鳥創意的窩

This is my final project of the subject 'Creative Industries' when I was undertaking the 1st semester of my Master Degree in QUT. Any quotation please advice in advance.

1. Introduction


An urban development conditioned by the quality of its people and environment, and the degree of creativity in an area is particularly critical. Stilwell (1992, p. 7) mentions that place, space and the form of a city shape people’s lives and opportunities. The economy also concentrates on certain places and communities (Florida, 2003, p. 219). In order to build a creative city, it is necessary to develop the specific places for attracting people and establish identity. A creative cluster could assemble intellectual people together, intensify the relationship between creative individuals, and construct a network where competition and collaboration would be stimulated (Landry, 2000, p. 113; Leadbeater, 1999, p. 141).


Brisbane City Council initiated the cultural strategy for 2003 to 2008, Creative City, which integrates culture and creativity to enliven the city, strengthen local identity and build the economy (Brisbane City Council, 2003, p. 2). Coincidentally, Taipei raised some similar ideas in 2003. This paper will discuss the formation of a creative city in Brisbane and Taipei from the aspect of ‘place’. The first part is about the creative people cluster effect. People are a critical resource to build a vibrant city (Landry, 2000, p. xiii). The strategy of attracting and retaining creative people in a city is significant in establishing a creative milieu and further building the economy in the local community. The second part is the relationship between economic development and the street level night-life in Brisbane and Taipei. Thirdly, a case study of performing arts venue in two cities, where people, business and cultural activities assemble together, is conducted to discuss such influences in a city. The arts and cultural activities are also a vital ingredient in developing the neighborhood (Meeker, 2004) and establishing cultural identity.


2. The clusters and people


People’s ability, attitude, knowledge, imagination and creativity are intangible resources for business development as well as the prosperity of a city (Douglas, 2004; Landry, 2000, p. xiii). This is one part of the ‘soft infrastructure’ when constructing a creative city according to Landry (2000, p. 133). A place where talents congregate would have higher potential to build a vibrant region. This is the reason that both Brisbane and Taipei will establish more “hotspots” within the city to attract creative people (Brisbane City Council, 2003, p. 11; Cultural Affairs Bureau of Taipei, 2003). People would go to a place voluntarily or passively. A place could either attract talented individuals by making itself into an interesting spot or cluster people together for a purposeful activity. However, for cities, the attractive offer is important to those who can contribute creativity in both conditions (Partners for Livable Communities, 2003). As Florida (2003, p. 221) indicates, 'regional economic growth is driven by the location choices of creative people who prefer places that are diverse, tolerant and open to new ideas'.


Investing in people is another way to increase the vitality of a region. It is also one of major strategies in Brisbane and Taipei’s cultural policy. Brisbane’s cultural policy emphasizes community involvement and providing training opportunities. In order to facilitate creative thinking and build capacity, several awards and funding programs have been made to attract young people’s attention (Brisbane City Council, 2003, pp. 7-30). Taipei’s policy focuses more on fostering the regions by people’s participation. Through the preservation of heritage, the development of cultural environment and the construction of cultural venues such as Red Play House, Spot-Taipei Film House and Taipei Story House, Taipei City Government encourages people’s engagement of arts and cultural activities (Cultural Affairs Bureau of Taipei, 2003). The concept of ‘Creative Centers’ (Florida, 2003, p. 218) has been implemented by Australian and Taiwanese governments. Australia’s first destination for creative connection - Creative Industries Precinct was officially opened on May of 2004. Hua Shan Cultural and Creative Industries Center, the first cultural quarter in Taiwan, was retrofitted from an arts district and launched in 2004. The details of the two creative clusters are introduced below.


．The Creative Industries Precinct


The creative industries precinct has been established under an urban development project, collaboration between the Queensland Government and Queensland University of Technology (QUT). In this precinct, students, researchers, local entrepreneurs and industry can study, work, and live as a center of leisure, education, business and innovation (Creative Industries Faculty, 2003; Cox, S., Ninan, A. and Keane, M. 2003, p. 42). The facilities include performance and teaching space, computing studios, media labs, production workshops, enterprise centers and several studios for performance, music, and visual arts. It provides the area, opportunity and freedom to connect with the creative minds and ideas (Creative Industries Precinct, 2003). From the aspect of education, this precinct is a model for integration of educational and professional functions. By learning within the connective environments, a student today might be an entrepreneur and collaborate with a professor tomorrow. As per the report of ‘Brisbane’s Creative Industries’, the gathering of many influential Brisbane firms together will establish this precinct as a true cluster (Cox, Ninan and Keane, 2003, p. 42). Coaldrake, the Vice-Chancellor of QUT, (2004) believes that the involvement of the urban development strengthens QUT’s position in creative industries. Universities simultaneously help to attract people to the city for formal study and increase the audiences in cheap and experimental music or arts activities. Those people who remain in the city after graduating are an important resource to a city (Leadbeater and Oakley, 1999, p. 37). Although this is still an early step in regional development, the precinct, which provides an exciting place for enthusiastic individuals with multicultural background, has stimulated the evolution of creative industries.


． Hua Shan Cultural and Creative Center


Hua Shan Cultural and Creative Center is situated in the central business district of Taipei city and near several schools. The facility was a former wine-making factory, and has been reconstructed as an arts district in 1998. In 2004, the latest renovation of the old industrial buildings was done following up the central government policy, Challenge 2008 National Development Plan, and launch (Hua Shan Cultural and Creative Industries Center, 2004). Hua Shan Cultural and Creative Industries Center is not only a space providing for creativities of experimental and contemporary arts, but also a center for performing, exhibitions and symposiums (Council for Cultural Affairs, 2004; Hua Shan Cultural and Creative Industries Center, 2004). This place impressed people because it was the first arts district that was established for fulfilling artists’ request. Furthermore, it represents the vitality and the spirit of persistence in the arts industry. The renovation of a cultural quarter is expected to increase economic efficiency in arts and cultural fields. In order to diversify the center, the digitalized arts, technical services and consumption of cultural products could be explored in the future (Council for Cultural Affairs, 2004). With support by public and private sectors and the multifunctional facilities, there is a high expectation that Hua Shan Cultural and Creative Center would become an attractive center to both citizens and visitors.


3. Night-time places and Economic development


Economic growth is one of the major purposes for building a creative city. In order to achieve the goal, building a place where talented and creative people would be attracted to visit and stay is essential. The characteristics of such places, as Florida (2003, p. 249) argues, include diversity and concentration that could tempt creative people with various ideas and skill sets, and make them work together to contribute to innovation, job formation and economic development.


The night-life is a dynamic lifestyle and represents the vitality of a region. It is also a factor to facilitate economic growth in a city. The concept of a twenty-four-hour city has been promoted as a tool to improve the fortunes of city centers (Tallon and Bromley, 2002). Florida’s (2003, pp. 224-225) focus group found that creative people need a wide mix of options after finishing their works late at night, especially the experiential types. Tallon and Bromley (2002) also point out ‘nightclubs and cultural activities offer many regenerative possibilities for declining and decaying city center areas.’


． Taipei's colorful night-life


Taipei has developed a strong night-life economic environment around the city, especially in the eastern region and the West Gate District. Most shopping centers, stores, restaurants and coffee shops do not close until nine or ten o’clock everyday. The twenty-four-hour convenience stores can be found everywhere around the city. Taipei's several night markets, which open until two or three o’clock in the morning spread the entire city to provide a true experience of vivid Taiwanese culture, food and fashion to the residents and tourists. A variety of traditional snacks, products and novelty items can be discovered in these indigenous markets (Taipei City Government, 2003). The twenty-four-hour bookshop and shopping mall which are located in the eastern region of Taipei city strengthen the night-time economy and content creative people’s desires. The twenty-four-hour bookshop has formed a venue of fashion, lifestyle and culture. People go to the bookshop at night after work, and tourists go to visit there when they travel to Taipei. The bookshop has its own features of ‘leisure, entertainment, and tourism sectors’ (Flew, 2002). The twenty-four-hour shopping center comprised of a department store, cinema and nightclub to offer various entertaining environments to those who enjoy night-life. Taipei’s night-life shows local identity and a rich and colorful life style.


． Brisbane’s music venue in the night-time


Compared with Taipei, Brisbane’s night-life concentrates more on music activities, and on some specific areas. Some of the popular spots for live music are bars and nightclubs situated in the Riverside quarter, Caxton Street, and Fortitude Valley (Brisbane City Council, 2002). Fortitude Valley, which is identified by young people as a music industry cluster, is a major site in Brisbane’s night-time economy (Flew, Ching, Stafford and Tacchi, 2001, pp. 16-30). The Brisbane City Council attempts to promote the artists studios and the live music venues in Fortitude Valley, and emphasizes the role of cultural, commercial and employment center (Brisbane City Council, 2003). In Music Industry Development and Brisbane’s Future as a Creative City (Flew, Ching, Stafford and Tacchi, 2001, pp. 16-30), Fortitude Valley is surrounded by restaurants, coffee shops, take-away food outlets and 24-hour convenience stores, forming a network by live music venues, hotels and night clubs. The small fashion and music outlets, railway station, bus services and short distances within the central city increase the convenience and diversity at night-time of this area.


Both Brisbane and Taipei’s night-life are associated with ‘street-level’ culture which is social and interactive (Florida, 2003, p. 185). Those aggregations are formed without systemic design. The close communication and interaction between artists and audiences, waiters or clerks and customers, and people and strangers occurs at such kinds of occasion. The network is social and entertaining rather than formal, fixed and cooperative. They are, according to a definition by Florida (2003, p. 226), the ‘third places’ which are neither home nor working place but circumstances with less formal associations. Florida’s theory is that the ‘third places’ provide for community interaction to those creative people who work on flexible schedules and isolated environments. If a place is associated with diversity, the relaxing and exciting experiences in this will generate creativity. As Lovatt and O’Connor (1995) state, ‘coming out of the concert, or the pub, or the meeting, or the shop into the hustle and bustle of the street was and is one of the great experiences of urban life’. Moreover, the ‘street-level’ culture creates places for business transactions (Montgomery, 1997). From the economic growth aspect, the night-life which connects street-level culture is not merely invigorating the small-scale local business in the neighborhoods, but also providing more business opportunities in a city.


4. An artistic city


The cluster of creative people leads to a dynamic city and strong economic growth. However, a city would not have a sustainable competitive advantage without a cultural identity. Cultural identity is a soul of a city and a critical element in forming an artistic city with emotion. Scott argues that the local cultural characteristics help to discriminate places from one another (quoted by Evans and Foord, 2003, p.168) and, as Zukin (in LeGates and Stout, 1996, p.136) points out, to ‘symbolize “who belongs” in specific place’. Benhabib also mentions the importance of cultural identity from the aspect of individuals:


Culture is the context within which we need to situate the self, for it is only by virtue of the interpretations, orientations and values provided by culture that we can formulate our identities, say ‘who we are’, and ‘where we are coming from’ (quoted by Neill, 2004, p.2)


The cultural identity could cluster people’s ability together and invigorate an area with a historical and aesthetic atmosphere. Liao, Director of The Department of Cultural Affairs Taipei City Government, (2003) also emphasizes that the purpose of cultural development is to make life completely full of aesthetics. The historical background is essential in a city’s identity; nevertheless, to create a new image and story of a city is equally important (Landry, 2000, p.119). A performing arts venue is a place where artists, entrepreneurs and audiences congregate to generate the economic contribution to a local community. Within the venues, the arts could be created to preserve the traditional culture or develop a new image. In order to discuss this part further, a case study is conducted to examine the importance of the performing arts venues in Brisbane and Taipei.


．Queensland Performing Arts Center


The Queensland Performing Arts Center (QPAC) is situated at the South Bank precinct in Brisbane. It is managed by the Queensland Performing Art Trust (QPAT), which was constituted by the Queensland Government in 1997 (QPAC, 2003a). The vision of QPAC is “encourage creative potential and enrich the cultural life of Queensland by creating and delivering extraordinary events and experiences” (QPAC, 2003b). QPAC is not only a venue where the artists, musicians, and actors could show their talent, but also a producer of cultural products. The performance spaces of QPAC include the theatre, concert hall, playhouse and studios. Since its launch in 1985, the mix of location, space, services and venue credibility and the identity of cultural producer have given QPAC a unique position (QPAC, 2003c).


Two characteristics make QPAC critical in fostering Brisbane’s cultural identity. The geographically ideal location is the first trait. QPAC is located in an arts and cultural cluster in South Bank with The Gallery of Modern Art, Queensland Theatre Company and Queensland Museum. The geographic proximity to other arts and cultural venue gives QPAC a competitive but also complementary cluster (Department of Communications, Information Technology and the Arts/National Office for the Information Economy 2002, 2002, pp.18-19). Secondly, the multifunctional role that QPAT plays facilitates cultural developments in Brisbane. Through collaboration with a number of individual artists and performing arts companies (QPAT, 2001, p. 13), QPAT could not only achieve the goal of the professional management of a performing venue, QPAC, but also contribute to development of Queensland’s, particularly Brisbane’s, cultural sense (Queensland Government, 2002). QPAT, the Trust, has strengthened the position of the leading performing arts producer in Queensland (QPAT, 2001, p. 13), Queensland Government State Development (2004) believes the achievement would made the performing arts segment an attraction to business visitors and tourists.


．National Chiang Kai-Shek Cultural Center


National Chiang Kai-Shek Cultural Center – National Theater Concert Hall (NTCH) was established in 1987. Located in the Chiang Kai-Shek Memorial Park, NTCH consists of two buildings, the National Theater and the National Concert Hall, which has four performance venues. The separated theater and concert buildings were designed to provide for theatrical performance, Chinese and Western opera, folk arts, drama, ballet and small-scale performances, and musical performance, symphony orchestra, chorus, music concerts and chamber music (NTCH, 2003). NTCH was an organization under Ministry of Education before the corporatization in 2004. The position of administrative corporation that NTCH plays now could simplify the working flow and facilitate the implementation of creativities. The visions of NTCH are to build a cultural image for Taiwan, create a cultural environment for people, and maintain the diversity of performing arts (NTCH, 2004). Luo (2004) indicates that NTCH would like to build a cultural cluster around the Chiang Kai-Shek Memorial Park through the reinforcement of marketing activities and member services.


Approaching people’s life experience is critical when marketing cultural activities. As Konvitz (quoted by Foong, 2002, p. 132) suggests, the improving of the quality of life is important when promoting cultural products in a city. In order to narrow the gap between performing arts and people, NTCH has reconstructed the facilities and provided more services to the audiences (Hei, 2004). Several themed programs such as Jazz Festival, Shakespeare’s series, Contemporary Arts Festival were created to draw people’s attention (NTCH, 2004). Evans and Foord (2003, p. 166) state that culture could be transmitted by the participation of cultural events and promotes related contributions further to the local community and society. Those varied and impressive themes represent its ambition to being a strong cultural sector to create a desirable image for the city (Heilbrun and Gray, 2001, p. 358). Moreover, NTCH could be an influence venue on Taiwan’s cultural development.


The differences between QPAC and NTCH could be seen as the distinction of cities’ creativity. Both are significantly influenced by governmental policy (QPAC, 2003 and NTCH, 2004). Compared with Australia, the Cultural Creative Industries policy in Taiwan is still in the early stage which it initiated in 2002, and NTCH was just administrative corporatized in 2004. Furthermore, the dual-role of performance venue and program producer that NTCH plays could be responsible for the lack of diversity in the programs plan and cultural development (Zhao, 2004). Although NTCH was established earlier than QPAC, the later corporatization and the confusing position before corporatization has delayed the growth of the performing arts venue in Taipei. Fortunately, NTCH is improving the administrative efficiency and the marketing ability to distinguish itself as a representation of Taipei’s arts and culture.


5. Analyses and recommendations


Although the name ‘Creative City’ was not an official policy in Taipei City Government’s urban development program, the strategy and goal almost demonstrate the idea (Shen, 2004). Unlike Taipei, Brisbane City Council has put ‘Creative City’ as a cultural policy consistent with the Queensland Government and reflecting the cultivation of creative industries in Queensland. The public sector plays a significant role in the two cities’ urban development strategy. However, the influences of government are different in the two cities. Taipei is a political and economic center in Taiwan (Taipei City Government, 2004). Its cultural development just began in recent years because the Cultural Affairs Bureau of Taipei has only been established for six years since 1999 (Cultural Affairs Bureau of Taipei, 2003). Brisbane, on the contrary, has built successful arts and cultural infrastructure since the implementation of the cultural statement ‘Creative Brisbane’ in 1997 (Brisbane City Council, 2003). The challenge in Taipei is that both public and private sectors lack culture-industrialized experience (Brain, 2003). Most places where people with high degree of creativity would be interested to visit are economy-oriented rather than arts-and-culture-oriented communities. The economic picture that private sectors have built would probably be inconsistent with the government’s new development policy. Moreover, the conflict between the inherent difference of commerce and arts would be a potential problem in the process of cultural industrialization. Consequently, closer coordination and collaboration between government and enterprises is extremely critical. The potential problem that Brisbane will face is the difficulty in building an economy, compared with Taipei. The Creative Industries scale in Brisbane is relatively small and focusing on local market (Cox, Ninan, and Keane, 2003, p. 5). For those people who work in creative industries, Sydney or Melbourne’s larger marketplace would be more attractive than Brisbane. The prospective Kelvin Grove Urban Village where Creative Industries Precinct is situated is expected to have high potential to foster creative industries and lure talented people. One problem that needs to be addressed is, the downward policy would easily become an armchair strategy without the cooperation of a critical mass (Leadbeater, 1999, p. 39). The private sectors and small and medium enterprises have to be motivated to contribute their talents to the city’s economy growth.


The ability to attract visitors is highly related to regional economic growth (Partners for Livable Communities, 2003). The destination is an important factor to stimulate tourists to visit a city and eventually increases the degree of the city’s diversity. Taipei City Government (2003) is promoting six sites to become Taipei’s ‘Six Top Attractions’: National Palace Museum, Chiang Kai-shek’s Shilin Residence, Taipei Children’s Recreation Center, Chiang Kai-shek Memorial Hall, Taipei Zoo, and Taipei Fine Art Museum. Zhan (2002) suggests that Taipei is the city of beef noodle, National Palace Museum and Eslite Bookshop, the twenty-four-hour bookshop. Ma (2003), the Mayor of Taipei, also mentions that outsiders recognize Taipei through Cloud Gate Dance Theater. Taipei seems to contain several sites which have potential to be destinations. Nevertheless, Taipei’s image is mixed and confusing. In order to market Taipei world-wide, it is necessary to build a distinct image with the core value in Taipei city. Brisbane is a city with high quality of life. In the World-wide Overall Quality of Life Survey - city ranking report, Brisbane is ranked at 24 and Taipei ranks lower at 80 (Mercer Human Resource Consulting, 2004). This means that Brisbane has higher quality in political, social, economic and environmental factors, personal safety and health, education, transport and other public services. Unfortunately, Brisbane is not a strong destination. The weak and uninteresting night-life means it only attracts certain people. Most people go to Brisbane as a ‘bus stop’ for transferring to Gold Coast or Sunshine Cost (Keane, 2004). In the resource paper “The Creative City: Power for the New Economy” (Partners for Livable Communities, 2003), the convention center, entertainment/restaurant district, sports facility and festival/retail mall are rated as four facilities which contribute most for attracting visitors and building the economy. Brisbane’s South Bank Precinct, surrounded by restaurants, arts and cultural infrastructures and festival location, and Fortitude Valley could be invested with Brisbane’s creative industries hotspots to build true entertaining, cultural and technical industries clusters and lead Brisbane to be a diversified destination.


6. Conclusion


Talented and creative individuals are tempted by an attractive place. They cluster together; contribute their ideas that come from different backgrounds and experience. They build a close relationship by competition and collaboration. Finally, their efforts could build high economic growth. When the number of such place increases, a city will be more thriving and then attract more talented people. It is a circle, and ‘people’ is the most essential factor. People’s identity will motivate them to approach and stay in a place. What nurtures the identity is the culture in the everyday life. Without the sense of arts and the emotion, the cultural identity would not strong enough to generate innovative ideas. In consequence, Arts, culture, people, creativity, place and a city are inseparable from develop the economy.


Brisbane and Taipei, both are in the early stage on building a creative city, have different historical backgrounds and advantages. Brisbane has a multicultural and diverse environment where people come from around the world. Taipei has strong economic and information technological resources, is a political and logistics center. As Flew (2002) has concluded, ‘cities and regions are increasingly seeking to integrate their cultural development and industry development strategies’. Brisbane is developing a creative city from a culture-base to build its economy. Taipei, on the other hand, is going back to foster the local and cultural identity. Both cities have to overcome their weakness and apply their competitive advantages to vitalize the city. Along with the government’s exhaustive strategy, Brisbane should inspire residents’ cooperation to contribute their creativity to economic development. Taipei’s government has to strengthen the city’s diversity systematically and ensure that the implementation of public and private sectors are consistent. The successful urban development needs the integration of the resources from government, enterprises and individuals. An organic and effective policy joined with a spirited atmosphere created by residents is believed eventually to create conditions for a truly creative city.


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