关于创意社区的发展机制研究*——以韩国Heyri艺术村为例*

金道沿[韩国] 翟宇琦

关于创意社区的发展机制研究*——以韩国Heyri艺术村为例*

金道沿[韩国] 翟宇琦

创意活动激发社会活力与经济增长，在现代社会扮演日益重要的角色。创意社区这一独特的社会现象，则依赖集体灵感激励社会经济政策改革。Heyri艺术村作为稳定且可持续的创意社区，其模式值得研究。研究以“社区建设”为理论基石，揭示创意社区的社会价值，指出创意社区营建机制的核心要素及作用机制。以韩国Heyri艺术村为案例，深入挖掘其生成机制及运行机制，探究社区成员及社区环境两个核心要素在社区营建过程中的相互作用，并最终提炼其内在发展机制。

创意社区 | 创意集群 | 社区营建 | Heyri艺术村

社会生产的侧重点逐步从工业化的资本积累转向以人才资源为基础的生产发展，艺术与文化在城市经济发展战略中扮演着越来越重要的角色。创意人群及其创意活动可以用来振兴社区，而文化从业者的集聚则带来可观的社会经济效益。创意成为在城市社区及地区中激发社会活力、促进经济增长的工具，而创意集群则潜移默化地影响着城市及其郊区。本研究关注、探讨创意社区的本质、目标和进程。

本研究以韩国Heyri艺术村为案例，研究创意社区的发展机制。韩国Heyri艺术村的规划发展过程具有独特性，因为它是由社区成员自行规划并设计的，是一个兼具居住、创作及商业的未来城市模型，是一个具有文化导向的微型城市。

1　理论概述

创意集群及其产品在现代经济发展策略中发挥着日益重要的作用，针对创意社区内在构成及发展机制的研究也迫在眉睫。本章将重点理清创意社区的相关概念，阐述本文研究样本Heyri的独特意义，探讨社区营建理论，作为全文研究的铺垫。

1.1创意社区

“场所是一种文化产品，而文化场所生产产品”[1]。

创意社区由不同创意阶层的人员在特定的地区或区域集聚生成，且具有独特的吸引力及构成要素。

约翰 M.埃格尔教授于中首次定义“创意社区”[2]。创意社区应紧密关联艺术、文化及相关产业，作为推动后工业时代技术经济的发展驱动力，以创意引领城市快速发展。

佛罗里达认为，真正的创意社区能够在新时代自主生存、繁荣和稳定发展，并以创意复兴城市。创意环境必须提供舒适的工作生活空间，同时激励艺术、文化、技术或经济等所有领域的创意工作。他在《创意阶层的崛起》中强调“场地特质”应包括：创意环境、互相合作的社区成员、文化艺术活动、街道活动及咖啡馆中的聚会等创意事件[3]。伊丽莎白•克里德也在《作为亚文化的波西米亚》[1]中强调，创意社区本质上是艺术家或目标一致的人群集聚[4]。

创意社区一般以地理区位分为两种类型：都市型和园区型。都市型社区位于城市；园区型社区则位于郊区或农村地区，注重契合地理环境和构建社区品牌，以技能、产业、自然及历史等多样要素营建创意氛围。其代表性案例有芬兰的芬斯卡小镇、北京宋庄、加利佛尼亚的硅谷等。

1.2社区营建机制

“社区建设”的概念在1962年日本名古屋都市复兴计划中首次提出。《社区规划》[5]的作者Akira Tamura指出：社区并非单纯的物质空间，是社区成员共享并具有个人色彩的生活空间，为居民所共有。公共场所是一种公共空间、福利、体系、服务、事件以及文化（Tamura，1987年）。社区建设包括物质架构建设、内在体系建设两个部分。物质架构建设指社区基础设施和建筑建设等，内在体系建设指政策、纲领和活动等支撑社区运作的非物质成分建设。对创意社区而言，两者协同工作能够保证社区的稳定和活力。社区营建机制则包括7种要素：物质构建、工作、生活、体系、规则、社区成员和事件（图1）。

同时，社区营建是情感、体系、自然三者的互动（图2）：一是自然环境及改善自然的技术手段，是社区的硬件条件；二是社会意识或生活方式，社会经济结构、政策或管理体系，是社区的内在体系；三是社区成员的情感，即社区美学与艺术。社区营建机制的核心在于三部分的融合与和谐一致[5]。

1.3Heyri样本

本文的研究样本Heyri艺术村属于园区型创意社区，其独具特色的生成过程及运行机制对于研究创意社区的发展机制具有启示意义。

Heyri艺术村由成员为营建创意环境而生成。成员具有村庄所有权，并以社区利益为己任而协作共进。因此，社区的生成及运营过程均具有独特性，是具有创意特性的微缩城市的典范。下文将详细研究Heyri艺术村构建过程，挖掘其内在体系，提炼其作为创意社区的发展机制，企望给予社区构建以启示。

2　生成机制

创意社区的生成是创意社区发展的基石，根据Akira Tamura的理论，构建Heyri艺术村的过程可以分为两个部分：物质构建，内在体系。当两者共同工作时，社区将自主自治。本章自物质构建、内在体系两个层面探讨Heyri艺术村的生成机制。

2.1概述

1994年，韩国政府欲以印刷产业为始端，打造统一东山区(Tonglidongsan)文化地段[6]。现存Heyri艺术村自1997年的印刷地块“书本村”开始，韩文称“书画村”（Seohwachon①含有中文特征的韩语；虽然与中文同义，在语音学上却存在于分离的体系。），具有“书本与文化村庄”的意思，社区最初成员来自印刷产业。随后，许多艺术家加入社区建设，他们怀揣建设艺术家村落的心愿，自辟蹊径完成Heyri艺术村的构建。

社区成员首先向政府购买建设用地，并以“Heyri”命名这个区域。Heyri来源于统一东山区的传统农作歌曲“Heyri之声”，它契合艺术及文化的艺术村气质，并预示着披荆斩棘的新社区建设。社区成员热忱邀请建筑及规划专家传授建造知识，协助他们建设理想社区。截至2002年，共有370多名艺术家在Heyri艺术村生活、工作，并为村庄建设贡献资金。由于社区成员的资金有限，Heyri艺术村虽在十几年的时间内持续建设，却仅完成50%。Heyri艺术村在整体规划、集体审美和所有者意愿的协调中，不断完善社区景象，发展壮大。

图1　社区营建结构图解

图2　社区营建机制图解

Heyri艺术村的构建中，社区成员自主认知、解决问题，从而推动社区发展，民主机制协助构建自主自治、具有地方性及持续更新的社区。此外，良好的社区成员关系助推社区发展，社区成员通过知识的积累将社区变为思想交互的空间，构建社区独特性并促使其稳步发展。

表1　建设过程时间表

2.2物质构建

在Heyri艺术村物质架构的生成过程中，社区成员始终坚持合作机制，并始终坚持维护自然环境。2000年，Heyri艺术村完成总体规划。2001年2月社区成员开始筹备建设事宜，并在坡州市政府资金的支持下提名某建设管理公司，签约与社区成员合作管控建设。同年7月，Heyri艺术村在社区成员、建设工程公司与建设管理公司的共同管控下推进物质架构建设[6]。他们邀请专家交流建设方法，认真讨论社区建设的每一处细节问题，确保社区成员全程高度参与社区物质架构建设。在这样的生成机制中，诸多不同寻常却有利于社区建设的政策得以付诸实施。

比如，为保证Heyri艺术村生态环境及自然景观不受破坏，社区总体规划规定：30%的社区土地留作自然空间，15%的社区土地作为道路及公园等公共空间，而超过50%的私有土地则留作绿地。社区建设空间不可超过现有社区用地的25%[7]。在这样严苛的标准下，Heyri艺术村的中央湿地、山体及灌木丛均得到保留，道路与河道设计也与自然景象相和谐。

通常情况下，建筑建设在基础工程建设全部完成时才动工。在Heyri艺术村，建筑建设在2002年5月已然开始，而社区基础工程建设至2002年末才完成。社区成员商议决定配合土建公司的管控提前建筑建设，并给予初期建设以资金补贴，这大大加快了社区建设进度。Heyri艺术村的社区办事处首先完成建设。随后，2003年3月社区中心也完成建设。至2003年底，社区已有31栋建筑。2005年，共有104栋建筑完成建设。至此，社区的物质架构建设已几近完善。表格1是物质架构建设时间表[6]。

2.3内在体系

Heyri艺术村的组织机构包括行政委员会、秘书处、村协会、管理政策及建筑与环境委员会等，分工明确，各司其职。社区委员会每月一次例会，讨论包括钦文趣事、村庄文化等多种话题，并筹划社区文化活动及节日[8]。在Heyri艺术村，成员通过例会交流问题，分享、体验并处理大小事宜。这种社区协作机制充分调动了社区成员的积极性，在社区建设初期便塑造出强大的社区精神。

有效的社区协作也确保了Heyri艺术村文化艺术活动的独特性。Heyri艺术村持续筹办文化艺术活动与节日庆典，维持活力并增强影响力。例如，社区建设破土时，Heyri艺术村举办“Heyri演出”庆典，宣布韩国最具代表性的艺术及文化社区的诞生[8]。社区成员的体系化协作相互激发潜力，高质量的文化与艺术活动给予社区以源源不断的魅力，Heyri艺术村稳定而蓬勃。

2.4社区精神

社区精神能够让社区成员不忘初心，为社区革新不懈努力。Heyri艺术村即因此而生成，其志在于构建一处为不同文化流派提供交流平台的艺术村落。在这里，艺术家置身自然之中，宣扬艺术与文化，无欲无求地交谈、创作，无关金钱与交易。社区成员坚定构建艺术与文化的乌托邦的目标，为Heyri艺术村的诞生而努力。2008年在一次社区会议上，讨论并宣布有关“Heyri未来开放宣言”：

Heyri 是艺术与文化相结合的综合体，在这里你随处都会看到艺术的热情与文化相结合所迸发出的神奇景象。

以艺术者的想象力和实验精神打造现代化艺术文化中心，为艺术文化传播——尤其是格调高雅的艺术——提供平台。

虽然Heyri地处于韩国及朝鲜边界附近，但是在Heyri却不存在边界。因为艺术不分国界，不分地域。Heyri是开放的文化艺术村。在这里，我们尊重文化艺术的多元化。我们欢迎所有类型的文化艺术，我们会使Heyri成为融合所有类型的艺术殿堂。

位于韩国的汉江和北韩（朝鲜）临津江交汇处的Heyri，位置本身就有着很重要的意义：两江汇合，象征和平。这里风景优美，生态极好，是人类与自然共同呼吸的美丽村庄。

Heyri对于社会的贡献不仅仅存在于为京畿道西北部的坡州市民和京畿道居民创造了一个将文化知识与文化产业集为一体的社区。它的贡献已经扩展至国际，把韩国艺术推广到全球，以文化交流为活化剂，将Heyri打造成一座东亚特有的个性化艺术村。

Heyri模式，在未来也具有可持续发展的潜质。它促进艺术与文化的融合，具有精神和文化的连带性。Heyri的人们在享受文化权利的同时，也肩负着保护文化与艺术社区发展的义务和责任。为此，Heyr将全力以赴②引注于Lee Sang, 《Heyri艺术村的故事》，p.195-196(作者由韩文翻译引注)。。

3　Heyri艺术村的运行机制

Heyri艺术村在社区的特质构成要素、社会意义及主要驱动力这些方面均表现出值得深究的独特性，决定了创意社区的运行方式及发展方向。本章将从Heyri艺术村运行过程中提炼社区内涵、完善社区角色、发展社区力量和面对社区矛盾4个方面在情感、体系、自然的互动中，观察社区如何运作，探究创意社区机制。

3.1构建社区内涵

Heyri艺术村的成功依赖于明确的社区定位、成员及环境的基本属性。但Heyri为何如此独特呢？其社区内涵首先必然与众不同。本节将从社区成员、社区环境及创意活动3个方面来具体探究Heyri艺术村独特的社区内涵。

首先，是社区成员。作为创意社区最重要的构成要素，社区成员担任构建者与使用者的角色。他们以自然与历史为基底，构建出独具特色的Heyri艺术村。

起初只有20人共商社区计划。在1998年“书画村”初建期间，有58名成员，当年后半年增至83人。1999年社区土地交易完成时，有197名成员。2002年4月成员招募工作完成时，Heyri艺术村共有310名成员[6]。

Heyri委员会制定严格的成员筛选制度，以确保社区成员必须隶属艺术与文化领域，并有Heyri委员会的推荐。这项制度协助Heyri艺术村在建设早期就构建强大的社区精神。社区成员，如亚基拉田村的“社区营建”理念所述，秉持“我的社区”理念，满怀期许地构建可供其创作、展示及售卖的文化艺术场所。社区成员的创意产出丰富了社区内涵，而Heyri艺术村也是其创意之一。

其次，是社区环境。大部分创意社区环境都延续从前的物质基础，保留原建设环境的痕迹。而Heyri艺术村则从零开始，构建契合自然与理想的社区环境。与由利益集团操纵的新都市主义社区不同，Heyri艺术村由社区成员自主出资，在合作商讨过程中，以自然为基底、以生态为准则为社区理想而建。社区环境在建筑、规划及景观专家的协同帮助下，选取新潮建筑和景观风格。这种构建理念与构建方式造就了Heyri艺术村独特的社区环境基底。

最后，是创意活动。创意活动作为艺术与文化的载体，是构建Heyri艺术村的核心要素。Heyri艺术村分别在春季和秋季举办Heyri潘节和Heyri乐团音乐会，并在全年不断推出私人展览及音乐演出。除此之外，还有艺术家工作坊、文化课程、艺术产品展销会、博物馆和画廊的展览等活动。创意活动通常由社区组织审核并统筹承办，为Heyri艺术村吸引源源不断的游客。创意活动参与者的增多，进一步刺激其更新发展[9]。

“Heyri潘节”是Heyri艺术村最盛大的节日，于2006年首次举行。作为2003—2005年度“Heyri节”的延续，其主题是Heyri的艺术与文化产品。节日期间举办各文化艺术流派的作品展览，促进国际艺术与文化交流。虽然“Heyri潘节”曾因缺乏独创性而受到指责，但社区委员会不断挖掘Heyri独特的艺术形式，添加特色的活动体验，丰富节日内涵，造就独一无二的Heyri潘节[6]。Heyri潘节以艺术和文化为媒介，搭建起艺术家与公众的桥梁。创意活动赋予社区以活力，在动态的社区生活中建立起社区的独特性（图3，图4）。

图3　Heyri音乐会

图4　Heyri潘节

3.2完善社区角色

基于独特的地理区位及构建方式，Heyri艺术村具有特别的社会意义。创意社区在社会的定位及作用影响其运行机制。本节从地理政治学、经济学以及都市规划的视角探讨Heyri艺术村在社会中所扮演的角色。

“在人迹罕至的土壤绽放”（法菲尔德，2006年）。

首先，是Heyri艺术村的地理政治角色。Heyri艺术村位于京畿道省坡州市的统一东山区，靠近首尔，临近韩朝边界，处于重要的政治地缘地区。该地区早年被韩国政府指定为维护韩朝和平的文化中心，却由于山脉的阻隔及种种原因，在20年间未进行任何建设。正如《金融时报》安娜•菲尔德在文章中所言：“距南北境边界线只有几英里的非军事区战争时期，有超过100万名士兵巡逻，是世界上戒备最森严的边界之一。艺术社区在这里兴起，将为战争时期频繁冲突的地区带来前沿设计与创意氛围。”[10]

Heyri成员发现了这片被开发商遗弃的土地建设社区，周边地区也随之兴盛起来。如今，统一东山区已成为具有几处大型购物娱乐综合体的文化商业区，拥有多个正在申报过程中并将付诸实施的旅游文化项目，区域发展势头极佳。Heyri艺术村以其艺术与文化的感染力，跨越国界，超越政治鸿沟，为这片地区带来希望。

其次，Heyri艺术村担任不可小觑的经济角色。主要表现在自身经济发展及带动统一东山区甚至坡州市的区域经济发展，具备微观及宏观两个层面的经济效应。

微观层面而言，创意社区以文化产品的生产构建经济运作。Heyri艺术村的自然风光、宜人的工作环境以及艺术家集聚的氛围，都能够激发文化工作者的创作灵感，提高产品的质量与产量。同时，Heyri艺术村独特的文化艺术魅力吸引民众前来学习、临摹文化产品，参与文化展览、研讨会及节日活动。文化产品消费为Heyri艺术村带来基础收益。社区服务产业同步发展，Heyri不断改扩建咖啡馆、餐馆和糕点店等，促进多样化的旅游经济发展。目前，20—30岁的人群是Heyri艺术村的主要消费人群。社区未来可增设儿童设施，以拓展其消费人群，促进Heyri艺术村经济的进一步发展。

宏观层面而言，Heyri艺术村是统一东山区和坡州市经济发展的锚点。坡州英语村、坡州奥特莱斯追随Heyri艺术村而建设起来。坡州西北部处于边境附近，始终被投资者忽视，如今凭借其环境优势，成为周边大都市居民短途旅行的人文圣地。

Heyri艺术村作为可持续发展社区的模范，承担引领都市规划的角色。在过去的几十年里，城市社区面临公民健康与福祉的挑战，城市发展需要一种维持人类与自然环境和谐的新模式。Heyri艺术村总体规划由延世大学城市规划与设计工作室、建筑师及部分社区成员共同编制[12]。规划提出建设生态和谐与环镜友好的社区图景。建成的Heyri艺术村根植自然之中，被六山包围，中央有湿地与水道相连。社区空间被山水分为8个部分，其规划设计遵循自然优先的逻辑，在可持续社区规划方面具备社会意义（图5，图6）。

图5　总体规划

图6　Heyri的小村庄分区

3.3发展社区力量

Heyri艺术村已然实现的3个社区目标是其最重要的内在力量。这3个社区目标分别是生态村落、社区精神和Heyri品牌的构建。本节将具体探究Heyri艺术村3大社区力量的构建。

其一是生态村落。这是优美的自然景色及生态调节机制。Heyri艺术村总体规划基于自然地形设计，保护自然栖息地，维护地形地貌。地理空间方面，社区被丘陵山谷分为8个小空间，以传统乡村的空间设计理念进行分区风貌设计，其建筑风格简洁、怀旧，各分区以村落形式相互独立[8]。生态保护方面，Heyri艺术村保留中央湿地以预防洪水，连接水道以供应栽培用水。其分区的详细设计同样体现对生态的关注，各分区设计保留天然湿地，保证一定量的开敞空间以控制雨水。同时，以砖块置换混凝土和沥青铺设道路，以土壤覆盖停车场和空地，以树林连接步道，并采用透水材料铺设私人庭院空间，以确保社区的生态性（图7-11）。

图7　湿地及水道

图8　人行廊道

图9　透水的开敞空间

图10　没有铺设石砖和沥青的停车场地

图11　Heyri村庄全景

其二是社区精神。Heyri艺术村在建设早期就通过社区成员的高度参与、成员活动等凝聚人心，构建起强大的社区精神，即所有社区成员都承载着建构艺术与文化乌托邦的共同理想。正如阿基拉田村（1987年）所述，社区应建立自我调控体系。作为自我管控的社区，Heyri艺术村的社区精神是社区建设的缰绳和动力，把控成员努力的方向。

其三，Heyri品牌是社区魅力的来源。Heyri艺术村大约10年前对公众开放，如今是首尔附近本土及外国游客最多的地方，游客数量还在逐年增加。2013年，村中接待120万名游客，其数量远远超过村庄的空间容量。人们为什么来到Heyri？社区委员会将Heyri艺术村打造为消费创意的场所，创意产品和活动以其前所未有的吸引力使社区成为城市居民短途旅行的集聚地。人们乐于消费文化与艺术产品，乐于在展览馆、博物馆、节日和文化教育项目中与家人朋友享受聚会时光，乐于在Heyri休闲餐饮商店体验高品质服务。Heyri艺术村以创意迸发的艺术与文化场所为品牌，源源不断地吸引着来自各国的游客，散发着持久的魅力。

3.4面对社区矛盾

创意社区的构建始终面临许多问题与矛盾。社区成员在共同应对困难的过程中愈加团结，社区也愈加稳固，终于成就了如今颇具影响力的Heyri艺术村。所有的矛盾与问题都根植于社区的构成及特性之中，Heyri艺术村也不例外。本节将讨论社区正面临的两个主要矛盾：内在冲突，即成员之间的矛盾；空间隔离，即内在冲突的空间呈现。

一方面，内在冲突主要在于经济矛盾。

社区成员难以通过在Heyri艺术村的工作取得收支平衡。社区的运营方式类似合资企业，每位成员都耗费大量资金来购买土地并进行建设。然而，社区高标准的建造要求使Heyri艺术村的建筑建造价格一度高于城区的公寓和住宅。大多数艺术家无法依赖社区收入维持生存，一半以上的艺术家此间支出超过收入[13]。在Heyri这场交易中，社区成员的投资远大于收益，部分成员心甘情愿地为社区建设而牺牲，另外一部分却开始出售土地并搬迁，优先考虑盈利的Heyri成员和其他成员之间的纠纷加深。作为创意社区，面对相关问题，应以最初信仰为宗旨，即Heyri艺术村应遏制过度商业化趋势。最后，游客与社区也存有矛盾。Heyri艺术村是国际艺术文化交流场所，社区提供公共交往场所，而游客消耗的公共资源依赖于社区成员的出资维护，这恶化了社区资金问题。社区发展的内在冲突接踵而至，却难有一劳永逸的应对策略。

另一方面是社区的空间隔离。

村庄分为北部商业区和南部门控社区。社区成员基于居住、工作、展览或售卖的需求，选择空间区位和生活方式。Heyri艺术村以核心功能将空间划分为3个部分：商业功能空间，主要是大型企业、租户和游客，他们重视文化艺术相关的商业娱乐活动；混合功能区域，主要是高端文化生产和消费群体，艺术家、画廊与剧院的运作者、艺术收藏家以及Heyri行政人员；居住功能空间，是渴望农村舒适生活的艺术家和居民，重视平和宁静的环境[13]。功能分区从初始分离便愈演愈烈，封闭的区域变得愈加隐蔽，商业领域则愈加商业化，最终构成空间隔离。

Heyri艺术村基于创意产业得以成功，同时创意产业独特的构成及特性也为社区带来资金与空间上的矛盾。社区成员必须秉承信仰，认真探索Heyri艺术村的本质，方可从容应对根植于此的矛盾与问题，维护社区的稳固发展。

3.5小结

Heyri艺术村从1994年的“书本印刷村”缘起，至2014年已迎来其作为艺术文化创意社区的20周年庆典。Heyri艺术村是首个通过创意者自愿参与，未接受地方及市级政府重大帮助，以创意作品、创意消费和舒适生活为主要内涵的创意社区。从村庄规划到社区管理，Heyri成员以激情与汗水将理想落实，并不断探寻良好的社区规划方法。更重要的是，文化工作者之间的互动交流为Heyri艺术村创造了经济效益和社会价值。

通过本章分析可见，无论Heyri艺术村未来如何，它在建筑、可持续发展社区、社区实践与创意合作等多方面已然取得成就，并具有研究价值。社区成功的关键在于社区成员，他们共同努力解决内在冲突、应对空间隔离等问题，掌控社区未来。在Heyri艺术村层面，应着重管控社区商业区域，确保村庄不会沦为充斥昂贵餐馆、咖啡厅和漂亮建筑的旅游区。

4　创意社区发展机制

创意社区发展机制在于社区生成及运行过程中，物质构建、工作、生活、体系、规则、社区成员、事件7要素在情感、体系、自然三者的互动下，构建稳固更新的社区模式。而创意社区繁荣的核心在于社区成员、社区环境两者的相生相佐。

创意来源于人。创意人群及集体灵感在现代社会和经济发展中发挥愈加重要的作用。在Heyri艺术村，社区成员为创作高质量的创意作品、组织有意义的文化活动而努力，确保社区的活力和生机。一方面，艺术家从创意环境、创意交流中汲取灵感；另一方面，社区成员举办音乐表演、艺术展览、节日和教育研讨会等文化艺术活动，为社区带来收益。在Heyri艺术村，社区成员共同参与，协同合作，编撰社区目标与规章，创作艺术作品，使艺术村的定位不断完善，实现艺术家生活工作空间的理想。

与此同时，社区环境必须能够滋养创意氛围，激发创意工作者的灵感，提供舒适休闲的工作及生活空间，才可达成创意社区[14]。Heyri艺术村的独特之处在于其社区环境是从零开始专为创意活动规划建造的，其社区环境重视生态设计，保留自然生境，注重构建艺术家生活、创作与交流的文化氛围。社区环境设计协调人类活动与自然环境，为社区成员和游客提供了城市之外的心灵治愈场所。大多数社区成员受到社区环境的吸引，从首尔或附近的大城市搬迁至Heyri艺术村，寻找自然的气息并愉悦地创作。

Heyri艺术村的成功则归功于社区成员与社区环境两股力量的平衡。社区成员参与社区事务，进行创意活动。同时，自然环境与社区空间也助推艺术文化活动。当平衡被打破或条件变化时，社区将丧失创意社区的特质。

现代社会是一种有机体，新型社区不断涌现又消解。然而，创意社区作为活力的存在，值得被支持、维护和发展，其模式的推广将对社会发展产生深远的影响。

5　结语

本研究以Heyri艺术村为案例，挖掘创意社区的价值与意义，探究社区成员及社区环境等创意社区的构成要素，揭示其发展机制。创意社区发展过程表明，创意集聚首先要激发艺术与文化的繁荣，带动创意产业的发展，进而吸引更多创意人群及公众的关注，确保创意产业的持续繁荣。

社区成员与社区环境不仅是创意社区的构成要素，更是确立社区类型及社区特征的核心驱动力。从宏观层面来看，两者的属性是创意社区分类的判定标准；从微观层面来看，根据两者的属性可判断社区根基，即判断创意社区是立足于创意人群或创意产业。社区成员与社区环境决定创意产品，确定创意经济类型，构建创意社区品牌。本文通过Heyri艺术村的案例研究，揭示以创意作为激励社会活动和经济增长的工具时，富有活力、稳定且可持续的创意社区应具备怎样的发展机制。

创意社区的概念不断演进与变化， Heyri艺术村的相关案例研究也并不丰富。故本文以发展的视角来阐释社区的生成与运行机制，挖掘Heyri艺术村对其他社区营建的借鉴意义。未来研究若能够以居民的视角，贴近生活，关注细微变化及构筑操作，并尝试理解更微观的议题，或能更为深入地探究创意社区内在发展机制，并提炼其有价值的部分运用到其他社区营建中。

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Author

Kim Doyeon

The School of the Art Institute of Chicago(SAIC),

America

College of Architecture and Urban Planning Tongji University Master degree

Yuqi Zhai

College of Architecture and Urban Planning Tongji University PhD candidate

Introduction

With the paradigm shift from industrial recruitment to the accumulation of the development of talent and human capital, increased importance is being placed on art and culture in the recent years, particularly for urban economic development strategies. Creative people and their innovations have been used to vitalize communities, and the agglomeration of cultural producers has brought out meaningful socio-economic outcomes. Creativity can be used as a tool to stimulate social activeness and economical growth in urban communities and local regions, and creative clusters have the potential to develop as an influential community in both urban and suburban areas. Studies are now questioning the natural clustering of creative communities and their purpose and processes.

This study aims to examine the development mechanism of creative communities by focusing on the Heyri Art Village in Korea. The Heyri Art Village is unique in the sense of urban planning that the members of the community planned and designed the village independently. Heyri can be a futuristic city model that allows people to live, produce, and sell in the same space. From a functional perspective, Heyri is aiming for a culturally oriented micropolis.

1　Creative community

The growing importance of creative producers and their products have become an important part of modern economic development strategy, making it crucial to understand their cluster and communication patterns. Therefore, it is important to define the concept of the creative community previously to the main study of the development mechanism of creative communities. This chapter will define the terms of creative community and discuss the uniqueness of Heyri Art Village, and also learn the community making theory.

1.1What is a creative community?

‘Place as cultural product, product in cultural place.’[1]

A creative community is a group of people from diverse creative classes that form clusters in a certain district or area or a culturebased community.

Florida explains that a real creative community is one that can survive, thrive and maintain its development in the new era. He believes that a creative community revitalizes a city with innovations and creates a relaxed lifestyle for others, forming high technology clusters in the suburbs with abundant amenities. The location of a creative community should support the development of all types of creativity—artistic, cultural, technological, and economic—and provide an ecological working and living environment[3]. Professor John M. Eger, from the University of California, San Diego, first defined the term of ‘creative community’ in his book The Creative Community[2]. He suggests that themost important thing in the development of a creative economy and city is the restructuring of the communities that can follow new intellectual economic development. A creative community is closely associated with art, culture, and related industries, allowing a city to develop rapidly through interactions among creative sources. In sum, we must be prepared to treat phenomena, such as creative communities, as a driving force in the postindustry and intellectual economy.

The distinctive features of creative communities must have attractions and elements that are unique. Richard Florida and Elizabeth Currid explain the features that can distinguish from other communities. Florida emphasizes the‘quality of place’in that creative communities need to have an innovative environment (what is), interactions among community members (who are) and stimulating activities, such as outdoor art, cultural and street activities, and cafes that add to the environment (what is happening)[3].

On the other hand, Elizabeth Currid[4]discusses the characteristics of a creative community. First, creativity itself is collective in nature in that artists or creative people prefer social interactions, work together and exchange ideas and opinions or criticisms. Second, they choose flexible career paths, which means that they are more likely to use their skills and offer their services to other industries. Third, the ability of artists to commodify their art easily allows them to turn their products into market goods, to create new career opportunities and to meet the demands of the cultural consumer goods market. The last is collective inspiration. Artists are often inspired by other artists from their own or related fields. For example, movie directors tend to socialize with musicians, graphic designers and painters in order to get ideas from them and sometimes for the collaborative work.

Creative communities can be categorized into two types by their cluster location and aim. A group of creative clusters in the city is an ① urban type community, while creative clusters in the suburbs or rural areas are ②campus type communities. An urban type community is a cluster that takes advantage of the city’s abundant amenities, such as the city’s infrastructure, human resources, markets and cultural spaces. The most representative urban type community is the gallery cluster in SoHo, New York in the 1970s. The campus type communities form independently in a rural area focused on its creative skills without much influence from the city's facilities. The natural environment is important to the community members, particularly in evoking inspiration and creativity that can build strong identities or characteristics. Fiskars Village in Finland, Songzhuang Art Colony in Beijing, Silicon Valley in California are the representative campus type creative communities.

1.2Community making

The term of ‘community making’ was first used in Nagoya, Japan in 1962 for an urban renewal project driven by its citizens. Akira Tamura, the author of Community Planning (Machi-Zukuri No Hassou, translated from Japanese), states that a community is not just a physical space, but also a shared living space for its members, who must identify with their own living space. To understand the philosophy underlying community making, it is necessary to understand the meaning of a community. A community is a shared public place for its members. A shared public place can be defined as common space, infrastructure, systems, services, events and culture[5]. Following are the nine basic ideologies of community making: ①whole, ② system, ③ shared environment,④common goods, ⑤ co-existence, ⑥collaboration, ⑦ sympathy and affection, ⑧mutual exchanges, ⑨ internal voluntary activity.

The term of ‘making’ means building both‘physical structures’and‘software systems’to manage the community. Physical structures refer to more apparent components, such as civil construction and architecture, while software systems refer to the contents for creating the community such as policies, guidelines and ongoing activities. In making a community, the visible physical element and the invisible effort of the people who make are very important, however it can be divided into seven parts: ① physical element making,② job creation, ③ living, ④ system making,⑤ rule making, ⑥ people, ⑦ event making. Following diagram explains the structure of community making[5](See Figure 1).

The mechanism of community making should be thought in combination of the following three parts. First is natural environment and technology used in alteration of the nature that refers to the hardware part. Second is social consciousness or lifestyle, socio-economic structure, politics and governing system, which can refer to the software part. Third is the way to touch the emotion of the people, which is the community aesthetics and art. The key point in the community making mechanism is to integrate each part and to sustain a good harmony among these three parts (See Figure 2).

In general, it is possible to study the formation and the development of communities from the above diagrams by analyzing the community making structure and the making mechanism. Creative communities, as well, follow the mechanism of the general development process, and in order to sustain a successful community development, it is to have a good community structure and the balance among the key elements[5].

1.3Heyri as a unique campus type community

The case of Heyri Art Village is a campus type community, however it is a unique type different from other creative communities. Heyri not only meets the conditions of the good ‘quality of place’, but also more in the community's development mechanism. First, Heyri is a newly created community without any help from the government orthe development company, which gives the freedom and local autonomy to create an innovative environment. Second, Heyri is a voluntary artist community that all the members are stakeholders and self-funded that made it possible to actively work together for the mutual benefit. Third, the members build their own management system setting up the rules and regulations which include from building construction to village management. Big and small decisions are made through democratic way, and the members accept a new member through the evaluation that meets their qualification. Heyri is a unique wellplanned micropolis that meets the condition of successful community development mechanism, and is worth studying to learn its developmental process for future community planning. The following chapters present a detailed analysis of Heyri's formation and its development to study the mechanism that created Heyri Art Village as a unique campus type community.

2　The formation of the Heyri community

The formation of creative communities follows quite similar conditions and patterns as discussed above in the types of creative communities. Since Heyri Art Village is a unique campus type community, it will be possible to examine its uniqueness through basic understandings of the history, village making process and community’s direction.

2.1Background

Heyri is a voluntary artist community of about 300 artists who work collaboratively towards the community's development. The village is located in the northwest region of Korea’s capital, Seoul. The area is in the city of Paju in the Gyeonggi Province and is part of the Tonglidongsan development zone, which is close to the North Korean border, 15 minutes away by road from the Korean Peninsula’s demilitarized zone. The village has an area of about 0.5 km2(503,412.90 m2) and approximately 340 people staying there, including 220 members.

The members are the stakeholders of the village and they vary from producers to consumers of art and culture, such as writers, poets, fine artists, movie directors, gallery directors, musicians, photographers and art sellers. The village was established as a joint enterprise, and the members designed their own master plan and construction guidelines to create an ideal community that optimizes not only artist inspiration but also living conditions. Heyri is not only a residential village, but also a cultural complex with museums, galleries, bookstores and art studios. Following elucidates how this community started and its brief development process.

In 1994, the Korean government proposed the creation of an industrial publishing and cultural district in the city of Paju in Gyeonggi Province[6]. However, the laws and regulations of the industrial district lacked support for a purely cultural infrastructure, so this plan was transposed to the Tonglidongsan district. The construction of the Heyri Art Village was taken up by its community members, who emphasized the inclusion of several social and political elements.

The current Heyri Art Village started off as‘the book village’ in the Paju publishing district in 1997 and was named Seohwachon①The Korean language includes Chinese characters; however, it has a separate system for phonetics, albeit with the same meaning as the Chinese language., which means ‘the village of books and culture’ in Chinese characters.The founding members were initially associated with the book publishing business. Thereafter, many artists from various backgrounds of art and culture began joining the process of building the community. They became more ambitious with a pure intention of creating an ideal village for artists, and they began designing a plan to construct an art and cultural village.

After the village concept expanded into a cultural art village, the main members of the committee began visiting well-known cultural villages in other countries to identify a good and sustainable model that they could replicate. However, the process was not easy. This led to the committee designing and building a village that was truly unique.

Figure 1 Community making structure diagram Source: Tamura, Machi-Zukuri no Hassou, 2013.

Figure 2 Community making mechanism diagram Source: Tamura, Machi-Zukuri no Hassou, 2013.

First, the committee signed a contract with the government to buy the land on which the village would be built in the Tonglidongsan district. Then they renamed the area to Heyri to embrace the broader characteristics of an art and cultural village. The name of Heyri comes from the ‘Sound of Heyri’, which is a traditional farming song from the old Paju area. It was an effort to embrace the land itself, that the community would be built, as well as to create the comprehensive content for the more ambitious concept of the community.

In the preparation stage of building the community, the committee asked experts from different fields to contribute to the planning stage. A team of professionals from architecture to urban planning showed their supports, and the dream of creating an idealistic village was finally realized.

In 2002, more than 370 artists became a part of the Heyri community and began producing artwork and living in the village. The village is still in process, because every piece of land has an owner who is also a community member, and not all the members have enough money to build or finish building a complex or a house. The village has been under construction for over a decade, and only about 50% has been completed. Nevertheless, it is worth noting that construction is only a part of the development process. Building construction is the next step after village planning and basic civil construction, which is complete, and it is up to the landowners to complete their respective buildings. Therefore, we can say that the Heyri Art Village is still on the way to completion and keeps changing its appearance.

The development of a community is driven by the participation of people who live in the community. They identify and resolve problems, and by repeating this process, it strengthens the autonomy of the community. Community making helps establish selfgoverning, independent thinking, local identity and continuous creativity. In addition, it strengthens human relationships and facilitates the development of practical ideas. Thus, community members can use the accumulated knowledge and transform their community into an interactive space. This is the foundation for establishing a community’s identity and fostering its sustainable development. This new trend in community making can also be explained by the new urbanism theory, which concerns small-scale planning within and outside the urban area by focusing on the idea of creating a space with positive living conditions. The community planning scale rejects the large metropolis and is strongly connected to the notion of an ecologically sustainable region. This links to Heyri Art Village that aims at a people-oriented environment.

According to Akira Tamura’s theory, the process of creating Heyri Art Village can be explained in two parts: the physical structure (village construction) and the software system (content). When the two parts work together, the success of the community making will follow automatically. A good balance between the two parts is the main idea of building a community, and this also applies to general community making. For creative communities like Heyri, the content is very important, because it defines the characteristics and the identity of the community.

2.2Physical structure making

In order to understand the entire community making mechanism, the hardware (the physical structure) should be discussed first. Location and appearance are important factors that distinguish different communities. Since Heyri Art Village is a voluntary community created as a joint enterprise, its uniqueness is most obvious in the building of the physical structure.

The Heyri Art Village’s master plan was finished in 2000, and the physical construction of the village began in February 2001. After receiving approval from the Paju government, the Heyri committee shortlisted a construction company and began work in June of the same year. Several civil engineering companies bid for the project. The committee partnered with a construction management company for better management and to fill in the knowledge gaps.

The members did not delegate all the construction duties to the construction company or the construction management company. They made sure to discuss construction techniques, even though it was a small aspect of the process. They put in a lot of effort to preserve the natural environment and made sure to not take the easy way out. This type of participation by the Heyri members is used throughout the whole village making process, for instance, in the construction guidelines, art and cultural activities, and the future village management. The experts invited to be part of the Heyri design committee exchanged several ideas that helped the Heyri members gain diverse perspectives regarding construction and related methods. This made it possible to create physical construction that would be accepted and appreciated by everyone in the village.

According to the plan, 30% of the land was dedicated to nature and 15% was for public utilities, such as roads and parking spaces. More than half of an individual plot of land had to be preserved for greenery. Thus, the built space could not exceed 25% of the total area[7]. The wetlands in the middle of the village, the hills and scrubs were to be left untouched. The roads and waterways were designed to reflect the native environment before the area had been developed.

After the basic civil construction of the village, the next step was the buildings. In general, building construction begins after the completion of civil construction; however, the buildings in Heyri were gradually constructed before the completion of the civil construction under the supervision of the civil construction company. The civil construction was completed at the end of 2002, but the construction of the buildings already began in May 2002. To accelerate the construction process, financial support was offered to those who initiated the construction of their buildings during an early stage.

The first completed building was the Heyri Community House in March 2003, an important public institution in the village. By the end of 2003, 31 buildings were completed, followed by 104 buildings in 2005. The physical villagescape was gradually taking shape. Table 1 is a timeline of the construction process[6].

2.3Software system making

The factors that defines a community’s main characteristics are what they do in their community and how they do it. The community members need to have a collaborative system to work with each other and share their responsibilities, a space for mutual exchanges and internal voluntary activities to maintain the vitality of the community[8]. Especially in creative communities like Heyri Art Village, cooperation and social networking among people are very important for the artists’creativity and their creative productions.

To start with, Heyri’s system is well organized. There are many specialized subdivisions, but always work together to reach common agreements in a democratic way. The divisions are board of administration and committee, secretariat, village association for overall management, and building and environment committee for related policies and management. The village association holds a meeting once a month with its residents and tenants to discuss various matters, ranging from their personal artistic experiences to the village’s cultural business. They also organize cultural activities and festivals held in the village[8]. Like this, Heyri members have the chance to communicate with each other through regularly held meetings, and they discuss and share all matters together. The village association endeavors to pass these cultural values on through increased voluntary participation by all its members. Thus, the Heyri Art Village has a strong community spirit that is constantly emphasized by its committee members.

The Heyri residents also work hard to create internal voluntary projects to keep themselves active and to attract the public to come to the village. Since Heyri aims to be a place of art and cultural exchanges, there are many festivals and culturally related activities happening all the time. Even before the construction started, Heyri Art Village held an opening festival called ‘Heyri Performance’. This aimed to tell the public about the birth of representative art and cultural communities in Korea, and also to remember the original land that would be gone after the fabrication of the place they would build.

Heyri Art Village was ready to cultivate art and culture in its beginning stage, and has great possibilities of developing more cultural activities in the future. Moreover, having a good strong direction in creating the software of a community is important for the community’s sustainable development.

Table 1 Timeline of the construction process

2.4Direction

Another important part of community making is the heart of people in the community. A mutual goal or common direction among the community members is a strong motivator for the whole community to move forward in a productive direction. It also helps people to remember the initial idea, and to embrace the new movements in our modern society.

Heyri aims to be an art village that serves as a communication platform for various genres of culture. The members put a lot of effort into keeping their original community making spirit far into the future. The Heyri committee dreams that the village will be an ideal utopian space through the promotion of art and cultural activities, but hope that it does not become too commercialized and that the natural habitat is preserved. The following is a translation of the Declaration of Opening the Future of Heyri, written for the general meeting held in 2008.

Heyri is an art and cultural community. We are here because we love art and culture with pure enthusiasm. We want to create a modern art culture based on artistic imagination and an experimental spirit, and our space will function as a base camp for spreading our art and culture to the public. We will play a role in providing a platform for dignified artistic and humanistic discourse.

The land is in the border section of the North and South. Heyri rejects walls. Heyri aims for an open policy with no walls between you and us. We respect diversity. All art from various genres will mingle together here.

Heyri, where the Han and Yimjin Rivers meet, seeks an ecological life with harmony and peace between our life and the environment. It will be a beautiful village where humans and nature can breathe together.

Heyri will contribute to the local society and expand internationally. Together with the citizens of Paju city and Gyeonggi Province, we will play an important role in forming a creative intelligence belt and a cultural industry cluster in the northwest of Gyeonggi Province. We will be the base that stimulates Korean art and spreads it out internationally, and will grow to be a unique, exemplary art village in East Asia.

Heyri will maintain its identity over the centuries to achieve sustainable development in the future. We will also keep the community spirit of the art village and cultural solidarity. People of Heyri will have the right to enjoy culture, and simultaneously, responsibility as a community member②Quoted from Lee, Sang, Story of Heyri Art Valley, p. 195-196 (translated from Korean by the writer)..

3　Community Practices: In-depth Analysis of Heyri Art Village

In order to find out the development mechanism, it is necessary to study the community in depth that what kind of element decides the characteristics of a community, and what are the major forces that move the community forward through its practices and performances. According to Tamura Akira's theory, Heyri Art Village has a good integrated base of society, nature and emotion. Also, Good structure has good balance between the physical structure and the software system that the apparent components and the member's invisible efforts make synergy in sustaining and developing the community. This chapter analyzes Heyri Art Village divided into three parts, identity, role and strength, to find the answers of the development mechanism of creative communities. Also, it discusses the current issues and debates that show the development of a community needs a lot of efforts for the mutual satisfaction.

3.1Identity

The successful construction of the Heyri Art Village is based on the strong identity of the Heyri community. Identity denotes the characteristics of a person or place, making them distinguishable from others. But, what makes Heyri so different from other communities? Describing Heyri’s identity in one word or sentence is difficult. Therefore, this section describes Heyri’s unique characteristics from three perspectives: people, environment and performance.

3.1.1People

The most important driving force of the Heyri community is its members. The village was planned by its residents, who selected the land in such a way so that the place and its history have strong influences on forming Heyri’s identity. Heyri is a creative product made by the Heyri members. People who join Heyri come with the aim of participating in pure culture and art and living in a space where they can live, produce art and culture, exhibit and sell their works, and learn about their creativity.

In the beginning, there were only about 20 members who shared the same vision. During the Seohwachon period in 1998, there were 58 members, and 83 when they signed the first contract for buying the land later that year. In 1999, when they finished the final land contract, there were 197 people, and when the final member recruitment ended in April 2002, there were 310 members ready for the village’s construction[6].

Each of the members joined together with their dreams and visions, willing to participate in the realization of the community. The high participation of the members and the good quality of the operations came from their strict admission of members. Those who sought admission to join as a community member had to be part of the art or cultural field and approved by the Heyri committee. This strict process was particularly effective in establishing Heyri’s strong community spirit during the early stages. This community spirit is an essential element, and every member must share the ideology of creating‘my community’, a philosophy that is also emphasized by Akira Tamura in his theory of community making[5].

3.1.2Physical Environment

Heyri village planning was very unique. Other creative communities were formed in keeping with their history, however Heyri is unique, particularly with its design plan, being so different from all others. In comparison to other planned communities from the new urbanism viewpoint, although there are few similar cases of city planning, the community developing style are not free of commercialization and are driven by profitseeking development companies.

The planning concept and fundamental principles were decided by the Heyri members. The physical environment, however, was built in collaboration with experts from the architecture, urban planning, and landscape fields. The joint efforts of the experts and Heyri members made it possible to successfully realize their ideal space and create a city that is sustainable and has pioneering architectural and landscape designs. Heyri members have much pride retaining the ecosystem and the conservation of the original landscape, a crucial factor in developing Heyri’s identity. 3.1.3 Performance

Art and culture are the core branding components of the village and important factors in developing Heyri’s identity. A vital element in community making is having a shared platform for events and culture. Every year, various types of cultural productions are held in the village. The two official festivals in spring and autumn are the Heyri Pan Festival and the Heyri orchestra concert. The members also individually promote large and small exhibitions and musical performances in individual spaces. In addition, diverse programs, such as artist workshops, culture classes, sales of selected art products and events at the museums and galleries, are planned and organized by the community. The increasing numbers of visitors have propelled the cultural activities further, with participation from them who may not have specialized knowledge in different genres of art and culture[9].

The biggest shared platform is the Heyri Pan Festival. It was first held in 2006 and is an extension of the original Heyri Festival held from 2003 to 2005. It aims for an international exchange of art and culture that links to the concept of Heyri’s art and cultural productions. The festival exhibits various performances in the arts and is a mixture of various cultural genres. However, the Heyri Pan Festival has received some criticism for lacking uniqueness. Nevertheless, the festival continues to evolve every year, with the committee putting in effort to identify unique characteristics and directions[6]. Thus, the Heyri Pan Festival fills in the gaps between the artists and the public by promoting art and culture, and has the potential to benefit building Heyri Village’s identity.

3.2Roles

The Heyri Art Village is a good model of community making and the first attempt toward a planned creative community. Although it is too early to determine whether it is a success, Heyri has the potential to achieve sustainable development. Studying Heyri Art Village is valuable for learning about the impacts such a community might have on our society. The Heyri Art Village plays three important roles from geopolitical, economic and urban planning perspectives.

3.2.1Geopolitical Role

“A blossom in no-man’s land.”[10]

The Heyri community's geopolitical location plays an important role, implying future peace on the Korean Peninsula. The village is located in the city of Paju in the Tonglidongsan district of Gyeonggi Province. From the hills of the Heyri valley, one can get a bird’s eye view of the land of North Korea. The foreign press has paid attention to this geopolitical location. The Financial Time[10]states, ‘Only a few miles from the demilitarized zone separating North and South Korea—the world’s most heavily fortified border, patrolled by more than a million soldiers—an artistic community has sprung up, bringing cutting edge design and creative togetherness to an area usually associated with conflict.’ This shows that the comparatively progressive and flexible characteristics of art and culture have made it possible to enter an area with several geopolitical strains.

Art and culture exceeds the politics, boarder of nations, and other unseen barriers in our society. The power of art and culture sometimes bring out more than expectations, and this is the reason why the development of Heyri Art village in the current location has such an important role politically to release the tension between the South and North Korea, and for the future reunification.

Although the Tonglidongsan district is close to Seoul, the fact that it is right next to the border with North Korea posed as an obstacle for other groups or communities to enter the area before the construction of Heyri Art Village. This area has been avoided by people for almost 20 years even though it was designated by the government as a cultural exchange district aimed for the peace of North and South Korea. The government's plan for a cultural district seemed to fall apart and affected the neighboring areas as well. It was the Heyri Art Village that discovered the value of the abandoned land and gave it life through art and culture. Since the area was not popular among developers, the price of the land was low and the government was willing to support its development. Following Heyri, the development of the Tonglidongsan district became more active and it is now a cultural district with several shopping outlets and leisure complexes. More development plans are being proposed and implemented in the district to promote tourism and cultural development.

3.2.2Economic Role

Heyri plays an economic role at the micro and macro levels, that is, it has effects inside the village, and influence on the entire district and the city of Paju. At the micro level, the artist community has been successful in producing cultural products. Many artists claim that they are now in a better working environment and there are more opportunities to interact with artists from different genres; moreover, the ecological balance inspires them. Increasing number of people visit Heyri to learn and feel, and sometimes to reproduce cultural products. Heyri artists earn money by displaying their own work, teaching workshops, and participating in festivals. With more people visiting Heyri, various consumer facilities, such as cafes, bakeries and restaurants, are being set up. Currently, the majority of Heyri visitors are young adults between the ages of 20 and 30; this age group is the main consumer of art and culture. Also, the children’s facilities, such as various kids’ art and craft workshop and popular kids’ cafe 'I love strawberry', are another factor in attracting family visitors with young children. The wide range of the visitors from the major art and cultural consumers to family units allows Heyri's artists to keep produce art and cultural goods.

From a broader perspective, the Heyri Art Village’s decision of becoming a cultural district has helped stimulate the economic development of the Tonglidongsan district and the city of Paju. After Heyri, Paju English Village and Paju Premium Outlets have been constructed. Nowadays, a hiking course passes through the whole district has been developed, and there are traditional play experience center, kite-flying field and outdoor sculpture park for visitors attractions. The northwest part of the Paju city, which is near the border, has become a cultural tourism spot and receives numerous visitors on the weekends from the nearby Gyeonggi Province and Seoul. Therefore, Heyri’s development project has brought socio-economic advantages to Paju.

3.2.3Role in Urban Planning

From the perspective of urban planning, the Heyri Art Village is a good model for sustainable community planning, which is a major concern in the architecture and urban planning fields. For the past few decades, urban communities have faced many challenges related to the health and wellbeing of their citizens. To maintain a degree of balance between human activity and the natural environment, a new approach to urban development was needed. Due to the paradigm shift after the 1990s, the theme of an environmentally friendly city or eco-city emerged; this trend is reflected in many urban and regional planning designs. Heyri’s design plan prioritizes nature, making it a good case study for sustainable planning.

The village is built in the midst of nature, surrounded by six hills and a central wetland connected by waterways. The spaces are naturally divided into seven by the geographical features. The master plan of the Heyri Art Village was designed by YonseiUniversity Urban Planning and Design Studio, and architects Jongkyu Kim, Kyungguk Wu, Jongho Lee and Helen Park[12]. The plan proposed a design that reflects the new paradigm of ecological and environmentally friendly development.

Figure 3 Heyri orchestra concert Source: Heyri Administration.

Figure 4 Heyri Pan Festival Source: Heyri Administration.

3.3Strengths

The analysis of the Heyri Art Village highlights three objectives that Heyri has successfully achieved: the goal of pursuing an ecological village to maintain sustainability, building a strong community spirit to make the community independent and passionate, and making Heyri itself into a cultural brand. These are the strengths of the Heyri Art Village.

3.3.1Eco Village

The master plan of the Heyri Art Village is designed on the basis of the natural topography of the land. Geographically, the land is divided into eight small spaces in the valley between the hills. The concept of eight small divisions comes from the old village style that is simple and nostalgic, and the spatial design merges neatly with this concept. Moreover, each block is independent with a cul-de-sac[8]. The conservation of the central wetland helps prevent flooding and the connecting waterways supply water for cultivation.

In designing the Heyri Village, careful thought was put into conserving the natural habitat and maintaining the topographical terrain. As previously stated in the construction guidelines, there are strict regulations to ensure that these goals are fulfilled. The considerations are also visible in the detailed designs. To control rain water, they maintained the natural wetland and none of the roads and open spaces are totally covered. The roads are paved with blocks rather than impermeable concrete and asphalt, parking lots and open spaces have uncovered soil surfaces, walking trails are linked by slices of woods for stepping, and the private open spaces are based on pervious designs.

3.3.2Good Community Making

As stated above in the community making process, the Heyri Art Village is a good model of community making that we should learn to use in urban and regional development. The term community making describes both the things that is visible and invisible, which the visible part is the physical built community and the invisible part is the community spirit. In Heyri’s case, the balance between the built environment and the community spirit shows a good example of community making process.

Heyri Art village is an autonomous community with its own regulations, rules and a lifestyle different from other urban communities. They created their own constructing and governing system, which fulfills the hardware and software requirements specified by Akira Tamura (1987). The Heyri community has a strong community spirit and high member participation. The members constantly try to communicate with each other and discuss directions that can help realize their aims for the village. This detailed analysis of the community elucidates Heyri’s unique lifestyle and ways to plan our own communities. The idea of self-governance and planning one’s own community environment is an innovative way to achieve sustainable urban development.

3.3.3Branding Heyri

The Heyri Art Village opened to the public about 10 years ago. Today, Heyri is one of the most visited places near Seoul by local and foreign tourists. The number of visitors continues to increase every year; in 2013, the village had 1,200,000 visitors. In fact, the number of visitors far exceeds the village’s area capacity. What makes people visit Heyri?

The growing importance of art and culture in economic strategy shows people’s willingness to consume related goods. Creative products and activities attract people, and the committee invests great effort in promoting the Heyri Art Village as a place to consume creativeness. Various galleries and museums, festivals, and cultural education programs have encouraged people to visit Heyri and participate in cultural activities while spending time with their families and friends. There are places to shop, rest and eat; sometimes, people come simply for the food and coffee. The quality of these shops is also an element that attracts people to Heyri. These mixed characteristics and features are what make Heyri a cultural brand.

3.4Issues and Debates

Heyri has faced many obstacles, from the stages of preparation through management. Nevertheless, it is due to these hardships and the overcoming process the members have been through, that Heyri has achieved its present level of success. However, like any other community, there are various issues and debates to discuss and resolve. The primary issues can be divided into inner conflicts, that is, conflicts among the people, and spatial segregation, which has materialized from the inner conflicts.

3.4.1Inner Conflicts

The conflicts among the Heyri membersappear to be economic ones. Since Heyri is a joint venture, each member has spent a significant amount of money during the early stages, from buying land to constructing buildings. Moreover, the strict aesthetic architecture guidelines increased the costs of building construction and house management, which at one point were higher than those for apartments and houses in urban areas. Most artists have sources of income that are not attached to Heyri, and for more than half of the artists, the expenses exceed income[13]. If Heyri was considered a business, the profits are much less than the costs and investments; in other words, it is not a successful business. Although some members are prepared to endure these costs and put in effort even in the future, others are selling their land and moving out. This implies that Heyri’s art and cultural business structure was not effectively planned and implemented, thus causing economic conflicts among its members.

Next, there have been disputes between Heyri member residents and the tenants who prioritize profit making. Tenants who came to Heyri with a business motive tend to violate the rules and regulations occasionally. The Heyri community has set goals and a direction to create an ideal art and cultural community, and they work hard toward achieving these goals. Therefore, the community members should attempt to curb the commercialization of the community to maintain its reputation.

The increasing number of people visiting the Heyri Art Village every year has led to issues with tourists. The village aimed to be a place of international art and cultural exchange, and visitors who share their culture and consume the cultural products are the key to Heyri’s success. However, it appears that the more number of visitors, the more conflicts occur. Also, not all visitors come to Heyri to share and consume the village’s cultural goods. Some visitors argue that Heyri’s art and cultural products are too expensive; although they are willing to visit Heyri, they would prefer not to buy its products. Therefore, some members have been suggesting the imposition of an admission or parking fee to help with maintenance, but resolving these problems is not that simple.

3.4.2Spatial Segregation

The village is divided into the north commercial district and south gated community district. The difference in members’ purpose—to reside, work, exhibit or sell—affects their direction, perception toward art and culture, and production methods. Initially, the village was segregated by functions: commercial, mixed and residential. Thus, the space is divided into three groups. First are the largescale enterprises, tenants and visitors, whose focus are commercial entertainment based on culture and art facilities. Second are the high-end cultural production and consumption groups: artists who want to produce, exhibit and sell their goods; the gatekeepers who run galleries and theaters; the art collectors; and the Heyri administration department. Third are the ones who come for the peace and quiet, that is, artists and residents who want the comforts of rural life[13]. Due to these differentiations, the gated area became more secluded and the commercial area became more commercial.

The development and success of the community can be attributed to the increase in earnings and visitors, although it is difficult to avoid the issues and debates among the stakeholders regarding profits and distribution. The Heyri community is in the stage of overcoming these conflicts, and the members must work toward solutions that fit the direction of the community best.

3.5Evaluation of Heyri Art Village

The Heyri Art Village started out as a book town in 1994. The year 2014 marks its 20th anniversary since it took its first step as a creative cultural and art community. Heyri is the first community to link creative production, consumption and residents through the voluntary participation of creative producers and without significant help or support from the government or local municipality. The art and culture collaboration has created a synergistic effect, from village planning to management. The passion and effort of the Heyri members have helped them to realize their ideas and showed them new ways to achieve good community planning and improve their lifestyle. Moreover, the constant interaction and creative exchanges that the cultural producers have created have contributed to Heyri’s economic and social value.

Figure 5 Master plan Source: Heyri Architecture Committee, Architecture Guidelines.

Figure 6 Heyri’s small village blocks Source: Heyri Art Village Handout, 2014.

The analysis in this chapter makes it possible to posit that Heyri is halfway to its full success. Although Heyri’s success cannot be guaranteed, it has achieved meaningful outcomes from various viewpoints: architecture, sustainable communitydevelopment, good community practices and collective innovation. As in the past, the key to Heyri’s success in the future lies in the hands of its members. They must work together to overcome the issues of inner conflicts and spatial segregation as well as those that may crop up in the future. They should monitor areas that are presently commercialized and ensure that the village does not become just a tourist spot with expensive restaurants and cafes and pretty buildings. If they do not forget the passion they held at the beginning of the village’s construction, Heyri can develop into a place of international culture and art exchange.

Figure 7 Wetlands and waterways Source: Author.

Figure 8 Walking trails Source: Author.

Figure 9 Permeable open space Source: Author.

Figure 10 Unpaved parking lots Source: Author.

Figure 11 Panoramic view of Heyri Valley Source: Heyri Administration.

4　The Development Mechanism of Creative Communities

As discussed in the earlier chapters, community making mechanism should have a good combination of natural environment, society and emotion. In terms of creative communities, they indeed follow the general structure of making a community, however their social event, job and living style is based on creativity different from ordinary communities. In case of Heyri Art Village, their location and the used nature-friendly construction technology, autonomous community rules and guidelines, and the artist's innovation and village design that can attract people's emotion are combined very well as a good setting to be developed as a successful creative community.

In order to function as a full creative community, three major forces are needed to maintain the development of the community: (1) people; (2) the environment; additionally, (3) the interrelationship between the two forces is crucial.

The first driving force for the development of a creative community is people. Creativity and innovation comes from them, and their collective products have already become important in our society and economy. As studied in Heyri’s case, the Heyri members put in a lot of effort to create good quality creative products and cultural activities. In the first level, the artists get good inspiration from the natural suburban environment, free lifestyle and interaction among other artists from different fields. In the second level, the various art and cultural activities such as musical performances, festivals, art exhibitions and educational workshops, are Heyri’s cultural products and the major economic source that helps the village to continue to exist and maintain its development.

In the Heyri Art Village, the high participation of the artist members is the main force that maintains and develops the community. The key factor in making and developing a community is the collaboration of the members, and the recognition of the community as a whole. The Heyri members have worked quite well so far by creating the community’s directions and rules, and this effort led to realize the creation of an ideal living and working space for the artists, as well as building up a strong identity as an art village.

The second driving force is the environment. For the creative outcomes, a place must have an environment that can nourish art and culture. The location of a creative community should support the development of all types of creativity and provide ecological working and living spaces[14]. The uniqueness of Heyri Art Village comes from the environmental factor that their location and the community’s environment was fully planned to function as a mini cultural city that maximizes the creative condition.

The Heyri community is ecologically welldesigned with large open spaces, keeping the original natural condition that contributes to the artist’s lifestyle of creating good cultural products and providing a place for cultural exchanges[14]. Heyri’s design, which balances the human activity and the natural environment, provides a healing spot to both the community members and the visitors. Most of the Heyri members used to live in urban areas like Seoul or nearby big cities, and they claim that they are satisfied by the relaxed suburban life after moving into Heyri Art Village. Therefore, in Heyri, the natural environment functions as a source that boosts the artist’s creativity.

The additional core success in the development mechanism of a creative community lies in the interrelationship between the people and the environment. The two forces need to exist together and need to be balanced for sustainability. The reason that the Heyri community is successful so far is a good balance between those two forces. The members have high participation dealing with the village matters and actively participate in cultural production, and the natural environment and the planned designs of the village which support the creation and the community's further development. If the balance breaks or this condition changes, the community can lose its function as a creative community. Our society is naturally organic, in that many communities can constantly emerge and dissolve. However, it is worthwhile to support, maintain and develop creative communities that can be influential in our socio-economic development.

5　Conclusion

This study aimed at the development mechanism of creative communities and elucidating their values and meanings by focusing on the Heyri Art Village. Through the case study, we discovered that the people, the environment and their harmony are the major driving forces in a creative community’s development. Also, the developmental pattern shows that the creative people congregate in a place that can foster art and culture, and they economically develop based on their creative products, then the creative industry thrives and attracts more creative people and the public.

The major driving forces—people and environment—in the development of creative communities are the core elements identifying the types and the characteristics of the community. In a lager perspective, it decides whether it is an urban type or a campus type, and in a smaller perspective, it decides that the community is more focused on the creative people or the creative industry. In order to make economically successful communities, each community should have distinctive characteristics of their own representative contents and goods. Therefore, it is important to study the development pattern to maintain the creative industry to keep developing that creativity can function as a tool for stimulating both social activeness and economical growth.

Heyri Art Village is a relatively new subject of study, and the concept of a creative community is constantly evolving and changing; thus, it is important to understand the formation and development of the community for the future development. Heyri is a good example of community making that has positive implications for the future alternative community. It would be helpful if future studies come out that are conducted from the resident's point of view focused more on their living, for a better understanding of the delicate issues, changes and development in the village. This would help to find possible ways to replicate this model in other regions, and other existing creative communities that can benefit from the Heyri's case for the development planning.

The Development Mechanism of Creative Communities:a Case Study of Heyri Art Village,Korea

Creativity plays an important role in stimulating social vitality and economic growth, facilitating significant changes in small communities and larger regions alike. To this effect, creative communities have become a kind of social phenomena in modern society, and their collective cultural productions have contributed positively to socioeconomic strategies. This study focused on the Heyri Art Village in Korea will elucidate such social phenomena and the development mechanism of creative communities by tracing the progress of the community making over the past decade. This study will also discuss the appearance, development, practice, and uniqueness of the Heyri Art Village and will study the making mechanism of a creative community. Heyri is a good model of sustaining a community and its future development, which can be adopted in other urban and regional settings.

Creative community | Creative cluster | Community making | Heyri Art Village

1673-8985（2015）06-0044-17

TU981

A

金道沿（Kim Doyeon）[韩国]

芝加哥美术学院

同济大学建筑与城市规划学院硕士

翟宇琦

同济大学建筑与城市规划学院博士研究生

国家自然科学基金项目，批准号：51378362。