Attractive elements design for creative class in dining space

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FOR CREATIVE CLASS IN DINING SPACE

AUTHOR: Yun He

SUPERVISOR: Prof. Davide Fassi

COORDINATOR: Prof. Zhiqiang Wu

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ABSTRACT

Economic globalization has promoted the competition mode from "National Competition" to "Urban and Regional Competition". And the transformation of the economic development mode from the traditional "Industrial Economy" to "Knowledge Economy" highlights the role of "Creative Economy" in urban and regional competition. As the core of creative economy, creative class has become an important research topic. However, most studies of creative class focus on macro-level, such as economy, policy and regional development, and lack of deeply micro-level research. This paper takes the dining space as the starting point, then explores the needs and behavioral characteristics of creative class inside. By studying the influence of different dining space elements on the creative class’s activities, to figure out the attractive elements in dining space for creative class and establish attractive elements model.

Firstly, the information of creative class’s activities and dining spaces in Shanghai were captured by big data method. Then, ARC-Gis software was used to analyze the data, the result confirmed the correlation between the geographical distribution of dining space and the activity area of creative class. Meanwhile, a further study has been carried out to research the preference degree of creative class for the inherent elements in dining space, such as price, service quality and food type. Secondly, through the case study of typical creative dining spaces, this paper summarized six functional elements in dining space: culture complex, culture stimulation, social interaction, display platform, cross-industry alliance, Entrepreneurship station. Those elements can not only attract creative class, but also help them to stimulate creative ideas and implement them.

Thirdly, based on the employment status, creative class were divided into four different groups: employment group, entrepreneurship group, freelance group and future creative group. Meanwhile, their consumption needs were analyzed one by one according to Maslow's demand theory. Then matched those needs with the elements in dining space, so as to establish attractive elements model for different creative groups respectively.

Finally, the research results were applied to the specific dining space design of Maqiao AI New Town (Shanghai). The spatial deduction was carried out with the help of the intelligent model developed by our team, and the geographical location

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ATTRACTIVE ELEMENTS DESIGN FOR CREATIVE CLASS IN DINING SPACE

and attractive elements of dining space were reasonably arranged based on the computer deduction results. Then, this paper focused on the overall design of entity dining space，and put forward design suggestions from different perspectives to meet the needs of creative class.

Key Words: Creative class, Attractive elements, Attractive elements model, Dining space

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CHAPTER 1

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1.1 RESEARCH BACKGROUND AND MOTIVATION

1.1.1 Development of Creative Cities

1. The rise of creative industries

The “creative industries” is also widely known as the culture industries, the creative economy, the orange economy, etc. It is a new type of industry born in the context of globalization and driven by creativity. In November 1998, the Creative Industries Task Force (CITF) of the British Labor Party government officially proposed the concept of “creative industries” in its published “Creative Industries Mapping Document” (1998) and Defined it as “those industries which have their origin in individual creativity, skill and talent and which have a potential for wealth and job creation through the generation and exploitation of intellectual property. 1_{” The mapping is done by sector, comprising of advertising, antiques,}

architecture, crafts, design, fashion, film, leisure software, music, performing arts, publishing, software, TV and radio.

The rise of the creative industry stems from the promotion of historical development. Firstly, developed countries such as Europe and the United States took the lead in completing industrialization. In order to further expand economic efficiency, the industrial focus began to shift to high value-added industries, such as service industries. Secondly, due to the impetus of economic globalization, developed countries have migrated high energy consumption and pollution industries such as processing industry and heavy industry to low-cost developing countries, which has led to the decline of economy in old industrial cities. In order to revive the vitality of those cities, economic transformation was imperative. Thirdly, in the 1960s, a large number of social and cultural movements broke out in Europe and the United States. Subculture and popular culture began to prevail. People paid more attention to highlighting personality and differences, advocating multiculturalism. Those actions formed a social atmosphere conducive to the development of individual creativity. The most important thing is that under the globalization dimension, the economy is becoming more and more integrated, and with the development of digital information and the Internet, McLuhan’s “global village” has been formed. Various industries, especially high-tech industries, have become increasingly similar. Therefore, regions, enterprises and individuals need to create more economic benefits by creating differentiation with creativity and innovation, which further stimulates the development of creative industries.

There is a fundamental difference between creative industries and traditional industries. Besides practical value, creative industries use creativity to add additional value of products or services, which can comprehensively enhance their overall economic value. At the moment, the creative industry is not just a concept or an industrial model, but a direct reality with huge economic benefits. In his book “Creative Economy”, John Hawkins pointed out that "the global creative economy generates $22 billion in daily earnings, and this number

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is growing at a rate of 5%.2_{" Currently, the growth rate in developed countries has reached}

more than 10%, and the United States has even reached 14%. 2. The development of creative cities

Under the impact of globalization, the role of national borders is gradually weakening, while the lower-level entities—regions and cities have become the basic unit of economic competition and social competition. Under this competitive mode, cities need to actively promote themselves by highlight their own advantages and uniqueness, in order to obtain more investment and better development. According to Hopers' (2003) study: "To solve the ‘globalization-localization contradiction’, the city must constantly enhance its unique personality in the process of globalization. The manifestation of urban personality can only be achieved through creative means.3_{" Other scholars pointed out that "the development of}

contemporary metropolises is facing serious structural problems, such as the decline of traditional economic industries, the lack of collective belonging of residents, and the deterioration of urban living quality. These problems often need to be solved through creative thinking methods, but not traditional thinking methods."

Scott (2006) pointed out that "creative economy" has the characteristics of "Specialized Locational Clusters" in space, which shows that creative industries with similar characteristics will form spatial agglomeration in a certain range4_{. The gathering areas of}

these creative industries will become the driving force for urban and regional development. The Silicon Valley, Hollywood and other places in the United States are typical examples. In 2001, following the concept of “creative industry”, the British government proposed the concept of “creative city” and constructed a corresponding public policy system. Landry (2005), the founder of Comedia (an UK creative city research institute), puts it: The city needs to achieve revival and development, only through the city's overall innovation, and the key lies in the city's creative foundation, creative environment and cultural factors. Creative city is an important engine to promote the development of knowledge economy. Creativities sprout creative industries, creative industries constitute creative city, creative city attracts more creative talents and groups, thus giving the city new vitality and competitiveness. At present, the economic development mode is accelerating the transition from “industrial economy” to “knowledge economy”. The era of “creative economy” based on “knowledge economy” is coming, and the construction of creative city has become an inevitable trend of development.

1.1.2 The Core of Creativity - Creative Class

Florida (2002) first proposed the concept of “creative class”. Through empirical research in North America and the United Kingdom, he found that creative class are the main driving force for the development of urban knowledge economy: creative class can not only generate innovation, but also bring entrepreneurship and attract new economic activities,

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which will lead to innovative growth and economic growth in the whole region. Therefore, the government should treat creative class as the focus of work and policy, not just regions and enterprises5_{. For example, Berlin provides excellent infrastructure and space for the}

activities of creative class. Various creative people such as designers and architects all have suitable public communication platforms and free working spaces, including Bauhaus Museum and Vitra Design Museum. Because of this highly competitive infrastructure, Berlin has attracted a large number of creative people and creative companies from all fields. Studies by scholars at home and abroad have shown that creative class's preference for environmental space presents very complex features, including infrastructure, natural environment, cultural diversity, industrial diversity, social inclusion, etc. The conclusions of these studies indicate that creative space is not a specific space, nor can it be measured by a single indicator. Its construction is an extremely complicated process, and the simple material space is not a decisive factor for the convergence of creative class and their creative activities. For example, through field research on the Nanluoguxiang area in Beijing， Zhang Chun (2008) found that the historical space is the catalyst for the formation of creative activities, while the emergence of bars and coffee shops makes creative people gather, and the interactive activities of creative people can promote the production of creative achievements6_.

In the current social environment, along with the development and application of information & communication technologies, the freedom of choice of creative class' work content, work space and activity space is getting higher and higher. Under this background, how to cultivate specific space with creative atmosphere to attract creative class has become a strategic work for all the creative cities. For this purpose, this paper takes dining space as the starting point, and concludes attractive elements in dining space for creative class by studying the impact of dining space on creative class’s activities, and then summarizes the design methods of dining space in the gathering area of creative industries.

1.2 RESEARCH SCOPE

1. City - Shanghai

Before elaborating on the specific research objects and research questions, it is necessary to define the regional scope of this study. Since 2006, the construction of creative cities in China has entered a vigorous development period. Some cities, such as Beijing, Shanghai, Shenzhen and Wuhan, have successfully promoted the development of urban economy through the development of creative industries, and also created their unique city brand. Shanghai is a typical representative of creative cities in China. In 2010, following Shenzhen, Shanghai successfully become the “Design Capital” and joined the United Nations Creative Cities Network. Nowadays, creative industry has become a pillar industry in Shanghai, and

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shows its infinite vitality and development prospects with its characteristics of innovation, integration and opening.

In Shanghai's "Urban Development Planning 2011-2015", the development vision of Shanghai's creative city is fully described. The development goals of building a vibrant and innovative city, constructing a future-oriented smart city and shaping an international cultural metropolis are put forward. Under the policy of "mass entrepreneurship and mass innovation" in Shanghai, creative industry has gradually become an innovative driving force for the development of its creative economy, an important way to improve the quality of cultural life of its residents, and an effective means to shape its city brand and international image. From the 2010 World EXPO to Shanghai Design Capital Week, Shanghai Fashion Week, Shanghai Biennale, Shanghai hosts a large number of design and creative fairs or events every year. Through these interactive platforms, large number of creative people and creative enterprises are attracted. And they also provide great opportunities for the further development of Shanghai's creative industries.

The essence of creative city is to attract, cultivate and retain creative class. Shanghai provides a superior social environment for the gathering and activities of creative class. Firstly, Shanghai creates a multi-cultural atmosphere to provide a friendly environment for creative people from all over the world to learn, work and live. Secondly, Shanghai encourages innovation and entrepreneurship, and provide platforms for creative people to realize their ideas. Thirdly, Shanghai hosts large-scale creative activities and competitions to gather international creative resources. Finally, Shanghai expands creative ideas to all aspects, for example, it applies creative methods to urban planning and urban construction. According to statistics, the added value of creative industries in Shanghai reached 282 billion yuan in 2014, an increase of 8% over the same period of last year7_{(Wang Xueqin,}

Chen Ya, 2014). As of 2015, there are 178 creative industrial parks in Shanghai, which are the backbone of China's economic transformation. At present, Shanghai has gathered a large number of creative industries and creative people from all over the world, which is the main reason why I regard Shanghai as the research base of attractive elements in dining space for creative class.

2. Area of creative industries - Maqiao AI New Town in shanghai

Maqiao AI Town is located in the southwest part of Shanghai. It covers an area of about 10.4 square kilometers. It consists of two parts: the application demonstration zone and the industrial park. The planned area of the demonstration zone is 4.9 square kilometers, and the planned area of the industrial park is 5.5 square kilometers.

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Figure 1.1 Maqiao AI New Town (Source: WUS Studio)

Maqiao AI New Town will creatively build a global AI application demonstration base, collaborative innovation station and industrial collaboration center with the world's vision. It will realize the goal of "more convenient life, more efficient production and greener environment", and build a future AI town model with global demonstration effect. But Maqiao AI New Town also faces the problem of lacking creative people. The whole region has a permanent population of about 110,000, and AI Town has a population of about 30,000. It lacks the creative population needed for operating creative industries inside. Although Maqiao AI Town is located in Zizhu Innovation and Entrepreneurship Corridor (the core area of Science and Technology Creation Center in southern Shanghai), it does not have creative class resources such as universities and scientific research institutes. High-level creative people still need to be introduced in large quantities. Therefore, Maqiao AI Town regards the building of characteristic dining space as one of its strategies to attract creative talents, which also provides a basis for the research and practice of this paper.

1.2.2 Research Objects

The main research objects of this paper are creative class, dining space, attractive elements, and gathering area of creative industries. In order to carry out the research, this paper also cites the concepts of creative interaction behavior and creative interaction platform. Below, these concepts will be explained one by one.

Creation: Creation originates from human thinking, skill and talent, and it means the creation of new things. There is a big intersection between creation and innovation, but there are also differences. Although both of them represent the process of new things from idea to landing, there are differences in the scope of application, and the scope of creation is broader8_{. Innovation usually takes place in enterprises, organizations or institutions to}

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not only breakthroughs and advances, but also creative ideas and activities which are more related to life, social, and cultural.

Creative Class: Richard Florida (2002) defined creative class as: creative class's work involves creating new ideas, new technologies, and new contents, their works include all aspects of design, science, architecture, education, music, computer, software, literature, art and entertainment, etc.9_{. These people have the spirit of innovation, and they pay much}

attention to work originality and the expression of personal will. They also have an inseparable relationship with culture, art, science, economy and other things. And they are constantly pursuing innovation and creation. This paper defines the creative class based on Florida’s theory. Meanwhile, those who have creative thinking, ability, and actively participate in creative activities to put their ideas into practice are also belonging to creative class.

Dining Space: “Dining” refers to obtain energy needed for daily activities from foods and drinks. “Dining Space” means a space where people can get foods and drinks, as well as appropriate services. People are always stay in this kind of space until they finish eating10_.

Attractive Elements: “Attractive” means that something can arouse people's interests and promote people to move closer it. The “attractive element” is the characteristic that must be possessed by the thing in order to attract a specific group of people. The attractive elements in this paper refer to the characteristics of dining space that can attract the creative class.

Gathering Area of Creative Industries: Creative industries mainly include advertising, antiques, architecture, crafts, design, fashion, film, software, music, publishing, etc. Gathering area of creative industries can effectively gather creativity and promote the development of related industries by sharing resources and overcoming external negative aspects together. This kind of area can help the formation of industrial clusters and the positive interactions between industries. Meanwhile, its nature and characteristics will determine the final direction of industrial clusters, which is important for regional economic growth11_.

Creative Interaction Behavior: Creative interaction behavior refers to the communication behavior of creative class. It not only contains the interaction behavior between creative class, but also the interaction behavior of creative class with space and objects when they are doing creative activities. These kinds of behaviors can promote the creation, development and actual implementation of ideas.

Creative Interaction Platform: The creative interaction platform refers to the carrier that provides convenience and resources for the creative class to carry out their creative activities. It is not limited to a single form. In physical space, it can be embodied as a creative space where creative class can gather, learn, work, and communicate with each other. It can also be an organization (such as a coalition) where can integrate various

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creative resources to serve the activities of creative class; in virtual space, it can serve as a communicative website to help creative class to display and exchange information and broaden the possibility of introducing external resources for creative class as well.

1.2.3 Research Questions

Through the preliminary research, this paper summarizes the questions that the research will focus on as follows:

1. Does creative class's activity have spatial and temporal laws, and how to use big data analysis method to analyze and visualize the laws?

2. What is the relationship between the activity of creative class and the distribution of dining space, and what are the internal factors make that kind of relationship?

3. How to analyze the behavior characteristics of creative class based on the influence of dining space and obtain the attractive elements, then establish attractive elements model by combination with the existing theory?

4. In the gathering area of creative industries, what is the combination form and presentation form of attractive elements in dining space for creative class, and how to build a set of design methods or design guidelines with scalability and reproducibility?

1.3 RESEARCH SIGNIFICANCE

This paper will analyze the activity area of creative class by the means of big data analysis, visualize the activity law of creative class, and compare the law with the temporal and spatial characteristics of dining space, then figure out the correlation between creative class and dining space. At the same time, this paper will study the behavioral preference of creative class in dining space to summarize attractive elements in dining space. Then, the form and mode of these elements implemented in the gathering area of creative industries will be explored, thereby increasing the attraction of the gathering area to creative class and activating the vigorous vitality of this region.

1.3.1 Theoretical Significance

At present, the creative economy is gradually developing to the “innovative economy represented by artificial intelligence”. However, no matter how its external name changes, its core driving force has always been the creative activities of creative class. China's creative economy has a relatively short development time compared to many developed countries. And most of the research on "creative economy" in China focuses on creative industries and creative parks. While the research on the characteristics and activities of creative class is extremely lacking. And quantitative data analysis, theoretical summary and visualization of creative class are still in the blank.

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This paper takes the dining space as the starting point, studies the behavioral characteristics of creative class. This research approach will open up a new perspective for the study of “creative economy” from the micro level. At the same time, this study quantitatively analyzes the relationship between creative class and dining space through big data analysis method, and obtains the law of creative class's activities in dining space as well as their service demand, and the elements of public interaction space they need. These data, laws, spatial elements and other information will be necessary materials for future research on such issues. The use of big data, correlation analysis and other technical means can pave the way for future research of this kind.

1.3.2 Practical Significance

The economic vitality of a city in the future depends on the development of the city's creative industries, and the key factor in the development of the creative industries is whether the city can attract the gathering of creative class. In China, we have a saying of “Food is god for the people”, and the attraction of dining space to creative class should not be underestimated, but most cities ignore the importance of the interactive function of dining space in stimulating the city's innovation vitality. The absence of complete and effective theoretical guidance is the key reason for this phenomenon. This paper hopes to summarize the existing research experience and achievements on creative industry, creative class and dining space through the study of the activity law of creative class in dining space, and then to innovate on the basis of summaries. The potential needs of creative people are discovered through large data analysis, case studies and other means, and these needs will be put into design practice in dining space. Those research results can help designers, planners and managers to better grasp the design direction of dining space in the gathering area of creative industries, so as to formulate more rational development strategy, and create a dynamic creative region and creative city.

1.4 RESEARCH METHODS

This paper comprehensively adopts a variety of research methods and different tools to study and analyze related issues, aiming to obtain more systematic, comprehensive and reliable research results.

Document investigation method: This is the most commonly used academic research method. Through reading relevant literature, periodicals and books at home and abroad, as well as systematic analysis, we can get information about creative class and dining space, which lays a solid foundation for the next research work.

Big data analysis method: The core data of this paper is creative class’s activity data and dining space data in Shanghai. All the data are from the author's own coding, grabbing, cleaning and processing. Firstly, the author grabs the Weibo (a public network social platform) activity data of creative people in Shanghai through the web crawler tool, and

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obtains the activity time information and geographic location information of creative people. Secondly, the author grabs the geographic location information, opening time information and various service information of Shanghai dining spaces through the Meituan Web（a mobile catering service platform）. Then all the information is cleaned, analyzed and visualized, so that we can find the laws inside.

Spatial correlation analysis method: The main purpose of correlation analysis is to calculate the correlation degree and nature of creative class's activity area and dining space, and reveal the intrinsic correlation factors. The measurement of spatial correlation in this study is mainly accomplished by Band Collection Statistics of ArcGIS software.

Case study method: This study emphasizes the representativeness of the case in the selection of cases. According to the research needs, the author selects three levels of cases: creative city, gathering area of creative industries and creative dining space, in order to analyze attractive elements from different perspectives. Firstly, Shanghai is selected as the case of creative city, because Shanghai's creative industries are relatively mature and advanced in China, and has gathered a large number of creative people. Secondly, Maqiao AI Town is selected as the case of research and design practice of creative industrial gathering area, because Maqiao AI Town combines the most advanced design concepts and technologies, and it aim to be the development benchmark of future creative industrial park. Finally, some most typical cases of creative dining spaces are chosen and analyzed, and their characteristics are excavated to summarize the necessary elements of creative dining space.

Inductive summary method: Through the analysis and summary of the data and information obtained in the previous period, combined with visualized method to sort out the relationship between creative class and dining space. Based on this, we can infer attractive elements of creative class in dining space and further construct attractive elements model.

1.5 RESEARCH FRAMEWORK

Chapter 1and chapter 2 of this paper focus on background research and basic theoretical research. Chapter 3and chapter 4 mainly describe the use of big data methods to capture creative class’s activity information and dining space information, and visualizing the information and their correlation. The results prove the preference of creative class for dining space, and also present the different influences between the basic elements of dining space (food type, price, service quality) on creative class.

Chapter 5 is to further demonstrate the attraction of dining space to creative people through case studies of dining space. It also summarizes the influence of different functional elements of dining space on creative people's activities.

Chapter 6 analyzes and summarizes all the attractive elements of dining space, and studies the needs of different groups of creative class which has been classified into four groups

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according to different occupation status, then corresponds the attractive elements of dining space to the needs of different creative groups one by one, so as to construct the attractive elements model of dining space for different creative groups respectively.

Chapter 7 is mainly about the case of Maqiao AI New Town in Shanghai. Based on the results of computer deduction, the author carries out the design practice of the attractive elements of dining space for creative class. At the same time, the author also puts forward some suggestions on the design of dining space that can meet the needs of creative people from the different perspectives

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CHAPTER 2 LITERATURE REVIEW AND THEORETICAL BASIS

CHAPTER 2

LITERATURE REVIEW AND

THEORETICAL BASIS

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2.1 CREATIVE CLASS

Since the economic globalization, especially under the impact of information and communication technologies, the earth has gradually developed into a global village. The national boundaries and concepts have become blurred, and the competition unit has shifted from the counties to cities and regions. As the fifth-largest capital element after material capital, land capital, human capital and social capital, creative capital is gradually becoming the core driving force of economic development, and its role in promoting the development of "creative economy" is also highlighted.

The core of urban innovation is creative class. Edward, professor of Harvard University, urban economist, points out that the scarcest resource for innovative technology enterprises is creative talents. Therefore, in today's increasingly labor mobility, the strategy of attracting creative people through providing creative environment has become an important part of urban development.

Professor Guilford (1950), an American psychologist, puts it: “Everyone has creative abilities and creative activities. While creative people just have more creative activities than ordinary people.12_{” According to him, people can be divided into two kinds: “those who occasionally}

engage in creative activities” and “those who often engage in creative activities”. Although Professor Gilford classifies people according to their frequency of participation in creative activities, he does not propose a clear conceptual distinction.

The concept of “creative class” was first proposed by Professor Florida (2002) of the University of Toronto, Canada. His definition of creative class is that the community engaged in creative work that can theoretically exist in any industry. Florida believes that American citizens have divided into four major classes: agricultural class, industrial class, service class, and creative class. The creative class is not limited to a specific profession, it covers all fields of the social economy. He also divided the creative class into three categories: creative cores, creative professionals, and bohemians. The core creators are fully engaged in creative activities, they have the ability to lead the direction of innovation; professional creators have mature-innovative knowledge and skills, which can help them to solve problems in creative practice; Ranger creators do not have formal education of relevant knowledge, but they have unique views in his field.13_.

Through the study of the American city of Portland, Chinese urban planner Rao Fujie expounded the transformation of urban development from “industrial cluster” to “creative cluster”. He proposed that compared with traditional cognition, the theoretical system of creative class has four major breakthroughs14_:

1. The core of post-industrial urban economic development is not based on creative industries (such as the Internet industry) but creative people;

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3. The city is more suitable for creative people because of its population aggregation, cultural diversity and facility convenience.

4. The key to attracting creative people is "human-oriented environment", i.e. new ideas form new communities and urban atmosphere with high tolerance.

2.1.1 Generation Of Creativity

Qiu Yongyi (2014) Studied the Motivation of Creative class's behavior by Analyzing Maslow's Demand Hierarchy Model. He believed that creative behavior of creative class has two meanings: Firstly, creative behavior meets people's spiritual needs of self-realization when material needs are sufficient; secondly, creative behavior is an effective way for people to enhance their self-existence value in this utilitarian-oriented society15_.

In general, creative activities can be divided into two types, one is to combine existing knowledge (Recombination), and the other is creating completely new knowledge (Novelty), also called innovation. At present, most creative activities are based on the combination of existing knowledge, which also causes creative class's preference for diverse and heterogeneous spaces.

Gasson (2004) explained the process of creation from other perspectives and proposed the OPEC model: Objectives-Process-Expansion-Closure16_{.Motycka (1998) proposed the}

ARME model from the perspective of knowledge dissemination: Abstraction-Regress-Mythologization-Empathization17_{. Based on summarizing many knowledge models,}

Wierzbicki (2004) created a more systematic model to illustrate the process of creative activities. As shown in the figure 2.1, the horizontal axis is the heritage of knowledge, including emotive heritage, intuitive heritage and rational heritage. The vertical axis is the corresponding groups and individuals under the knowledge system, and they are linked through various nodes. Finally, Wierzbicki regarded this matrix as the “Metamodel of creative process of knowledge and technology”, and defined it as creative space 18_.

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2.1.2 Impact of Creative Class On Urban Economy

While defining creative class, Florida has put forward the "3T" theory that technology, talent and tolerance are positively correlated with urban economic growth. He pointed out that creative class can not only generate creativity, but also attract new economic activities through creative activities and creative atmosphere, thus driving the development of the entire city economy19_{. Corresponding to the "3T" theory, Glaser (2003) proposed the "3S"}

theory: skills, sun, and sprawl. He also believes that the key to urban development lies in attracting creative people20_{. Möller (2009) found that the concentration of creative people}

can explain the economic growth of a city better than the traditional human capital indicators. But unlike Florida, Möller believes that the main reason for a city to attract creative people is its high employment rate and salary level21_.

Another study has shown that when the number of creative people in a region reaches 6% of the total population (the number of creative people in a city is usually between 3% and 4%), it has arrived a critical turning point, after which the economic development of the region will have internal impetus and the entire region will gradually become prosperous22_.

This is the "6% creative people" theory. Take San Francisco Bay Area and Los Angeles for example, where creative people have gathered more than 6%, making them world-famous economic centers. To test this theory, a laboratory called City Lab did an experiment with Garfield in Pittsburgh. Garfield, which covers an area of about 1 square kilometre, was once famous for its high crime rate. City Lab defined people engaged in art, design, entertainment, media and sports as creative class, and then formulated a series of population migration strategies to encourage creative people to settle in. Now Garfield has become a vibrant art community and one of the must-visit destinations for tourists, and the value of the surrounding properties is also constantly rising.

2.1.3 Behavior Modes of Creative Class

Florida (2002) believes that creative professionals are mainly concentrated in knowledge-intensive industries. They are the main producers of creative activities, and most of them have received formal higher education. In general, creative activities can be divided into three modes: professional R&D creative mode, interactive communication creative mode, and production service creative mode. (Qiu Yongyi, 2014)

1. The creative mode of professional R&D mainly takes place in scientific research projects. Generally, it occurs in laboratories and scientific research institutes which are far away from cities and have strict confidentiality, and a small number of professionals gather together to carry out key research projects.

2. Interactive communication Creative mode is the most common creative mode. It generates unexpected creative results through interactive communication activities by large-scale and diverse creative people. Its low threshold and zero cost nature has attracted a large number of creative people and formed many creative groups. The

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micro-CHAPTER 2 LITERATURE REVIEW AND THEORETICAL BASIS

creative groups operate flexibly in the way of small-scale team cooperation. They advocate individual creativity and product innovation, and integrate culture and creativity to add high added value to products. Their products can also quickly occupy the market because of the characteristics of products can highly meet consumers' needs. However, this creative mode still has a lot of drawbacks. As the demands of consumers are constantly changing, the outputs of such creative mode cannot prosper on the market for a long time. At the same time, due to the financial constraints of those micro-creative groups, their products cannot be further improved and updated, so that the creative products born from this mode show a flash in the pan. In response to this phenomenon, “angel investment” has emerged as the times require. That is, individuals or institutions with wealth make early direct investment in start-up groups with great potential for development. At present, the typical successful cases in China are "ELEME" and "MOBAI".

3. The production service creative mode is mainly used to develop relatively mature creative enterprise. It emphasizes the implementation, application and promotion of creativity, and creativity has become a product that can be quantified, controlled and traded. The creative products under this mode show the characteristics of rapid global mobility, which is not limited to a specific region, and this is the inevitable trend of pursuing maximum benefits. Apple is a typical example of this creative mode.

For a healthy creative system, these three modes of creative behavior are indispensable. However, due to the strong professionalism and high threshold of professional R&D creative mode, the number of creative groups under this mode is extremely small, so the creative groups mentioned in this paper are mainly for the latter two creative behavior modes.

2.1.4 The meaning of creative class's interactive behavior

By studying a large number of urban cases, Hall (1998) proposed that the city's creativity comes from the interaction of different groups of people, including various groups engaged in different occupations and from different regions. It is precisely because of the interaction of these groups that different cultures can collide and merge in the city, resulting in new ideas23_{. At the same time, sociologist Martin Ruef discovered that the more diverse a}

person's social network (social target groups) is, the stronger innovative ability he possesses24_{. In addition, another research has shown that social behavior can make the}

brain more active and transmit information more quickly. In other words, the wider the social network is, the more developed the brain can be, and the stronger the creative abilities will develop.

Since the main way of producing creativity is the combination of existing knowledge, it is necessary for creative people to have sufficient knowledge reserves when they are doing creative activities. However, the individual's knowledge reserve is limited, and the best way to broaden one’s knowledge storage is to make friends with different social groups through social behaviors. By this way, creative people can obtain endless new knowledge from

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others and generate endless new ideas. This point can also be confirmed by the study of Fallah (2004). He found that every time people communicate, there will be a phenomenon of “knowledge spillover”, that means each communication between individuals will lead to knowledge exchange, which can stimulate the output of creative ideas and the possibility of creative implementation25_.

2.2 DINING SPACE

Dining space is a place that integrates instant processing, commercial sales and facilities to provide consumers with all kinds of drinks, foods and services. According to the definition of " Standard Industry Classification " in America, catering belongs to the service industries. As an important part of service industries, catering is widely valued for its large market, wide influence, fast growth and strong employability. At the same time, catering is also an important carrier for various countries to export their capitals, brands and cultures26_.

According to the "2017-2022 China catering Market Research Report" released by Zhiyan Information Network, the Chinese catering market showed a rapid growth trend from 2013 to 2017. The benefits increased from 2.64 trillion in 2013 to 3.96 trillion in 2017, and its whole GAGR (composite annual growth rate) reached 10.7%. Among all the food types, Chinese food is the largest component of catering industry, and its market share even reached 80.5% in 2017 27_.

Nowadays, the changes of consumer demands have made the consumption environment increasingly complicated. This is not only the challenge of the catering industry, but also the driving force for the reform and upgrading of catering industry. The Chinese catering industry has been transforming since 2012, and gradually introducing the concept of creative economy. Meanwhile, in order to increase the competitiveness of catering market, market segmentation is carried out according to different types of consumers.

2.2.1 Catering Consumption Types

Consumption demand is the key factor to promote consumer behavior. The consumption preferences of different groups lead to the diversity of catering service types. While, due to the influence of internal cultural differences, the dining space presents strong diversity and heterogeneity, such as western restaurant, Thai restaurant, fast food restaurant, hot pot restaurant, dessert shop, cafeteria and so on.

The differences of consumers' cultural backgrounds, living standards, living conditions and personal habits lead to the diversity of consumers' consumption behaviors. In general, the consumption patterns of catering industry can be divided into four types: convenient consumption, enjoyable consumption, experiential consumption and healthy consumption.

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1. Convenient consumption

Convenient consumption emphasizes fast and convenient. Most of its clients are working people and young people. The catering type is reflected in fast food like McDonald's and KFC. But in today's Chinese environment, takeout is another important form. People can eat delicious food without leaving home, which is favored by busy working groups and homemakers.

2. Enjoyable consumption

With the continuous improvement of material level, people are increasingly pursuing the dual enjoyment of material and spiritual levels. Especially for those high-level groups, they do not care about consumption prices, and just emphasize that every detail from environment to service and food should be perfect, because it is a manifestation of their social status.

3. Experiential consumption

Experiential consumption emphasizes the novelty and stimulation of food types or services, and its targeting client is the group of consumers who pursue novelty. This kind of dining space is different and the service inside is unconventional, which will have great attraction to consumers and weaken consumers' perception of consumption prices. Most of theme restaurants are in experiential consumption pattern, such as toilet theme restaurants in Taiwan, where furnishings and services are all related to toilets, and has attracted a large number of curious young people.

4. Healthy consumption

Healthy consumers pay attention to the nutrition of food and the hygienic conditions of dining space. They are very concerned about their health status, hoping to improve or maintain their health through diet. Consumers under this consumption pattern do not have clear requirements for food taste or service quality, they just emphasize the health and nutrition of diet.

There is a big mistake in the division of consumption patterns, because there is no clear boundary between different types of consumption patterns, and they are cross-cutting and difficult to separate. Taking the enjoyable consumption pattern and the experiential consumption pattern as examples, the consumption types that provide high-quality experience can be classified into enjoyable consumption, but enjoyment itself is a kind of experience. Therefore, the boundaries between the categories of this classification are blurred, which cannot give a clear definition of consumer demands in dining space.

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2.2.2 Creative Dining Space

For the dining space, a lot of research results have been done at home and abroad, such as ding space theory (consumption behavior theory, spatial color theory, etc. ), technological innovation (energy technology, spatial analysis technology, 3D printing food technology, etc.), service mode innovation (takeaway service mode, internet service platform), industrial economic benefits and so on. As Marshall (1890) pointed out, the aggregation benefits of catering companies are mainly come from the “co-brand effect” and the sharing of certain production facilities can reduce the operating cost28_.

Due to the influence of the creative economy, for the current dining space, a distinctive, creative and comfortable environment can attract more consumers and encourage consumers to spend more time and money inside. The aesthetics and comfort of dining space can make consumers feel pleasant in vision and touch. Creative product design, environmental design and service mode can make consumers have deep memories and stimulate consumers to repeat consumption. In the design of dining space, many scholars introduced the concept of creative economy at the end of last century. They improve the comfort of dining space through the design of culture, color, material, style, lighting, space layout, space display, service and landscape. Those approaches are not only to adapt to the change of consumer's consumption concept, but also to enhance the economic efficiency and market competitiveness of catering enterprises.

The typical representative of the creative dining space is the “thematic dining space”, which has formed a complete theoretical system. Philip J. Romano (2010)'s book "Food For Thought: How the creator of fuddrucker's" showed how to bring joyful consumption experience to consumers by demonstrating creative food, service and dining space design

29_{. Martin M. Pegler (2000), in his book “Theme Restaurant”, collected more than 60 famous}

design examples of theme restaurants in the world: star theme, car theme, flower theme, tourism theme, sports theme, etc. In this book, he also presented the design details and layouts of these restaurants in the form of pictures, which provides a good reference for the design of other theme restaurants30_{. In the book “European Restaurant Design”, Saichi}

Tadao (2000, Japan) introduced the design of many top restaurants in Europe, and explained how the creativity and the design of dining space were integrated in European countries. He also tried to introduce these design methods into the design of Eastern dining space 31_.

2.3 CREATIVE SPACE

In Florida’s research, the development of creative space was emphasized: the forming of creative space is not dominated by traditional economic and urban planning, and its core is – creative class's preference for activity space. Since then, many studies have proved this theory. Knudsen (2007) took the urban population density as the entry point and emphasized the importance of creative class’s agglomeration on the development of creative space

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through quantitative analysis32_{. Lazzeretti’s (2009) research also confirmed that Spain's}

creative industries’s spatial agglomeration and creative class’s spatial agglomeration have a high degree of coincidence33_{. Marlet (2005) validated the relationship between urban}

spatial elements (inclusiveness, livability, employment rate, etc.) and creative class’s activities by analyzing the top ten urban population data of Dutch cities in 200434_.

On the other hand, specific spatial element will have a strong attraction for creative class. Scott (2006) pointed out that specific urban background and spatial characteristics are the important elements that can attract creative class.

Markusen (2006) found that creative class likes to gather in places with cultural characteristics and architectural features such as old factories and slums, then these places will attract other businesses and gradually develop into a gathering center of creative industries35_.

Some domestic scholars' researches on creative space show that the pure material space cannot attract creative class, and creative class's preference for activity space presents very complex and diverse characteristics. First of all, they prefer the space with convenient urban infrastructure, such as transportation and public service facilities. Secondly, their bias is also reflected in the space with good natural scenery, ecosystem and livability. However, in the spacial preference of creative class, the historical appearance and cultural diversity of a space take the main position. Taking Shanghai as an example, Qiu Yongyi's study in 2014 found that the main space for creative class gathering in Shanghai was Tianzifang, M50 Creative Park, 1933 old factory, etc. These spaces all have unique historical features and cultural atmosphere.

Hospers (2003) believed that creativity needs to be stimulated. He focused his research of creative city and creative class on the environment that can generate creativity. He also proposed that a space with three elements of population concentration, diversity and instability can fully stimulate the generation of creativity. Firstly, population concentration can promote the generation of interactive behaviors and enhance the frequency of information exchange, which can promote the cooperation between different creative groups and stimulate more creative ideas.

Secondly, the diversity provides the possibility of collision and integration of different cultures and different knowledge, and it will be more convenient for creative class to acquire new knowledge and skills to create new ideas. Thirdly, instability accelerates environmental change, population mobility and competition, and contributes to the increase of diversity. These three elements work together to promote the formation and further development of creative space.

Yang Guiqing (2013) confirmed the importance of informal communication space to creativity and innovation through research. He believed that communication space is a place for social relationship reorganization and social practice construction. Firstly,

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communication space can provide a platform for the exchange of information and knowledge. Secondly, it can provide convenience for the formation of social networks. Finally, it can also provide a public platform for producing a creative atmosphere and creative culture36_{. Ma Renfeng (2010) further clarified the necessity of diversified urban}

space such as workspace, communication space and exhibition space in promoting creative class’s activities37_.

In China, due to the development policy, the creative space is generally constructed by the government, and most of the forms are represented as creative industry clusters, namely as creative industry park. Wang jici (2007) pointed out that China's existing industrial park mode ignores the relevance of industrial development, which has weaken the strength of cluster38_{. By analyzing many cases, Shanfeng (2017) demonstrated the influence of creative}

resources, knowledge spillovers, creative atmosphere and space facilities in the spatial distribution of creative industries in a certain region, and constructed Influencing model of the elements. The target of these elements is creative class, while the carrier is creative space39_.

2.4 CREATIVE CLASS AND DINING SPACE

Although there have been a lot of achievements in the research of dining space, these researches mainly focus on dining space design, service mode innovation and industrial economic benefits. China's researches on dining space mainly focus on the application of national culture, that is how to applicate local and national culture to the design and service of dining space, aiming to increase the market competitiveness and added value of the dining space, such as “Research on Dining Space in Chengdu”40_{. The other researches are}

specific dining space design on consumers' consumption psychology and behavior patterns, such as Ding Mingqing's "Humanized Design Research of Food Street "41_{. At present, there}

is still no research on the dining space based on creative class at home and abroad, but there is a strong correlation between the activities of creative class and dining spaces.

2.4.1 Creative Dining Space Design

With the continuous development of economic globalization and the impact of foreign culture, people's living habits and consumption concepts have undergone tremendous changes.

Consumers are no longer satisfied with the material level of supply, but pay more attention to the spiritual level of experience. Dining spaces with similar dishes, general decoration and ordinary service have been unable to attract consumers and are being phased out. Therefore, the transformation of the catering industry is an inevitable trend. Creative economy has opened up a new situation for the traditional catering industry. Unique environment, innovative service and distinctive food have brought unprecedented

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experience to consumers, which has not only attracted a large number of consumers, but also added numerous benefits.

The change of operator's management concept provides infinite possibilities for the combination of dining space into creative ideas. And creative ideas come from creative class, so when the creative dining space is built, it is inseparable from the design and participation of creative people. From site selection to space design and service design, designers use their innovative thinking and creative methods to build a unique dining space. This is a two-way reciprocal process: for operators, they can use creative dining space to attract more consumers and increase benefits; for creative people, in addition to obtaining fees, the most important thing is that their creative thinking and ideas can be realized with creative dining space as the platform.

Wang Shaoqiang (2011) mentioned in the "Design in Catering" that " Beside home and office, the dining space is the thirdly interactive platform. Whether you see the sign of the restaurant or smell the aroma of coffee, you can feel the design is communicating with you.42_”

2.4.2 Cultural Diversity of Dining Space

The catering culture has a long history of development. It is a kind of cultural accumulation of a country and a nation, and it is also an integral part of daily lives. Specific social background and cultural background will lead to specific catering culture. There will be great differences in dining spaces with different backgrounds, such as utensils, etiquette, types and tastes, etc. Therefore, dining space is an external manifestation of national culture, and people can understand a certain culture through dining space to a certain extent.

Under the impact of foreign culture, Chinese culture and foreign culture have been continuously integrated, and many new food types have been appeared in China, such as Western food, Japanese food, Korean food, Southeast Asian food, etc. At the same time, with the continuous extension of consumer demand, food types of dining spaces are gradually becoming more and more specific. There are special types of dining space such as crayfish series and seafood hot pot. Each type of dining space represents a unique social culture, and this social culture will be reflected in the design and service of dining space. So creative class can directly feel different cultural connotations through their communications with different dining spaces.

According to the previous analysis, we can find that creative people tend to gather in a space with strong cultural diversity. While dining space is exactly an external form of cultural accumulation, and each type of dining space represents a special culture, so dining spaces are the space where can attract creative people. At the same time, dining space covers a small area and has a strong form of expression. It is convenient to gather a large number

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of different types of dining space within a certain region to meet the stimulating pursuit of diverse cultures by creative class.

2.4.3 Interactivity of Dining Space

Dining space is a large social interaction space, not only the interaction between people, but also the interaction between people and environment. Some people say that dining spaces without social attribute are soulless, and it is difficult for us to see people who go out to eat alone in dining space. Most people in dining spaces are in pairs, they may have family gatherings, friend gatherings, company gatherings, and couple dating. Dining space has already become a very important social platform in all over the world, especially in China. It has already become a custom for Chinese people to communicate with others on the dining table.

With the advent of the era of mobile Internet, people's social way has changed greatly, from face-to-face communication to communication through social networking platform. People can communicate with their families and friends by voice and video tool on the Internet, and they can also make like-minded friends and speak freely with them through the Internet. But this kind of social approach is extremely risky, because you can't know the true state of the person on the real world, and you can't establish further emotional connections through physical interaction with them. Due to the influence of electronic products, the social skills of the younger generation are gradually weakening, and some of them even have social barriers. Under this circumstance, the social function of the dining space has been highlighted. The pursuit of delicious food is the instinct of all human beings, so dining space is an important social platform for face-to-face interactions.

Analyzing the successful cases of dining space, we can find that all of them capture the key element of providing interactive platform. They use the environment, waiters, services and other tools to stimulate consumers' social behaviors, let the dining space interact with consumers, and establish emotional connections with them. For example, a well-known domestic barbecue restaurant called "a long time ago" took eight years to develop from an obscure small restaurant to today's 100 chain stores. the slogan of this restaurant is "A long time ago, it is not just a restaurant." Because it not only sells foods, but also sells culture-"Dinner appointment", that is, strangers eat together. culture-"Dinner appointment" is a function built on the WeChat public account, consumers can date with strangers online, thus avoiding the fear of being rejected in the real world. By reinforcing this social attribute, the user's stickiness of "A long time ago" has been greatly enhanced, and this also attracted a bunch of young customers who like to try and like to make friends.

In previous parts, the author summarizes the impact of social interaction behavior on creative class: interaction behavior can enhance the innovation ability of creative people and promote their creative outputs. Therefore, dining space, as a giant social platform, can stimulate the social behavior of creative people and thus increase their innovation ability.

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2.4.4 Summary

According to the analysis of this section, there is an inseparable relationship between creative class and dining space. On the one hand, the transformation of dining space needs to be driven by creative class with creative design, so as to increase market competitiveness and economic added value. On the other hand, the creative dining space offers opportunities for the realization of ideas of creative class, and the cultural diversity and social attributes of dining space can enhance the innovation ability of creative class and stimulate their creative behavior. Therefore, For China's current gathering area of creative industries, the outstanding dining space design is one of the most useful means to attract creative class to gather, and it is also an effective way to increase the creative economy development in the area.

2.5 BLIND AREA OF PRESENT RESEARCH

Domestic and foreign researches on creative class mainly focus on the theoretical studies, and most of them are elaborating the characteristics and influence of creative class from the perspective creative city’s development. Although there are some theoretical research results on the spatial preference of creative class and the development mode of creative space, these results still focus on the influence of creative class. They are from the macro perspective of urban population, economic development, and so on, and have not put the research results into specific creative space design. So those researches lack in-depth research on the micro-level of creative class, including their specific spatial preferences, activity rules, service needs, etc.

Most researches on dining space are focusing on consumer service needs and specific dining space design. Although some new concepts of creative economy have been applied in dining space, they are still limited to improving consumers' consumption experience through creative design, so as to achieve the purpose of increasing economic benefits. Overall, current researches are to isolate the creative class from the dining space. Although there are some studies on the creative dining space, they are limited to the design cases, design methods, service modes and other aspects of the creative dining space. Creative class is placed in the position of creator, but not as a participant or a consumer who can interact with dining space in daily lives. Therefore, the research on the relationship between creative people and dining space is still blank, let alone how to gather creative people and promote creative people's creativity through the design of creative dining space. So, it is necessary to link up the theoretical system with the quantitative analysis based on big data to analyze the activity rules and service needs of creative class, and explore the design elements of dining space for creative class.

On this basis, the characteristics of gathering area of creative industries can be analyzed, and combined with the design elements of dining space, so that the development of dining

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space and gathering area can be integrated to satisfy creative class's pursuit of diverse and heterogeneous cultures, and also enhance their creative abilities.