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.

Ce projet de maîtrise porte sur l’interaction entre les acteurs locaux liés à la musique populaire et l’administration publique dans le cadre du projet public-privé de réaménagement du port de Rio de Janeiro intitulé Porto Maravilha. Le travail de recherche s’est axé sur l’idée que cette interaction serait essentiellement fondée sur la façon dont la “culture” est comprise et utilisée comme ressource capable d’ajouter de la valeur à l’espace urbain, différencier les groupes entre eux et apporter une sustentation au processus d’autonomisation et de légitimation des acteurs. De nouveaux paradigmes urbanistiques, tel celui de “ville créative” (Landry, 2005), proposent d’intégrer la culture locale dans l’élaboration et l’exécution des projets avec la participation d’artistes qui sont perçus comme une source de créativité fondamentale pour rendre la ville plus compétitive dans un monde devenu de plus en plus urbain. Dans cette veine, le projet Porto Maravilha s’inspire franchement des cas de succès de rénovation urbaine créative, stimulant la culture locale et idéalisant le port de Rio comme une “nouvelle carte postale du Brésil”. En partant de la constatation que les acteurs sociaux locaux identifient le potentiel de leurs activités culturelles comme une ressource importante dans ce contexte, nous analysons tout autant les stratégies et les discours élaborés que les ressources dont ils disposent afin d’affirmer leur agentivité. Au-delà de l’action intentionnelle, nous effectuons également des analyses de leurs pratiques culturelles au quotidien en recherchant les éléments qui les constituent. Nous questionnons, par ailleurs, la manière avec laquelle les administrateurs du projet comprennent ces activités musicales et comment ils gèrent les demandes sociales et les contributions créatives de ces groupes. / This master’s thesis treats the interaction between local actors in popular musical culture and the public administration in the context of the public-private project of renewing the port of the city of Rio de Janeiro, Porto Maravilha. The study is centred on the idea that this interaction is based primarily on the ways that « culture » is understood and used as a resource that can add value to urban space, differentiate groups from each other and bring support for the processes of autonomization and legitimation of social actors. New urbanist paradigms, such as that of the « creative city » (Landry, 2005), propose that local culture be integrated into the development and realization of projects through the participation of artists who are perceived as a fundamental source of creativity for making the city more competitive in an increasingly urbanized world. In this vein, the Porto Maravilha project is inspired directly by cases of successful creative urban renewal, and aims to stimulate local culture, while idealizing the port of Rio as a “new postcard of Brazil”. Starting from the observation that local actors see the potential of their cultural activities for becoming an important resource in this context, we analyse the strategies and discourses they develop, as well as the resources to which they have access in order to affirm agency. Besides their intentional actions, we analyse their day-to-day cultural practices. Moreover, we question the way that the administrators of the project understand the local actors’ musical activities and how they manage the needs and creative contributions of these groups.

O presente trabalho teve como objetivo compreender os processos de construção e gestão de uma cidade-marca e seus vínculos com o conceito de cidade criativa, bem como seus consequentes impactos nas políticas urbanas. Para tanto, tomou-se como estudo de caso a cidade de Londres, capital do país pioneiro na adoção do discurso da criatividade em suas políticas públicas e tida, na década de 90, como um dos principais centros de poder e controle global no capitalismo contemporâneo. Buscou-se construir um panorama histórico que mostra como Londres veio a ser promovida como uma cidade criativa, tendo a cultura no cerne das políticas de desenvolvimento econômico e urbano. Neste sentido, o trabalho procurou analisar o processo de construção, gestão e exportação da marca Londres, desenvolvida na virada do século XXI, evidenciando as tensões e aproximações entre as diferentes gestões do governo central britânico e as administrações municipais de Londres. Procurou-se explicitar o quanto tal processo culminou na realização dos Jogos Olímpicos de 2012, utilizados como ferramenta para direcionar recursos e a atenção midiática para o megaprojeto de regeneração do East End da cidade. A partir da análise dos novos arranjos institucionais e das estratégias discursivas adotadas para legitimar a realização de tal projeto, buscou-se, então, compreender qual o rebatimento urbano do processo de branding da cidade, tendo como foco os impactos no East End e mais especificamente na região de Hackney Wick promovida como o mais novo hub criativo de Londres - exemplificando as tensões entre a \"marca Londres\" e a \"Londres realmente existente\". / This work aimed to understand the processes of building and managing a city brand and its links to the creative city concept, as well as its consequent impact in the urban policies. Here London was taken as a case study, as the capital of the country that first adopted the discourse of creativity in its public policies in the 1990s and as one of the main concentrations of global economic power in contemporary capitalism. It sought to explore how London came to be promoted as a creative city, with culture at the heart of economic and urban development policies. In this sense, this work analysed the process of creation, management and export of the London brand, developed at the turn of the 21st century, showing the tensions and approximations between the different administrations of the British central government and the municipal administrations of London. It also sought to explain how this process culminated in the hosting of the 2012 Olympic Games, used as a tool to direct resources and the media attention towards the mega regeneration project of Londons East End. From the analysis of the new institutional arrangements and the discursive strategies adopted to legitimize the realisation of such a project, this work finally sought to understand the urban implications of the branding process, focusing on the impacts in the East End and more specifically in Hackney Wick promoted as the newest creative hub in London - exploring the tensions between the \'London brand\' and the \'really existing London\'.

Angesichts zunehmender globaler Städtekonkurrenzen haben politische Wiedererfindungen des Städtischen Konjunktur – mit immer kürzeren Zyklen und wechselnden Dynamiken der Inszenierung der jeweiligen Programmatiken. Berlin als junge Metropole liefert für die Implementation exogener Konzepte vielfältige Ansatzpunkte, zeigt jedoch auch umgehend ihre Grenzen auf. Die Beiträge dieses Bandes setzen sich mit Imaginationen, Diskursbeiträgen und Positionierungen auseinander, die den „großen“ politischen Konzepten jeweils „von unten“ entgegenwachsen und teilweise in Gegenbewegungen münden. Anschauungsmaterial liefern die Europäische Metropolregion Berlin-Brandenburg und das Projekt Mediaspree.

Constructed in 1886 by Mr. John Abell, the former engine and machine works factory at 48 Abell Street is located near Queen and Dufferin Streets in Toronto, Ontario. This 100,000 square foot heavy timber and red brick building has housed approximately 80 live/work studios since the 1980’s. Recently, rapid gentrification and intensive development proposals in the West Queen West neighbourhood have threatened its existence as an authentic artistic incubator. In a series of chronicles, this thesis documents the history of John Abell and the neighbourhood surrounding his former factory from the late 19th century to present day. Woven into this narrative are the author’s own stories of living in a loft at 48 Abell Street, observing the transformation of the neighbourhood and responding to potential eviction from her home. When the community rallies to the building’s defense, 48 Abell becomes the central figure in a battle over land development with the City and real estate developers in which the key issue is the cultural value of heritage buildings and protection of live/work spaces. Research in the form of mapping and data collection shows the concentration of the arts in the area known as the Queen West Triangle has been a catalyst for gentrification. The resulting displacement of arts production space and low-income residents due to escalating land values is an unintended and sobering reality challenging the current orthodoxy of ‘creative city’ movements in North America.

Constructed in 1886 by Mr. John Abell, the former engine and machine works factory at 48 Abell Street is located near Queen and Dufferin Streets in Toronto, Ontario. This 100,000 square foot heavy timber and red brick building has housed approximately 80 live/work studios since the 1980’s. Recently, rapid gentrification and intensive development proposals in the West Queen West neighbourhood have threatened its existence as an authentic artistic incubator. In a series of chronicles, this thesis documents the history of John Abell and the neighbourhood surrounding his former factory from the late 19th century to present day. Woven into this narrative are the author’s own stories of living in a loft at 48 Abell Street, observing the transformation of the neighbourhood and responding to potential eviction from her home. When the community rallies to the building’s defense, 48 Abell becomes the central figure in a battle over land development with the City and real estate developers in which the key issue is the cultural value of heritage buildings and protection of live/work spaces. Research in the form of mapping and data collection shows the concentration of the arts in the area known as the Queen West Triangle has been a catalyst for gentrification. The resulting displacement of arts production space and low-income residents due to escalating land values is an unintended and sobering reality challenging the current orthodoxy of ‘creative city’ movements in North America.

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.

La culture se retrouve au coeur de stratégies de villes comme ressource mobilisée et articulée au sein de projets urbains, économiques et sociaux. Ainsi de nouveaux modèles et concepts apparaissent-ils, véhiculant un discours sur ses vertus territoriales : le cultural planning, la ville créative, la métropole culturelle, le quartier artistique, etc. La culture est alors considérée comme une dimension du développement territorial, faisant perdre au « secteur culturel » une partie de son autonomie. Ces recompositions de l'action publique culturelle sont directement liées à la formation de modes de gouvernance fondés sur une logique politique du territoire. Les principes conventionnels qu'ils génèrent mettent à l'épreuve les acteurs locaux et les équilibres préexistants. Du gouvernement de la culture à la gouvernance culturelle des villes, ce sont les mécanismes d'émergence et d'institutionnalisation de mondes de coopération spécifiques à Lille, Lyon, Saint-Étienne et Montréal qui sont ici observés. Cette thèse entend contribuer au débat sur la constitution des villes en acteurs collectifs, tel qu'il se configure à partir de l'action culturelle / Culture is at the heart of the stategies of cities : it is an articulated resource of their urban, economical and social projects. This is how new models and concepts appear, promoting a position about its territorial virtues : cultural planning, the creative city, the cultural metropolis, the artistic district, etc. Culture is thus considered as an aspect of territorial development, which contributes to the "cultural sector" losing part of its autonomy. The changes in public cultural action are directly linked to the creation of governance modes that are based on a political logic of the territory. The conventional principles thus generated put the local actors and the former balance to the test. From the government of culture to the cultural governance of cities, we observe the process of emergence and institutionalisation of specific worlds of cooperation in Lille, Lyon, Saint-Etienne and Montreal. The point of this thesis is to contribute to the debate on the constitution of cities as collective actors

Les mutations récentes du capitalisme, où la « connaissance » tend à remplacer les ressources naturelles et le travail physique comme outils de croissance économique, transforment en profondeur les villes contemporaines. Dans ce contexte, les villes dites « post-fordistes » adaptent leurs structures productives, spatiales et socio-organisationnelles aux exigences de la nouvelle économie. L'une des manifestations les plus claires de ces mutations réside dans la multiplication de grands projets développés au cœur des villes : « Districts Technologiques », « Districts de l'Innovation », « Cités du Design », « Cités du Multimédia », « Quartier des Sciences », « Quartiers de la Création ou de l'Innovation » etc. Pour comprendre ce phénomène nous avons réalisé une analyse comparative de quatre projets mis en œuvre dans trois villes : Barcelone (22@barcelona), Buenos Aires (Distrito Tecnológico ; Distrito de Diseño) et Grenoble (projet GIANT /Presqu'île). A travers cette étude nous avons cherché à répondre à deux questions fondamentales. Ces projets préfigurent-ils l'émergence d'un nouveau « Modèle Territorial de l'Innovation » (MTI), le modèle des « Systèmes Urbains Cognitifs » (SUC) ? Dans quelle mesure les caractéristiques distinctives des SUC font de ces sites des supports privilégiés de production et de diffusion d'innovations ? / Over the last decade, cities have been adjusting their production, spatial and socio-organisational structures to the requirements of the new economy. There has been a plethora of “technology districts”, “creative clusters and cyberdistricts” – all built on the same type of model, that of “Urban Cognitive Systems” (UCS). The assumption behind these UCSs involves creating a new theoretical framework and then testing out the ability of UCSs to establish themselves as an ideal way for localities to produce and add value to the process of innovation. This empirical work involves comparative analysis of four UCSs established in three cities, Barcelona (22@Barcelona), Buenos Aires (Distrito Tecnológico ; Distrito de Diseño) and Grenoble (GIANT / Presqu'île scientifique).