平溪支線,沿站於日治時期因應採媒需求而興建,其終點站─菁桐坑,時至六、七○年代,是台灣經濟發展重要的礦業據點,更是當代產量、規模最大礦區。爾後,因應礦業沒落而面臨的區域社經衰退,近年來菁桐運用「天燈」意象作為文化治理策略,藉此提升地區經濟發展並轉型為觀光產業。如此強加的異質符號,掩蓋了當地的歷史痕跡,造成屬真性的在地文史經常缺席於現今敘事紀錄中,乃至近年菁桐老街入口處興建的平溪分駐所,即選擇以「天燈」作為外觀造型設計理念,此建築設計語彙更延伸出不同立場、思維的規劃想像衝突,而諸如此類的紛爭,即源自於對菁桐環境、歷史脈絡認知的落差。 本研究由文化地景的角度切入,運用敘事的方式來書寫菁桐,主要探討菁桐坑的地景生成,與平溪鄉整體發展的演變背景及其文化特質。透過翻閱不同時期的覆蓋行為,重新去梳理變遷的過程及其不同時期的作用力,並藉由菁桐的歷史爬梳、敘事分析去瞭解主流的歷史紀錄與現今觀光文本的書寫者,是如何宰制現有的菁桐論述,而菁桐內部的權力關係又是如何影響這一切論述? 筆者身為菁桐囝仔,必須時時刻刻提醒自己拉出反身批判的距離,觀望官方與主流的規劃思維,如何周旋於利益折衝,並利用文化資產保存之設計論述,產生出魅化的地方特色。反思,至今究竟還有哪些被忽略的敘事,被排除在主流書寫之外?被排除在現今的規劃決策與地景設計之外?本文嘗試重構菁桐文本,結合筆者的生活經驗,以自傳式民族誌的書寫方式,探討菁桐地區當今的空間敘事規劃與日常生活經驗之間,交織、妥協甚至是折衝下所產生的相互共構現象。 透過長期對地方的觀察、記述與分析,以更貼近在地文化發展脈絡為出發點,嘗試撰寫並保留不同尺度的空間論述,與其文化地景敘事。並於文末提出研究行動方式,企圖在不同世代的空間規劃想像與日常經營模式在不同觀念與處世方式之間有所對話。
The stations on the Pingxi Line were built in demand of coal mining during Japanese rule, and Jingtong, where the terminal station of the Pingxi Line locates, used to be an essential coal mining town in Taiwan during the 1960s and 1970s, boasting the largest and most productive mining area at that time. Thereafter, with the decline of the mining industry in tandem with its socioeconomic recession, Jingtong has transformed into a tourist attraction to boost its economic development by utilizing the image of “sky lanterns” as the strategy of cultural governance in recent years. So incompatible is the forced heterogeneous symbol as to outshine its own historical traces, leading to the inauthenticity in the narrative records of the local literature and history; even more, the recently-built police precinct at the entrance of Jington Old Street has been renovated to look like a sky lantern as the design concept, such architectural design vocabulary further extending several conflicts from different perspectives, all resulting from the perception gaps in Jingtong’s surroundings and historical context. This study, from cultural landscapes and in a narrative way to describe Jingtong, mainly discusses the landscapes of Jingtong Pit as well as the developmental background and the cultural characteristics of Pingxi District. Born in Jingtong, I have to remind myself of always being in the stance of reflective criticism to observe how the official and mainstream planning conception negotiated different interests, utilized the design discourse of cultural heritage preservation, and generated such kitsch local characteristics and introspect how many neglected narratives has been excluded in the mainstream writing, planning and decision-making nowadays. In an attempt to reconstruct the text of Jingtong, in combination with my own life experience, and in the writing way of autoethnography, the dissertation discusses the inter-construction between the space narrative planning and the daily life experience.
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