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  • 學位論文

華山藝文特區活動形塑場所精神關係之探討

An Observation on the Forming of Spirit of Place by the Activites of Whashan Art District

指導教授 : 胡寶林
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摘要


本研究以華山藝文特區為研究對象,探討曾經是台北酒廠的華山藝文特區,過去五年來在工廠式歷史建築、閒置空間等多重角色扮演下,藉由各種不同面向的活動所形塑之場所精神。 本研究試由現象學的角度,探討華山藝文特區的歷史建築內所發生種種關於藝術、展演、人文活動的關係,研究從表象活動的觀察進而深究空間場所的本質。本文經由藝文特區目前管理單位中華民國藝術文化環境改造協會之協助取得華山的基本資料,並在此議題的相關文獻中逐漸釐清本研究架構,經由研究者參與活動與空間觀察紀錄並訪談相關案例後,逐步歸納出研究的發現。 華山成為實驗藝術一個棲身的庇護所,實驗藝術也反過來形塑華山所表現出來的型態,因此如何將歷史酒廠環境融入在創作之中,成為在此創作者的共同命題。在此展演的靜態或動態作品需與展場間維持一種相互交流的狀態,展場從而成為作品的一部份,作品也融入為展場的一種環境語言。本文認為老酒廠的環境提供了參與活動者一個可明顯辨識方向的地點,在這個地點中,來自各種不同領域的藝術、文化、表演活動蓬勃的發展,藉由空間中的每一個活動參與者間相互的交流,讓人與場所之間融合得沒有距離。此時場所、活動、人這三種元素間產生充滿意義的互動,人們藉由藝文活動的催化對華山的場所產生強烈的認同,並從活動參與中獲得自由的滿足。藝文活動彰顯了華山的場所感,並真誠的生活在華山的舞台空間中,華山成了藝術創作的「家」,「家」的特質也吸引了各種參與活動的人,從空間環境的認同到場所的歸屬,在人群不斷的聚集且相互交流中,藝文活動已悄然「定居」在華山的場所之中。 隨著時間與空間的演變華山的角色不斷的改變,過去因地理環境與公賣酒廠的因素讓華山有封閉且一般民眾不易親近的印象,這樣的特質在八德停車場遷移後,逐漸將過去的圍牆打開,企望藉此拉近人們的距離,以獲得新的發展契機。華山藝文特區已被文建會列入「創意文化園區」的計劃案中,本研究建議華山的未來應客觀的參考國外已發展成熟的歷史建築轉型為藝文特區的成功案例,讓整個焦距單純化,將之集中做為全民共同欣賞、創造藝文與結合自然景觀休憩使用的場所,並仔細規劃具遠見的空間需求與環境整體機能評估,在如何讓全民共享且正確的使用產業歷史建築前提下,公開遴選國內外優秀有創意的設計,且尊重華山特區原本有機發展的特性,依循正確的使用原則下慢慢成形,使華山不致淪為政治角力下的犧牲品,才是讓台北邁向國際城市的前瞻性做法。此外公部門應密切與各種藝術、文化團體充分合作,並尊重人們生活的集體記憶,深入思考如何將充滿了歷史記憶的場所做最正確的保留,體認老舊建築環境中這種充滿時間的痕跡一旦被破壞消失後,再也無法被創造出來的觀念,同時考慮「時間性」對歷史建築的意義,讓都市中新與舊和諧的共生共存。

並列摘要


This research is a case study of Whashang Art District. To investigate the spirit of place which used to be Taipei Winery in factory style historic building for the past five years being with idle space for various role playing, and through different dimensional activities. This research tries to discuss relationship among arts, exhibition, performance, and humanistic activities going on in those historical buildings of Whashang Art District from phenomenology point of view. The research tries to start from the activity surface observation to further find out the nature of the space. Through current Whashang Art District management unit Association of Culture Environment Reform Taiwan to obtain Whashang basic information, to review related literatures to clarify this research structure; besides, the researcher participates activities and space observation, recording and interview relevant cases to gradually sum up research findings. Whashang has actually become the shelter for experimental arts. On the other hand, experimental arts shape styles of what Whashang appears to be. Hence, how to integrate the historic winery environment into creativity has become common proposition for the Whashang artists. The exhibitions and performances here with static or dynamic works have to remain an inter-communicating status with the hall to enable the environment as part of the work, and works immerses as one of the environmental language. This paper believes that old winery provides an environment for activities participants a venue with obviously identified direction. Arts, cultural and performing activities from various fields prosperously developing at this place. Through every activity, participants from everywhere inter-communicating have integrated people and place for no distance in between. Meanwhile, three elements the place, activity and people have created meaningful interactions. People has generated strong recognition to Whashang through catalyzing of artistic activities, and enjoyed contented freedom from participations. Artistic activities has shown the special space characters of Whashang and sincerely lived in the stages. Whashang has become the “home” for artistic creativity. Characters of “home” also attract various activities participants. From the identification to the space to sense belonging of the place, among continuous interactions of groups of people, artistic activities have quietly “reside” in Whashang. As time goes by and environment changes, Whashang’s role keeps changing as well. Due to the past geographical environment of being as the official winery had isolated Whashang and made it not that friendly to general people. This character of being a wall in between has gradually been torn down after the Pa-Teh Parking Lot moved, it is hoped to draw the distance closer with people to have new developing opportunity. The Council for Cultural Affairs, Executive Yuan, has included Whashang in “Creativity Cultural Park” project. This research suggest to objectively refer foreign mature experiences of successful cases in historic building transformation into art district to enable the future of Whashang having simple focus as a place for common people to appreciate, create arts, to integrate with natural scene and for relaxation. It is also needed to plan carefully the vision in terms of space needs and total environmental evaluation, under the proposition of letting people share and correctly use those historic buildings to openly invite and select domestic and international elite for creative design. In addition, to respect the original developing opportunity Whashang District has, and to follow the right using principles for reforming it. Do not let the fine and reborn place to be the sacrifice of “political fight.” That’s the foresighted way to lead Taipei into an international city. Furthermore, government should be cooperated with the art and cultural groups adequately. At the same time to respect the collective memory of people’s life to deeply considering how to make the most appropriate reservation for a place full of historical memories. It is important to remember any old building full of time traces to be destroyed will never be able to be created again. Hence, it is definitely necessary to consider the meaning of ”time” to historic building to enable the city co-exist the new rising and the old in harmony.

參考文獻


1.王明珂(1989),集體歷史記憶與族群認同,台北:當代雜誌。
20.陳志梧 譯,Michel Foucault 著(1992),其他的空間,台北:台灣大學建築與城鄉研究所。
3.Heidegger M.(1971), Poetry,Language,Thought ,New York:Harper and Row.
1.Christian Norberg-Schulz(1984), The Concept of Dwell-On the way to figurative architecture. New York:Rizzoli.
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