本文基于对大栅栏更新计划“杨梅竹斜街保护修缮试点项目”的田野调查，探究文化创意人的空间设计改造实践及其街区影响。在这个北京老城空间生产的具体案例中，试图厘清“谁生产”“如何生产”“生产出什么”“为何以及为谁生产”的问题。针对当前社会学界将街区等同于社区的认知倾向，本文提出反思街区单一认识论的必要性，回溯社区经典理论，构建出一对街区认知理想类型作为分析工具：街区认知的社区取向与城市取向。二者的核心差异在于固定地域承载关系的开放性程度，前者视街区为本地社区，后者视街区为城市区位。在空间改造主体与方式上，不同于拆迁重建，杨梅竹项目探索老城保护与有机更新方式，政府将改造权力逐级下放并分散给建筑师、设计师、文化业态经营者等文化创意人，由其作为市场与社会参与主体，对零散空间进行设计改造。在同时成为历史文化空间、社区生活空间和当代消费空间的街区，形塑社会空间的主要力量包括对空间功能的规定性权力和消费空间使用中的浪漫伦理。在改造目标与改造影响上，文化创意人反思固有秩序，在改造中传递或实验着社区共融共生、历史文化保护复兴和个人生活理念传播的理想，为街区带来了张力、割裂与价值。改造影响与文化创意人和空间使用者对街区认知的差异有关，不同街区认知下的改造影响分析也将得出不同结果。在街区功能正在更迭的杨梅竹，作为社区的街区呈现出张力与割裂，体现在社区共生改造理想与社区衰落事实之间的落差，以及街区社会区隔和冲突的增加。原因有二：一是改造者、新使用者（文化业态经营者和消费者）与居民对街区理解不同且竞争区位资源；二是改造者未认识到社区基础缺乏共生条件。这根源于不平等权力关系下，设计改造者构想与规定的空间对原有空间使用者的支配。作为城市的杨梅竹街区，在新使用者的消费生活中呈现出生产性价值。这体现在文化经营者的自我生产、开放式共同体的形成、作为作品的城市生活的萌发和理想城市想象的扩散，且一定程度上逃离了现代性的宰制与异化。它源于文化经营者的自我创造，及其将差异化个体想象注入自我日常生活和空间生产的实践。街区功能、使用者和社会文化规范的变迁，既是权力的设定改造，也是现代化中的生态演进。老城更新中，空间权利不平等与空间生产价值均需被重视。

Based on the fieldwork of the “Yangmeizhu Bypass Protection and Renovation Pilot Project” of “Dashilar Renewal Project”, this thesis explores space renovation of cultural creative professionals and its influence on the neighborhood. In this specific case of spatial production in the old city area of Beijing, this thesis tries to answer the questions of “who produces”, “how”, “what”, “why and for whom”.Sociologists tend to regard neighborhoods as communities. The author puts forward the necessity to reflect on this single epistemology of neighborhoods. Using classical community theory in sociology, the author constructs a pair of ideal types on neighborhood understanding as an analytical tool: community orientation and urban orientation of neighborhood understanding. The core difference lies in the degree of openness of social relationship in a fixed area. The former regards the neighborhood as a local community, while the latter as an “position” in the city.In terms of “who produces” and “how”, alternative from demolition and reconstruction, Yangmeizhu Project explores protection and organic renewal of old city areas; with the decentralization of the reconstruction power of the government, the power trickles down to various cultural creatives, e.g., architects, designers and cultural entrepreneurs. These actors, as market and social entities, design and renovate the discrete spaces in the neighborhood. The neighborhood has become a mixture of historic and cultural space, community living space, and post-modern consumption space. The main forces shaping the social space include the regulatory power on spatial functions and the romantic ethic in the use of the consumption space.In terms “produce what”, in their space renovation practices, cultural creatives reflect on existing orders, express and experiment their ideals of community symbiosis, historical and cultural protection and revival, as well as transmission of individual life philosophy. In terms of “what is produced”, tension, segregation and values are found. The influence of renovation is related to the different perceptions on neighborhoods between cultural creatives and users of the space. Under different understandings of neighborhoods, the analysis of renovation influences also leads to different findings.As neighborhood functions of Yangmeizhu are changing, the neighborhood presents tension and segregation as a community. This is reflected in the gap between renovation ideals and the decline of and a sense of loss in the community, as well as the increase of social segregation and conflicts in the neighborhood. Two reasons are found. First, different understandings of the neighborhood exist between the renovators, the new users （cultural entrepreneurs and consumers） and the old dwellers, and they compete for “position” as a kind of scarce resource. Second, the renovators failed to recognize the lack of neighborhood foundation for symbiosis and community building. These stem from the unequal power relation between the designers’ conception and the prescription of space, which dominates the original space users.As a city position or an urban area, the neighborhood presents productive values of the renovations. These are mainly found in the consumption and everyday life of the new users. These values are reflected in the self-production of cultural entrepreneurs, the formation of open communities, the germination of urban life as work, and the diffusion of imaginations of ideal urban life. To some extent, these have escaped the domination and alienation of modernity. These are rooted in the self-creation of cultural creatives rather than the power to transform others. During this self-creation process, various individualized imaginations are infused into everyday life and the production of space.The function, users, as well as social and cultural norms of the neighborhood are changing. This is not only the result of the imposed power, but also an ecological evolutionary process under modernization. Both spatial injustice and spatial values created in urban renewal should be identified.