Adaptive Reuse of Public Building for Cultural and Creative Group : Urban Regeneration Station and Art Reverberations Space Network

• Main Authors: Chiung-Shan Chen, 陳煢珊
• Other Authors: Huey-Jiun Wang
• Format: Others
• Language: zh-TW
• Published: 2016
• Online Access: http://ndltd.ncl.edu.tw/handle/52015788845618269518

碩士 === 國立臺灣科技大學 === 建築系 === 104 === In order to make good use of public premises, to support art creation and to stabilize maintenance of the cultural and creative industry, the Taipei City Government has been actively lending public premises to cultural and creative organizations recently. The government´s ongoing projects include the Urban Regeneration Station (URS) and Art Reverberations Space Network. With these projects, public premises are lent to the cultural and creative organizations for free as a token of support from the government. In return, these organizations help the government realize urban regeneration plans or improve community development with art. The cultural and creative organizations are usually more intimate than people regarding cultural affairs or even public policies, and they are more familiar with the terms that the space providers use. Therefore, it should be easier for them to acquire the right to use the space. However, after these organizations moved into the public premises, due to lack of proper legislation and problems of the organizations themselves, the government usually has to spend more manpower and other resources to help the organizations achieve their goals, while the organizations need to adjust their operation and undertake more costs than expected in order to adapt to the policy goal. In the meantime, public opinion is critical against the fact that cultural and creative organizations move into public premises and are against the influence brought by these movements. This study is based on the research´s personal experience of participating in the projects of Urban Regeneration Station and Art Reverberation Space Network. The research has interviewed participants of these projects to understand the effectiveness and difficulties of the cultural and creative organizations in public premises from the perspective of the bottom-level participants. This study suggests that the cultural and creative organizations should evaluate their own financial ability and operational flexibility before moving into public premises. If they decide to move in with the agreement of co-ownership, they must establish a communication platform beforehand and assess their financial feasibility. Those who have already moved in should examine their own operational status to see if they are ready to react when the projects terminate.