文化創意，在全球近年發展文化創意產業和創意城市的風潮下，被各國政策制訂者視為 解決經濟、教育、社會和城市問題的萬靈丹。文創工作者因此而被期待作為都市再生、文化 復興和城市競爭力的前導者和催化劑，其地位也躍升為創意階級。本文將以 Harvey (2001b) 的空間修補和固著、以及 Peck (2007) 創意修補的概念，針對臺北市近十年從閒置空間再利用 到創意城市的發展論述，來討論文創工作者如何被當作閒置空間、地方文化與城市競爭力修 補和固著的工具。本文將藉由官方和藝文界的論述、經驗研究資料與西方論述交織對話，指 出在臺北市，文創工作者如何被官方和企業作為城市破敗空間的修補者、高檔文化的固著者 和區域階級的淨化者，進一步描繪文創工作者於其中的困境。

This paper has arisen from an awareness of the burgeoning global epidemic of the development of cultural and creative industries and creative city. Culture and creativity are being recast as a panacea for economic prosperity, educational reform, and social cohesion as well as city competitive advantage. Creative labour hence are employed as a regenerator as well as a catalyst in arts/culture/ creative -led urban regeneration process. This paper uses example of Taipei city, and draws on both Harvey’s (2001b) concept of “spatial fix” and Peck’s (2007) concept of “creativity fix” to see how creative labour are seen as an instrument to fix the local lower class culture, brownfield sites and the city’s competitive advantage in the official and arts critics’ discourse. This paper argues that creative labour are victims of the gentrification process and continually suffer low pay, pervasive insecurity, freelance working, and living a bohemian life. As their odds of success are low in this creative economy gamble.