論建築展覽的展示詮釋權力

A Discussion on the Interpretive Power of the Architectural Exhibition

陳其澎(Chie-Peng Chen)

《傳承與創新-文化混血的設計創意》 十五屆 (2016/12) Pp. 101-119

https://doi.org/10.6678/IICHC.2016.08

摘要

近觀台灣存在一現象，台灣建築發展透過建築展示詮釋來提昇建築能見度，但留存相當程度商業利益的介入，因此揭露建築展覽如何運用其詮釋權力來操縱，自然是本論文的重點。1927年德國斯圖加Weissenhof的建築展覽彷彿宣告20世紀現代建築的先河，自此許多建築運動或建築師之聲譽似乎透過建築展覽的推波助瀾而進入了公眾舞台。1930年代當歐洲共產或法西斯政權，當權者頗能善於運用建築師策展與設計的能力，有效地替當年的列寧或墨索里尼宣傳以提昇個人形象。甚至連希特勒的權力位於高峰時，其身旁重要策士中也有一位建築師Albert Speer，其設計的1937德國館彷彿向世人宣告，興起的德國已經銳不可擋。近年來台灣公部門為了宣揚政績，有意地結合出資的私部門共同參與，而由建築學者或建築師策畫的各項建築展覽宣揚彼此的政績或企業形象。美其名為雙贏的策略實則卻隱涵著坐享公共利益，或獨享假公濟私的利益企圖，而建築專業者策畫的建築展覽，透過其展示詮釋權力卻有意與無意間坐實其做為幫凶的角色。

關鍵字

展示 ； 建築展覽 ； 詮釋權力

並列摘要

The phenomenon does exist in present Taiwan that the relative commercial benefits have been involved in Taiwan's architectural development. In order to promote the visibility, architectural business, by means of architecture exhibitions that it has undoubtedly overshadowed the architectural development. Thus, to unmask how the curators use the power of display to operate exhibitions has become the aim of this discussion. It seems that the 1927 Weissenhof siedlung in Stuttgart is considered as the beginning of Modern Movement in architecture, since then, the most architecture movements and architects' reputation as a whole had been pushed, in terms of various architectural exhibitions, into the public forum. In 1930s era, when the rulers of Communist and Fascist regimes all knew how to use the design abilities of architects or curators in order to effectively promote the personal reputations of Lenin and Mussolini respectively. Even in the peak of his political career, Hitler was good at using his exclusive architect Albert Speer to design German Pavilion in 1937 Universal Exposition, and it declared to the world that the arise of New German had become formidable. Recently, Taiwan's public sectors have intentionally invested in private sectors to participate to build up their administration reputation. The various exhibitions planned by architects or scholars, in fact, merely boost mutual benefits public and private respectively. The so called Win-Win policy actually conceals the attempt that it acts in the public service for one's own ends. Those exhibitions had intentionally or unintentionally been played the role of accomplice by various curators in terms of their interpretive power.

並列關鍵字

Display ； Architectural Exhibition ； Interpretive power