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復刻記憶：美術館中的王大閎自宅
Reproducing Memories: Wang Da-hong's House in the Art Museum
摘要
王大閎建築研究與保存學會於2013年發起「建國南路自宅重建計畫」，費時四年完成這座復刻版的建築師的家，2017年捐贈予臺北市政府，由北美館接手經營。臺灣社會走過戰後七十年，經濟起飛導致建築商品化，待公眾意識到都市裡為何充斥著面磚剝落、鐵皮加蓋的樓房時，國際建築大師的品牌迷思又席捲臺灣各地的重大公共建築，在大眾記憶裡，臺灣戰後建築史的光譜未見清晰，建築的空間美學依舊模糊。那麼，王大閎建築師是誰？他為何如此重要？這些問題可以在這座自宅中找到答案嗎？本文旨在以公共性及博物館性的觀點分析復刻版王大閎自宅的實踐歷程，首先耙梳當代博物館中「建築物博物館化」的案例經驗，接著回顧王大閎自宅重建計畫引發的公共性，及其博物館化過程中如何進行脈絡的轉移。本文發現復刻版王大閎自宅作為臺灣戰後經典現代建築的本質價值、重建過程製造的文化意義，以及在美術館情境下的博物館性，使得王大閎自宅展現出獨特的博物館魅力，並帶給觀眾深刻的美學經驗與反思。
並列摘要
Initiated by the Wang Da-hong Association for Architecture Research and Conservation, the former residence of Wang Da-hong in Jianguo South Road was rebuilt and donated to the Taipei City Government in 2017. Now the replica of architect's house is operating as Wang Da-hong House Theatre by the Taipei Fine Arts Museum (TFAM). After World War II, the commoditization of architecture in Taiwan was caused by a rapid economic growth. However, despited realizing the low quality of our cityscape, many of the public construction projects across Taiwan succumb to the allure of ＂international brand names＂. Public memories of architectural development during the post-war period are, therefore, vague; not to mention the spatial aesthetics. Who, then, is Wang Da-hong? Why is he so important? Can we find the answer in this building? This paper analyzes the rebuilding process of Wang Da-hong's house mainly from two point of views: publicity and museality. First, the author examined three cases of ＂musealization of architecture＂ in contemporary museums, followed by a review of the publicity created by the replica of Wang Da-hong's house, as well as the transformation of its social context. This paper discovered that, the architecture's unique museum's charm is created through its essential value as one of the best post-war modern architecture in Taiwan, the cultural meanings manufactured by the rebuilding project, as well as the museality in the context of an art museum, which allows the visitors to reflect and experience aestheticity.