| Summary: | 碩士 === 國立臺灣大學 === 建築與城鄉研究所 === 105 === For many decades, the carpentry in Ningxia Street, Taipei has been in decline. The government sectors have seen the creative industry a cure for regeneration and invested in several programs of cultural creativity. They expected to bring creative thinking and practices to revitalize the carpentry. This research asked the following questions: Can planning programs in the name of creativity works? How do practitioners respond to these programs that are supposedly offering creative fixes to the dying industry?
In this study, I engaged with Jamie Peck''s theorization of Creativity Fix, to develop a working framework to discuss the creative fixed carpentry. In research, I combined participatory observation, in-depth interviews, semi-structured interviews and secondary data analysis to obtain qualitative data and information. I came up with the following findings: Planned creative fixation or creative planning business from outside, which mainly intend to create a creative milieu to attract the creative class to revitalize the industry, oftentimes largely ignored the local culture and practitioners’ agency. They rarely solved the industrial problems. Unplanned creative fix, which has more to do with the creative already exists in the technical operation of the workers, is more likely to transform existing craftsmanship into attractive commodities, bridging the consumer market and the carpentry. The latter is more likely to bring new opportunities to the stagnant industry and changed its lukewarm attitude from passive resistance to positively receiving changes.
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