本研究的主要目的是要瞭解一般人對宜蘭成為美食之都的可行性認知。為了完成這個目的，首先進行量表的編制與測試，量表的編制是以 UNESCO的文獻為基礎，翻譯其列舉的8項指標，作為「UNESCO美食之都指標量表」的題目。然後再從至2013年6月為止，獲選的四個城市的申請資料中，找出每個城市獲選的其它特色，在UNESCO官方網站的資料中，發現四個城市當中共有6個特殊的獲選項目，作為「UNESCO四個美食之都的特色條件量表」的題目。 UNESCO的所有相關資料中，也都會將有機、慢活等因素列入參考或評選，本研究也特別根據慢城憲章的評分表，選出18個項目，作為「慢城量表」的題目。既然聯合國所推動的是創意城市，而以美食等7個主題作為其創意城市的特色，以美食為例，美食不可能單獨存在，他必須有其創意城市的脈絡，所以本研究也利用Florida 的4T概念，確認衡量創意城市的條件，共設計8個項目，作為「創意城鄉量表」的題目。 根據這些文獻分析的結果，本研究編製了衡量美食創意城鄉的所有量表，共計40題，透過網路媒介蒐集資料，最後共蒐集有效樣本364份（宜蘭人141人，非宜蘭人223人），各項個人背景變項之性別部分，男性共173人（47.5%），女性共191人（42.5%）；年齡部分，16-24歲共180人（49.5%），25-29歲共99人（27.2%），30-34歲共43人（11.8%），35歲以上共42人（11.5%）；教育程度部分，大學人數最高共218人（60.0%），碩士含碩士以上次之共107人（29.4%）。本研究將衡量美食創意城鄉的所有量表作因素分析，並且列出各個因素的Cronbach's α值。 「UNESCO美食之都指標量表」的因素分析結果，跑出一個因素（α值=.801）。「UNESCO四個美食之都的特色條件量表」，因素分析的結果，跑出一個因素（α=.763）。原來的「UNESCO美食之都指標量表」（8題），再加上「UNESCO四個美食之都的特色條件量表」（6題），共14個題目，一起進行因素分析，共萃取「傳統美食特色」（α=.729）、「多元食材與文化特色」（α=.750）、「美食推廣」（α=.746）三個因素。 「慢城量表」的18個題目，經因素分析結果，共萃取2個因素，第一個因素為「有機生活文化傳承」（α值=.886），第二個因素為「經營管理旅遊觀光」（α值=.861）。 根據Florida 4T理論編制的「創意城鄉量表」之8個題目，經因素分析結果，共萃取2個因素，第一個因素為「人才、環境、包容」（α值=.812），第二個因素為「科技應用」（α值=.876）。 從各因素構面的平均值來判斷，在李克氏五點量表中都是在普通之上，一般人的可行性認知接近同意程度，從最高至最低依序為（1）「傳統美食特色」（4.09）；（2）「UNESCO 美食之都指標」（3.96）；（3）「美食推廣」（3.91）；（4）「UNESCO 4個美食之都的特色條件」（3.86）；（5）「人才、環境、包容」（3.32）；（6）「多元食材與文化特色」（3.78）；（7）「有機生活文化傳承」（3.74）；（8）「經營管理旅遊觀光」（3.6）；（9）「科技應用」（3.32）。 本研究也分析宜蘭人/非宜蘭人和性別在各項因素上的表現和差異性，在「UNESCO 4個美食之都的特色條件」、「傳統美食特色」、「多元食材與文化特色」、「美食推廣」、「有機生活文化傳承」和「人才、環境、包容」共6個因素構面上，宜蘭人的可行性認知顯著大於非宜蘭人。另外一個交互影響是男性宜蘭人在「有機生活文化傳承」方面的可行性認知顯著大於女性宜蘭人。 從單一的題目角度來看，更能顯示研究對象的具體看法，本研究的問卷總共40個題目，這40題目在李克氏五點量表中，3為普通，4為同意，5為非常同意，在4.0以上的題目包括（1）「擁有豐盛的小吃（在地小吃、夜市小吃、特色小吃）」（4.26）；（2）「在傳統的烹飪中會使用在地食材」（4.22）；（3）「擁有豐富的生物多樣性及自然資源」（4.17）；（4）「推動環保有效，維護好山好水」（4.16）；（5）「促進並保護當地的文化活動」（4.12）；（6）「擁有傳統的市場和傳統的食品產業」（4.09）；（7）「可以發展美食作為其特色」（4.07）；（8）「尊重環境並推動當地產品的永續性」（4.04）；（9）「有計畫提高歷史、傳統工藝與文化的價值」（4.04）。這些被受試者認可的項目，相當能夠反映宜蘭的特色，一般來說宜蘭人的評分是比較高的，以「擁有豐盛的小吃（在地小吃、夜市小吃、特色小吃）」為例，宜蘭人的平均是4.44，而非宜蘭人的平均數則為4.15。 本研究顯示，一般人針對宜蘭建構成為美食創意城鄉的可行性認知相當高，不僅宜蘭人認為可行性高，連非宜蘭人也認為是可行的。最後，本研究根據研究結果，對宜蘭的未來發展方向及建構美食創意城鄉，提供建議以供參考。 / The primary goal of this research is to understand the feasibility of Yilan becoming a “city of gastronomy.” To this end, the UNESCO City of Gastronomy Indicator Scale was constructed and tested based on Chinese translations of 8 indicators from UNESCO literature. Further, the UNESCO Four Cities of Gastronomy Features Conditions Scale was constructed by analyzing features of the four UNESCO cities (as of June 2013) selected as cities of gastronomy. These qualities were aggregated into 6 items. As relevant UNESCO literature all incorporates organic or Slow Living factors into their consideration, this research constructed a Slow City Scale composed of 18 items based on the Slow City Charter indicators. Finally, while gastronomy is one of the 7 themes listed by the United Nations as qualities of a creative city, gastronomy alone is not enough to make a creative city; a complete creative city context is necessary. Thus, a Creative City Scale was constructed of 8 items derived from Florida’s 4T’s concept in order to measure conditions for a creative city. Based on the results of the literature analysis, the scales constructed in this research to measure qualities of a city of gastronomy included a total of 40 items. A total of 364 effective samples (141 from Yilan and 223 from outside Yilan) were collected online. Factor analysis was completed for all of the items in the scales, and Cronbach’s α obtained for each factor. Results of the factor analysis for the UNESCO City of Gastronomy Indicator Scale produced a single factor (α=.801 ),and results of the factor analysis for the UNESCO Four Cities of Gastronomy Features Conditions Scale also produced a single factor (α=.763). A combined scale factor analysis was completed using the combined 14 items from the UNESCO City of Gastronomy Indicator Scale (8 items) and the UNESCO Four Cities of Gastronomy Features Conditions Scale (6 items), and three factors were extracted: traditional gastronomy features (α=.729 ); diverse in-gredients and cultural characteristics (α=.750 ); and gastronomy promotion (α=.746 ). A factor analysis of the 18 items in Slow City Scale extracted 2 factors: organic living and cultural heritage (α=.886 ); and tourism management (α=.861 ). A factor analysis of the 8 items in the Creative City Scale constructed from Florida’s 4T’s concept extracted 2 factors: talent, territory, and tolerance (α=.812 ); and technology applications (α=.876 ). Means for all of the factors, were above 3 on a 5-point Likert scale, indicating that in general, respondents agreed it was feasible for Yilan to become a city of gastronomy. From highest to lowest, mean scores were as follows: 1)traditional gastronomy features(4.09); 2)UNESCO city of gastronomy indicator(3.96); 3)gastronomy promotion(3.91); 4)UNESCO four cities of gastronomy features conditions(3.86); 5)talent, territory, and tolerance(3.32); 6)diverse living and cultural characteristics(3.78); 7)organic living and cultural heritage(3.74); 8) tourism management(3.6); and 9)technology applications(3.32). This research also analyzed differences in responses between respondents from Yilan and from outside of Yilan, and of different genders. For six factors (UNESCO four cities of gastronomy features conditions; tra-ditional gastronomy features; diverse living and cultural character-istics; gastronomy promotion; organic living and cultural heritage; and talent, territory, and tolerance), perceived feasibility was higher for those from Yilan and than those from outside of Yilan. Further, there was an interaction effect regarding “organic living and cultural heritage,” as males from Yilan had higher perceived feasibility than females from Yilan. When viewed individually, items offer a more comprehensive understanding of respondents’ perspectives. The questionnaire consisted of 40 items, and using Likert scale, 3 is “average” and, 4 is “agree”and,5 is “very agree”. Item with mean scores above 4.0 includes the following: 1) have abundant local cuisine (e.g., local, night market, specialty) (4.26); 2) use of local ingredients in traditional cooking (4.22); 3) have abundant biodiversity and natural resources（4.17）; 4) promote ecofriendly practices, and protect the environment (4.16); 5) develop and protect local cultural activities (4.12); 6) have traditional market and food industries (4.09); 7) can develop gastronomy as its characteristic features (4.07); 8) respect the environment and promote sustainability of local product’s（4.04）；9) have plans to improve the value of history, traditional craft art, and culture (4.04). The qualities recognized by the respondents can be used to reflect the dominant features of Yilan,. Naturally, local Yilan residents provided higher scores , for example, Yilan locals averaged 4.44 (from outside of Yilan 4.15)for the item “have abundant local cuisine.” This research indicates, respondents’ perceived feasibility of Yilan becoming a creative city of gastronomy is rather high. This was true of not just Yilan locals, but also of people from outside of Yilan. Based on these results, suggestions are provided for the construction of Yilan as a creative city of gastronomy.

一個地方能否創造競爭優勢，從商業科技業發展來看已經不是現在的趨勢，如何讓一個地方具有當地特色、屬於自己的文化創意，才是現今為大家所重視的部分，尤其要端看它吸引人力資本的能力或人才的能力，有人才的地方就更有優勢發展文化創意。在找出文創人才KPI之前，知道哪些地方能夠吸引創意人才和了解地方品質在創意經濟所扮演之角色會更有幫助。 我們先將之前各個國家（香港、歐洲以及亞太文創產業協會）和台灣曾做過的創意城市指標進行比較，並參考Richard Florida的4T以及聯合國的5C，並分析與調查各地文創人才、文創城鄉基盤的需求與實態。「文創人才指標」的構面包括：文創人才基盤、文創人才資本；「文創城鄉基盤指標」的構面包括：文創建設、文創傳承、文創精神、文創政策和文創經費，再藉由專家訪談、德爾菲法調查法發展出最適台灣的「文創人才KPI」和「文創城鄉基盤KPI」，評量各城鄉文創人才、文創城鄉基盤之實力與潛能，以及規劃人才、城鄉基盤育成。

本研究以觀察台北兩所發展較成熟的街區：中山雙連街區與師大路街區。希望透過了解街區吸引創意階級的地理因素條件，和深入探訪聚集在街區中的創意階級，紀錄其生活與工作型態的轉變，解析街區中吸引創意階級的因素和群聚的效果。並且觀察中介團體(非營利組織)與政府在介入街區經營的活動後，創意階級之間的弱連結人際交流的變化與影響，並且為未來街區的經營找到適當的模式和作法。 亞里斯多德曾說過，「人們是因為不得已來到城市，但是是因為喜歡它才留下來。」創意街區是台北城市文化創意產業生態的重要環節，一方面它可以發揮產業群聚的經濟效益，另一方面可以讓創意產業的鑲嵌在地理環境中，形成無法取代的產業特色，並拉近與民眾和生活的距離。創意群聚的經營重要的是掌握地理要素，由區域自發形成的共識與力量，著手調整城市文化與經濟策略及實質運作，始能創造一個地方新的生活與經濟型態與新的競爭力。

1980年後工業時代，全球經濟轉向以服務和商業經濟為主，全球化影響在地經濟，傳統產業式微，迫使傳統城市面對空間重組之議題，並且回應市民的新需求。大稻埕曾是人文薈萃的寶地，更是台灣的的經濟中心，如今卻面臨相同的問題。此時，世界各地颳起文化創意產業的風潮，英國的成功經驗，讓文創產業成為各國眼中振興經濟的一帖良藥。台灣亦陸續出現相關政策，從社區總體營造到都市再生前進基地計劃，到後來出現民間單位世代群。世代群提出創業育成、街區營造、文化運動三大目標，用不同角度提供一個重塑都市形象的解答。 Landry用都市規劃的角度提出「創意平台」之概念，他認為創意平台串連散落城市各地的創意能量，帶領城市轉型。本研究以陳威如與徐卓軒提出的「平台機制設計方法」做為理論基礎，檢視世代群是否達到Landry提出的「創意城市七項要件」。本研究希望透過研究結果，回答下述三個研究問題：（1）世代群推動創意平台之平台機制如何運作？（2）世代群內部運作具備哪些創意街廓之要件？（3）世代群與大稻埕他者關係，如何促進大稻埕發展為創意街廓？ 本研究得到的初步結論：（1）世代群透過嚴格的身份認證機制，控管平台品質，再對被補貼方釋出優渥的補貼政策，吸引其進入平台後，建立其歸屬感增加黏著度。（2）多元的創意人才與中高度的授權組織文化，讓組織與地方保持創新活力。（3）對內於地方深耕經營，並與他者相互合作，孕育共同地方認同感；對外打造國際藝術節，建立內外部認同感。 / In the 1980s, known as post-industrial society, service industry and the commercial economy started to dominate the global economy. Globalization affected the local economy which leads to a decline of traditional industries, and the issue of space reorganization was raised in the traditional cities, and responded to the new demands of the residents. Dadaocheng used to be the cultural and economic center of Taiwan, but nowadays it stuck in the same transformation issue. In the same time, cultural and creative Industry was booming around the world, and the UK successful experience made the cultural and creative Industry become the solution to stimulating the economy in every country. Relevant policies were made in Taiwan as well, such as Integrated Community Development, Urban Regeneration Station, and Sedai Group－a private sector later appeared. Sedai Group proposed three objectives, including creativity cultivation, community development, and cultural movement to provide a solution to reshaping the image of a city from a different perspective. Landry proposed the concept of Creative Platform from the perspective of urban planning. He argued that the Creative Platform reorganized the creative energy scattered in the city and led the city transformation. This study takes the Platform Mechanism design method proposed by Chen and Yu as the theoretical basis, and check out did Sedai Group achieved the seven elements of Creative City which proposed by Landry. This study tries to answer the following three questions with the research findings: (1) How does the Platform Mechanism of Creative Platforms promoted by Sedai Group operate? (2) What are the internal operating elements Sedai Group possess to become a Creative Platform? (3) How does the relationships of Sedai Group with other sectors urge Dadaocheng to become a creative city? The preliminary conclusions of this study are as follows: (1) Sedai Group uses the strict identity authentication mechanism to control the quality of the platform, offers the preferential subsidy policy to attract the subsidy side to join the group, and establishes the sense of belonging to increase the user’s stickiness. (2) Multiple creative talents and the medium-to-high-altitude empowered organizational culture to allow the organization and the city sustain their creativity. (3) Richly cultivate the city and cooperate with other organizations to nurture local identity domestically, and organize international festivals to establish the internal and external identity.

本研究透過國外的城市競爭力相關文獻探討發展出適合台灣進行類似調查的初步指標，並對台灣七大城市與都會區進行實證分析，受限於樣本數，本研究採用相關性分析與國外文獻的研究結果進行比較，並針對類似研究進行跨國研究時所會產生的問題提出看法，本研究之結論包括： 1.台灣的創意城市研究以都會區的分法較適宜，熔爐指數需先扣除外勞再進行估計，以產值為基礎之高科技指數之解釋力也較以就業員工為基礎所計算之高科技指數來的具有解釋力。 2.在人種單一的亞洲衡量多元化與包容性，衡量外籍人士比例的熔爐指數並不是個好的指標。 3.使用人才指數來衡量人力素質在跨國比較時容易因為各國教育制度的不同而產生誤差。 4.在台灣創意與人力資源高低相關，而人力資源又與高科技業的分佈情形相關，高科技業影響到就業機會，另一方面高科技業產值越多的地方其外籍人士比例也愈高。 5.創意在台灣社會的影響力不若西方來的強大，創意僅與人力資源高低相關，但對高科技業的分佈、人口成長、就業機會來說都沒有顯著的相關性。 6.台灣的人口成長主要來自於中心都市的外圍，在完善的教育設施輔助下透過交通建設發展，與高科技業、創意、外籍人士均無相關。 / Based on foreign studies, this research developed a set of index to evaluate the relative competitiveness in creativity of 7 major Taiwanese cities and urban areas. Because of sample size, this research only conducted correlation analysis and compared the result to foreign documents. Biases found in cross-culture/nation analysis are also mentioned in this thesis. The main findings are: 1.Urban areas are better than administrative areas in statistical research. When conducting melting pot index, those foreign laborers from Southeast Asia should be eliminated from the data. On the other hand, tech-pole index based on revenue is better than one based on employees. 2.Melting pot index is not a good index for evaluating diversity and tolerance, especially in Asia where population is usually dominated by 1 ethnic group. 3.Talent index may not indicate the real quality of human resource in a country. It is affected by education system which differs a lot between countries. 4.In Taiwan, creativity is correlated with talent. Talent is also correlated with high-tech companies which affects the employment in that area. Foreigners are correlated with high-tech companies as well. 5.Unlike western countries, creativity doesn’t play the same role in Taiwan. It is only related with talent. 6.Population growth is mainly influenced by education facilities and traffic constructions. Those areas out skirting metropolis tend to have higher population growth than usual.

由於社會與經濟結構的變遷，讓城市的環境結構隨之面臨重大改變，於是形成「創意城市」研究熱潮。在這股「創意城市」的研究浪潮當中，台灣城市的產業結構、空間規畫以及城市氛圍，都有了不同以往風貌。在這波改變中，連都市化、都市更新速度在五都中相對較慢的文化古都-台南市，也發生了改變，因此，本研究歸納台南市中西區近十年產生的變化，希望循著台南市中西區改變的軌跡，發現改變的原因，尤其不同因素間是如何交互影響，讓老府城有了新風景。 本研究整理、歸納「創意城市」理論發展的背景與主流理論後，考量文化、社會環境及經濟型態對城市發展的影響，選擇Desmond Hui以香港為研究背景所提出的「創意5C模型」做為本研究理論架構的基礎，以創意城市的理論觀點探討台南市中西區近十年城市的變化。因此本研究期盼藉由研究成果回答三點研究問題：(1) 近十年台南市中西區城市變化中，創意5C的四項資本有何改變？對此區所造成的變化又是什麼？ (2)創意5C模型四項資本在台南市中西區城市變化的歷程中如何互動？ (3) 在台南市中西區改變的歷程中，隨著時期演進四項資本有什麼消長？ 本研究所得到的初步結論：(1) 不以經濟發展為目的的城市改變策略，才能真正找到屬於城市發展的方向，而形成復甦經濟發展的外溢效果。 (2) 人力資本是城市發展歷程中最主要的關鍵因素，台南市中西區的成功來自建構足以吸引人才的環境，同時藉由資本間的互動形成正向循環。 (3) 在由下而上的城市改變案例中，政府最適切的角色是「放手讓孩子去闖的父母」。 / The tide of researching creative cities blooms after heavily changes of the environment as society and economic structure evolves. Due to these changes, even the city with usually slowest urban renewal pace, Tainan, has altered in its industry structure, spatial planning and atmosphere. Therefore, this thesis generalizes the changing of the Middle-East District of Tainan City for past decade and tries to discover how it happened and how the factors interacted. The thesis discusses the evolving of the Middle-East District of Tainan City for the past decade based on the “5Cs of Creativity Index”, which comes from Desmond Hui’s study taking Hong Kong as the researching target. This thesis aims at answering three research questions: (1) In the process of the urban evolution during 1999-2010 in the Middle-East District of Tainan City, what are the changes of 4 capitals of “5Cs of Creativity Index”? And what kind of impact do these changes have on this district? (2) In the process of the urban evolution during 1999-2010 in the Middle-East District of Tainan City, what are the interactions among 4 capitals of “5Cs of Creativity Index”? (3) In different phases of the urban evolution during 1999-2010 in the Middle-East District of Tainan City, how does the priority of 4 capitals of “5Cs of Creativity Index” changes? The conclusions of this thesis are as following: (1) Strategies of city development should build on their own history, resource, and territory asset, instead of focusing on the rise of economic immediately. (2) Human capital is the key element to the urban evolution in the Middle-East District of Tainan City. The Middle-East District of Tainan City attracts creative class and arouses positive cycle due to interactions of 4 capitals. (3) This case study demonstrates that in bottom-up urban evolution, the most proper character of government is to build up an environment with sufficient support and without unnecessary constraints.

十世紀的文化創意產業伴隨著科技的進步，已經逐漸成為生活文化中重要的產業項目。文創產業成為世界各國注意的焦點。台灣能不能吸引創意新貴、文化創意人久居 將決定台灣未來是否衰退。 文化及文創產業之所以受到矚目，乃是因為現實生活中，文化掌握關鍵角色的社會階層愈來愈有影響力。所謂的「創意新貴（Creative Class）」的社會階層會是肩負二十一世紀發展最為重要的階層。 文化創意人非常關心自然環境、人權、和平、和精神層面，是六○年代市民.學生運動的始祖。 對於「創意新貴」沒有吸引力，缺乏文化性的國家、區域、以及都市將會日益衰退。 本研究透過個案研究方式，使用Rchard Florida、Elizabth Currid、出井伸之、青木貞茂、村上隆、野中郁次郎、茂木健一郎、李仁芳等美、日、台等產學業者的創意經濟理論，對京都3家文創老產業、藝匠產業，進行個案研究，尤其針對其中一家四百年歷史的唐長進行深度個案研究，分類歸納這三家老文創產業長青因素何在。 研究發現，京都老產業之所以長青是因為吸取了京都歷史、地理所孕育而來的京都特有文化風格與美學，並且以嫡傳精簡家族為經營核心；將京都的山川文明、歷史文化、家族傳承精華內化成自己的內隱知識；並且不斷地歷史、在地文化、甚或國際衝擊，以螺旋方式激盪出屬於自己的有機學習組織。 不過這中間最關鍵的還是這個藝匠達人是否對所繼承的藝匠家業充滿熱情與中興的慾望；以及京都市政府本身是否有意持續維持京都的優勢。 研究結果建議1︰民間業者方面，必須能向時間縱軸──歷史學習；也必須能向所在地理橫軸──所在地的文化孕育老產業的美感，做知識螺旋，結合時空環境下，孕育而來的美學創新素養，將外顯知識內化，內化之後，再成為文創產業的內隱知識，再繼續傳承下去。 建議2︰國家及在地政府必須重視各個地方的歷史與文化的原味封存以及鼓勵觀光客來個文化之旅，才能活絡地方的新陳代謝。 / As technolgy innovations accelerate, creative industries have gained more prominance in our daily life in the 20th century.Creative Industries have drawn attentions in every develped country.Whether Taiwan can attract the new creative class and culture glitterati will determine Taiwan's path fo development. The creative industries have gained more and more influence in today's society. The so-called "Creative Class" is the most primary and significant social class in the 21th century. The creative class is concerned about environment, human rights, peace, and spiritual wealth. They are the forerunners of civil movement and student activism in the 1960s. The countries, regions, and cities, who failed to attract creative class, will face the inevitable fate of decline. This study attempts to explore the reason of longevity and sustainibilty of Kyoto's creative industries. Through the methodology of case studies. This thesis draws on theories of Richard Florida, Elizabeth Currid、 Nobuyuki Idei 、Takashi Murakami、Yuichiro Nonaka、Ken Mogi、Renfan Lee This thesis focus on deep analysis of one 400-years-old 唐長 and discussion on other 2 craftmanship and creative enterprises in Kyoto to arrive at the conclusion of ever-gr0wing vitality of Kyoto's creative industries. This studies find out that the old creative industries in Kyoto has absorbed the historial tradition, geographical characteristic, and culture uniqueness of Kyoto. The core philosophy of management is familial succession. The historical tradition, geographical characteristics and family management have become implicit knowledge and gives birth to Kyoto-unique organic learning organiztion. This research suggests that private enterpreneur should learn from local history and local culture and distill geniune local flavors, refine the aesthetic flavors into "knowledge spiral," and make the implicit knowledge of knowledge to pass on to future generations. The second advice is that county and local government should encourage the preservation of local culture and culture tourism to lay the foundation for future new creative enterpreneurship.