市民城市想像的開始 ─以公共藝術重構台北都市「邊緣河岸空間」的可能性之研究

Imagination Beginning of Citizens' City ─The possibility of Public Art restructure Edge-Riverfront space of Taipei City

周志龍(Chih-Lung Chou)

指導教授 ： 黃位政

中原大學/設計學院/室內設計研究所/碩士(2009年)

https://doi.org/10.6840/cycu200901195

摘要

全球化的來臨，資本的轉移已逐漸形成國際區域的分工，當城市面臨轉型與定位的發展時，都市的建設扣緊著城市的想像進行一連串都市象徵與都市意義的再造。台灣由於獨特的歷史時空，台北城市從日治到戰後時期一直是政府重要的行政中心。但由於台北城市發展的太快，許多文化地景早在刻意的意識當中，正被抹去重寫中。我們不僅失去了文化象徵，更失去了足以代表市民生活書寫都市象徵的權力。

城市既是歷史也是記憶，台北都市的邊緣，淡水河與新店溪原是先民發跡孕育的臍帶，在河港淤塞沒落後，加上城市建設過度的濫墾開發，河川於是成為宣洩廢水的地方。曾幾何時，台北都市的邊緣還是盆地中人們生活的重心，現今卻是用高大厚實的防洪擋土牆遮掩，讓人忘卻河流的存在，以及人與河岸曾經親密的關係。

本論文冀望藉由公共領域觀念的反思與論述，能給予公共空間與公共藝術結合作為空間實踐的象徵，並視為一種市民城市想像開始的可能性之探討。並以台北市邊緣河岸空間作為研究案例，以相關歷史文獻與本質直觀的觀察河岸邊緣空間與交界空間，以公共性的建構，提出地景式的「生活框架」。生活框架不僅是空間及場所的描述，更應緊扣市民對都市意義的發問，即作為市民城市地景框架寫作的權力。藉由公共領域的意識型態來集體建構討論出市民自己屬於生活的公共空間。研究者最終以公共藝術介入地景「生活框架」提出建議的可能性，實踐出都市作為市民城市想像的開始。

關鍵字

地景 ； 公共空間 ； 「生活框架」 ； 公共領域 ； 公共藝術

並列摘要

Following with the advent of globalization, the capital transfer has gradually been formed into the division of labor in international regions, and facing the development of transformation and orientation, the metropolitan construction is tightly clasped the city’s imagination to proceed with a series of reconstructions of city’s symbolization and significance. In virtue of the unique, historical space-time of Taiwan, Taipei City has always been treated as an important administration center from the reign of Japan to the postwar period, nevertheless, too fast development of Taipei City causes a multitude of cultures and geomorphic obliterating under a sedulous consciousness. We are not only losing the cultural symbolization, but also, the right for citizens to write the city’s emblem which may sufficiently represent their daily lives.

The city is the history, so is the memory; the rim of Taipei City, the Tamshui River, and the Hsin Den Creek became a place where the waste water discharged, for the excessive cultivation and development after the river port had been silt up, not but that they were originally regarded as the umbilical cord for our primitive forebears to conceive and flourish. Not long since, has the rim of Taipei City still been the living center for those who live in this basin, but now, it has to use the tall and massive retaining wall to cover up and to prevent flood, of which it makes people forget the river existence as well as the intimate relationship between people and riverbank.

By means of the introspection and dissertating about the conception of public sphere, this thesis is expected to confer the public space and art to be integrated as a space-practiced symbol and regarded as an exploration on possibilities of the imaginative onset for the civil city, taking the riverbank space at the rim of Taipei City as a studying case, and proposing the geomorphic’s “Living Frame” by the relevant history reference, the directly ocular and natural observation on the space of river’s margin and boundary, and the public construction. The Living Frame is not only a description of space and ground, but also a question arisen from citizens in regard to the metropolitan meaning, acting as a written power over the geomorphic frame, which meant---by the consciousness of public sphere to conduct a collective discussion and to work out a living city owned by citizen himself. The researcher eventually tried to intervene in the geomorphic “Living Frame” by public art and to set forth a suggestive possibility to practice the city as an imaginative onset of the civil city.

並列關鍵字

“Living Frame” ； Public Space ； Public Sphere ； Landscape ； Public Art

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