本論文透過觀察凝視行為所產生的「再現空間」，來探索生活中習而不察的社會現象，經由這個現象來理解空間中的再生產。另外，科技的進步讓凝視行為不再侷限於親眼目睹，打破時空限制，不論何時何地都能夠進行凝視並對此產生再現空間，同時也暴露在二手凝視的危機。以資本主義下的城市生產的問題為討論內容，思考以城市地標能作為城市形象的真實性，並整理出「台北101」在政治、經濟、社會三個層面的再生產現象提出討論，在享受城市地標帶來各種的益處之外，也要承受城市地標所帶來的隱憂。 Every landmark reflects its local culture and it can be a symbol of a city, and also shown the advances in technology, communicate with other countries. The research is about how a landmark be produced in the urban space with real case. First of all, introduce the features and functions of landmark with Kevin Lynch, The Image Of The City. And discus about the relationship with landmark and urban space. Using a landmark as a urban image for advertisements and marketing.
The main idea for The Production of Space, the most influential of urban theory of Henri Lefebvre. Lefebvre''s argument in The Production of Space is that space is a social production; it will base on values, and the social production of meanings which affects spatial practices and perceptions. He thought the process show the space produced also serves as a tool of thought and of action. In addition to being a means of production it is also a means of control, and hence of domination, and power.
The most famous landmark in Taiwan is Taipei 101, its postmodernist approach to style incorporates traditional design elements and gives them modern treatments. The tower is designed to withstand typhoons and earthquakes. Fireworks launched from Taipei 101 features prominently in international New Year''s Eve broadcasts and the structure appears frequently in travel literature and international media. It is more than a remarkable technological achievement; it symbolizes the growth and economic prosperity of Taiwan and stands as an invitation to the rest of the world to do business and to sightsee.
