運用方法目的鏈探討當今公共藝術之價值

Using Means-End Approach to Explore the Value of Present Public Art

林邑臻(Yi-Chen Lin)

指導教授 ： 陳惠美

國立臺灣大學/生物資源暨農學院/園藝暨景觀學系/碩士(2019年)

https://doi.org/10.6342/NTU201900352

摘要

現代公共空間隨處可見公共藝術，其設置源自美國經濟大蕭條時代，為幫藝術家紓困，同時藉藝術提振人心，遂由政府經費資助藝術創作並展示於公共空間。爾後，更規定聯邦政府應提撥百分之一建設經費用於新建築藝術美化，此「百分比藝術(percent for art)」便逐漸成為全球重要城市競相效法的政策。臺灣社會早期即因紀念或政治崇拜，在公共空間立碑、廣設雕塑。1992年仿效美國，頒布「文化藝術獎助條例」規定公有建築物百分之一經費和大型公共工程的部分經費在公共空間中完成藝術品之設置；並於1998年推出「公共藝術設置辦法」做為美化生活環境之重要措施。現今，臺灣各式公共藝術林立，但大眾對各類公共藝術評價見解不一。既然，公共藝術是由國家經費補助，是為環境品質而設，就景觀環境設計領域來說，公共藝術不應單純設置於公共空間，也應以「使用者導向」來規劃設計公共藝術之設置，因此，納稅人對公共藝術的價值認知係為重要研究議題。因此，本研究藉由方法目的鏈瞭解當今大眾對於公共藝術之價值認知，並建構大眾對公共藝術之重要屬性知覺(attribute)、觀賞結果(consequence)與體驗價值(value)之階級關係，提供政府後續推行公共藝術政策之參考。
本研究選擇臺北市民為研究對象，並於各行政區之最大旅運量的捷運站進行訪談。為確認大眾對公共藝術的瞭解，先詢問其是否知道公共藝術，是否能具體指出一項公共藝術；接著請他們列舉喜歡的公共藝術，並就此公共藝術指認出1~3個吸引他們的屬性，並用階梯訪談法，繼續詢問各屬性引發之觀賞結果與體驗價值。訪談樣本，參考臺北市人口年齡結構，進行比例抽樣；最後以飽和理論，直到無新答案出現為止，做為停止樣本蒐集之決定。最後共訪談122位受訪者，分別有62位(53.0%)不知道和60位(47.0%)知道公共藝術，剔除1位知道但對公共藝術並無特別偏好者，最後共計59位有效樣本。
結果顯示大眾重視公共藝術之屬性主要有7項特性：造型討喜、色彩討喜、環境相容、功能多元、材質特性、意涵討喜及主題易讀；觀賞公共藝術獲得之體驗結果也有7項：正向情緒、壓力調適、學習體驗、拍照紀念、美化環境、支持關係及氣氛提升；觀賞公共藝術之追求價值則有6項：健康、美好生活、自我成長、自我實現、社會和諧、地方形象，而其中健康與自我實現是屬於當今公共藝術的新價值。大眾認為公共藝術之價值，以健康與美好生活之提及次數最多；而這兩種價值之體驗結果主要來自正向情緒、壓力調適、氣氛提升與拍照紀念；其連結屬性則源自造型與色彩討喜兩項，而這兩項也是大眾重視次數最多的兩種屬性。由此可知，就大眾知覺而言，公共藝術的造型和色彩最為重要；觀賞造型與色彩討喜的公共藝術，可以獲得正向情緒、紓壓與拍照紀念；進而滿足健康與美好生活的價值追求。

關鍵字

景觀環境 ； 療癒景觀 ； 公共藝術 ； 健康價值 ； 方法目的鏈論

並列摘要

Modern public spaces are filled with public art. The origins of public art stem from the Great Depression in the United States, when the government sustained the livelihoods of artists by hiring them to create art and to display them in public spaces that would, in turn, give the public respite. The federal government further allotted one percent of the public construction budget for the artistic beautification of new architectural projects. This so-called "percent for art" program became an important policy directive adopted by many major cities across the world. Public art in Taiwan stemmed from a tradition of commemorative monuments or installations aimed at political worship, with stelai and decorative sculpture being the more common examples. In 1992, the government drew from the American experience and promulgated the Culture and Arts Reward Act, which stipulated that one percent of all public construction and significant public projects need to be devoted to art installations. In 1998, the government further promulgated the Regulations Governing the Installation of Public Artwork, intending to create an aesthetically pleasing living environment. As of now, public art has a significant presence in the everyday lives of Taiwanese society, but not everyone holds positive views toward the range of public art currently on display. Since public art is subsidized by the state to improve the quality of living space, from an environmental design standpoint, public art ought not to be limited to public space. It should be designed with a user-orientated approach. Therefore, the taxpayers' assessment of public art ought to be considered an important aspect for close study. This study uses a means-end chain approach to evaluate current perceptions and present a hierarchy of the attribute, consequence, and value of public perception towards public art. The results could have useful implications for future policy decision-making processes.
This study chose the citizenry of Taipei City as the target of study and conducted interviews at major metro stations in each municipal district. The interview first asked whether the interviewees know what public art means and whether the interviewees could give an example of public art, in order to ascertain what the public's understanding of public art was. The follow-up question was a request for the interviewees to list their favorite public art and identify one to three attributes that attracted them. Then the interviewers used the laddering method to ask about the impact of the viewing and the value of the experience. The interviews were conducted through proportional sampling following the age distribution of the population of Taipei City until data saturation; the collection of interviews terminated when no new answers appeared. The final tally was a total of 122 interviews, with 62 (53.0%) responding negatively and 60 (47%) responding positively on the question whether they know what public art was. One interview response was excluded, as the interviewee demonstrated knowledge but had no particular preference for public art. The final tally is 59 valid samples.
The results show that the public viewed seven traits of public art as significant: attractive model, attractive ecolor compatible environment, multiple functions, material characteristics, attractivemeaning, high legibility. For the visual experience of public art, there are also seven traits: positive emotions, stress coping, learning, photographing, beautify environment, supportive relationship, promote atmosphere. There are six traits concerning the value of public art: health, good life, self-actualized, self -improvement, harmonious society and local image. In particular, health and self-actualized are new values specific of present public art. The most frequent mentions concerning public perception of the value of public art are health and a good life, and its connective attributes stem from the attractivemodel and color, which are also the two most frequently mentioned attributes. From these results, this study finds that model and color elements of public art are the critical criteria regarding public perception. Model and color attractivepublic art obtains positive emotions, stress coping, and photographing, which contributes to the pursuit of health and good life.

並列關鍵字

landscape design ； healing landscapes ； public art ； health value ； Means-End theory

參考文獻

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