文化创意产业园规划策略研究——以广东省揭阳玉文化创意产业园城市设计为例

文化创意产业在国内外发展迅速,对于经济发展有着重要的推动作用,其园区的建设也被越来越多的地方政府所热衷,但新规划的园区一般会有形象不突出、文化不鲜明、氛围不浓厚等问题,在集聚创意产业和创意阶层方面存在较大挑战。广东省揭阳玉文化创意产业园的城市设计通过详尽分析现状历史文化和玉石设计师的需求等方面,以文脉传承、创意活力、多元功能为理念,并从功能组织、公共空间、文化形象和创意氛围四个方面研究延续文脉、增强创意氛围的设计手法,探讨具有传承地域文化、增强创意氛围的规划实践,以期为其他创意产业园城市设计提供借鉴。     

我国创意城市发展理念之反思

重点关注我国构建创意城市过程中片面的概念理解、空洞趋同的目标定位和单一的建设模式三方面的问题,在前人研究成果的基础上以城市创意氛围、创意特质为视角重新诠释创意城市的本质,并将其在创新活动的不同阶段——创意理念的产生直至形成一定规模的产业——渗入到城市的经济、社会和政策法规层面,以此指导创意城市的合理定位和多样化模式的建设,从而使其拥有更健康美好且可持续的发展前景。     

大连港工业遗产的创意空间研究

工业遗产与创意空间的结合,不仅营造出了文化与设计服务相关产业的创意氛围,还改善了当地居民的公共生活空间并加强了地方认同感。以大连为例,通过对过去以生产为主的工业城市转变为以知识经济和现代服务业为主的后工业城市转型的分析,对其工业发展历程及工业遗产区域分布进行分析,提出了大连港工业遗产更新规划策略,并结合创意活动、创意旅游和社区公共艺术等论述了其创意空间构建方式。     

工业遗产类创意产业园受众人群的调查与比较——以北京798艺术区及唐山1889创意产业园为例

旧工业地段的更新是当前工业城市和传统工业区的城市建设重点,而更新为创意产业类园区则是其中主要的更新类型。以工业遗产类创意产业园的受众人群为研究对象,展开数据化的追踪。选取北京798项目及唐山1889项目两个案例,进行了相对人流量及绝对人流量的统计与分析,并在此基础上对两个项目受众人群的年龄、职业、教育水平、收入水平、消费水平、常驻地分布等进行了分析,归纳出该更新类型在不同城市类型中受众人群的特点,希望能够为今后类似项目的决策提供有效的数据依据。     

论创意阶层与城市发展

当代社会,知识与创意正在替代传统自然资源和有形劳动成为城市经济增长的主要源泉,而创意型人才则自然而然成为城市可持续发展的决定性力量.创意阶层作为工人阶层、服务阶层之外兴起的又一个新的社会阶层,是培育基于学习、革新和时尚生活方式的新城市经济动力.从地理上看,创意阶层具有独特的区位偏好,创意阶层往往集中在那些能够提供宽松的社会氛围和各种就业机会的多样化城市和区域,创意阶层的密集度与地方多样性呈正相关.从城市发展来看,创意阶层的相对密度与地方经济增长呈正相关,一个城市和地区对于移民、艺术家、同性恋、波希米亚风以及社会经济和种族融合的开放程度与其经济质量的高低有着密切的关系,而创意阶层的集中程度与地方创新和高科技产业生长也有一定的相关性,创意阶层集中的城市往往也是创新和高科技产业发达的创意中心.     

乌石浦文化创意产业园改造模式探索

文化创意产业是文化产品,娱乐产品和服务活动及与这些活动相关联的活动的集合;其不仅以利润追求为目的,同时满足市场精神为其主要功能。本文以厦门乌石浦油画村的改造为例提出了对,文化创意产业园的发展模式的思考;小众文化或集装箱文化的提出都体现了创意产业园发展必须立足于本区域独特的文化积淀和氛围,为创意人群提供一个宽松愉悦的环境。     

消费主义,城市品牌化与城市设计

在一个消费主义高度盛行的世界,城市均在致力于打造独一无二的品牌以提升自身的国际竞争力和经济优势、品牌使城市成为商务、旅游、创意人群的目的地——那些在大城市中追求带有炫耀性消费的新中产阶级。,超大型级别的城市设计,以及改善街道、广场、公园等公共区域的品质,都对城市形象及其品牌起到重要作用,然而,在城市品牌的营建过程中,贫困者被遗忘,对可持续问题的考虑也仅流于表面。城市设计中具有竞争力的方法需要被聚集在一起以解决21世纪人们须面临的新问题。城市设计应具有多项功能以满足不同阶层人群的各种需求。     

关于我市无障碍建设可持续发展的一点思考

<正>随着残障人士融入社会需求的不断增长、人口老龄化的加剧,以及人们对生活质量要求的不断提高,全社会对无障碍环境建设的要求日益迫切。关爱弱势人群,构筑现代化、国际化的新无障碍城市,构建平等、友爱、相互尊重的和谐社会氛围,成为了目前我国城市建设的重要目标。同时"城市无障碍化环境"不但方便了老幼、残障人士等相对弱势人群的生活与出行活动,而且对广大普通人群的生活品质提高也有重大的意义。联合国亚太经社会在第二个"亚太残疾人十年"(2003-2012)活动中强调,要"为亚洲及太平洋残疾人努力缔造一个包容、无障碍和以权利为本的社会"。这就从根本上提出了     

迁入者与创意街区的社会建构——基于一种绅士化的视角

面向新经济时代,大城市的经济复兴、都市更新和城市转型表现出与创意产业的紧密关联。创意产业的发展使得城市传统空间被重新利用,形成一种空间转换。在创意街区的社会建构过程中,迁入者引发内城的社会分化与文化重塑,导致文化价值的生产和消费转换创造出新的社会空间意义。城市绅士化使得迁入者通过对内城空间的再发现,一方面提升了传统空间的文化与社会价值,使得空间增值,另一方面更多经济资源的导入,使得市场与商业力量最终驱逐了创意与艺术,导致创意人群的疏离、创意街区的异化和创意城市的发展悖论。     

蔓延·融汇·创新——西安美术学院周边文化艺术创意街区可行性发展研究

随着知识在经济中作用表象的日益显现,大学在地区竞争中的优势也越来越被重视,成为城市经济增长的重要推动力量;而依托大学在其周围发展创意街区,将知识与产业结合,也成为推动高校与城市发展必由之路。本文以西安美术学院研究对象,分析影响其周边地区发展的优势因素与主要矛盾,提出发展创意街区的可行性措施,力求使西安美术学院周边在美院独特的文化艺术氛围以及创意人才的支撑下,形成城市中独具特色的文化艺术创意街区。     

Neighborhood milieu in the cultural economy of city development: Berlin’s Helmholtzplatz and Soldiner in the German “Social City” program

This paper studies the meaning of neighborhood milieu and its appropriation in social city development by conducting content analysis on two neighborhoods and supplementing it with semi-structured questionnaires. The case study suggests that in social city development, the concept of milieu serves as an image creation goal that attempts to mix marginal neighborhoods with new creative milieu. The focus on local place attachment appears to be a short-term project that does not contribute to residents’ empowerment in the long run. Contrary to the current usage of milieu, which allows for the fabrication of particular images leading to many socio-cultural contradictions, this paper argues for the utility of milieu as place attachment for local residents. This approach could prove to be helpful for social regeneration within the context of city development.     

DIVERSITY,ENTREPRENEURSHIP, AND THE URBAN ENVIRONMENT

ABSTRACT: In recent years, the field of regional economic analysis has focused on the social and cultural environment of a place to explain variations in innovation activity, entrepreneurial dynamics, and economic growth. Prominent among these studies is Richard Florida's creative class theory. He argues that urban economies grow because they are tolerant, diverse, and open to creativity, which in turn attracts certain groups of people, the so‐called creative class. Lee, Florida, and Acs expand the theory into the realm of entrepreneurship. They argue that new firm formation is positively associated with a creative and diverse social environment. In other words, those regions that are alluring to creative talent, open to newcomers, and tolerant of those who are different, will also have more people taking the risk of founding a firm, leading to increased economic growth. The creative class theories, however, contrast with explanations that consider structural factors such as access to financial resources and markets, among others, as important markers of entrepreneurial success. In this article, we are interested in examining the ways in which a region's creative milieu and its opportunity structures may help or hinder different kinds of entrepreneurs, in particular nontraditional entrepreneurs. We examine the effect of regional opportunity structures and creative milieu on women, Black, and Hispanic business ownership for the 50 largest metropolitan statistical areas (MSAs) in the United States in 2002. We find that opportunity structures, whether opportunity or barrier, better explain the dynamics for these entrepreneurs. They benefit from a regional environment that builds human capital and skill base, enables access to a variety of financial resources, and facilitates market access. Given the growth of women and minority businesses and their potential effect on regions, policymakers are well advised to tailor their policies to these groups.     

Creative communities and the cultural economy — Insadong,chaebol urbanism and the local state in Seoul

Creative communities that arise in a cultural milieu of place-based social relationships are being targeted for cultural economy strategies to revitalize cities in Asia. The dominance of a small number of family owned conglomerates, chaebol, in the economy and politics of South Korea represents an extreme case of the corporatization of citymaking that drives cultural economy policies. The experience of the historic district of Insadong, Seoul, illustrates the resulting loss of vernacular heritage, gentrification and commodification of creative community life-spaces under the cultural economy banner. At the same time, democratization and the rise of civil society have provided openings for grassroots organizations to seek to protect and support local cultural spaces as sites for creative engagements in urban life. Recent success of grassroots mobilizations in countering corporatization by electing an activist as mayor of Seoul points to the need to give greater attention to role of the local state in sustaining creative communities.     

Creative clustering: The location of independent inventors

There is a growing body of regional research on the location of creative and talented workers. This paper offers a new perspective by examining independent inventors. Based on a comprehensive inventor database for 2000–2009, we detect a striking orientation toward the western regions of the United States. In a negative binomial regression analysis, the effects of natural and cultural amenities, the research milieu, human capital, local per capita income, industrial diversity, tolerance, and other factors are tested against the US county-level distribution of independent inventors. Statistically significant estimates are found for natural amenities, human capital, research universities and county population. Of all variables, independent inventor location exhibits the highest elasticity with respect to per capita income. This factor has often been overlooked in research on the creative economy.     

From red light district to art district: Creative city projects in Yokohama’s Kogane-cho neighborhood

This article examines how a creative city project in Yokohama regenerated urban spaces before and during the 2008 financial crisis. Japanese cases can broaden our view of post-crash effects and policies. Japan avoided financial entanglements that plague the US and much of Europe. However, its export-oriented economy, which never recovered from a long period of stagnation, now suffers because of the declining purchasing power of its Western trading partners. Moreover, the direct role of the state in urban policy suggests a different context than that theorized in Western accounts of urban entrepreneurialism (or neo-liberalism): the latter stresses the role of municipal governments and developers in using creative city policies to create sanitized forms of urban redevelopment. To address the gap in knowledge about this sort of process in Japan, I use strategic informants, observations and secondary data to examine how creative city projects helped transform Yokohama’s Kogane-cho neighborhood from an enclave of brothels to an art district. In contrast to Western cases which feature local government and development interests, I show how creative city policies also were influenced by the interactions of neighborhood groups, provincial police and a national economic development policy encouraging quality of life measures, including crime control in entertainment districts. National stimulus funds have sustained the quality of life initiatives, but the art district’s homogeneity raises doubts about its status as a creative milieu.     

建筑史体验式教学法研究——重庆大学外国建筑史课程教改实验报告

建筑学因其学科专业特殊性,需要把学生创新素质培养放在教育的核心地位。重庆大学建筑城规学院以其历史悠久的教学实践,积淀了注重创新素质培养的传统,建立健全了创新素质的教育体系。建筑史创新教育体系架构正是建筑学创新素质教育体系的关键板块,外国建筑史体验式教学法研究是该板块的子项目。该项目首先进行了建筑史体验式教学法的理论建构研究,进而对体验式教学法实施方案、体验式教学法的评价与优化体系建构等关键问题进行了研究,经过几年的教改实验,取得了良好的效果。     

Towards the experiential meaning of milieu for neighbourhood regeneration: discussions on the institutional designation of milieu-valued areas in Tallinn, Estonia

This article analyses the constructive and strategic character of the milieu discourse in the planning of urban neighbourhoods in Tallinn, Estonia, that has an influence on neighbourhood regeneration. In the institutional designation of milieu areas, the concept of milieu area means the coherent historical housing environment as assessed by planning experts. The article argues that this milieu discourse has strategic aims in terms of preserving architectural housing heritage and acknowledging the traditional understanding of the heritage value. This has influenced, in the collective knowledge, the specific perception of the term ‘milieu’ that will in turn influence the change of a neighbourhood’s social structure and of its placemaking. For example, the concept of milieu area is used by real estate agents for selling and renting apartments in deprived neighbourhoods that are institutionally acknowledged as the neighbourhoods with the milieu value. The study concludes that the expert-based milieu discourse does not consider the socio-spatial neighbourhoods’ everyday life, which is significant in terms of viable neighbourhood regeneration. The reconstruction of the milieu term towards an experiential milieu approach is suggested, as the involvement of residents in neighbourhood regeneration is especially essential in the neighbourhoods of the dispossessed.     

ATN·CDIO工程教育模式下的创造思维体系构建探究——以建筑设计基础课程教学为例

创造思维能力的培养是教育发展的必然趋势,对今后创新型人才培养有至关重要的作用。通过具有创造性内涵的教学体系构建,可以提高学生自身的创造思维能力,达到具备创新思维能力的人才培养标准。以贵州民族大学建筑学专业的建筑设计基础课程教学为参考,从学习者的角度分析教学内容、教学目标与评价,研究工程教育具体的教学方式和系统架构,论证创造思维的培养和创新能力的关系问题,寻求工程专业创造思维的培养途径。针对学生不同的认知水平,探讨具体的学习策略和教学模式,对创造思维体系的构建内容、教学逻辑、质量把控、学习驱动力、环境建设等进行详细评述,首先,知识合理的组织和呈现可以为创造思维能力培养打下坚实的基础,建筑设计基础课程的理论性、实操性、扩展性特征为实现知识的多元化提供了技术上的可能;其次,立足于各工科院校对创造思维的认识和理解、启发思维的方法和工具、对于模式范围的界定、各种策略在教学中所起到的作用等方面,提出ATN·CDIO工程教育模式下的创造思维体系的组织建设架构和教学环节设计;最后,分析3年的实际应用过程,总结教学方式和学习思维的提升效果,对得出的教学成果进行分析总结,进一步证明创造思维体系构建在ATN·CDIO工程教育模式中对创新能力培养的可行性和重要性,提升ATN·CDIO教育模式在教学应用中的广度和深度。     

How Art and Culture Happen in New York

Problem: In the last two decades, urban economic development has shifted its focus from industrial recruitment to talent and human capital, including art and culture. Many have argued that talented people are drawn to artistic and cultural amenities, but few have examined art and culture as a production system and drawn meaningful insights for urban planning and economic development based on understanding its inner workings.

Purpose: This article looks closely at the mechanisms that structure and drive the cultural economy and suggests possible avenues for cultural economic development and policymaking based on these mechanisms. I focus on the ways cultural producers obtain jobs, advance their careers, gain value for their goods and services, and interact with each other.

Methods: I conducted 80 interviews with cultural producers, cultural gatekeepers, and owners and managers of entertainment venues these groups frequent.

Results and conclusions: I find that not only are artistic and cultural producers densely agglomerated, but that key social mechanisms structure and inform this clustered production system. These industries depend on unique kinds of social interaction, from nightlife to gallery openings, to thrive. This is more than just fun and games, and is critical to the operation of this economic sector.

Takeaway for practice: Cultural producers rely heavily on their social lives to advance their careers, obtain jobs, and generate value for their goods, so that the local arts social milieu is critical to the cultural economy. Cultural producers also tend to cross-fertilize, collaborating to create goods and services, review each other's products, and establish new careers, meaning the ability to live and work in close proximity to one another is important. Finally, a large concentration of creative people and an active cultural milieu has made New York culture a known brand. While New York is unique, the cultural life of other cities and regions can also be economic development assets. Places can strategically cultivate the social milieus that are most conducive to the production of art and culture.     

建立材料类专业创新型人才培养机制思考

通过课程体系的优化,把培养学生的科学素养与解决工程问题的能力在培养方案中有机地结合起来;建立严格的教学质量监督保证体系;建立材料类专业创新人才实践平台,使学生能得到创新思维的训练;建立一个以学生为本的教学评价制度,激发学生的学习热情,培养学生的创新精神和创新思维。