藝術群聚類型多樣，需求資源、聚合因素及衍生效應各有不同面貌，不一定具備產業經濟特質，但顯著的外部效益，使得藝術群聚成為文化經濟時代城市發展、都市再生的萬靈丹。本研究以獨立創作者匯聚在藝術村的藝術群聚形式為標的，結合文化規劃的視野，運用自身經驗，透過行動研究法探究「台北藝術進駐」，從台北國際藝術村、草山國際藝術村而至寶藏巖國際藝術村一脈發展。從反思式螺旋循環中檢證出，混合使用正式、非正式的制度和空間，誘發默示性知識串流，累積「制度厚實」，有助於群聚內部意識凝聚，知識、訊息、情感交流，而群聚的創新能量據此發展，地理空間形成一股創意氛圍，地方魅力生成，空間活化目的方能具體落實。城市發展藝術群聚，需在各類別間取得平衡點，以旗艦型計畫帶動文化消費經濟，以獨立、個體、微型創作者的藝術村群聚計畫推動文化地底景的保留和文化多樣性的發展。文化創意產業發展法面對藝術群聚，必須進行更深刻的探究，後續才能制定有效的推動方案。

Arts clusters, each with distinguish features, inquire various attitude in management. With its common effects on external economy, it has been taken as a panacea of urban regeneration. The research is focus on clusters of artist-in-residences program, and adopting action research method on the development of Arts-in-Residence Taipei（AIR Taipei）. Taking the advantage of being the AIR Director of expanding, I have recalled, recollected my memories and experience on governance of the independent artists’ clusters, and concluded that in agglomerating the community, formal as well as informal mechanism are needed. Spaces to accommodate different mechanism are needed. In addition to studio, office, and meeting room, café, balcony, or even barbecue gathering are also facilitating disseminating of tacit knowledge as well as information. Successful communication channel will then ensure a creative milieu to be in existence. A city needs to balance between investment of flag-ship mega cultural park as well as independent artist-run clusters. The law and policy are inquired to understand thoroughly of the differences of arts clusters before launching efficient and progressive programs to encounter challenges of the creative economy.

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