創產聚落與住宅鄰里之辯證關係─民生社區地景再結構

Abstract

民生社區為台北市美援時期總體規劃的住宅社區，在國家新鎮的開發模式與一系列鄰里單元組合了社區的空間模式，並被視為適合人居的都市村落，現代性規劃下的公寓與綠色基盤吸引了許多中產階級定居。然而在過去十年內，社區地景有了重大的改變，咖啡館與各種風格文創店鋪林立於街道巷弄內，並且與綠化的環境結合為獨特的空間與消費經驗。 本研究探討民生社區地景再結構的過程以及住宅鄰里與創產聚落間的辯證關係，民生社區空間氛圍的特殊性為創意產業群聚的主要因素，「綠」色的環境價值連結了中產階級與創意階級認同的核心，然而此種布爾喬亞的環境價值與有限的文化包容性光譜，也間接阻礙了創意產業朝向多元性的發展並抑制了其所需的次文化養分，轉而趨向於單一價值的文創產業群聚。 另一方面，文創產業的「商品化」也迎合了創意階級的消費習性，透過設計、創意創造出商品的獨特性並提高了其「壟斷地租」的價值，同時也帶動了房地產市場價值的上揚。儘管社區穩定的中產階級居民在面對「縉紳化」並未帶來太大人口結構的衝擊，但對於以社區鄰里為主的零售店家與小資本的創意產業產生嚴重排擠，在社區朝向觀光化與大型資本、品牌進駐社區的影響下，新自由主義以文創之手重塑了社區地景。 民生社區創產地景的吸納與排除，也回應了在台北市邁向世界設計之都與推廣創意街區面臨的議題，究竟「創意」的本質為何？只是來自於具有設計感的商品店家與消費經驗？還是源於地方網絡的草根性力量？在回顧民生社區住宅鄰里與創產聚落的辯證關係中，創產聚落應該需要更開放的態度及來自社會與文化永續價值中更解放性的力量。

Minsheng Community is a master-planned residential community built in the era of US AID subsidy. It is considered as one of the most livable neighborhoods in Taipei following the State New Town and Neighborhood Unit development model of the US, and has been drawing in many middle-class residents owing to its green infrastructure and modernist walk-up flat density. However, in the past decade, the urban landscape of Minsheng community has undergone tangible transformation. Idiosyncratic café and shops and small clusters of creative industry mushroom along the streets and alleys, and evolve with the lush foliage into an abundant creative milieu and a unique consumer experience. This thesis analyzes the process of Minsheng Community’s spatial re-structuring and the dialectical relationship between the residential neighborhood and creative cluster, and contends that the creative milieu is the major factor for the clustering of creative industry. The ‘green’ environmental value is the common denominator of the original middle class residents and the new middle class, yet such bourgeoisie value and limited spectrum of cultural inclusion indirectly hinder the diversified development of creative industry and divest its necessary nutrition of subculture. Cultural pluralism of a living community, under such circumstances, may be replaced by a single value of creative cluster. On the other hand, the 'commercialization' of cultural and creative industries caters to the consumption modes of the creative class. Through design of originality and creativity, the creative industry manipulates the production-consumption relationship into 'monopoly rent', and in the meanwhile boosts up the real estate value of its associated spaces. Despite that gentrification has not yet brought forth an irreversible impact on the demographic structure of Minsheng Community’s original residents, it has somehow driven out the retail and community businesses. Under the guise of brand-scape and urban tourism embedded in local communities, Neoliberalism has been restructuring the community landscape in the name of creative cluster. The inclusion and exclusion of Minsheng Community’s creative cluster also respond to the issues of zoning conflicts of implanting creative businesses into residential communities, especially when Taipei has accordingly won the title of World Design Capital of 2016. What is the essence of ‘creativity’? Is it the consumption experiences derived from the shops with an intentional design ‘feel’ or a creative network of grassroots activism? Reviewing the dialectical relationship between the residential community and the creative industry, the author argues that a creative cluster needs to embrace the openness and emancipatory power of both social and cultural sustainabilities.