台北市創意文化治理-以松山文創園區的空間生產為例

Abstract

2002年，由行政院提出「挑戰2008：國家發展重點計畫」中，將「文化創意產業發展」納入計畫中。在中央政策的引導下，文創產業結合閒置空間再利用，成為一種治理模式，文建會首先在五個地方成立文創園區：台北華山、台中、嘉義、台南及花蓮。受到中央的影響，台北市自1947年(直轄市改制)以來，其文化治理在2003年後又開始有了轉折，將「創意」元素放入其文化治理的策略中。 本研究以松山文創園區為研究對象，透過與管理單位、進駐單位、參訪者、鄰里居民的訪談、參與觀察及文史資料彙整的方式進行田野調查，希望藉其空間生產來驗證台北市文化治理的創意轉向，探討松山文創園區空間生產過程受到什麼因素的影響，其新舊空間如何對話以及其空間再現標誌著怎樣的意涵。主要運用的理論為Molotch的「成長機器理論」以及列斐伏爾的「空間生產理論」，分析國家機器如何透過治理，將松山文創園區的空間生產出來，並探討其過程與結果。 本研究發現：松山文創園區的空間生產過程，剛開始文化只是合理化統治的手段。而北市府順著提倡文創產業與創意概念的脈絡，促使文化治理朝創意轉向，利用公私合夥方式來籌措修復古蹟的財源。這樣半公半私的空間管理方式，使得北市府仍可利用古蹟(舊)空間完成其政策任務，BOT(新)的空間則負責行銷。表面上，新舊空間沒有明確的互動，但藉由空間的聚集，參訪者在無形中將兩個空間連結起來，產生微弱的互動，也使空間再生產出新的關係。而鄰里居民對於空間的轉變，存在著某種程度的排拒感，對於松菸的情感也難以隨著空間做切割，這樣的適應恐怕仍得要等整個文化體育園區完工後，才能逐漸地調整轉變。In 2002, the Executive Yuan proposed the "Challenge 2008: National Development Plan", the "cultural and creative industries" was put into the project. Under the guidance of the central policy, cultural and creative industries combined reuse of space has become a governance mode, the CCA first set up five Cultural and Creative Parks: Huashan, Taichung, Chiayi, Tainan and Hualien. By the central influence,it was since 1947 (municipality restructuring)in Taipei,its cultural governance began turning to"creative" in 2003. In this study, Songshan Cultural and Creative Park was disscussed to validate Taipei Culture governance creative steering by its production of space, to explore what factors influence the spatial production, and how its spatial reproduction implications marks, through interviews with management units, stationed units, visitors, residents of the neighborhood, participant observation, and historical data collection. The paper used Molotch's "Growth Machine" theory and Lefebvre's "the Production of Space" theory to analyze how the state apparatus produced the Songshan Cultural and Creative Park through governance, and to explore the process and results. The findings of the paper are as follow.First, in the production process of Songshan Cultural and Creative Park, culture was just the means to rationalize domination at the beginning.Second,Taipei City Government advocated the concepts of cultural and creative industries and creativity, to promote cultural governance shift towards creative, the use of public-private partnership to raise financial resources to repair the monuments. With Semi-public and semi-private management, Taipei City Government can still take advantage of monuments (old space) to complete its policy mandate, and the BOT (new) space is responsible for marketing.Third, On the surface, the old and new space don’t interact clearly, but by spacial clusters, visitors will virtually link up two spaces, resulting in weak interactions, but also the spatial reproduction of a new relationship.Finally, the spacial transition for neighborhood residents, there is a certain degree of feeling excluded, and their emotion for Songshan Tobacco Factory is also difficult to cut with the space until the completion of Taipei Dome Complex.