臺北城市與建築文化建構的現代性軌跡：以臺北市立美術館為研究對象

自西方工業革命後，美術館發展開始與城市文化產生密不可分的正比關係，這來自於國家權力積極介入美術館空間生產過程，美術館不再只是收藏、展示、保存藝術品的容器，各國政府將美術館視為有效文化治理、城市進步發展的標地象徵，並成為城市治理者的文化實踐與意識傳遞的工具。與歷史悠久的西方美術館脈絡相比，臺灣現代美術館起源於1980年代國家文化建設，其背景為中央政府順應國際文化主體認同的趨勢，文化建設從此刻開始在台灣各處遍地開花，身為政治經濟中心的臺北市政府於1983年開幕全台首座「現代」形象的官方美術館：臺北市立美術館，它乘載著國家權力者對於現代、進步國家的想像投射，同時也為地方文化教育開啟新的里程碑。北美館身為地方文化建設，卻擁有「國立」層級的象徵地位，這崇高地位不只是深深刻畫在國人認知，北美館在1995年起代表臺灣參加威尼斯國際美術雙年展，以國家代表的姿態出現在國際舞臺，這代表北美館的特殊性不只是城市地景中的一塊拼圖，其背後蘊含著政治經濟、社會結構以及生活軌跡等複雜體制元素，與土地之間有密不可分的深刻連結。故本研究將從北美館所在的中山北路與圓山地區拉開序幕，梳理其區域在臺北都市發展的歷史脈絡，探討臺北都市空間與北美館之間動態關係，並深入觀察北美館的空間邏輯、建築符號象徵以及背後隱含的文化意識型態，綜合以上宏觀與微觀的研究視角，解析現今的北美館如何透過長期積累的文化象徵影響力干預（共同參與）都市公共空間的形塑，而政府又是如何透過政策與城市事件介入北美館的空間生產，在社會空間共構出屬於中產階級的生活藍圖。

關鍵字

臺北市立美術館；現代想像；城市地景；文化象徵；公共空間

並列摘要

After the Western Industrial Revolution, the development of the Arts Museum began to have an inextricably proportional relationship with urban culture. This comes from the state power actively intervening in the production process of museum space. No longer just a container for collection, display, and preservation of art, the Arts Museum is regarded as a landmark of effective cultural governance, urban progress and development by governments, and has become a tool of cultural practice and consciousness transmission for city administrators. Compared with the history of western art museums, the Taiwan Museum of Modern Art originated from national cultural construction in the 1980s. The background is that the central government conforms to the trend recognized by international cultural subjects. From then on, cultural construction began to blossom everywhere in Taiwan. Taipei City Government, the political and economic center, opened the first official art museum in Taiwan in 1983 called Taipei Fine Arts Museum which carries the imaginary projection of the state power for the modern and progressive country, and also opens a new milestone for local cultural education. It, as a local cultural construction, has the symbolic status of the “national” level. The sublime status is not just deeply depicted in the recognition of the Chinese. Since 1995, Taipei Fine Arts Museum has represented Taiwan in the Venice International Art Biennale. Its appearing on the international stage as a national representative represents the speciality of Taipei Fine Arts Museum which is not just a puzzle in the urban landscape. Behind it, there are complex institutional elements such as political economy, social structure and life trajectory, which are inextricably linked with the land. Therefore, this research, conducted in the Zhongshan N. Rd. and Yuanshan area where the Taipei Fine Arts Museum is located, combs the historical context of the area in the development of Taipei, explores the dynamic relationship between Taipei’s urban space and Taipei Fine Arts Museum, and makes an in-depth observation of the spatial logic, architectural symbolism and cultural consciousness behind the museum. Based on the above macro and micro research perspectives, the research analyzes how the Taipei Fine Arts Museum interferes the shaping of urban public space through a long-term accumulation of cultural symbolic influence (joint participation), and how the government intervenes the space production of Taipei Fine Arts Museum through policies and urban events and builds life blueprints for the middle class in the social space.