自2008年7月18日第一批大陸人士赴台旅遊至2011年6月28日全面開放來台旅遊，由於政府開放大陸人士來台觀光旅遊，大陸人士來台旅遊的人數逐年增加，並帶來年年皆成長的外匯收入，因而帶動台灣近10年觀光休閒市場的蓬勃發展，而做為觀光休閒產業最重要一環的旅館業更是趁勢而起，不論是大型的國際觀光旅館或是中小型的一般旅館都紛紛投入市場，造成激烈競爭的市場，也造就與以往星級旅館不同型態風格的旅館之興起。 隨著台灣本土意識的抬頭，網路科技的發達，再加上旅行型式的改變，標榜著以科技，簡約，藝術，時尚，環保，在地文化等吸引旅客的風格/文創類旅館因而應運而生，開業時間雖然不長，因其獨特設計風格及強調平價，親民，年輕化，文創藝術等因素，在市佔率上有逐步上升的趨勢，相對於傳統星級旅館亦或多或少造成影響。 本研究屬個案分析係以台北地區風格/文創類旅館及傳統星級旅館為研究範圍，運用4C策略行銷分析架構進行分析風格/文創類旅館對傳統星級旅館之影響，藉由4C分析表得知，風格/文創類旅館和傳統星級旅館因品牌背景，市場定位和營運規模不同，因此在客層定位和客房定價及軟硬體設施上亦不相同。截止當前風格/文創類旅館在市場競爭上對傳統星級旅館之營運尚未造成太大影響，尤其傳統星級旅館係以高端客層為主要客源，而風格/文創類旅館整體服務及硬體設施以簡約便利為主，較不符合高端客層之需求，遂影響程度尚低。

當創新不再被視為全新的發明，而更近似於既有資源的重新組合，資源重組（recombination）便成為創新的重要來源。當企業的資源有限時，有一派學者主張運用隨創（bricolage）概念，就地取材地為既有資源賦予全新價值。不過，當組織內部的資源不多，重組之後所得到的創新也相對有限。因此，另一派學者主張從組織外部連結跨域資源，整合各方之長的仲介（brokerage）觀點，在許多知名企業紛紛採用之後，霎時之間蔚為主流。然而，過去對於仲介的研究，大多聚焦於資源重組的過程，卻忽略了企業所面臨的情境制約（constraint）。 有別一般的困難，制約根深蒂固於情境（context）之中，涵蓋的範圍極廣，單一企業往往難以獨力排除，故問題解決（problem-solving）的思維不易奏效。企業如何在制約之下發展創新，是過去的研究較少著墨之處，因此我們對於企業如何回應制約的瞭解相當有限。本研究由制約對創新者的影響切入，強調創新者如何在制約之下仲介資源，並且創意地回應制約，進而發展出「借力使力」的仲介方式，不僅化解制約的阻礙，也透過資源的重新整合，從既有的資源中創造新的價值。 本研究選擇國內某知名媒體集團A公司旗下的B集團為個案公司，B集團深耕活動事業多年，媒體背景為其建立廣博的社會網絡，使其在仲介各方資源時更加順利，因而發展出與眾不同的創意回應。本論文的研究問題為：「企業在面臨制約的情況下，如何仲介資源以回應制約？」本研究以個案公司在2009年底至2010年初所舉辦的梵谷畫展作為研究個案，深入企業以訪談法蒐集資料，採用詮釋型的質性研究方法，分析策展人如何仲介各方資源，借力使力地回應情境制約，使展覽順利舉辦。最後，本研究從策展人回應制約的仲介歷程中，歸納出三種創意回應的設計原則。本研究於學理上的貢獻有二：首先，本研究呈現創新者在制約之下的仲介歷程，補強過去研究較少著墨之處，進而豐富仲介理論的內涵；其次，本研究將創新者透過仲介作為回應制約的過程，作為一種創意回應的形式，進而豐富了創意回應的理論意涵。 / When innovation is regarded as resources combination rather than novel invention, recombination therefore becomes the origin of innovation. One school demonstrated the concept of 『Bricolage』, which transfers existed resources into new values, however, it would be limited if resources are insufficient. The other school referred to 『Brokerage』, which brokers the resources outside the organization and creates new combinations through diversified resources. Nevertheless, most of relative researches focus on the process of recombination, which led to disregarding the constraints met by enterprises. Unlike normal barriers or challenges, constraints in the context are hard to removed for enterprise with insufficient resources. Due to the pervasive effectiveness of constraints, the problem-solving concept may not work well when it is applied to this issue. That is to say, how enterprises innovate under constraints is the issue neglected by past researches. Hence, this research mainly focuses on how innovator brokers diversified resources to respond to constraints creatively. Then we find that a type of brokerage named 『leverage through brokerage』. By this type of brokerage, innovators could respond to the effectiveness of constraints, and create new values through the recombination of existing resources. This research chooses B group, which belongs to a leading media company in Taiwan, as our research case. Rather than ineffective problem-solving ability of enterprise, this research cuts to the point from the effects to innovators in such constraints. B group has devoted into curation industry for many years, it tends to be easier to broker resources from different stakeholders and develop unique creativity since its media background and wide social networks. This research explains: When an enterprise confronts constraints, how does it broker resources to respond such constraints? This research chose 『Van Gogh exhibition』 held from 2009 to 2010 as a case study, adopting deeper research by interviews and using interpretation as qualitative research method, trying to analyze how curator broker resources from different stakeholders and leverage them to respond constraints. Finally, this research generalizes three creative responses as design principles from the curator's responding process to the constraints. The findings of this research demonstrate two academic contributions: (1) Different from past research, this case focuses more on the process of the brokerage when an enterprise try to innovate under constraints, therefore enriches the Brokerage theory. (2) This case concludes the process of curator's responding to constraints through brokerage as a way of creative response, hence complements the creative response theory.

This business plan aims at a start-up company (“EGG”) which specializes in building an online creative platform for designer and artist, as well as providing customized & personalized products. EGG is created by a group of friends, the company’s founding members. These products include LIFE-T (T-Shirt) and LIFE-CASE (Smartphone Case) with self-designed product with fashionable components. All EGG’s products are designed and implemented by our talent engineering team to fit current customers’ needs. We plan to target young students and working professionals who are particularly pursuing fashionable & customized merchandise experience at a reasonable price. Our products cater for that need and provide excellent concept and packaging to suit their needs. This provided a very good opportunity for niche personalized product brand makers such as EGG to take advantage. We uses online to offline (“O2O”) channel to market and distribute our products because they serve the need of both low in cost and high efficiency in reaching our target customers. They can receive the latest news or coupons on our website and experience in the physical store. After evaluating our product strength and weakness, we decided on a sales and implementation strategy for younger generation and forecasted our financial performance for the next five years. Finally, we expect this venture to turn profitable in the second year and generate meaning return for our shareholders. Thus this is a venture worth taking and investing upon.

當製造業面臨產業瓶頸，最早見於40年代法蘭克福學派的「文化」結合產業手法訴求夕陽工業轉型，我國參考歐美等國開放工廠或建立觀光園區等為知識觀光景點之作法，於2003年以「推動製造業發展觀光休閒產業計畫」為主，佐以〈工廠兼營觀光服務作業要點〉之相關規定，協助製造業工廠轉型產業文化資產觀光。 「文化」是生活的表述，於社會結構中區分個人或群體所表現出之價值；「文創」在「文化」的主要和次要特徵元素上做創新發揮，在知識經濟時代透過文化產品的符號網絡達成文化傳遞流行化的成果；觀光工廠的品牌塑造便如同任何一類文化創意活動：在一定的知識背景下，依靠人的創新與想法，加上現代科技提升傳統文化要素的內涵和品質，並非單單對傳統文化的簡單複製、加工和移植，而是文化個性特質的最大發揮。 本研究以宜蘭縣內之觀光工廠為主要研究對象，分析整理廠區DM、觀光工廠官網與觀光工廠旅遊專書等文獻，輔以筆者現場進行深度訪談，針對觀光工廠如何推展觀光行銷，做到企業、文化傳承，同時尋求建立百年企業之可能。對於近年來公部門輔導下面臨的市場困境，也逐一發掘整理，期能為後續的改善提供方向。 / When the manufacturing industry was faced with industrial bottlenecks, as early as the combination of "culture" and "industry" of the Frankfurt School emerged in the 1940s, it sought the transformation of industrial development from the declining situation. Taiwan refers to the experience of the tourism factories in Europe and the United States, establishing the cultural and creative places as the knowledge tourist attractions. The Ministry of Economic Affairs has been actively coaching the management of tourism service and the restructuring of domestic conventional factories since 2003, to assist manufacturing factories in transforming industrial cultural assets and sightseeing. "Culture" is the expression of life, distinguishing the values shown by individuals or groups in the social structure. Cultural and creative resources make innovations in the main and secondary characteristic elements of "culture," and achieve the popularity of cultural transmission results through cultural products with their symbolic network in the era of knowledge. Tourism factory’s brand building is like any kind of cultural and creative activities: The process rely on human’s innovations and ideas in a certain knowledge background, coupled with modern science and technology to enhance the traditional cultural elements of the content and quality. It’s not the simple reproduction, processing and transplanting of traditional culture, but the greatest manifestation of the special characteristics of culture. This study set the tourism factories in Yilan County as the main research object, discussed with analyzing tourism factories’ DM, official website, tourist book and other literatures, supplemented with depth interviews on the way of how to promote tourism marketing by the author, explored the strategy of the conduction of business management, cultural heritage, and even the possibilities of seeking to establish a centennial shop. The research also sorted out one after another to provide the direction for subsequent improvement for the market dilemma under the guidance of the public sector in recent years.

在全球化的浪潮之下，政治學的關注焦點逐漸從中央轉向地方。其中一個重要的領域即為政治經濟學框架下的全球城市研究。大型的全球城市政府如何具體呼應權力移轉的論述？以全球城市所組成的全球城市體系中，各種不同的城市功能，如吸引外資與提升軟實力文化可否兼顧？都是值得深究的議題。於此同時，文化創意產業的興起，廣受全球各大城市關注。在產業呈現上，文創產業以群聚的樣貌，出現在許多城市之中。此一熱潮的出現很快就帶動了相關研究。因著可觀察的群聚現象，群聚理論一時之間成了研究文創產業的顯學。在政策面上，群聚理論認為，輔助型與刺激型兩種政策能對產業群聚有所助益。然而文創群聚後續普遍所面臨的衰退現象，使其遠離群聚理論中的理想群聚，理論的政策觀點也無法對此提出解釋。本文重新導入全球城市研究的觀點，以中國的指標性全球城市–上海為例，從城市政府的能動性檢視其對文創群聚所造成的影響。政府透過設立文創群聚來提升地租，從中達成吸引資本與擴充財政收入的目標。文創產業雖能拉抬地租，但地租的拉抬最後卻也使其被商業活動取代而失去生存空間。儘管此動態過程所造成的結果在許多研究中受到惡評，但本文也發現，以確保產業自主為前提下，與商業活動的適度聯繫，能夠促使文創群聚運作活躍，更趨近於群聚理論所描述的群聚。而本文最後的研究成果，也正得以回應權力如何具體移轉以及不同的全球城市功能可否兼顧兩大疑問。 / The focus of political science has shifted gradually from central government to local government since the wave of globalization. One of the important fields in political science is global city research, which is under the framework of political economy. How do global cities respond to the transition of political power? Can a global city, which is situated in the global city system, maintain more than one global city functions, such as attracting foreign investment and developing soft power like culture? Both questions are issues worth analyzing. Meanwhile, the trend of cultural creative industry draw many cities’ attention. Most of the cultural creative industries are clustered in the city. Such prosperity soon led to increasing researches. Cluster theory became the main research approach due to the appearance of clusters. On the policy side, cluster theory points out that both helping policy and stimulating policy are beneficial to industrial clusters. However, the reality reveals that many cultural creative clusters face difficulties and decline, which cannot be explained by cluster theory. This thesis takes Shanghai, a significant global city in China as example to analyze city government’s autonomy and its’ impact on cultural creative clusters through global city approach. In this case, city government improves the land rent by setting cultural creative clusters. The movement helps government gain plentiful fiscal profit. However, after the land rent has been improved, cultural creative industries will be replaced by commercial activities and lose their living place during rent improving period. Such result was criticized in many previous researches. Nevertheless, in the precondition of industry autonomy, the Shanghai case finds out that appropriate connections with commercial activities foster the mechanism of cultural creative cluster, which is close to cluster theory. The final result of this thesis responds exactly to the two questions about power transition and global city function.

在過去的產業發展經驗中，廠商群聚發展的模式常常是很重要的一個考量，透過群聚能夠產生降低交易成本、整合產業鏈、人才的相互流通等諸多效益，然而隨著時代與環境的變遷，創意慢慢成為廠商或者產業的競爭基礎。這樣的知識經濟時代來臨加上文化創意產業（簡稱文創產業）在各國興起，而為了能夠讓文創產業有適合的發展環境，文創產業的發展與規劃就必須借鏡過去產業發展的經驗，在台灣甚至很多其他國家都選擇以文化創意產業園區（簡稱文創園區）的方式輔導文創產業的發展，因為群聚的模式對過去產業發展是有貢獻的。 台灣目前所規劃的五大文創園區中位在台北市的華山園區是起步最早的一個，目前由台灣文創公司經營，而針對華山園區也有很多質疑的聲音，包括華山經營得太過商業化，甚至排除很多創作者在華山發展的機會等，儘管如此廠商集中群聚在華山園區內部仍然能夠分享到群聚所造成的各種幫助。 透過訪談與文獻分析發現，華山園區的群聚效應對於園內廠商的貢獻有四： (1)華山園區形成並提供跨界合作的平台，園區內的廠商透過跨界的交流與合作促成更多創新。 (2)華山園區開始形成一個文創品牌以後，除了透過高知名度吸引更多顧客以外，也辦理主題性的活動來吸引廠商所需要的目標族群，達成市場區隔。 (3)華山園區能促進人才交流與流動的發生，這樣的過程將有助於廠商的創新行為，在人才培育上華山預期在未來的BOT旗艦中心能有更積極的作為。 (4)華山園區能夠讓廠商與顧客接觸，進一步使組織的知識與顧客互動結合產生如何做（know how）的知識，並且再次透過園區來讓這些知識能夠累積、傳承。 / From past industrial experiences, clusters are considered not only to cut firms’ cost but also integrate their supply chains and other favorable effects. Creativity becomes the base of competition over time and cultural industries had grown up in many countries. In order to make a favorable environment for cultural industries, past industrial experiences are needed because of the big contribution of clusters to past industries. And the cultural industrial cluster mode is not only adopted in Taiwan but also in many other countries. There are 5 cultural industrial clusters in Taiwan. Huashan1914 Creative Park, the first one which was established. Even if there are some criticisms of the park such as about over commercialized operating and artists are crowded out. However, firms in the park shared advantages from this cluster in many ways. Contributions of clusters to cultural industries in Huashan1914 Creative Park’s case can be summed up through literature review and interviews. There are 4 items: (1) Huashan1914 Creative Park offers a platform that firms and individuals share their ideas on it. The ideas on the platform are interdisciplinary. Moreover, the platform also stimulates collaborations and brings more innovations. (2) Since Huashan1914 Creative Park becomes a brand name, it attracts more customers by its high profile and also distinguishes the target customers from the public for firms in the park by holding events. (3) Huashan1914 Creative Park stimulates people to interact with each other and it’s also helpful to firms’ innovations. Moreover, Huashan1914 Creative Park is looking forward to making bigger and more contributions of talent cultivation after it finishes the BOT building. (4) The firms combine their organizational knowledge with the experiences of talking and interacting with customers in Huashan1914 Creative Park, thus the firms have their know how knowledge. And firms cumulate and create much knowledge by the park once again.

台灣曾被稱為蘭花王國、植物王國、水果王國，這都在在的說明台灣農業有著得天獨厚的特色，台灣的土壤條件、天然氣候、歷史軌跡、人文智慧等風土條件是其他產業所無法擁有的，台灣農產加工品的風格競爭力是有足夠的力量來替台灣產業找到出路。台灣的消費社會已經從符號消費進入體驗消費，藉由打造品牌，注入文化，營造體驗提供給消費者真實感的附加價值，能夠重新詮釋台灣農產品的獨特與價值，以提升台灣農企業的市場競爭力。過去以生產為主的農產加工業想轉型必須運用文化、創意、美學，橫跨一級農業、二級工業與三級服務業的價值鏈，透過「1＋2＋3」的產業組合，發揮「1 X 2 X 3」的綜效成為第六產業。 本研究透過體驗型農企業（概念同文化創意產業）的體驗核心要素與真實體驗Authenticity兩個概念，研究農產加工業轉型經營體驗型農企業的過程，透過動態能力的架構探討企業如何調整原有的組織能力與資源，進而建構品牌、營造體驗價值的動態歷程。研究問題如下：（1）農產加工業轉型為體驗型農企業的過程為何？（2）體驗型農企業的內涵為何？（3）體驗型農企業如何藉由營造品牌真實體驗提高附加價值？ 本研究發現，（1）農產加工業轉型為體驗型農企業的過程中，經營者是相當重要的掌舵人，不能搖擺。做中學是轉型很重要的助力。更要善用風土資產、產業文化資產當成發展體驗型農企業的武器。（2）轉型成體驗型農企業必須提出生活風格提案，藉由說一個真誠的故事，打造體驗型農企業的獨特形象，做出區隔。（3）藉由包含企業差異故事的獨立空間當作一獨特的媒介元素，品牌說故事的效果能達到差異化。空間經驗的體驗應包含形態、動線、相互作用、活動、背景環境。體驗型農企業的美感體驗打造應該從平面設計⇒產品設計⇒空間⇒城鎮。（4）體驗型農企業需要提供具有教育及忘我的體驗營造深度體驗的營造，讓體驗更加深刻。另一個深度體驗營造的要素是工作人員的服務，藉由工作人員與顧客的互動帶給顧客一場精彩又深刻的表演。（5）體驗型農企業營造品牌真實體驗提高附加價值的時候，要利用農產品的風土條件讓顧客感受到產品的天然性。勇於提供與市面上大部份產品不同的產品於服務，帶來原創性與獨特性的真實。體驗型農企業必須提出獨特經營理念，且真誠地執行，得到消費者影響性的認同。藉由勾起懷舊回憶或歷史的場域空間，與獨特的活動及服務，使顧客無可救藥地注意並喜歡上體驗型農企業提供的體驗。（6）最後必須用自己獨特的方式融合五個面向的真實價值，讓顧客感受到最真實體驗的感動，所以顧客願意花較高的價格購買產品或服務，提高體驗型農企業的獲利。 / Taiwan has been called as the kingdom of plants, the kingdom of fruits. The reason is the unique terrior capital of Taiwan, such as soil, weather, history, and human. By building the brand, putting the culture in, and creating the experience to customer, they could feel the added value and the unique of Taiwan’s agricultural produce. The agricultural processing industry in Taiwan had been regarded as the primary industrial sectors. However, the agricultural processing industry is transforming to Sixth industry, which integrates the primary industry, secondary industry and tertiary industry by culture, creative and aesthetics. The integration of different industrial sectors (1+2+3) got the synergy (1X2X3). There are two essential concepts in the study, one is the core experience element of experience-agribusiness (the concept is similar with the culture- creative industry), and the other one is Authenticity. Based on the two concepts, the research is to investigate the dynamic constructing process of the agricultural processing industry in Taiwan’s transformation, building brand, and creating the experience value. This research aims to investigate following questions: (1) What is the transformation process form the agricultural processing industries to experience-agribusiness? (2) What are the essential elements in the experience- agribusiness? (3) How does experience-agribusiness to increase added value by building brand? The preliminary research findings include 1. The owner should be determinate, which means the owner clearly know the vision. Learning by doing is the best way to successfully transform. The terroir capital and industrial culture is the very important tool. 2. The experience-agribusiness always tells a life style story to build a unique image. The space is the proper media, which includes shape, movement, event, interaction, and context. 3. The experience-agribusiness provides affective experience, which is educational, obsessed experience. The experience is given by the interaction of staff and customer. 4. The authenticity is the core of added value of experience-agribusiness. By integrating the five elements of authenticity, which are natural, original, exceptional, referential, influential elements. Afterward, customer is willing to pay more for the added value.

本研究以「使用與滿足」理論探討圖文創作部落格閱聽人使用行為，以時常造訪圖文創作部落格之網友為研究對象，本研究利用「問卷調查法」與「深度訪談法」進行研究，兼顧量化及質化兩種研究途徑。透過網路問卷抽樣調查方式，回收有效問卷325份，並針對知名圖文創作部落客及圖文創作部落格的重度使用者進行深度訪談。 本研究目的在探討圖文創作部落格讀者使用動機、使用行為、滿意度、忠誠度變數之內涵。分析不同人口統計變數對使用動機、使用行為、滿意度與忠誠度之差異性。檢定使用動機、使用行為對滿意度與忠誠度之關係。經由量化分析與質化訪談對經營圖文創作部落格之部落客提出行銷建議。 研究結果顯示圖文創作部落格讀者以女性上班族為主，年齡層以21-35歲居多，教育程度以大專為最多，居住地區以北部為主。圖文創作部落格之使用動機以「休閒娛樂動機」因素最高。在使用行為方面，讀者通常每天或每3-5天就會回訪一次，可見圖文創作部落格的讀者黏著度高。在使用滿意度上整體滿意度偏高，其中以「歡愉滿意度」因素最高。在使用忠誠度上則以「再訪忠誠度」因素最高。 經過質化與量化的分析，本研究建議想經營圖文創作部落格之部落客，應多著墨於有趣、好笑、生活化及流行話題的相關內容，並提高發文頻率，藉由舉辦實體活動，結合虛擬與實體創作，達到延伸性的長久經營。 / In this study, "uses and gratifications" theory of creative graphic blog audience usage behavior. To the users frequently visit the creative graphic blog as the research object. The present study, use"questionnaire" and " interviews" to research, both quantitative and qualitative study of two kinds of ways. Sample survey questionnaire via the Internet way, 325 questionnaires were usable, and for the well-known graphic creative bloggers and fax heavy users interviews. The purpose of this study was to explore the use of creative graphic blog readers motivation, behavior, satisfaction, loyalty variables of the content.Analysis of different demographic variables on the use of motivation, and use of satisfaction and loyalty of the differences. Test the use of motivation, and use of satisfaction and loyalty to the relationship. By quantitative analysis and qualitative interviews with creative graphic bloggers make marketing recommendations. The results showed that creative graphic blogs for readers are women, mainly of office workers, mostly age to 21-35 years of age, educational level to college as the most northern area of residence-based. To the use of motivation is "leisure motivation" factor in the highest. The use of behavior, the reader is usually every day or every 3-5 days would be a return visit, we can see creative graphics blog readers adhesion is high. The use of satisfaction on overall satisfaction high, in which the "joy satisfaction" factor high. On the use of loyalty by "revisit loyalty" factor in the highest. Through qualitative and quantitative analysis, this study suggests that wish to create a blog of business creative graphic bloggers should be more to write about interesting, funny, daily life and popular topic relevant content and increase issued a document frequency, by holding physical activity, combination of virtual and physical creativity, to achieve an extension of long-term business.

文化是延續性的,文化創意產業所需的創意,絕對不是從未出現 過的「斷層式創新」,而是一種反思式的「服務創新」,所謂的服務創 新,強調以顧客為中心,透過完整的顧客服務系統,以顧客新的消費 經驗塑造為核心,創造滿足顧客的新價值。不論是文化園區或是創意 園區,在經營管理上皆是希望藉由產業群聚的效應,進而提升產業的 發展與增加經濟效益。事實也證明,諸多在經營管理上的關鍵影響因 素,皆會因為經營管理者的作為而產生不同的發展結果。仿效英國推 動創意產業政策,利用老舊工業遺址再利用,發展成創意產業園區的 模式,臺灣在 2002 年推動文化創意產業發展計畫中,將五個臺灣菸 酒公賣局舊廠址及倉庫規劃為文化創意產業園區,並以政府自營及委 外的方式進行管理營運。在不同的設置目標定位及不同的經營管理組 織運作下,各園區的發展狀況也產生截然不同的結果。本研究以多重 個案研究解析文創園區經營的服務創新及商業模式構成要素,檢視文 創園區是否符合設置規劃的期望,達成提升創意產業的價值創造,進 而增加綜效。 / Culture is continuous. Creativities required by cultural and creative industries are not unprecedented "fault-type innovation," but a kind of reflective "service innovation." The service innovation emphasizes customer orientation. Through a complete customer service system, take shaping new consumer experience as the core and create a new value satisfying customers. Both management of cultural park and creative park aims at improving industrial development and increasing economic efficiency through the effect of industrial clustering. Facts have also proved that many key impacts on management tended to generate different developments due to managers’ practices. Learn from the British creative industry policy, reuse industrial heritage, and develop the model of a creative industrial park. Taiwan promoted cultural and creative industry development plan in 2002. Five industrial heritages of Taiwan Tobacco and Liquor Corporation were planned as cultural and creative industrial parks, and they were state-owned or outsourced for management. Under various target positioning, the development of each park led to different results. By studying multiple cases, the study analyzes key factors of cultural and creative parks’ management, such as services, innovation, and business model. It reviews whether cultural and creative parks meet the planned expectation, and value to creative industries, and improve the overall benefit.

網際網路的發達，促成環境快速的變遷，單一化的企業經營型態，已無法在變動快速的商業生態圈中永續生存，而各國為了振新國內產業發展，與提升經濟水準，推出國家發展經濟政策，而在過去以代工為主的亞洲國家，為求轉型發展，文化創意產業，皆為亞洲各國近十多年來不可或缺的國家發展政策之一，以台灣為例，在2002年行政院即提出《挑戰2008：國家發展重點計畫》，「文化創意產業發展計畫」則為其發展計畫之一，台灣文化創意產業發展至今，文化創意結合青年創業，不斷出現更加創新的商業模式，與文創產業聚落和文創園區。 本研究以F公司為研究主題，F公司以活化空間改造，不動產租賃起家，但公司定位不以房東自居，以打造資源多樣性的平台為目的，提供微型創業者合適空間可發揮其才能。初階段平台打造過程中，F公司累積足夠各面向文化創意資源，進而成功轉型，以空間改造為核心，並發展文創聚落規劃設計與經營輔導，給予台灣更多老舊的建築，賦予新生命，在地創生，製造就業機會，吸引青年返鄉，扶植社會企業，讓人與人之間的美好，透過空間活化與街區的重新改造，而更加拉近關係，實現公司成立的主要訴求「創造幸福的小氛圍」。 本研究依個案研究法，深入訪談了解F公司創業初期至現今業務轉型的歷程，探討其經營困難因素與解決之道，本研究以商業模式圖分析其獲利模式，並以邱志聖(2014)策略行銷分析架構來探討其成效，其四種成本分別為：外顯單位效益成本、資訊搜尋成本、道德危機成本、專屬陷入成本。 研究發現F公司在現階段的業務主軸重心轉變為專案式業務，基石來自於初期的成功聚落典範標竿與將初期的目標客群文創業者，整合為關鍵合作夥伴，累積文創資源，形成資源庫，讓F公司有足夠實力可勝任各式在地化的專案街區活化或社區營造規劃業務。 研究結果認為，F公司在對應客戶的四個成本都具有相當大的優勢，以4C角度歸納出關鍵成功因素，並建議增加自媒體與年度節慶活動慶典持續舉辦的行銷宣傳，提高直接消費者粉絲數量，為微型創業者增加效益，更加降低承租人的C1，並且也將文創訊息與活動主動散播給更多一般直接消費者，而降低一般消費者的C2。 / In the past, the economic growth of Taiwan counts on exportation and OEM business, but this world is changing too fast when the internet comes into everyone’s life. The business model is also changing rapidly, too. Last 15 years, Most of Asia countries want to improve and invest culture and creative industry. In 2002 the Taiwan government decided to reform the system to promote and develop the cultural and creative industry. The development of "cultural and creative industry" was considered as one of the important tasks of Taiwan’s Challenge 2008 Six-Year National Development Plan established by Executive Yuan. And now, we can see many different types of business models in culture and creative industry in Taiwan. The Culture Creative Industry Park and Culture Creative Cluster with micro yang entrepreneurs are good examples. This study mainly focuses on the F company in culture and creative industry in Taichung. F company started up from refurbishing unused space and rent it to micro entrepreneurs. F company creates not only spaces but also a happy and creative platform where each entrepreneur can share the resource and ideas. It is exactly the mission F company wants to achieve. In this case study, F company is analyzed by "Business Model Canvas" and "Strategic Marketing 4C Analysis". It concludes F company have great 4C advantage for their clients. This study also suggests F company may consider expanding their "We-Media" and running regularly anniversary campaign to approach more potential clients and also enhance current client’s satisfaction and royalty. Therefore, C1 will be lower for the clients and C2 also will be lower for end-customers.