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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。

Comment by OVEPI on January 21, 2024 at 5:57pm

（3）以開發區為區位依附。這類文化創意產業園主要是以高新技術產業園區為區位依附。因為高新技術產業園區內高新技術產業發達，高校、科研機構、高科技企業聚集，科技與文化相結合的智力型人才眾多，最適宜發展文化與科技結合的文化產業。高新技術產業區都有著大量的信息產業，這些產業跟文化產業能夠實現很好的融合。屬於此類型的有位於中關村高科技園區內的中關村創意產業先導基地；位於大連市高新技術產業園區的國家動畫產業基地；位於上海浦東張江高科技園區內的張江文化科技創意產業基地等等。

（4）以傳統特色文化社區、藝術家村為區位依附。屬於這種類型的主要有兩種情況：一種是依托一些傳統的文化區域，在這些區域文化底蘊深厚，文化氛圍濃郁，利於開發特色文化產業產業園區。如四川德陽三星堆文化產業園、北京高碑店傳統民俗文化創意產業園等等。第二種是依托位於城鄉結合部的一些藝術家村，有些是屬於創作型的園區，如北京的幾個畫家村；有的則已形成產業化運作，如位於深圳特區郊邊龍崗區布吉鎮的大芬油畫村等。

2、按文化創意產業園區性質劃分為5種類型：

（1）產業型。一是獨立型的。園區內，產業集群發展相對比較成熟，有很強的原創能力，產業鏈相對完整，形成了規模效應。如深圳大芬村，以繪畫藝術為主，也已經形成一定的產業鏈條，及規模效應，但原創能力不強，而且這是中國此類文化創意產業園普遍存在的問題。二是依托型的。依托高校發展，也形成了一定的產業鏈條。如上海虹漕南路創意產業園，同濟大學周邊的現代設計產業園區等等。

（2）混合型。這種類型的文化創意產業園往往依托科技園區，並結合園區內的優勢產業同步發展文化產業，但園區內並未形成文化產業鏈條。如張江文化科技創意產業基地、香港數碼港等。

（3）藝術型。這種類型的園區也是創作型園區，原創能力強，但藝術產業化程度還較弱。國內最有名的藝術園區有北京大山子藝術園區、青島達尼畫家村等。

（4）休閒娛樂型。這類文化創意產業園區主要滿足當地居民及外來游客的文化消費需求。最有代表性的是上海的新天地、北京長安街文化演藝集聚區等。

（5）地方特色型。如北京高碑店傳統民俗文化創意產業園、潘家園古玩藝術品交易區等。此外，按照影響范圍來分又有國際型、國內型和地區型；還可按園區最初的形成分為自發形成和政府運作形成的文化創意產業園。由於文化創意產業園在中國還是一新生事物，發展變化快，園區類型之間的界限並不是很明晰，在這進行的類型劃分僅是根據當前的一些情況進行的劃分，今後隨著城市文化創意產業園發展逐漸成熟，園區類型的劃分將會進一步完善。

規劃

文化創意產業是下一波房地產的概念，也就是用文化創意產業來帶動房地產的開發。文創產業所帶動房地產的特色就是復合性及大規模。

特點

複合性，指的是它的綜合性，可能包括了設計，商業，傳產，交通，物流，農業，旅游，教育，工業，餐飲及住宅。也就是把以前的住宅，工業，農業，旅游，教育，傳產的開發，綜合在一起，形成一個超級綜合開發體。

大規模，就是因為它的綜合性，他是一個超級綜合開發體，所以規模特別是土地面積都會很大。動輒幾千畝甚至上萬畝，幾乎就是新市鎮，新市區的開發。

要點

1.綜合性的關聯

綜合的目的是要能彼此呼應，互相拉動。所以各個單項產業與其它產業要能夠聯動，比如一個工業生產區，就必須跟物流密接，而物流又需跟交通密接。而生產區也需跟住宅密接，以提供人員的生活起居，生活區必然要跟交通，商業密接。同時生活區也會跟設計，餐飲密接。如何讓整個產業區內的各個分項區獨立而聯動，必須詳細的規劃。每個產業區的條件與主題概念不盡相同，所以關聯方式也會不同。 [1]

2.交通流線的安排

交通永遠是一個開發成功與否的前提，而且交通流線不但是各個分區的分隔線，也是連接線。當然按照交通流線的設計，還要細分主次干道，穿越聯通道的分別。

3.土地面積的分割

所謂分割，一是代表面積大小，二是代表土地使用的強度。面積是二度空間的大小，強度是三度空間的使用。這裡面也牽涉了都市風貌包括天際線的設計。三度空間也是建築容積的計算，對於各個分區的使用強度制約，也是開發的最終收益的計算基礎。

4.主題的設定

雖然都是文化創意產業，但是仍然應該要有主題也就是特色。主題特色的設定可能是順應現有的主客觀條件，比如原來當地已經有某種主流產業，或者原來已有一個歷史文化傳統，這些是主觀條件，比如附近已有旅游景點，交通要道等，這是客觀條件。沒有主客觀條件的，也可以創造一個主題，比如有的以台灣為主題，有的是以台灣創意，台灣特色為主題。也可以用綠色建材產業為主題，太陽能產業為主題。或者以設立設計中心，特殊教育學校為主題。

5.啟動區的規劃

由於是一個超級綜合區的開發，如何啟動變成非常重要的一環，啟動區要能夠有帶動的能量，牽涉到號召力與資金鏈的拉動。這裡其實就關聯到主題，啟動區應該就是整個產業區主題的啟動。啟動區要能夠投入以後，迅速產生回報，不論是直接的比如銷售房地產，或者間接的，比如吸引更多更大的企業的進入產業園，迅速將土地開發進入生產區。

6.開發的順序

這裡其實已經包括了啟動區，只是啟動區是唯一的，但是之後的開發就不是唯一的選擇。之後順序，應該要考慮到前面說過的關聯性聯動性，還有就是資金鏈的連接性。順序的考慮一方面要能夠按部就班又能快速，但是也要考慮前期價值與後期價值的平衡。前期的土地要能夠位置優但是又不能太貴，才能吸引人快速投入。但是後期的土地如果都是位置較差的，可能會後繼無力，或者無法享受到開發成熟的結果。順序也牽涉到土地的定價策略。（百度）

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