新社花海的空間生產

正如列斐伏爾在法國庇里牛斯山的城鎮中發現了不平衡的現代化發展，引發列斐伏爾對於日常生活與現代性的批判陳述，台中市新社區的發展相對於台中市鄰近地區緩慢，新社花海節的舉辦帶動了新社地區的經濟發展，同時也對當地帶來深遠的影響。本研究採用列斐伏爾空間生產理論探討新社花海空間生產的過程，視新社花海為社會生產的空間，並揉合第三空間與異質空間概念觀看新社花海空間的演化。臺灣近年以休閒農業為農業轉型方針，農田休耕轉種花卉成為觀光凝視首選，花海成為消費地景。新社花海節似乎帶動經濟發展，但轉作花海的政策是否能使地方永續發展引發本研究動機。本研究發現新社花海源於行政院種苗場因應農委會開放日之要求，將二苗圃規劃為花海展示，適逢921地震後新社面臨發展危機，此時休閒產業的地方動員促成休閒農業的崛起，透過花海節活動的成功啟發對新社經濟發展的想像，種苗場以薰衣草、向日葵等花卉構成歐式花園空間的再現，同時在種苗場規劃下新社花海也作為農業政策的教育空間。台中市政府加入後，打造以西方童話故事元素為主的造景，並以此作為行銷大台中的空間，隨著活動成功吸引人潮，遊客的休閒與消費實踐使花海規模逐年擴大，共同構成台式花海夜市的再現空間。歷經十年新社花海已成為「想像與真實並具」的空間。花海空間因觀光而生產，觀光客的慢活悠閒與業者快速積極的叫賣並存，成為一種異質空間。在台中市政府的主導下，花卉行銷的政策擴及大台中，新社花海成為大台中的花海；並努力扭轉夜市景象，塑造乾淨整潔的花海主題樂園。然而被政府規劃者排除的邊緣族群、底層行動者的反省與對抗性的空間實踐，也為新社發展帶來契機與威脅。無上限的交通流量與頻繁的交通管制讓當地居民有家歸不得，廢氣與垃圾造成的環境汙染都成為當地居民抵抗新社花海辦理的對抗性論述。使我們深思新社花海空間生產的過程中所缺乏的在地元素與永續理念，唯有加入當地居民對活動的認同才能達成活動永續、農業永續的目標。

關鍵字

消費地景；空間生產；想像空間；異質空間；觀光凝視；休閒實踐

並列摘要

As Lefebvre examined uneven development between Paris and the town of Pyrenees, he tried to advanced critical statement of everyday life and modernity. Relatively rural compared to other Taichung districts, Xinshe has had an annual Flora Exhibit that helps to boost Xinsheeconomy.This study adopts Lefebvre’s concept of spatial production to approach Xinshe Flora Exhibitwith a three-dimensional analysis. This study also blends the concept of“the third space”,“heterotopia” and “the tourist gaze”to discuss the social space evolution of the Exhibit. In recent years, leisure farming plays an important role in shaping Taiwan’s rural areas. So, farmers fallow their farmland for seeding flowers. Tens of thousands visitors coming to Xinshe seem to spur its economy. But could such activity enable local sustainable development? This is one motivation for this study. This study discovers that the flora exhibit was firstly an open-day activity from Taiwan Seed Improvement and Propagation Station (TSIPS), which is an extension agency of Council of Agriculture. TSIPS plan its nursery for the flora show at the Second Sowertime. While after the 921-Earthquake of 1999, Xinshe faced economic crisis,and traditional industry was forced to transform or relocate. Thus leisure industry became the reasons for Xinshe Flora Exhibit. The activities successfully inspire the imagination for new economic development. TSIPS plants lavenders and sunflowers to create a leisure and foreign image of flower beds. At the same time, the flora exhibit is an educational space to advocate various agricultural policies. With activities successfully attracting visitors, the scale of the exhibit expanded yearly. After ten years, theExhibit has become a "virtual and physical" space, which has been created by various stakeholders, such as the local governments, TSIPS, Xinshe Leisure Guides’ Association, etc. As a sightseeing space,Xinshe Flora Exhibit isbotha leisure pace for visitors and commodity space for vendors.The hectic pace of both spaces exists simultaneously, and it becomes a “heterotopia” space. Xinshe Flora Exhibit seems to becomea night market, due to the economic practice of floral farmers. Tourist’s leisure practice in theExhibit makes it a theme park. However, marginalized groups and local residents excluded by main actors stand up to fight against the hectic space produced by the Exhibit. Disordered traffic and frequent traffic controls makes living here an ordeal.The negotiation between the desire for economic return and the longing for ordinary life peace makes the Exhibit acontroversial subject. Itis time to ask what sustainable agriculture or sustainable development means for Xinshe by introducing voices of the local residents.