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台灣地區文化表演設施服務圈域之研究

Study on the service boundary of cultural performance facilities in Taiwan

摘要


文化表演設施一般被視為具有公共設施性質,於都市計畫之規劃設置上,多以文化生活圈概念訂定設施層級及服務圈域。本研究以台南市都會區5處不同規模等級之代表性文化表演藝術設施為研究對象,透過觀眾問卷調查探討台灣地區文化表演設施服務圈域。研究結果顯示,就台灣地區而言,文化表演設施規模等級與服務圈域間並未呈現顯著關連,而與其經營方式、觀眾族群及交通便利性較有關。8成以上觀眾交通時間集中於30分鐘內,顯示30分鐘為目前文化表演設施主要服務圈域界線。建議未來新建規劃之地方甚或區域等級文化表演設施,原則上可以30分鐘或10公里為主要服務圈域估算範圍,據以評估觀眾定位及設施基礎服務人口量,另可將經營模式及設施交通便利性列入擴大服務圈域之重要因素。對既存文化表演設施方面,應降低現行服務圈域外觀眾之交通時間阻礙,例如配套交通措施、票價優惠等,並重新檢視設施定位及活動經營,以擴大其服務圈域。

並列摘要


Cultural performance facilities are generally referred to as public service facilities. Under urban planning, the facility grade and service boundary of cultural performance facilities is decided by the concept of cultural living perimeter. In this research, 5 cultural performance facilities of different grades in Tainan city were studied, while audience surveys were conducted to explore the service boundary of cultural performance facilities. The results of the research indicate that there is no significant connection between the grade of cultural performance facilities and the service boundary. The connection lies in the operation mode, audience groups and facility accessibility. Eighty percent of the audience surveyed stated a transportation time of under 30 minutes; namely, 30-minute traveling time is the service boundary of cultural performance facilities. This research suggests that for future planning of local or regional cultural performance facilities, 30 minutes or 10 kilometers can be used as a reference range for the service boundary, which provides an assessment for the service capacity of the facilities when defining potential customers. Moreover, the operation modes and facility accessibility could be included as major factors when considering an expansion of service boundary. For existing cultural performance facilities, accessibility obstacles should be removed for the audience who are not within the service boundary by systematic transportation methods or offering discount prices for transport. The target audience and event operations should also be reviewed yet again to expand the service boundary of cultural performance facilities.

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