公共藝術在捷運地下站場室內空間設置位置與形式多元性新探-從乘客感官焦點之習慣出發

Analysis of the diversity of setting locations and arts forms of public arts in underground space of subway stations - starting form the perceptual focus of passengers.

蔡嘉真(Chia-Chen Tsai)

指導教授 ： 魏主榮 ； 胡寶林

中原大學/設計學院/室內設計研究所/碩士(2004年)

https://doi.org/10.6840/cycu200400399

摘要

摘要

台北捷運公共藝術長年發展下來，至今仍然擺脫不了傳統的公共藝術內涵與雕塑形式，似乎未曾考慮空間的運輸屬性以及乘客在捷運空間中的感官體驗。甚至相關單位認為在空間中的某個「點」設置公共藝術即可以美化現有整體環境。卻少有考量捷運站場與一般設置的公共藝術環境背景是有差異的，需要「因地制宜」，而非承襲即定的規範，造成設置僵化、互動減低的情形。
筆者在研究之初，以深入觀察的方式，瞭解目前地下捷運公共藝術設置方式與乘客互動的狀態。發現目前乘客的感官焦點皆投射在廣告上，少與公共藝術產生互動。其原因有二，一是公共藝術大多設置在人群移動快速的月台空間中，乘客無法佇足停留，二是營運單位大量設置廣告在月台牆上。這對於大多數設置在月台上的公共藝術而言，影響嚴重。而非收費區(出入口電扶梯至通道空間)，由於相關單位的不重視，忽視乘客的感官感受，使得行經此區的乘客感官是貧瘠且無趣的。
因此，筆者建議供相關單位在設置公共藝術時應該：一是打破定點設置的迷思，公共藝術應朝向多元的設置方式；二是減少廣告的數量，將空間簡潔化，使空間品質提高；三是向廣告多元特質與國外案例學習，從中吸取經驗，發展出捷運公共藝術特質。四是以「人」的角度出發，才能設計與乘客更貼切的公共藝術。五是改善目前最受忽略的通道空間。從改變通道開始，讓乘客移動呈現連續性的感官體驗，並帶入適合此區的感官設計。希望能喚起乘客在快速移動中新的捷運公共藝術感官經驗。

關鍵字︰捷運公共藝術、捷運廣告燈箱、多元性、感官經驗

關鍵字

關鍵字︰捷運公共藝術 ； 感官經驗 ； 捷運廣告燈箱 ； 多元性

並列摘要

Abstract

The public arts in Taipei subway has evolved for many years but still been constrained in the environment of traditional styles such as sculptures. It shows no signs that the transportation characteristic of underground subway space and perceptual experiences of passengers were under consideration in current public arts when setting in subway stations. There always exist an idea that the point-beautifying can raise the aesthetic level of whole subway stations in the mind of Taiwanese officials. The lack of awareness of environmental differences of the setting places between normal public arts and the works in subway station would induce improper designs of public arts in subway stations, and wrongly quoting from the established rules for normal public arts would stifle the vigor of art works and reduce the mutual reactions between art works and people.

The researcher intended to understand the status of mutual reaction between public arts in subway stations and passengers by observing 6 Taipei subway stations, and found that most visual focuses of passengers were cast to commercial advertisements. The expected mutual reactions rarely happened due to,
1. Most of the art works are set on space restricted platforms and passengers are not willing to stop to curb the traffic for art works.
2. Big quantity of advertisement light boxes on the wall interfere the focuses of passengers’ sight.

Relative to the clamorous main passages, some transit areas where deemed to be unadvantageous to set advertisements showed poor and boring scenes to passengers.

The researcher recommended,
1. Break the hypothetical myth of point-beautifying, diversify the setting methodology.
2. Reduce the quantity of commercial advertisements, simplify the sight of passengers and raise the quality of space in subway stations.
3. Learn from the diversity of commercial advertisements and absorb the successful experiences of foreign subway stations designs to develop our own characteristic.
4. Commence from the angle of human so that the designers can make good art works which is more suitable for the environment of subway space.
5. Improve the space quality of the long be ignored transit areas in order to make passengers to have continuous experiences when going underground from above.
Hopefully, it can evoke whole new perceptual experiences of passengers when they passing through new kinds of public arts in subway stations.

Keywords: Public art in subway station, Commercial advertisement light box, Diversity, Perceptual experience.

並列關鍵字

Keywords: Public art in subway station ； Commercial advertisement light box ； Perceptual experience. ； Diversity

參考文獻

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江民良，2002，數位影像合成於觀廣海報設計之研究，示範大學設計研究所︰台北。

莊蕙菁，2002，以視覺文化為核心之藝術教育課程研究-以廣告影像為例，師範大學美術研究所︰台北。

蕭正一，2000，影像表現形式於視覺傳達設計應用之研究，師範大學設計研究所︰台北。

參考文獻