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Comment by OVEPI on February 6, 2024 at 5:10am

雷小華：中國文化在RCEP合作中如何展現「美美與共」？

地緣相近的中國與東盟各國，在日益緊密的交流合作中，雙邊文化相互交融，你中有我，我中有你。風味獨特的東盟美食通過廣西憑祥口岸「飄香」中國各地，預包裝柳州螺螄粉等中國美食亦在東盟備受歡迎。

為順應《區域全面經濟夥伴關係協定》（RCEP）生效實施，中國—東盟博覽會（簡稱「東博會」）的服務範圍將向RCEP成員國拓展，雙方文化交流愈發密切。在中國與RCEP各國經貿合作日漸緊密的背景下，應如何豐富人文交流，展現文化間「美美與共」？廣西社會科學院東南亞研究所副所長、廣西社會科學院東南亞國別研究創新團隊首席專家雷小華近日接受中新社「東西問」獨家專訪，對此進行解析。

現將訪談實錄摘要如下：

中新社記者：中國—東盟自由貿易區的建成對雙方文化交流產生哪些影響？

雷小華：中國—東盟自由貿易區建成十多年來，中國與東盟90%以上的7000多種商品關稅降為零。這對兒童玩具、廣播影視器材、文化節目以及影視劇、電影、動漫等服務貿易的進出口起到促進作用。

當前，中國對東盟的投資方向，正由傳統的基礎設施領域逐步向旅遊景區、旅遊服務平臺、廣播影視等文化類基礎設施轉變，甚至參與文化類節目和產品製作，這在一定程度上提升了東盟國家文化類基礎設施的建設水平，豐富了東盟國家文化產品。

同時，中國與東盟已互為最主要的旅遊目的地之一。特別是在新冠肺炎疫情暴發前的2019年，中國與東盟雙向人員往來創新高，超過6500萬人次，每周往返於中國和東南亞之間的航班近4500架次，中國赴東盟國家遊客3907萬人次。

隨著文化產品貿易擴大、文化類基礎設施建設水平提升以及人員往來規模迅速增長，中國與東盟文化交融的民意基礎日益夯實。

中新社記者：中國—東盟自貿區的建立，給中國人的餐桌帶來哪些變化？

雷小華：中國的經濟發展和強大的內需市場，特別是構建以國內大循環為主體、國內國際雙循環相互促進的新發展格局，給東盟國家帶來巨大出口機遇，特別是農產品和當季水果。如越南已有9種水果可以出口至中國，正在洽談的還有7種。今年春節期間，泰國的榴蓮、山竹，越南的菠蘿蜜、火龍果以及大量水產品經廣西進入中國市場。

東盟國家物美價廉的商品，不僅豐富了中國消費者的餐桌，而且讓早年比較昂貴的水果價格日益親民，榴槤、山竹、菠蘿蜜等已成為中國普通百姓餐桌上司空見慣的水果。

中新社記者：中國和東盟文化相近相通，這對自貿區建設起到哪些作用？

雷小華：中國與東盟地緣相近、民俗相通，彼此熟悉對方，能用最舒適的方式進行交往，相互猜忌和顧忌較少，有利於提升雙方互信水平，全面推進自貿區框架下全方位高水平的合作。

同時，因為文化相近相通，雙方交流語言障礙不多，溝通起來更加方便、暢通，有利於雙方人員往來和經貿合作。中國與東盟互為第一大旅遊目的地，就得益於此。

此外，文化的相近相通讓雙方彼此熟悉對方風俗習慣，有利於企業在當地市場開展調研，生產或推廣適銷對路的產品，滿足各國消費者的需求，有利於實現開拓對方市場和擴大產品市場占有率的目的。

中新社記者：中國與東盟之間人文交流淵源久遠，雙方以人文交流推動經貿合作的經驗，對RCEP建設有哪些借鑒意義？

一是相互尊重，包容互鑒。中國倡導與鄰為善、以鄰為伴，做相互信任和相互尊重的真誠朋友和戰略夥伴。正是有了相互尊重，中國和東盟之間形成了「和而不同」「求同存異」的局面。中國與東盟國家歷史文化多元包容、各具特色，民間交往源遠流長、歷久彌新，社會各界廣泛參與，交流渠道不斷拓寬，各領域交流密切活躍，民眾往來愈益頻繁，交流特色品牌不斷湧現。「親戚越走越近，朋友越走越親」，這個道理也適用於與RCEP國家的交往合作。

二是充分發揮華僑華人的橋梁和紐帶作用。東盟國家有大量華僑華人，他們不僅推動當地經濟發展，也促進了民眾對中華文化的認知和了解，提升中華文化影響力。

三是不斷夯實民間交往基礎。中國與東盟的教育、旅遊等人文交流具有龐大規模，這些是雙邊關係走深走實的基礎。

Comment by OVEPI on February 6, 2024 at 5:09am

中新社記者：中國和RCEP成員國在經貿文化方面有哪些差異性和互補性？中國文化怎樣才能更好地走向RCEP成員國？如何呈現文化間的「美美與共」？

雷小華：中國與RCEP成員國在政治製度、宗教、意識形態等方面差異性較大。傳播中華文化和文化間「美美與共」，需要各方共同努力。

一是發展更緊密的戰略夥伴關係。在地區形勢日趨複雜、雙邊關係遭到域外國家干涉的情況下，中國應與RCEP國家堅持對話合作的大方向不動搖，以真誠溝通促進理解信任，以求同存異妥善處理分歧爭議；加強高層交流、接觸、政策溝通，擴大各層級互訪，促進治理經驗分享，確保東亞合作的可持續性發展。

二是以更包容的心態看待彼此文化差異。正確看待和尊重彼此文化差異，兼容並蓄，相互欣賞對方的優秀文化；針對不同國家、受眾群體，根據政治體製、文化背景、風俗習慣、宗教信仰等分出多個層次，製定「一國一策」；加強文化產業合作，鼓勵文化產業包容性發展。

三是加強市場調研，開發滿足消費者需求的文化產品。正因有差異性，才要加強市場調研，充分了解各國民族習慣和消費習慣，針對不同國家量身定做出適銷對路的產品，例如用更多本地推廣平臺和代言人進行文化產品的宣傳推廣。

中新社記者：廣西南寧舉行的東博會，是促成中國和東盟文化交往和文化貿易的「南寧渠道」。RCEP生效實施後，東博會服務範圍將向RCEP拓展，未來南寧是否會成為中國和RCEP成員國文化交融的中心？

雷小華：未來，南寧可在中國和RCEP成員國文化交融中發揮重要作用。

一是用好中國—東盟博覽會的平臺功能。推動平臺從服務中國—東盟「10+1」向服務RCEP成員國拓展，開辟服務貿易專題展區，進一步擴大文化貿易規模，提升對文化類基礎設施投資建設的水平。

二是積極實施高層對話平臺提升行動。承辦好中國與RCEP國家建交周年紀念活動，鞏固與RCEP成員國的「朋友圈」，辦好中國—東盟文化論壇、中國—東盟博覽會文化展、中國—東盟博覽會動漫遊戲展等多邊活動，並將其擴展到RCEP成員國，為促進中國與RCEP國家的人文交流發揮積極作用。

三是進一步深化人文交流。繼續舉辦「東盟文化周」、美麗中國等文化交流品牌活動；在鞏固傳統人文交流基礎上，拓展科技合作、公共衛生合作、環保合作、國際減貧合作、數字經濟合作等新領域。

四是提升廣西面向RCEP成員國的國際傳播能力。通過創新傳播方式和內容，努力將中國故事、中國形象經南寧渠道傳播到RCEP國家，讓更多民眾了解全面、立體、生動的中國。（中國自由貿易區服務網/文章來源: 中國新聞網 2022-03-17））


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Comment by OVEPI on January 29, 2024 at 3:20pm

Cultural hubs: How to create a multidimensional experience by Art Insights

What is a cultural hub?

A clustering of cultural venues such as museums, galleries and performance spaces with secondary attractions including food and retail.

Did you know cultural hubs are on the rise in the UK? As museums and galleries increasingly pool resources, content and marketing, cultural consumers are also demonstrating an appetite for experiences that are multidimensional and incorporate more than one venue.

In recent years we have seen the launch of several interesting museum partnerships and marketing initiatives, such as the Cornwall Museums Partnership, Bath Museums Partnership, Coastal Culture Trail, London’s Museum Mile, Yorkshire Sculpture Triangle and Art in Yorkshire.

What we haven’t known until now is the scope of UK audiences’ appetite for these kinds of groupings, or the scale of opportunity they present to attract and increase visitors – whether formally as ‘hubs’ or through a more informal setup.

In 2015 we commissioned research to discover how organisations could best capitalise on cultural hubs in order to grow audiences.

We hope the results provide actionable insights you can use when collaborating with your peers to create a hub.

Aims and approaches

Our aim:

To grow your audiences through a shared vision Our research was designed to find out how, by teaming up and collaborating, you may be able to find creative, cost-effective ways to engage new visitors – and take your organisation from venue to multidimensional experience.

Our approach

The research project comprised three stages:

1. Stakeholder research Quantitative survey among cultural marketers

2. Visitor research In-depth qualitative research using focus groups comprised of
different cultural consumers – Classically Cultured, Contemporary Cultured and
Leisure Magpies – across four regions of the UK

3. Testing Quantitative survey among cultural consumers to test significance of findings

Cultural Consumers

1 Classically Cultured Cultural consumers with a fairly traditional and classical repertoire

2 Contemporary Cultured Cultural consumers with a voracious, diverse and
progressive repertoire

3 Leisure Magpies More mainstream cultural consumers with a varied leisure repertoire

Insights and observations

Current engagement is varied Our research found that, at this stage, even cultural marketers aren’t fully engaged with the term ‘cultural hub’.

In 2015 just over a third of people working in museum or gallery marketing departments claimed to be aware of the term in isolation. But when the concept was described there was more recall, and over half of marketers thought there were currently more than 10 cultural hubs in the UK.

Related:

Hubs can champion smaller venues

How to create a multidimensional experience

Comment by OVEPI on January 29, 2024 at 2:35pm

The concept has real appeal

While the term ‘cultural hub’ isn’t particularly confidently known by
cultural consumers, the concept has significant appeal.

Among consumers, 42% say they are definitely not aware of the term and 46% say they think they are aware of it. Only 12% say they are definitely aware of it.

However, cultural consumers, particularly in London, do plan visits to multiple venues in a single visiting window. While they might not use the term, the concept is recognised – and attractive.

We asked: Which of the following cultural hubs are you aware of?
Hubs can satisfy diverse interests

Cultural hubs comprising organisations with distinct and differentiated offerings can offer variety to visitors.

Meanwhile, thematic hubs such as Yorkshire Sculpture Triangle offer depth around a single subject and can also provide an opportunity to engage with smaller, less well-known venues in a grouping.

Ultimately, hubs can deliver volume of content for the voracious cultural consumer as well as encourage piecemeal and spontaneous engagement with a particular site.

Visitors want to 'culture stack'

There is consensus around the ideal hub mix. Visitors expect at least one or two iconic, high-quality venues, which act as the main draw.

They don’t accept one single site or venue with a diverse cultural offering as a hub, although some organisations try to brand themselves as such.

Visitors want to ‘culturestack’ – to engage with a number of venues during a single visit.

When visitors culture-stack, their engagement tends to be more around permanent collections than temporary, paid-for exhibitions – for reasons of expense as well as an unwillingness to commit to several detailed exhibitions over a short period.

We asked: How appealing do you find a clustering of cultural venues and activities such as galleries, museums, performance venues and iconic architecture, etc?

Comment by OVEPI on January 25, 2024 at 11:03pm

All venues should be walkable
For a cultural hub to work, it should be easy to ‘join the dots’.The acid test for any hub is if a visitor can explore it on foot. Journeying between different destinations needs to be economical, effortless and enjoyable.

Anything beyond four cultural venues was dismissed by respondents as too big. If hubs become too unwieldy, either because of the number of venues involved or the large geographical area they cover, they become irrelevant to consumers.

Hubs can champion smaller venues

Cultural hubs encourage engagement with smaller, less well-known venues alongside well-established or even iconic organisations.

But while a hub may have a lead venue, it could also consist of a group of less prominent organisations that form an exciting mix of cultural offerings.
Cultural hubs aren’t solely defined by ‘landmarks’. Secondary attractions such as food and retail, architecture or street performers form an integral part of the offer.

Moreover, visitors see hubs as fluid in their composition and expect them to be multifaceted. The energy of a hub, its sensorial elements such as music, food and drink and street art, and a sense of community are all integral.

Comment by OVEPI on January 25, 2024 at 11:02pm

Visitors connect to a theme

Theming of ideas and content across hubs has considerable appeal, but the theme needs to be watertight and substantial.

A clear theme strengthens hubs’ ties both internally and externally, making the offer feel more cohesive.

People engage differently depending on where they live.

Our research found that behaviour is dependent on where people are culturally active.

Principally, cultural consumers’ behaviour is determined by whether they live in or outside London.

London is a hotbed for hubs

Because of the proximity and concentration of cultural venues, hubs work well in London.

Londoners use hubs to make the most of the capital’s abundance of cultural venues – whether these hubs are formally working together, or are being created by the consumer themselves.

Visitors to London and tourists also use hubs to consume lots of cultural activities in a smaller visiting window, and to help them navigate the city’s culture.

Regional hubs have great potential

Overall, regionally there are significantly fewer areas with a concentration of cultural venues than in London – and even where there is a high density of museums and galleries, local consumers don’t tend to culture-stack.

If there are exhibitions at two galleries nearby, they will tend to go to each on a different occasion rather than combine their visits, responding: 'I don’t need to do it all at once when it’s on my doorstep'

However, hubs can still work well outside London as they can embed a sense of regional and civic pride. This feeling is very powerful, and you may want to think about how you could harness it in your vision.

Your hub could become a beacon for the area; something residents want to champion. It could even encourage a reappraisal of the area. Promoting somewhere as a place of culture can lift previously entrenched barriers to visiting.

Finally, since they increase awareness of all attractions within them, hubs can signpost and facilitate cultural days out – helping shift people’s preferences from simply visiting a museum or gallery to planning an itinerary for a cultural outing.

Comment by OVEPI on January 24, 2024 at 9:18am

Cultural Hub: Define a distinctive brand

Word of mouth is by far the most influential means of communicating about a cultural hub.

Brand recognition is critical, so your hub needs a brand idea that clearly positions its offer, for example ‘The Knowledge Quarter’. To be credible, your hub has to genuinely live up to that brand idea. The idea should act as a checker to measure all programme and communications activity against.

Speak with one voice Our research found that simply using consistent branding as badging, while each venue communicates on its own, doesn’t work. Cultural consumers want to find out about an experience in its entirety; just listing the components isn’t enough.

Your hub will have a cohesive proposition; a single thought in which it is rooted. It needs to be communicated clearly and with one voice across all participating venues.

 

Be authentic

A hub needs to be legitimate, and its offer truthfully communicated. Communicate a sense of space In marketing materials, it’s helpful to give a sense of your hub’s lively atmosphere and to visualise people on site. A bit of wit goes a long way and further humanises the hub and its venues.

When respondents were given some existing materials, they were critical of artists’ representations that make venues look very similar or unrealistically close to each other.

All participating venues must communicate the existence of a hub, for example through flags or banners – but this should not be overbearing. Tourists find it helpful to see some indication that they are in a cultural quarter, but residents don’t need this for any practical purpose.

The presence of these materials performs a branding and communication function only Empower your visitors with tools to navigate Cultural hubs need to be altruistic and flag up secondary attractions that will appeal to audiences, like architecture, food markets, refreshments and retail.

 

Develop a dynamic digital presence

All audiences now use social media to plan cultural outings. Social platforms allow your hub venues to talk as one, particularly if you don’t have a joint website, and allow you to deliver content and event messaging with immediacy.

To navigate these, audiences expect joint print materials such as posters and leaflets – and maps are an essential inclusion to describe the footprint of the hub and allow route-planning.

Your maps should be bespoke, and provide plenty of supporting detail such as scale, distance, ourney times between venues, and parking.Our research also showed that there is significant desire among consumers for a hub app that would detail programming, suggested itineraries and walks – similar to our Art Guide.

Reward your visitors’ loyalty

Your visitors are key to making a hub work. For it to become a genuine communal space, it needs to feel like one. Our research found that it’s important to reward your visitors for their participation.

Respondents react very positively to the notion of a loyalty card that involves all hub venues. When a certain number of check[1]ins at venues is reached, rewards are released – and these rewards should go beyond a free coffee, which is seen as too mundane and something high street coffee shops already offer.

（Source: Cultural hubs～How to create a multidimensional experience by Art Insights）

Related:

Cultural hubs: How to create a multidimensional experience

Comment by OVEPI on January 23, 2024 at 10:27am

10 ways to develop a cultural hub:

1. Focus your offer around core venues, e.g. museums, galleries, performing arts venues

2. Embrace partners of all sizes and don’t be afraid to reach out to divergent art forms

3. Be driven by a clear, organic idea that your offer has to measure up against

4. Be as diverse as possible, but communicate as a hub rather than as disparate entities with a shared logo

5. Be a brand, or at least have a brand name and use it to underpin your offer

6. Be altruistic: tell audiences what else they can do in the area, beyond the partners involved in your hub

7. Produce print materials that incorporate a map and practical details

8. Visually communicate a hub that is alive, and write copy with wit and personality

9. Go digital and use social media; consider developing an app

10. Reward loyalty to your hub and all its partners

About Art Insights

Museums and galleries face a challenging landscape. Social, political and economic factors are impacting how they innovate, engage with their visitors and share both knowledge and collections.
With challenges come new possibilities. At Art Fund, we want to help inspire the way forward.

We have commissioned research to explore the potential for museums and galleries to harness change, and reach new audiences. Offering key insights and suggesting actions you can take in your own organisation, our reports focus on a number of current sector trends.

We hope these reports provide rigorous, practical advice, and we invite arts professionals to use
them in shaping the future of their organisation and the sector as a whole.

About Art Fund

Art Fund is the national charity for art. We help UK museums and galleries to build and share collections, do more for their visitors and support the curators of the future.
To keep up to date with our initiatives, funding schemes and news, subscribe to our monthly Museum Bulletin at artfund.org/bullet in artfund.org/supporting-museum

About The Muse Strategy

Based in Soho, London, Muse create marketing, brand and audience strategies. With clients in multiple sectors across the world, Muse have worked with some of the most commercially successful and creatively awarded brands of modern times. Culture sector clients span Art Fund to ZSL London, and include the British Museum, Imperial War Museum London and the V&A.

musestrategy.com

（Source: Cultural hubs～How to create a multidimensional experience by Art Insights）

Related:Regional hubs have great potential

Comment by OVEPI on January 21, 2024 at 6:02pm

文化創意產業園（Cultural and Creative Industry Cluster）

國內外尚無對文化創意產業園概念的統一界定。在對文化創意產業園概念詮釋的基礎上，結合中國具體實情，嘗試將文化創意產業園的概念界定為：文化創意產業園是一系列與文化關聯的、產業規模集聚的特定地理區域，是以具有鮮明文化形象並對外界產生一定吸引力的集生產、交易、休閒、居住為一體的多功能園區。

產業園區建設與傳統房地產開發具有部分替代性。而當前國家對傳統房地產項目不斷的進行調控，這也客觀上為產業園區建設創造了更大的經營空間，減少了產業地產的投資風險，提高了園區運營的穩定性和可控性，吸引了更多傳統住宅房地產開發商的目光。金融危機之後，大約有12%的傳統房地產開發商轉投產業園建設項目，從2005年第一次房地產調控開始，則有約30%的傳統房地產商轉向產業園建設開發，二線城市比例稍低。

除了聯東U谷以外，亦有不少企業進軍產業園建設。例如遠洋地產也在大連高調挺進產業園開發，珠江地產、富力地產等國內知名地產商之前都紛紛試水產業地產，不僅如此，連格力電器、美的集團、海爾集團等國內家電巨子也不約而同地打著產業擴軍的旗號大舉圈地，建造自己的產業園區，甚至是像浙江的民間資本也開始將資金投向產業園。

從地方經濟發展趨勢看，產業園區確實逐漸成為區域經濟發展的引擎，帶動著區域整體實力提升。但是不容忽視的是由於產業地產開發及運營剛處於起步階段，開發企業和運營商的經驗不足，加之在開發過程中會面臨地方政府的干預，容易出現過度追求稅收、缺乏對園區系統科學的專業規劃、吸引追求低成本和低稅收的產業進駐等問題，容易引發區域集聚效應差、土地利用效率偏低、企業同質化競爭嚴重、忽視構建產業環境、配套不平衡、產業帶動作用不明顯等諸多問題。

基於產業園開發運營現狀及存在的問題，本報告提出了相關改善方案，主要從中國產業園區建設行業的發展現狀、開發及經營模式、傳統房地產商在產業園建設領域及園區投資運營企業間的競爭形勢等進行分析;由於產業園區作為一個具有獨特吸引力的區域體，具有復雜的雙重屬性。它一方面是相關企業的區域聚集體，表現出一定的宏觀性;另一方面由於其運營方式多為政府投資或規劃，開發企業管理運營，因此又具有一定的微觀性。

（一）國外關於文化創意產業園概念的界定

隨著文化創意產業園（簡稱文創產業園）在西方城市的發展，相關的研究也越來越多。對文化創意產業園概念進行的探討有德瑞克·韋恩提出的文化園區概念，Hilary Anne Frost-Kumpf提出的文化區概念。在德瑞克·韋恩看來，文化園區指的是特定的地理區位，其特色是將一城市的文化與娛樂施以最集中的方式集中在該地理區位內，文化園區是文化生產與消費的結合，是多項使用功能 (工作、休閒、居住)的結合。 Hilary Anne Frost-Kumpf認為文化園區指的是一個在都市中具備完善組織、明確標示、供綜合使用的地區，它提供夜間活動且延長地區的使用時間，讓地區更具有吸引力；提供藝術活動與藝術組織所需的條件，給居民與游客相關的藝術活動；提供當地藝術家更多就業或居住的機會，讓藝術與社區發展更緊密結合。

另外Nolapot Pumhiran和Wansborough&Mageean均將文化創意產業園定義為一個空間有限和具有明顯地理區域，文化產業和設施高度集中的地方。這些集群由文化企業和一些自己經營或自由創作的創意個體組成。園區內特殊活動可包括兒童玩樂的場所、圖書館、開放和非正式的娛樂場地。在這些園區中鼓勵文化運用和一定程度的生產和消費的集中。

(二) 國內關於文化創意產業園概念的界定

在中國，與文化創意產業園相關的概念有藝術園區、創意產業園區、文化產業園區等。由於中國文化創意產業園出現較晚，對文化創意產業園的研究也顯滯後，主要有一些對文化產業集群的界定：祁述裕認為文化產業集群是指在地理位置上相對集中，由具有相關性的文化企業、金融機構等組成的群體；向勇、康小明認為文化產業集群就是在文化產業領域中(通常以傳媒產業為核心)，大量聯系密切的文化產業企業以及相關支撐機構（包括研究機構）在空間上集聚，並將文化產業集群劃分為核心文化產業集群、外圍文化產業集群和相關支撐機構等 ；歐陽友權認為文化產業集群是指相互關聯的多個文化企業或機構共處一個文化區域，形成產業組合、互補與合作，以產生孵化效應和整體輻射力的文化企業群落。

園區內形成了一個包括生產——發行——消費產供銷一體的文化產業鏈。

在這方面，John. Montgomery進行了有意義的探討。他通過對文獻的歸納，並以Temple酒吧, Sheffield文化園區,Hindley Stree，Manchester北部園區等為例，分析、總結出成功文化園區的特征主要體現活動、形式、意義三方面：

Comment by OVEPI on January 21, 2024 at 6:00pm

活動

文化創意產業園區基本的前提是文化生產與消費活動的呈現，文化產業的核心內容是創意，而創意靈感的獲得往往來自於與其他同行相互接觸的刺激，在眾多的活動中特別是多樣化文化聚會地點的出現，通常能充分提供人們之間的相互交流以獲取靈感。因此，集聚地點的設置通常被考慮到文化創意產業園的發展策略中。

建築形式

最適合一個文化創意產業園區活動空間的城市環境應傾向於有一個半徑為 400米，建築平均5-8層，在10米范圍有非常少的街道（包括人行道）。文化創意產業園區應該有非常多功能的公共領地。它提供人們聚會交流的空間，也為園區內的交易提供場所，這樣一個區域將具有滲透性。成功的文化創意產業園區傾向於有幾個具有活躍、滲透性強、臨街地帶的街道，或至少有一些活動的結點，便於人們在其間很容易走動。

意義

文化創意產業園要像物質一樣能存在於人們頭腦之中，也就是說人們參觀之後能形成和保留園區的印象，而這些印象的形成取決於文化園區的活動、風格、形象。成功的文化創意產業園區應是革新和創意的地方，在設計和欣賞方面經常是超時代的，並且這些超時代理念被帶入園區的建築設計、內部裝飾、甚至重要街道和空間的照明等方面。文化創意產業園區應刺激新的理念，成為新產品和新機會能得以開拓、努力嘗試的地方。因此，文化創意產業園區意義方面的特征體現具有歷史和發展意義、園區身份和形象及知識性、環境意識等方面。

類型: 國外的劃分

從不同的角度，文化創意產業園有不同的劃分方法。Hans. Mommaas在分析荷蘭5個文化創意產業園時提出，文化創意產業園類型的區分有7個核心尺度可以參考：園區內活動的橫向組合及其協作和一體化水平；園區內文化功能的垂直組合—設計、生產、交換和消費活動具體的混合，以及與此相關的園區內融合水平；涉及到園區管理的不同參與者的園區組織框架；金融制度和相關的公私部門的參與種類；空間和文化節目開放或封閉的程度；園區具體的發展途徑；園區的位置.。Walter Santngata根據功能將文化創意產業園分為四種類型：產業型、機構型、博物館型、都市型 。

1、產業型。這類型的文化創意產業園主要是以積極的外形、地方文化、藝術和工藝傳統為基礎而建立的。此類園區的獨特之處在於其「工作室效應」和「創意產品的差異 」。

2、機構型。這種類型的文化創意產業園主要是以產權轉讓和象征價值為基礎而建立。其基本特征是有正規機構，並將產權和商標分配給受限制的生產地區。

3、博物館型。這種類型的文化創意產業園主要是以網絡外形和最佳尺寸搜尋為基礎而建立。園區通常是圍繞博物館網絡而建，位於具有悠久歷史的城市市區。其本身的密度能造成系統性效應，吸引旅游觀光者。

4、都市型。這種類型的文化創意產業園主要是以信息技術、表演藝術、休閒產業和電子商務為基礎而建立。通過使用藝術和文化服務，賦予社區新生命以吸引市民，抵抗工業經濟的衰落，並為城市塑造新的形象。

中國的劃分

由於文化創意產業園在中國的發展還處於胚胎期，因而對其的分類很少。結合中國實際情況，主要從區位依附、園區性質等方面對文化創意產業園的類型進行劃分。

1、按區位依附劃分為4種類型：

（1）以舊廠房和倉庫為區位依附。城市中被廢棄的舊廠房和倉庫，因其寬敞明亮的空間及廉價的租金，或面臨閒置空間再改造的境遇，往往成為文化創意產業園的又一滋生之地。國外許多成功的文化園區就是以舊廠房和倉庫為區位依附的。中國較早出現的大山子藝術區依托於北京朝陽區酒仙橋路798工廠的老廠房。上海近些年成長起來的創意產業園區絕大部分也是由舊廠房和倉庫改造而成。泰康路210弄的「田子坊」創意產業園區，位於上海20世紀30年代最典型的弄堂工廠群；建國中路10號的「八號橋」創意產業園區，位於上海汽車制動器公司的老廠房。這些創意產業集聚區，利用現有建築創造了創意產業發展的平台，又保護了歷史文化財產，是文化產業與工業歷史建築保護、文化旅游相結合，建築價值、歷史價值、藝術價值和經濟價值相結合的良好典范。

（2）以大學為區位依托。大學作為技術的發生器，可以不斷開發新的科技；同時它又是各類人才的聚集地，不但培養人才也吸引著各領域最優秀的人才；大學也是一個開放的社區，是一個提供多元文化的場所，大學往往成為創意的中心 。因此，依托大學發展文化創意產業園也就成為一種重要的途徑。如上海的楊浦區赤峰路建築設計一條街依托的就是中國著名高等學府同濟大學，上海長寧區天山路時尚產業園依托的是東華大學和上海市服裝研究所，正在建設中的中國人民大學文化產業園及TCL（廣州）文化產業基地都是以大學為區位依托的。

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