台灣社會與媒體正興起一陣對北歐的高昂興致。從關於北歐的圖文出版品與報章雜誌報導的統計中可發現2005是「北歐熱」關鍵的一年。於此年之後的圖文出版品與媒體報導均大量產出,並且逐年穩定成長,北歐熱似乎不只是一時興起的消費熱潮而已。在此跨文化消費的脈絡之下,台灣大量收納北歐的設計與生活美學,並也同時以IKEA為北歐文化想像的實踐空間。 本研究探究北歐設計論述,並分析台灣報章雜誌、文本上的北歐意象與IKEA的跨文化消費空間建構。同時本研究訪談北歐的旅居者、IKEA與北歐櫥窗的工作人員,以此來描繪「台灣—北歐」跨文化消費景觀的實質內涵與社會意義。 研究發現,北歐熱是台灣消費社會的美學消費轉型,也是對美學現代性不足的收納與焦慮。 IKEA宛如異國實境跨文化媒介景觀則提供了北歐文化想像「這裡想像,這裡實踐」與「觀光凝視」的消費空間。而IKEA的現代家庭想像則與消費主義結合,逐漸取代過去黨國威權政策主導的家庭想像。北歐作為另類現代性的想像的可能與不可能在於,北歐熱的確出現足以鬆動過往美式中心的西方現代性的想像。IKEA的美學現代性將DIY收納並且文化化與標準化,使消費者既勞動又休閒,成為不完全的消費者。然而,此媒介化的北歐文化想像之「排他性」並不高,容易被美式、日式文化認同抵消,僅成為日常生活消費實踐的選項之一。 本研究更發現,在台灣多重現代性的脈絡下,北歐現代性與以往美國、日本大型商業區、地景式複製的現代性打造並不相同。北歐現代性想像是一種室內、小型、可負擔、平價美學與個人消費的另類現代性。
In recent years Taiwan society and media have witnessed a growing interest in the Nordic/ Scandinavia. Statistics have shown that 2005 is a crucial turning point, after which related graphic publications and newspaper reports surged, and increased steadily each year thereafter. As such, the Scandinavian craze seems to be anything but a mere fad. In the context of inter-cultural consumption, Taiwan adopts lots of Scandinavian design concepts and aesthetics of living, while turning IKEA into the praxis space of Scandinavian cultural imagination. This study examines the Nordic design discourse and analyzes Scandinavian images in Taiwan's newspapers and magazines, as well as IKEA’s cross-cultural consumer construction. Interviews conducted with sojourners in North Europe, and with IKEA and “Nordic”(北歐櫥窗) staff, are included to showcase the actual content and social significance of the "Taiwan - Scandinavia" cross-cultural consumption. This research found that the Scandinavian/ Nordic craze represents a major transformation in Taiwan's aesthetics consumption. It also signals anxiety over insufficient aesthetic modernity. IKEA is a cross-cultural mediascape engineered to spawn Scandinavian cultural imagination; it provides a space for consumers to "imagine here and practice here" and to direct their "tourist gaze." The fact that the Scandinavian craze has shaken the ingrained imagination of an American-centered modernity testifies to the possibility of Northern Europe surfacing as an alternative modernity paradigm. IKEA aestheticizes modernity by incorporating the “DIY” culture and transforming it into fashion. Consumers, as a result, turn into incomplete consumers, disrupting the hitherto easy division between laborers and the leisure class. The modern family created and propagated by IKEA, with the aid of consumerism, has gradually superseded that promoted by the authoritarian single-party state. However, the Scandinavian cultural imagination generated by the media is far from an exclusive model; it can be easily integrated into the American and Japanese paradigms, relegated to one of the myriad options in the consumption practices of everyday life. The study also found that, among the various competing modernity paradigms in Taiwan, the Scandinavian modernity is different from its United States and Japan counterparts that feature large-scale commercial areas and easy-to-duplicate landscape designs. The Scandinavian alternative is a comparatively more indoor, small-scale, and affordable model of personal consumption.