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    題名: 城市的文化拼貼術 : 臺北市文化規劃之研究(1994-2008)
    其他題名: The city's cultural collage : the study on cultural planning in Taipei city (1994-2008)
    城市的文化拼貼術 : 台北市文化規劃之研究(1994-2008)
    作者: 陳惠民;Chen, Hui-min
    貢獻者: 淡江大學土木工程學系博士班
    黃瑞茂;Haung, Jui-mao
    關鍵詞: 文化規劃;城市規劃;文化治理;台北市;Cultural Planning;city planning;Cultural Governance;Taipei City
    日期: 2009
    上傳時間: 2010-01-11 05:25:30 (UTC+8)
    摘要: 本論文主要是回顧1994年至2008年間的台北市,在中產階級興起、市民意識紮根與政治民主化的社會基礎上,並在「後福特主義」與「新自由主義」的脈絡裡,探究既有城市規劃體系如何接合到文化規劃領域。本研究中心命題有下列二者:(1).城市政權維繫「正當性」,如何回應與滿足文化性的集體消費需求?(2).在經濟成長衰退的同時,「親發展」的國家角色如何以文化規劃提升城市競爭力?
    全文結構主要分為三個部份:第一部份討論了都市計畫正當性危機,如何因應產業機能調整而轉變到塑造城市適宜性的文化設施生產,包含了既有機制調整與替代性計畫;第二部份討論城市文化規劃的建制演變、視野、能力、設施生產與文化活動,以致達成何種文化規劃的形貌與作用;第三部份以「後工業城市」發展模式來看在地的文化政策如何驅動棕地開發,並以「華山」與「松菸」作為討論個案例,指陳出目前的文化規劃特性。綜歸本研究,發現此一期間的文化規劃有以下若干特徵:(1).文化事務及其需求無法在既有都市計畫機制被細緻處理而讓渡到「文化規劃」範疇內;(2).城市文化單位能夠在「組織結構」與「個體施為」交替為用間發揮治理作用,積極地回應以中產階級為主的文化需求,並將市民社會力量納到文化規劃內;(3).「文化進步性」價值在若干案例中被突顯出來,並以「收編抵抗」方式達成規劃實踐的目的;(4).台北市作為「首都性格」,使得文化規劃具有政治規劃特性:文化規劃是政治資源與表現場域;(5). 2000年後文創政策成為支配性「親發展」的文化政策,在國家色能力退化後,以BOT政策引入私人文化企業進駐棕地的「園區式」開發方式,並結合了文化消費與觀光的文化商品服務業,希冀提升城市競爭力;卻也同時消弭了原有的藝術能量與錯失了棕地開發的積極作為。
    最後,本研究指出這期間的文化規劃類比一種藝術型式的「拼貼術」,夾雜了眾多圖繪的作用力;台北市在全球城際間強調物質競賽局勢中,應正視本身的限制條件與反身看到社會性基礎。從內挖掘城市多元異質的「文化殊異性」,才能創生另類且不可被取代的「文化競爭力」條件,也才能跳脫文化規劃作為服務中產階級文化消費與需求滿足的窠臼。
    The gist of this dissertation is to discuss the city planning system how to articulate the cultural planning sphere under the social foundation of middle class emerging, civil consciousness awaking and political democratization and in the context of Post-Fordism and Neo-Liberalism in Taipei City during 1994 to 2008. The two core problematic issues are: (1). the urban regime how to respond or meet citizens’ demands for cultural collective consumption to keep legitimacy; (2).facing economic recession in the meanwhile, the “pro-development” state how to upgrade city’s competitiveness by means of cultural planning.
    The structure of this study could divide into three parts. Firstly, the legitimate crisis of urban planning causes to deal with industrial function revision and transition to cultural facilities production of urban amenity, including the current mechanism adjustment and alternative projects. Secondly, we analyze the formation and social effects of city’s cultural planning tasks through institutionalization, horizons, capabilities, facility-production and cultural events. Thirdly, from “Post-Industrial City” model, we debate the two local brownfield development cases, Taipei Winery (Huashan) and Songshan Tobacco Factory (Songyan), driven by cultural policy, and indicate the cultural planning features of these two cases. Summarily, the features of cultural planning during this period are the following: (1).the cultural tasks and citizens’ demands could not be treated subtly by the current urban planning mechanism and transferred to cultural planning domain; (2).the city’s cultural organization could accomplish governance by the interaction of “structure” and “agency”: responding the cultural demands actively for middle class primarily, and bringing the civil society’s capacity into cultural planning system; (3).the value of “the progressiveness of culture” had ever emphasized in a few cases to achieve planning practice by “incorporating resistance”; (4).Taipei City represents “the character of capital” and her cultural planning possesses the feature of political planning: political resources and performance field; (5).since 2000, “cultural and creative industry policy” had turned into a kind of dominant and “pro-developmental” one. Moreover, the capability of state had degraded, therefore, by means of BOT policy, the private cultural enterprises were drawn into brownfields development as “science-park-like” type and cultural goods service industry combined cultural consumption with tourism. However it eliminated the previous art capacity and lost the brownfield’s positive role at the same time.
    Finally, this study identifies the current cultural planning as a kind of art form: “the collage”, which interlaced with many kinds of mapping forces. However, Taipei, involved in worldwide intercity material competition, should confront the limitation and be aware of social foundation herself. By discovering the multiple heterogeneous “cultural uniqueness” inside the city, it’s able to create alternative and irreplaceable “cultural competitiveness”, furthermore remove the stereotype of cultural consumption and demand-meeting for middle class in cultural planning domain.
    顯示於類別:[土木工程學系暨研究所] 學位論文

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