d The Creative Ecologies in 2011. His expression for creative ecologies：“A creative ecology is a niche where…it is the relationships and actions that count，not the infrastructure. The strength of the creative ecologies can be measured by the flow of energy as well as for the significance of continuous learning and innovation. Diversity，change，learning and adaption are the four indicators connecting with each other.”（Hawkins，2008）If using a sentence to define and express the creative ecologies that is “a small living environment which is suitable for the creative living and creative production.”

Howkins’ concept is easy to be connected with the key words—creative city，designed capital，culture and art capital. All of these ideas and cultural creative industries are made as a city brand marketing issue to develop the unique cultural resources of the city and to give them the cultural identity and resonance which formed as the core value of the market demand. At the same time，general public should develop the individual creativities and encourage people to participate the cultural creation.

The 2011 CClA Report revealed that Taipei city is the fifth places in cultural and creative competitiveness. The phenomenon of Taipei creative cluster is more and more obvious. To view the counties and cities in Taiwan，needless to say，Taipei city is the administrative center of Taiwan. Its international degree is superior to other cities. Therefore，it is easy to achieve greater effectiveness in the promotion of cultural and creative industries. That point out what Howkins said：“Diversity，change，learning and adaption are the four indicators which influence with each other.”

A multi-cultural development of the city which full of vigor and charm is the concept of Howkins’ creative ecologies. This paper attempts to take the creative blocks which promoted by Taipei city（like “Very Fun Park” street area，“Yongkang street area” and “wen-Roo-Ting street area”——wēn zhōu Road，Roosevelt Road and Tingzhou Road）and creative activities（like Taipei Poetry Festival，Art Exposition，World Design Congress as well as the design Capital in 2016…）as examples which confirm the sequence of ideas，origin of the creative ecologies in the trend of the cultural creative industries development.

一 绪言

2001年，素有“世界创意经济之父”之称的约翰·霍金斯（John Howkins）先生的新作《创意经济》一书出版之后，在寰宇先进国家得到回响，从而所谓的“创意经济、创意产业、创意管理、知识产权（知识产权）就是通货”等一系列概念、命题得以确立。

当今，“创意经济”观念，已成为全球在后工业社会继第三波产业、信息工业社会、网络经济和知识产权生成应用的经济之后，时代发展下先进的思维，拥有好点子的人要比只懂得操作的人更有力量，特别是亚洲韩国、日本、泰国，以及中国及其台湾地区等受影响颇巨。

然而，约翰·霍金斯却在2011年出版了《创意生态》这本书，他对于创意生态的表达是：“创意生态就是一种‘小生境’（niche），在里面，多样化的个体通过一种系统的、适应性的方式表达他们自己，利用一些想法产生新的想法。同时，其他人支持这一努力，即使他们对此不甚理解。这种‘能量─表现’关系在物质场所和非实体社群中都可发现；重要的是关系和行动，而不是基础设施。这种创意生态的强度可以通过能量的流动以及对于‘意义’的持续学习和创新来衡量。‘多样、变化、学习和适应’这四重因素相互促进提升。”如果用一句话作为“创意生态”的表达或界定，即适合创意生活与创意生产的小的生存环境。

霍氏此一思潮提出之后，在中国产生的影响力似乎没有比“创意经济”之命题论述来得更大，但对于长期以来在台湾艺术大学设计学院工艺、视觉传达设计学系所执教，多年来不断致力于设计艺术教育、专业核心能力创意教学的我，却觉得饶有兴味，在文化生态、艺术生态、艺术进化的法则等研究背景下，霍氏创意生态的著作思维及观点，遂成笔者展开进一步研究的立基点。霍氏“创意生态”的概念之提出，首先让我联想到的是“创意城市”“设计之都”“文化、艺术之都”“文化氛围”等关键词、以文化创意产业作为城市品牌营销的议题，并且要开发城市特有的文化资源，赋予其文化认同和共鸣，形成符合市场需求的核心价值和概念，同时，要充分发挥广大民众的个人创造力，鼓励其参与文化创意的积极性。

2011年《两岸城市文化创意产业竞争力调查报告》显示，台北市名列“两岸三地”文创竞争力第五名，加上台北市创