府為何將1916文創工坊選擇以公辦公營模式經營? 34 二、政府與推廣中心相互合作:1916文創工坊前店後場空間型態構想 36 三、基地進駐者之形塑 40 第四章 生產消費空間邊界模糊化 47 第一節 三層次的生產消費空間邊界模糊化 48 一、大層次:園區於城市定位上的模糊 48 二、中層次:園區內部空間配置形塑的生產消費模糊場域 49 三、小層次:1916文創基地的生產消費邊界模糊 55 第二節 基地生產消費空間模糊化對文創工作者的影響性 57 一、凝視與被凝視空間互動發展:交織出創作者的創意? 57 二、模糊的銷售空間:市場層面影響性 67 三、推廣自身工藝:技術與理念傳承 71 第五章 公辦公營制度後盾矛盾及對創作者影響性 75 第一節 站在巨人肩膀:擁有的後盾 75 一、租金成本及空間型態 75 二、區位 83 三、輔導媒合 86 四、資源交換-實習生計畫 92 第二節 站在巨人肩膀:面臨的矛盾 98 一、園區客群型態:人潮=活下去收益? 98 二、經營管理制度 106 三、園區經營理念:非以營收為考量=對業者是加分的? 113 第三節 處在後盾矛盾下對文創業者影響性 116 一、創作能量建立影響 116 二、被市場看見的平台? 137 第六章 結論與建議 151 第一節 結論 151 一、研究回顧與發現 151 二、理論對話 156 第二節 政策建議及後續研究建議 159 一、政策建議 159 二、後續研究建議 160 參考文獻 162 | |
dc.language.iso | zh-TW | |
dc.title | 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 | zh_TW |
dc.title | A Study on the Creative Dynamisms in a Government-run Creative Park:The Case of 1916 Creative Workshop in Taichung | en |
dc.type | Thesis | |
dc.date.schoolyear | 107-2 | |
dc.description.degree | 碩士 | |
dc.contributor.oralexamcommittee | 張容瑛,林政逸 | |
dc.subject.keyword | 創意群聚,鄰近性,創意能量,生產消費空間模糊化, | zh_TW |
dc.subject.keyword | Creative cluster,Proximity,Creative dynamisms,Ambiguity of production and consumption spaces, | en |
dc.relation.page | 165 | |
dc.identifier.doi | 10.6342/NTU201900983 | |
dc.rights.note | 有償授權 | |
dc.date.accepted | 2019-06-21 | |
dc.contributor.author-college | 工學院 | zh_TW |
dc.contributor.author-dept | 建築與城鄉研究所 | zh_TW |
顯示於系所單位: | 建築與城鄉研究所 |
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