此文旨在探討後工業化城市中的文創園區如何在經營管理方面，達到活動內容及園區定位上皆能符合文化消費者及生產者的期望，並維持園區自行的經營。後工業化城市經常利用廢棄或歷史建築作為文創園區，給予空間新的生命，也以文化創意的活力帶動地方發展。不論是作為觀光用的文創園區或是當地居民的休閒空間，文創園區不僅能夠成為文化觀光領域中貼近地方文化的重要景點，更能為社區居民提供休閒功能，活絡社區內部文化資本的提升，進而帶動經濟及文化的發展，引領城市走向創意城市的方向。而這正是本研究想深入探討的研究目的。本文先從文創產業及文創園區等基本概念和英國地方發展歷史脈絡作介紹，提供本研究方向的輪廓。再從文創園區的經營管理五項要素：塑造身分及地位、藝術文化企業式經營、刺激創新及創意、文化多元性及民主性和閒置空間活用作個案的深度討論與分析。
本文以英國伯明罕(Birmingham)的珠寶特區(Jewellery Quarter)和利物浦(Liverpool)的藍外套文創園區(the Bluecoat)為例，討論此兩個曾經為閒置空間的場所，如何在政府和地方的規劃下，變身成為社區及城市重要的休閒場所，更吸引了觀光客的駐足。在兩案例的個案研究後，以跨個案研究途徑，探究兩不同目的的文創園區如何呈現經營管理層面，也從城市發展方向探討兩園區的定位和地方的關係。希望以此研究能夠歸納出文創園區經營管理的架構，並從不同類型的園區經驗給與臺灣文創園區現況合適的意見。

This paper aims at discussing how the management of creative clusters in the UK meets the need of both the production and consumption sides while maintaining the business of the clusters. Vacant spaces in post-industrial cites are often being used as drivers to local development by changing them into creative clusters. Functioning as both creative clusters for tourism purposes and recreational spaces for the local, creative clusters not only play a role in the cultural tourism map, but also enhance the cultural capital accumulation inside local communities, thus elevating the level of creativity and innovation in the city. This research begins with the concept of creative industries, creative clusters and urban regeneration in order to elaborate on their roles in the paper. This is followed by discussion of the model of five elements determinants of creative cluster management: identity, entrepreneurialship, innovation and creativity, cultural diversity and democracy, and new use for old buildings.
Taking Jewellery Quarter in Birmingham and the Bluecoat in Liverpool as two cases, discussion is made on how these two clusters convert into important recreational spaces under the governance of the local as well as the public department. Conducting multiple-case study as research approach, the study will show how different types of creative clusters deliver their planning and management as well as their interaction with urban regeneration. Finally it concludes that this model can be adapted by creative clusters in general, even for creative clusters in Taiwan, and that creative clusters can be the catalyst of cultural regeneration and promote local uniqueness. This paper also points out that it is crucial to have long-term plans for creative clusters that aim at bringing more cultural and social impact to the locals.

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