精品汽車旅館是台灣社會與外來文化交融出的獨特消費文化。本研究從早期旅館的原型至今日精品汽車旅館的興起歷程中,看到精品汽車旅館不只帶來新的娛樂與休閒觀念,更成為一個都市的景觀。 本研究以薇閣精品旅館與激點情境汽車旅館為空間分析的文本,從各自的外部景觀與內部空間元素進行分析。雖然薇閣的「精品」與激點的「玩樂」,看似有很大的差異,但實際從廣告看板、建築主體、理性化的「隱密」、情趣用品的分析,可見汽車旅館從建築環境到空間設計都是為了「性」的意識與想像來服務。透過擬像物將慾望符號轉嫁到物品,讓「性」與「生殖」分離,重新計算「性」的娛樂效果。情慾成為空間裡一項重要的精神感召力量。 研究中,從內部空間設計觀察到,汽車旅館運用獨特的色彩、光源安排、主題設計,讓空間蘊含著經歷「情緒、慾望與經驗」,成為文化符號的載體。也在布爾喬亞式的薇閣與成人性愛遊樂場的激點中,看到不同邏輯的美學概念,讓消費者能融入由空間符號所暗示的兩種理想化生活風格裡。但是,一旦空間體驗侷限於美學化的表象內,每樣事物的原始意義都開始遭到剝奪。本研究最後以德波(Debord)的觀點呼籲,消費者應該跳脫空間所給予的框架,以行動賦予空間更多意義生產的可能。如此一來,情境所傳遞的就不只是風格符號的盲目追求,而是利用情境為現代人提供一種快速轉換心情的空間價值,修補人際之間僵化的關係,讓自己與他人的關係擁有無限創造力,這才是美學化的空間與經濟力量要創造給人們的生活啟示。
The consumption of Boutique Motel is a unique mass culture of the combination of Taiwan society and foreign culture influences. In this essay, I try to approach the original type in Motel to present what the boutique motel is. According to the essay, we see the boutique motel not only brings newly leisure concept but also becomes a kind of“spectacle”in the urban. The research is based on Wego Motel and G-Motel and I discuss the space elements no matter in outdoor or indoor of boutique motel. They probably have differences between“delicate design”in Wego Motel and“entertaining design”in G-Motel, but according to the analysis of commercial signboards, building, rational esoteric and sex toys, we could see all the design is served from sex ideology. It delivers desirable symbol into objects via simulacra, separates the sex and infertile, and valuates the entertaining effects of sex. Sexuality becomes a spiritual power in space. Observing the indoor space design, boutique motels performs dramatic colors, stage lighting and atmosphere design to make space full with emotion, desire and experiment. Meanwhile, the space carries cultural symbols. We can see difference logic of esthetics concepts in bourgeoisie in Wego motel and adult sexual playing-field in G-motel. It helps consumers involve in two ideal life styles deeply. Then space experiment is limited to esthetical surface, and the original meanings of objects are getting lost. In the end of this essay, based on Debord’s viewpoint, we presume consumers should break the framework in space and take action to produce more meanings. On the other hand, atmosphere is not just a blind fuzzy to style, on the contrary, it offers a special value to make consumers experience changing emotion rapidly, repair the interpersonal relationship and create possibility to yourself and others. That is the creational inspiration from esthetical space and economical power.