This dissertation, "Clustering of Cultural and Creative Industry in Old Industrial Buildings in Hong Kong: a Case Study of Fo Tan" by Pak-him, Chiu, 趙柏謙, was obtained from The University of Hong Kong (Pokfulam, Hong Kong) and is being sold pursuant to Creative Commons: Attribution 3.0 Hong Kong License. The content of this dissertation has not been altered in any way. We have altered the formatting in order to facilitate the ease of printing and reading of the dissertation. All rights not granted by the above license are retained by the author. Abstract: Cultural and creative industries are often considered as one of the latest knowledge-based economy that prevailed around the world. Globalization makes the concept of cultural and creativity spread all over the world. The rise of the creative class, which has permanently transformed our economy and society, has rapidly transformed the world (Florida, 2002). Florida has suggested the creative classes have become more pronounced in recent decades and people around the world start to live differently, pursuing a new stage of lifestyles (Florida, 2002). In Hong Kong, cultural and creative industry has only been considered in the Policy Address in 2009, which has become as one of the six new pillars industry in Hong Kong. The transformation of the economic and industrial structure in Hong Kong has injected new value-added elements in economic development. How could Hong Kong react to this change? Currently, the territory does not even have policies that promoted cultural and creative industry. Cultural and creative industries are not greatly promoted. Different artists joined together and formed different artists organization in order to protect their own value and promote the concept of cultural and arts among citizens. In this dissertation, the clustering of cultural and creative industry in Hong Kong will be discussed. Different concepts and theories about the shaping of a cultural city will be analysed. Locational factors that lead to the clustering of cultural and creative industry in Hong Kong will be examined. A local case study - Fo Tan - will be examined by all the theories and concepts regarding to this clustering effect of cultural and creative industry. Fo Tan is one of the most significant industrial areas with most cultural and creative industries in Hong Kong. Different locational factors will be examined and see if they could be fitted into the local context. Moreover, the institutional setting of cultural and creative industry and urban planning system will be analysed and see if there are any deficiencies. With all the above mentioned, this dissertation hopes to see if government policies could help the development of cultural and creative industries and if different sectors in cultural and creative industries could co-exist in Fo Tan. Looking into the future, we would like to see what the Government or other private sector could do in order to help consolidate the cluster of cultural and creative industry in Fo Tan. DOI: 10.5353/th_b5128538 Subjects: Cultural industries - China - Hong Kong Industrial buildings - Remodeling for other use - China - Hong Kong

This book is a novel and inspiring research work on creative industry clusters in China. Seldom has literature on CCIPs dealt with the detailed economic logic and operational methods of a CCIP. The author not only does a detailed comparison of two business models of Cultural-Creative Industries Parks (CCIPs) using classic qualitative methodology through two case studies, Shenzhen OCT-LOFT as a “Culture Highland” model and Guangzhou 289 Art Park as a “Modular System” model, but also proposes a practical 4C model as the business framework for CCIPs. This book will be of interest to urbanists, scholars of the culture economy, creative industries and China scholars.

The Routledge Companion to the Cultural Industries is collection of contemporary scholarship on the cultural industries and seeks to re-assert the importance of cultural production and consumption against the purely economic imperatives of the ‘creative industries’. Across 43 chapters drawn from a wide range of geographic and disciplinary perspectives, this comprehensive volume offers a critical and empirically-informed examination of the contemporary cultural industries. A range of cultural industries are explored, from videogames to art galleries, all the time focussing on the culture that is being produced and its wider symbolic and socio-cultural meaning. Individual chapters consider their industrial structure, the policy that governs them, their geography, the labour that produces them, and the meaning they offer to consumers and participants. The collection also explores the historical dimension of cultural industry debates providing context for new readers, as well as critical orientation for those more familiar with the subject. Questions of industry structure, labour, place, international development, consumption and regulation are all explored in terms of their historical trajectory and potential future direction. By assessing the current challenges facing the cultural industries this collection of contemporary scholarship provides students and researchers with an essential guide to key ideas, issues, concepts and debates in the field.

Recent years have witnessed the remarkable development of the cultural and creative industries (CCIs) in Asia, from the global popularity of the Japanese games and anime industries, to Korea’s film and pop music successes. While CCIs in these Asian cultural powerhouses aspire to become key players in the global cultural economy, Southeast Asian countries such as Malaysia and Thailand are eager to make a strong mark in the region’s cultural landscape. As the first handbook on CCIs in Asia, this book provides readers with a contextualized understanding of the conditions and operation of Asian CCIs. Both internationalising and de-Westernising our knowledge of CCIs, it offers a comprehensive contribution to the field from academics, practitioners and activists alike. Covering 12 different societies in Asia from Japan and China to Thailand, Indonesia and India, the themes include: State policy in shaping CCIs Cultural production inside and outside of institutional frameworks Circulation of CCIs products and consumer culture Cultural activism and independent culture Cultural heritage as an industry. Presenting a detailed set of case studies, this book will be an essential companion for researchers and students in the field of cultural policy, cultural and creative industries, media and cultural studies, and Asian studies in general.

This dissertation, "Adaptive Reuse of Industrial Buildings and Creative Spaces in Hong Kong: a Comparison of Fotanian Artist Village and Jockey Club Creative Arts Centre" by Cho-ting, Wong, 黃楚婷, was obtained from The University of Hong Kong (Pokfulam, Hong Kong) and is being sold pursuant to Creative Commons: Attribution 3.0 Hong Kong License. The content of this dissertation has not been altered in any way. We have altered the formatting in order to facilitate the ease of printing and reading of the dissertation. All rights not granted by the above license are retained by the author. Abstract: Adaptive reuse of industrial buildings into creative spaces has recently sparked global (Mommaas, 2000, 2004; Daniels, Ho, and Hutton, 2012)and local interests (Leung, 2010; Kong, 2012). The clustering effects of creative spaces have also inspired extensive research on how creative spaces could contribute to urban development and in particular economic growth (Pratt, Andy C., 2004; Evans, 2009; Mommaas, 2009). This dissertation critically reviews existing literature and examines the hypothesis with a comparative study of the Fotanian Artist Village (Fotanian) and Jockey Club Creative Arts Centre (JCCAC), which represent two distinctive development trajectories namely organic and planned creative spaces in Hong Kong. It is argued that the development of creative spaces in industrial buildings is strongly correlated to the intention of the public sector to promote creative economies, as well as market assumptions in dealing with obsolescence in urban environment. Both are governed by the concept of neoliberalism, which advocates utilization of land resources based on exchange value rather than use value, and the use of creative spaces as urban development tools. Thus, developing creative spaces in obsolete places through adaptive reuse would restrain the organic growth of creative spaces, or result in its commodification and institutionalization. The hidden neoliberal agenda has also led to the misconception that creative spaces should be assessed for its efficiency and effectiveness as a cluster based on the agglomeration effect of industrial cluster in traditional sense. Fotanian and JCCAC are selected to test against their success performances based on the cluster theory. The two cases are compared to examine whether the planned is less successful than the organic as suggested by the literature. Findings suggest that neither one of them entirely fulfills all the conditions of creative cluster identified in the literature for a successful creative space. Indeed the clustering effect is an inconclusive, if not misleading, criterion of successful creative spaces, given that the development of creative spaces in cities might bring a variety of benefits. Studies have shown that the adaptive reuse of obsolete places might pose potential threats to creative spaces. It is argued that the success of organic and planned creative spaces can only be possible in the long term when breeding and sustaining factors are introduced. DOI: 10.5353/th_b5131758 Subjects: Cultural industries - China - Hong Kong Industrial buildings - Remodeling for other use - China - Hong Kong