「空間分享城市共造」國際論壇與會手冊 by SpaceShare Taipei

[ 目錄 ] 議程 Agenda

序：台北市空間資源分享平台

Preface："Space Share, Taipei" Platform

I. 韓國經驗 - 首爾地方創新的匯聚與分流

Experience of Seoul, South Korea Aggregation and Stream of Seoul Place Innovation.

II. 臺北國際對話 International Dialogue

III. 日本經驗 - 創新與分享氛圍的實踐

Experience of Japan The Practice of the Innovation and Sharing Atmosphere

IV. 臺北經驗 - 時空縫隙與生活場域 Experience of Taipei, Taiwan Gap of Time-Space and and Living

V. 臺北經驗 - 空間分享實務經驗

Experience of "Space Share, Taipei" Platform in Taiwan

Ⅵ . 新社會空間與聚落

New Social Space and Settlement

Ⅶ . 空間分享與社群聚合 Space Share and Community Aggregation

103 年 11 月 09 日星期日時間

議程

09:00-09:10

報到

09:10-09:15

貴賓致詞

張剛維／臺北市都市更新處處長

09:15-09:20

來賓介紹

連振佑／本計畫共同主持人

09:20-09:40

計畫介紹

路徑與策略：臺北都市空間資源分享平台連振佑／本計畫共同主持人

接待區辦理報到

茶敘交流

09:40-09:50

專題 I 【韓國經驗】首爾地方創新的 10:00-10:40 匯聚與分流 09:50-10:00

10:40-11:00

主持人 / 講者 / 與談人

專題 II 臺北國際對話

11:00-11:20

引言人：蕭麗虹／竹圍創藝國際有限公司負責人 Space Cloud：地方鏈結作為首爾城市創新啟動器鄭秀賢／ Space Cloud 負責人關於開放空間經營與社群策略游適任／混公社共同創辦人世界上根本沒有文創—文化空間的公共性是什麼？鄭衍偉／ Paper Film Festival 策展人主持人：連振佑／本計畫共同主持人

11:20-12:00

與談時間

午餐

12:00-13:00

專題 III 【日本經驗】創新與分享氛圍 13:10-13:50 的實踐 13:00-13:10

13:50-14:10

14:10-14:30

與談人：林宜珍／忠泰建築文化藝術基金會秘書長臺北市政府產發局科技產業服務中心代表

專題 IV 【臺北經驗】時空縫隙與生活場域

引言人：吳慧貞／禾磊藝術有限公司藝術總監 Studio L：創新與分享氛圍的實踐山崎亮／株式會社 studio-L 法人代表遊牧的綠生活：駐點空間與社區風景唐園荷／粉紅豹文化事業專案企劃專員被遺忘的大稻埕：老屋新意及社區活力王耀東／台北市社區規劃師、華梵大學建築系講師

November 09, 2014 Sun. Time

Agenda

09:00-09:10

Registration

09:10-09:15

VIP Speech

Kang-Wei Chang ／ Director of Urban Regeneration Office

09:15-09:20 09:20-09:40

Guest introduction Project Introduction

Moderator/Speaaker/Panelists

Chen-Yu Lien ／ Co-Chairman, Space Share Taipei Program

Route and Strategy: Space Share , Taipei Chen-Yu Lien ／ Co-Chairman, Space Share Taipei Program Tea Break

09:40-09:50 09:50-10:00

PartI 【Seoul】

Introductor： Li-Hong Xiao ／ Presiden,The Bamboo Curtain Studio

Aggregation and Stream of 10:00-10:40 Seoul Place Innovation.

Space Cloud: Place Innovation -Sharing City and Space Support Sue-Hyun Jung ／ Service Planning , SPACE CLOUD

10:40-11:00

O p e n S pa c e M a n a g e m e n t a n d C o m m u n i t y Strategies

Part II 【Taipei】

11:00-11:20

International Dialogue

Shih-Ren Yu ／ Co Founder, hun Co-Working Space There Is No Cultural Innovation in the World. — What is the publicness of the cultural space? Yen-Wei Zheng ／ Executive Director,Paper Film Festival Moderator： Chen-Yu Lien ／ Program Co-Chairman

11:20-12:00

Discussion

Panelists： I-Chen Lin ／ Secretary-General, Foundation for Arts and Architecture

Representative ／

Hi-Tech Promoyion Center, Department of Economic Development

Lunch

12:00-13:00 13:00-13:10

Part III 【Japan】

The Practice of Innovation 13:10-13:50 and Sharing Atmosphere 13:50-14:10

14:10-14:30

Part IV 【Taipei】 Gap of TimeSpace and and Living

Introductor：

Hui-Zheng Wu ／ Director,Artfield Co. Studio L：Community Design and Place Making Ryo Yamazaki ／ Founder & Director, Studio-L Nomadic Green: Resident Workstation and Community Landscape Yuan-He Tan ／ Project Planning Specialist,Pinkpanther Co., Ltd. The Forgotten Dadaocheng: New Ideas for Old Houses; Community Revitalization Yao-Tung Wang ／ Taipei Community Planner 3

主持人：魯貴顯／天主教輔仁大學社會學系專任副教授 14:30-15:10

與談時間

與談人：黃舒楣／國立台北教育大學文化創意產業經營學系兼任助理教授

臺北市政府都市發展局代表茶敘交流

15:10-15:20 15:20-15:40

15:40-16:00

專題 V 【臺北經驗】空間分享實務經驗

大同區｜國慶里貳拾號公民會所吳思儒／景澤創意有限公司執行長萬華區｜方方屋 × 好加在團隊好加在團隊／國立臺灣大學建築與城鄉研究所主持人：劉柏宏／本計畫主持人

16:00-17:00

綜合座談

與談人：鄭秀賢／ Space Cloud 負責人山崎亮／株式會社 studio-L 法人代表張家銘／雋永 R 不動產創辦人魯貴顯／天主教輔仁大學社會學系專任副教授黃舒楣／國立台北教育大學文化創意產業經營學系兼任助理教授

教育部國民及學前教育署代表臺北市都市更新處代表

Moderator：

Kuei-Hsien Lu ／

Associate Prodessor, Department of Sociology, Fu Jen Catholic University

14:30-15:10

Discussion

Panelists：

Shu-Mei Huang ／

Part-time Assistant Professor,National Taipei University of Education Culture and Creative Industries Management

Representative ／

Department of Urban Development,Taipei City Government

Tea Break

15:10-15:20 15:20-15:40

Part V 【Taipei】

Datong District ｜ Kuo-Ching Neighborhood Chief Office

Ssu-Ju Wu ／ CEO, Jing Ze Creative Co.

Experience of Wanhua District ｜ "Space Share, Fun Fun House × Goodhomehere 15:40-16:00 Taipei" Platform Goodhomehere ／ in Taiwan

"Goodhomehere Studio" of National Taiwan University Graduate Institute of Building and Planning

Moderator：

Po-Hung Liu ／ Chairman, Space Share Taipei Program Panelists： Sue-Hyun Jung ／ Service Planning , SPACE CLOUD

Ryo Yamazaki ／ Founder & Director, Studio-L Comprehensive Chang Chia-Ming ／ Founder, JyuanYong R Estate co. Kuei-Hsien Lu ／ 16:00-17:00 Discussion

Associate Prodessor, Department of Sociology, Fu Jen Catholic University

Shu-Mei Huang ／

Part-time Assistant Professor,National Taipei University of Education Culture and Creative Industries Management

Representative ／

K-12 Education Administration, minstry of Education

Representative ／

Director of Urban Regeneration Office

103 年 11 月 10 日星期一時間

議程

14:00-14:10

報到

接待區辦理報到

14:10-14:20

前言

臺北市都市更新處代表

14:20-14:40

專題Ⅵ 【新社會空間與聚落】 14:40-14:55 專題Ⅶ 14:55-15:10 【空間分享與社群聚合】

主持人 / 講者 / 與談人

友善媒合：雋永 R 不動產張家銘／雋永 R 不動產創辦人北投空場作為新型態的藝術「聚落」朱駿騰／空場 Polyme 創辦人【議題 1】新型態的都市聚落【議題 2】創意聚合與空間媒合【議題 3】企劃嘗試與空間支持施佩吟／經典工程顧問有限公司專案經理茶敘交流

15:10-15:20

主持人：蕭麗虹／竹圍創藝國際有限公司負責人

15:20-17:00

【座談會】平台如何促成公私空間分享

17:00-17:30

綜合回顧

座談會：山崎亮／株式會社 studio-L 法人代表鄭秀賢／ Space Cloud 負責人丁致成／財團法人都市更新研究發展基金會執行長朱駿騰／空場 Polyme 創辦人林佑瀓／ FutureWard 未來產房創辦人林育正／ CLBC coworking space 總經理林崇傑／臺北市都市發展局副局長吳思儒／景澤創意有限公司執行長楊育修／ FutureWard 未來產房共同創辦人邱詠婷／臥龍二九創辦人國立臺北教育大學文化創意產業經營學系副教授莊熙平／國立交通大學建築研究所助理教授張家銘／雋永 R 不動產創辦人陳靜亭／ CAMPOBAG 創辦人（URS155 經營團隊）主持人：劉柏宏／本計畫主持人

November 10, 2014 Mon. Time

Agenda

14:00-14:10

Registration

14:10-14:20

Previous Remarks

14:20-14:40

14:40-14:55

Part Ⅵ 【Taipei】 New Social Space and Settlement

Part Ⅶ 【Taipei】 14:55-15:10 Space Share and Community Aggregation

Moderator/Speaaker/Panelists Sign in to take place in the reception area

Representative ／ Taipei City Urban Regeneration Office(URO) Meet Space with Friendly Way Chang Chia-Ming ／ Founder, JyuanYong R Estate co. Bei-Tou "Polymer" as a New Type of Artistic Village

Chun-Teng Chu ／ Founder, Polymer Art Space 【Issue1】A New Form of Urban Settlement 【Issue2】Creative Aggregation and Spatial Matching 【Issue3】Tryal & Error and Spatial Support Pei-Yin Shih ／ Manager, Classic Landscape Design and Planning CO.

Tea Break

15:10-15:20

Moderator： Li-Hong Xiao ／ Presiden,The Bamboo Curtain Studio

Panelists： Ryo Yamazaki ／ Founder & Director, Studio-L Sue-Hyun Jung ／ Service Planning , SPACE CLOUD Chih-Cheng Ting ／ CEO,Urban Regeneration R&D Foundation

15:20-17:00

【Roundtable Discussion】

Chun-Teng Chu ／ Founder, Polymer Art Space Daniel Lin ／ Founder, FutureWard makerspace + coworking space Tyler Lin ／ GM, CLBC Ching Long business Enterprise, INC coworking space Chung-Chieh Lin ／ Undersecretary, Department of Urban Development,Taipei City Government

Ssu-Ju Wu ／ CEO, Jing Ze Creative Co. Yuh-Siu Yang ／ X Producer, FutureWard makerspace + coworking space Yong-Ting Qiu ／ Founder, Wo-Long 29 Urban LAB

Associate Professor,National Taipei University of Education Culture and Creative Industries Management

Eric Chuang ／ Assistant Professor,National Chiao Tung University The Graduate Institute of Architecture Chang Chia-Ming ／ Founder, JyuanYong R Estate co. Mmting Chen ／ Founder, CAMPOBAG C+ Culture Co. Management Team of URS155 17:00-17:30

Comprehensive Moderator： Discussion Po-Hung Liu ／ Chairman, Space Share Taipei Program

序：台北市空間資源分享平台｜連振佑

序：台北市空間資源分享平台 Preface："Space Share, Taipei" Platform

撰寫者｜連振佑

Writer ｜ Chen-Yu Lien

台北市「空間資源分享平台」試圖使更多社群、更多人可以較容易地在城市中找到合用的空間，使城市中等待都市更新、閒置不用的空間找到新的活用方式賦予新生命，使得都市能夠因為更多人與空間的相遇而再生，補充了其他各種空間規劃設計、使用或是市場機制還未能充分解決的縫隙。

Taipei City’s “Space Share, Taipei Platform” is intended to let more communities and people locate suitable spaces in the city, thereby revitalizing urban spaces pending urban planning as well as idle and unused spaces to give the city a new life through people-space interactions, supplementing various spatial planning design and use, or filling gaps that market mechanisms have failed to adequately address.

密集發展的台北市裡，仍然有些空間處於閒置未充分利用的狀態。政府雖已積極透過各種不同的政策工具，例如 URS 都市再生前進基地、藝響空間、委託經營管理等方式，各自活絡了部分的都市裡空間資產，然而仍有許多私有產權屋主因為等待都市更新，或是為避免一般市場租賃帶來的各種麻煩，使得這些空間閒置於擁擠的城市裡。

Despite Taipei City’s intensive development, there are still some unused spaces that are underutilized. Whilst the government has activated some assets in the urban space through a variety of policy tools such as URS urban regeneration forward bases, sound art spaces, commissioned management, etc., many private property owners are still waiting for urban renewal or abandoning idle spaces in the crowded city to avoid all kinds of trouble arising from general market leases.

另一方面，有許多社群與人們不斷地努力在這個城市裡試圖找到一個可以發展創意、實踐理想的基地而不可得。許多有關徵求空間經營管理與使用者的政策與辦法對 NGO 社團而言門檻太高負擔太大，或是市場機制下租金條件令創業者無力承擔打退堂鼓，還有的物件必須透過共同使用才能分攤租金並一起擁有較大的公共使用面積會議室等等。如何讓這些社群、創業個人或公益團體能夠簡易近用城市資源是一個進步的城市重要之責任。

On the other hand, many communities and people continue to strive for bases that are hard to come by to develop creativity and put ideals into practice. Many spatial management and user policies and guidelines solicited have thresholds too high for NGO communities, or properties face withdrawal due to unaffordable lease terms under the market system. Additionally, some properties have joint tenancy to split rentals and have bigger public access areas and meeting rooms. How to provide accessible urban resources for communities, entrepreneurs, or public interest groups is therefore an important responsibility of a progressive city. Under the mindset of facilitating the full utilization of urban spaces and entitling

Preface："Space Share, Taipei" Platform ｜ Chen-Yu Lien

在上述讓都市空間充分活用、讓城市市民與社群享有進入城市權利 (the right to the city) 的思維之下，台北市都市更新處委託研究並成立「空間資源分享平台」，補充其他政策工具還沒有觸及的部分，邀請市民朋友將過去不願意投入租賃市場、願意支持公益或創意、創業團體的空間物件，即使是 3 至 5 年後要都市更新拆除重建的空間，能夠登錄到平台上；另一方面把資訊傳遞給過去租不起、找不到合適空間的社群、創意或創業團體，透過各種媒合的方式來促進「空間有所用、社群有所在」的美好結果發生。

city residents and communities to the right to the policy, Taipei City Urban Regeneration Office commissioned research and set up the “Spatial Resource Sharing Platform” to supplement policy tools that have not yet been covered, invite city residents reluctant to invest in the lease market but support the space properties of public interest groups, creative groups, and entrepreneur groups to register spatial properties through the platform for urban renewal, demolition, and reconstruction three to five years later. On the other hand, information will be sent to communities, creative groups, or entrepreneur groups that cannot afford or find suitable spaces. Through all kinds of matching approaches, positive “spatial utilization and community use” outcomes will be promoted.

空間資源分享平台除了積極的宣傳、透過各種網絡廣泛地邀請空間所有權人、空間需求單位以外，採取三大主要策略來推動空間分享媒合工作。其一是根據需求者所開的條件、平台上已登錄之物件狀況進行篩選比對，透過現場看屋、屋主洽談等等程序，採取聚焦、針對性地媒合供需雙方。其二則是選擇特定的空間物件，舉辦工作坊邀請可能有興趣的社群、個人參加，聚在一起討論是否可以共同進駐以及空間分配安排等等。另外第三種是在尚未選定確切空間對象之前，透過社群聚會腦力激盪，先提出空間的需求、彼此能夠共同工作的條件與未來模式，甚至整體共同營運空間的財務計畫，然後以此計畫書來向空間所有權人提出遊說，找尋適合共同工作、一起租用空間的實際目標物件。

In addition to positive publicity and widespread invitations sent through a variety of networks to space owners and units with space demands, the space resource-sharing platform adopts three strategies to promote space sharing and matching work. One of the strategies is to screen and compare properties registered on the platform based on the terms given by people with needs. Procedures such as checking out houses for sale, negotiating with house owners, etc. are taken to match focused and targeted supply and demand sides. The second strategy is to select specific space properties and organize workshops to invite interested groups and individuals to participate and gather to discuss the possibility of stationing and making spatial distribution arrangements. The third strategy is to propose the demand for space, conditions for working together, and future mode, and even the overall financial plan in the joint operating space through community meetings before exact space objects are confirmed. Then, the proposal is used to convince space owners to jointly search actual target properties suitable for working together and joint lease. 9

序：台北市空間資源分享平台｜連振佑

平台媒合成功之「穀得食務所」所在位置原來無人使用，在巷子裡看到它是拉下鐵捲門無表情的城市空屋一樓，如今屋主以低廉的租金支持推廣安心食材的團隊，成立穀得食務所於此之後，取代鐵捲門的是植栽與食材的綠意，並且自此散發出安心食材的議題，讓周邊地區藉此產生了新的意象、促進地方認同感的生成與都市再生。

The location of “Good Food Agency”, a successful case of platform matching, was originally unused. It is an expressionless unfurnished first floor located in an alley in the city with its rolling door pulled down. Now, the house owner pays a low rent to support a team that promotes safe food ingredients. After A Program was set up in this venue, green plants and food ingredients replaced the rolling door and the issue of safe food ingredients exuded, thereby generating a new image for the surrounding areas and promoting local identity and urban regeneration (Photo: Green grass and flowers at A Program).

「新社會空間」邀請了城市裡不同的社群勾勒共同使用的空間計畫。每個社群表達自身的需求，提出可以負擔的租金區間，相互討論之間迸發了許多彼此鼓舞、支持或是創新的思維與做法。透過未來會務與空間發展的描繪，提出空間經營管理的資金攤提與相關財務計畫，凝聚出共同使用一個大坪數空間的可行性實施辦法。在這樣的成果之後，平台據此更能夠遊說符合該計畫條件的空間屋主來應允，以可負擔的出租或公益回饋方案來達成媒合結果。

[New Social Space] Different communities in the city were invited to outline the space plan for common use. Each community expressed its needs and each proposed a budget for rentals. Through the discussion, encouraging, supportive, and innovative ideas and practices were brought up. Through portrayal of future conferences and spatial development, spatial operation and management related amortization and financial plans were put forth to devise a feasible method for implementing a large- space for joint use. After the outcome was obtained, the platform was better able to lobby qualified space owners to agree to the terms, specifically agreeing to rent at affordable rates or achieving matching results through public service feedback programs (Photo: Community discussion scene).

Preface："Space Share, Taipei" Platform ｜ Chen-Yu Lien

空間資源分享平台使得原來社會中既有的社群、網絡關係有了一個具體的結點。藉此觸發更多空間分享的故事不斷地發生，藉由社群空間、共同使用空間、可負擔的空間與時段性分享空間等不同型態與模式，使得過去等待拆除重建更新之閒置空間，透過活用有了新的生命、帶動周邊地區再生。

The space resource-sharing platform has created a specific node for existing communities in the society and network relations, thereby eliciting more stories to be shared in the space. Through community spaces, co-use spaces, affordable spaces, time slot sharing spaces, and other type sand models, the idle spaces to be demolished and renewed in the past will be given a new life through utilization, while surrounding areas will be regenerated.

這個平台與既有的房屋仲介業者、租屋平台、物業管理協會與單位等等橫向串聯協力，並且與其他政府政策計畫資訊交流，將城市發展視為一個整體重要的目標，以服務空間需求者為最大宏旨。因此這樣的計畫與其他政策發展出協力、互相補充的效益，協助處理市場機制運作之餘的空隙。

Through platform and existing house agency operators, renting platforms, proper t y management associations and units, and other lateral links, as well as other government policy, program, and information exchanges, city development is regarded as an important overall target aimed at providing services to those with space needs. The program and other policies therefore contributed to cooperative and supplemental benefits, thus serving as aids for handling gaps that existing outside the market mechanism operations.

由政府委託成立這樣的平台具有前瞻的意義：這是一個網絡鏈結、平台結點服務的思維政策，有別於過去大建設、大開發的鉅型發展思維。當這個結點平台不斷地運作之後將建立起清晰的識別形象，使得市民知道能夠透過平台得以協助許多相關的人、群，能夠將閒置不用的空間轉換為地區活絡再生的觸媒。完

The platform established through commissioning b y t h e g o ve rn m e n t h a s fo r wa rd - l o o k i n g significances. It is a network link and platform node service-oriented policy. Unlike large-scale development of large buildings and development in the past, when the node platform continues to operate, a clear identity will be established, which will help city residents offer assistance to people and groups concerned through the platform, thus converting idle and unused spaces into a media that boost regional activation and regeneration.

I. 韓國經驗 - 首爾地方創新的匯聚與分流

Experience of Seoul, South Korea Aggregation and Stream of Seoul Place Innovation.

II. 臺北國際對話 International Dialogue

引言人 Introductor 蕭麗虹 Li-Hong Xiao 講者 Speaker 鄭秀賢 Sue-Hyun Jung 游適任 Shih-Ren Yu 鄭衍偉 Yen-Wei Zheng 主持人 Moderator 連振佑 Chen-Yu Lien 與談人 Panelist 林宜珍 I-Chen Lin

引言人 Introductor

蕭麗虹 Li-Hong Xiao 竹圍創藝國際有限公司負責人 Presiden,The Bamboo Curtain Studio 蕭麗虹具藝術家、策展人、竹圍工作室，竹圍創藝國際有限公司負責人、及各類藝術相關單位、協會、基金會理、監事、審議委員等多重身份，多次策劃、執行國際藝術文化交流活動、會議、研究等。擁有美國加州柏克萊大學經濟學系的背景，蕭麗虹曾任職於經濟相關產業，而後轉投入視覺藝術創作，並多次參與國內外展覽。她關注每個人所具備之創意潛力，並在過去的 14 年內，不斷發掘與培養新秀的創意才能、與在地機構進行合作。她並以文化工作者身分擔任台北市都市計畫審議委員，累積多年的經驗，深感都市原有的文化環境與生態對市民的影響乃多層次的面向。多年來，蕭女士協助台北市文化空間再造，開放空間的多元運用，使市民能有更多文化參與的空間與機會。現階段亦努力推動創意城市，希冀以創意為推手，改變城市為永續與樂活的社會。蕭女士同時領導文化交流政策研究，倡議藝術家駐村計畫、國際文化交流事務，推廣文化多元化的理念。她活躍於許多創新組織、概念的推動，強調藝術家在文化、社會與環境多元與永續發展上的角色，並持續與許多國際組織進行研究、合作與交流。

主持人 Moderator

連振佑 Chen-Yu Lien 本計畫共同主持人 Co-Chairman, Space Share Taipei Program 中原大學景觀系專任助理教授、臺灣大學建築與城鄉研究所博士。過去長期參與經典工程顧問公司環境規劃設計工作，耕耘於城市綠生活圈的規劃營造與社區營造人才培育，同時也是臺北市空間資源分享平台 (Space Share, Taipei) 分享機制重要的推手。自己家的樓上或前庭、社區公園、城市裡的閒置綠地、甚至城市裡低度使用的空間，這些可以「綠」的空間，都是連振佑先生近年來以「社群協力社區」進行「Place-making」的涵蓋範圍。連振佑先生自 2000 年起即長期投入社區再造與教育工作。近年，連先生一方面連結政府、學校、社區團體、NGO、溫羅汀的獨立書店、文史工作等組織，以星光閱讀、跟著瓦片去散步、開心農園，及其他的藝術行動等，推動社區對於閱讀、生態環境、可食地景、社區生活的共同關注，打造台北羅斯福路生活軸線、水陸畔生活圈等等。另一方面，為了讓低度利用的空間可以成為社會共用資源，為了讓公益或文創團體能夠輕易地居於城市，聯手公私部門，共同推動成立「空間資源分享平台」，在公益及共享的大前提下，促成都市與空間以共同使用 (co-working)、可負擔的 (affordable)、時段性分享、社區共用等等各種方式再生與活化。

與談人 Panelist

林宜珍 I-Chen Lin 財團法人忠泰建築文化藝術基金會秘書長 Secretary-General, Foundation for Arts and Architecture [ 學歷 ] 英國倫敦金斯頓大學當代設計策展碩士輔仁大學應用美術系室內設計組畢業 [ 重要經歷 ] 財團法人忠泰建築文化藝術基金會秘書長財團法人忠泰建築文化藝術基金會執行秘書歐立利國際展覽設計股份有限公司資深設計暨行政主任歐立利國際展覽設計股份有限公司展覽設計師 [ 專長 ] 建築、設計、藝術類展覽規劃及專案整合、執行創意聚落策畫、經營

連接地方為分享城市的創新 Connecting places and making innovation for Sharing City

鄭秀賢 Sue-Hyun Jung SPACE CLOUD 創辦人 Service Planning , SPACE CLOUD

［2013-Now］ NSPACE Inc. FounderCEO SPACE CLOUD, Service Planning Open Contents Lab, Director, Coworking Community Planning & Management. ［2012-2013 ］ Space Noah, Co-founder, Coworking Place Planning & Management. ［2010-2014］ SMLab, Organizer, Media Edu support for Non-profit groups.

Connecting places and making innovation for Sharing City ｜ Sue-Hyun Jung

首爾是大都會，而且一直以快速為導向發展，以致產生了嚴重的問題，就像其他國家的大都會一樣，發展不均衡，物價高，所以首爾居大不易。之後，從私部門到公部門，一些創新人士正在成長，要以分享空間，做另類改變並設定新的生活型態。簡而言之，本文介紹發生在首爾的現象，以及分享空間如何能重建與影響社會。

Seoul is one of mega cities and has been developed in speedy-oriented way so that having many serious problems likewise other countries. Specially for the spaces, there’re unbalanced and very expensive for using so it’s not easy to do something in Seoul. After that, from private sector to public, some innovators are growing to make alternative changing and setting for the new life style with sharing spaces. Briefly, this is a introduction of what happened in Seoul and how sharing space can rebuild and imapct the society

了解 2014 年首爾的分享空間趨勢與前景的 4 個要點：案例、有關族群與前景。

4 points for understanding the sharing space trend and prospect in Seoul 2014: Cases, relevant groups, and prospects.

1. 公部門與私部門創新人士之間基於「分享經濟」的合作

1.Collaboration between Public and Private innovators based on 'sharing economy'

─首爾市政府 (SMG) 宣稱首爾為永續發展計畫分享城市。2011 年獲選後，市長朴元淳和他的團隊為分享政策做了很多事，特別為公部門與私部門之間的夥伴關係，培養和委任了「分享公司與組織」，首爾市政府並且創立了「分享樞紐」平台 (www. sharehub.kr)，做為導引。

-Seoul Metropolitan Government (SMG) declared Seoul as Sharing City for the sustainable progress planning. After elected 2011, Mayor Park Won-soon and his team have done many things for sharing policy, especially incubating and designating ‘sharing company and organization’ for the partnership beween privator section. For the guidance SMG has management a platform ‘share hub’ (www.sharehub.kr).

─首爾市政府也很有魄力地開放其空間資源給市民，超過 1000 個辦公室及廳堂，以推廣分享空間的倡議 (http://yeyak.seoul. go.kr)。

-SMG also has powerfully opened their space resource to citizen more than 1000 local office rooms and hall to promote sharing space uprising. (http://yeyak.seoul.go.kr)

─首爾市政府一直支持民間人士參與分享經濟，他們協助分享公司的品牌信任、內部公關支援、並且加入和成為市政府在首爾的許多建設方案中的夥伴，超過 50

-SMG has supported private player in sharing economy sector. They assist sharing companies’ branding trust, PR infra support, and giving a permission to join and be a partner with SMG in many projects in Seoul. 50 more teams are designated and 30% of them is about relavant shairng space. 17

連接地方為分享城市的創新｜鄭秀賢

個團隊被指定，而且其中有 30% 是有關分享空間的。 2. 以投資者與創投生態的成長為基礎，像「共同工作空間」的連接的地方正在興起

2.Connected places like 'co-working spaces' are rising based on growing of investor infra with startup ecosystem.

─ 首爾的一些有影響力的基金會、公司、及地方政府以共同工作空間，支持創投及企業。所以年經族群願意聚集在這些地方，並且經常分享他們的方案及能力。

-Some of impactful foundations, companies, and local government in Seoul have been supported start-up and ventures with coworking spaces. So young groups tend to gather in these place and share their project and competency oftenly.

─資源、人力網、及資金籌措團隊也聚焦在這些共同工作地點，所以分享空間正在期待新的生產力價值。

-Resources, human network and fundrasing teams are also focusing in these coworking places, so sharing spaces have been expecting a new value for productivity.

3. 連接的工具：線上平台服務支援分享空間的文化，促進有效果的工作

3.Tools for connecting : Online Platform Services support the culture of sharing space in order to working effectively.

─有許多像 airbnb 的線上平台，連接首爾的空間，而且它們在提供有意義的服務上，一直都有好名聲。

-Like airbnb, there’re many online platforms for connecting spaces in Seoul and they’re used to have good reputation for meaningful service.

─ Space Cloud（搜尋入口網站）、Kozaza（韓國傳統房屋）、 Coco farms（農場）、Gongdok（私人圖書館）、Parkhere （停車場）、idle-lot（活動場地）、store sharing（零售地點、商店）、fairspace（捐贈的地方），這些都是首爾市政府的分享公司網路。

-Space Cloud (multu search portal), Kozaza (Korean traditional houses), Coco farms (frams), Gongdok(private library), Parkhere(parking), idlelot(event place), store sharing(retail place, stores), fairspace (donated places) these are all SMG’s shairng companies network.

4. 分享空間方案的新生活型態：分享房屋、社會住宅、市鎮為基礎的恢復力方案

4.New life style with sharing space projects : Sharing House, Social Housing, Town based resilience projects.

Connecting places and making innovation for Sharing City ｜ Sue-Hyun Jung

─為了取代昂貴與低品質的空間（包括房屋、建築與空地），一些創新人士（建築師、藝術家、研究人員、商業團體及規劃師）一直是首爾的城市恢復力的各種努力付出者。社會住宅及分享住家事業也正在興起。

-In order to replace expensive and low quality spaces (including house, budiling and empty places), some innovators (architects, artists, researchers, business groups, city planners) have been the various efforts for city resilience in Seoul. social housing and sharing home business are also uprising.

─ 長壽鎮，昌信洞工程， Chungchun 平台（市鎮建設計畫）、‘D-well’（社會創新人士）‘O share House’、 ‘Dalpaengi House’（2030 個年輕會員居住在大學與公司周邊）、SoHangJu（家庭與單身婦女）、20 歲學生的房間分享政策等等。

-Jangsu town, Changshin dong project, Chungchun Platform(town project), ‘D-well’(Social Innovator), ‘O share House’, ‘Dalpaengi House’ (2030 young members living around University and Company), SoHangJu (Family and single women), Room sharing policy for 20’s students. etcs.

誰是下一個首爾的分享空間創新人士（公與私）

Who is the next innovator (public and private) with sharing spaces in Seoul.

在首爾興起的各項空間方案是非常引人注目且可分享的，它們之間的共同點是社區導向，或以合作方式變革。信任與使關係更融洽是完成這些方案的好態度。一起生活或工作，就像社區或網路方式，帶來新的文化給首爾，作為分享的城市。公部門與私部門之間更為緊密的結合，他們的合作為新生活型態與文化分享，創造了新生態系統。完

Emerging spaces projects in Seoul are ver y remakable and shareable. A common point between them is community-oriented or collboarated way for changing. Trust and making relationship better is one of good attitude to accomplishiment of these projects. Living or working together, as community or network way, bring the new culture and impact to Seoul as the sharing city. Also it’s getting more intensively connected between public and private sector, new eco-system is created with collaboration of them for the new life style and culture changing.

關於開放空間經營與社群策略 Open Space Management and Community Strategies

游適任 Shih-Ren Yu 混 hun 共同工作空間共同創辦人 Plan b Studio 負責人 Sharing Wheels Project 共同創辦人 Co Founder, hun Co-Working Space President, Plan b Studio Co Founder,Sharing Wheels Project

台北人，獨生子，25 歲，公的。大學主修法律。19 歲那年，因為對派對和電子音樂的嚮往，在一連串誤會與巧合下，和幾位友人以非專業性的規劃成立了設計工作室。2009 年底，又在另一個因緣際會下，發展出「Sharing Wheels」的共享單車計劃。該計劃已在台灣的數所大學施行，將規劃進駐社區以及城市停車閒置空間進行合作。目前該計劃交接由其他夥伴繼續執行。在 2012 年，另與友人成立混 hun 共同工作空間 (Co-Working Space)。試圖找尋屬於台灣本地的共同工作空間態樣，也利用此一空間發展各式樣的可能性。目前有各類進駐團隊與個人工作者，咖啡館，小型藝廊，放映日，各類聚會授課活動等。同時也希望該處能營造出「公社」的共享、分享、永續的概念。 20

Open Space Management and Community Strategies ｜ Shih-Ren Yu

2012 年與一群人夾帶理想與實驗性的經營模式下，成立混公社（或是一般所稱的混 hun 共同工作空間）。原先是認為「公社，會改變工作與生活的關係。會盡可能為每個人釋放最多的自由時間。不是不需要工作，而是不需要為生活而工作。自由時間讓我們去學習，一切關於社會生活的直覺。然後以生活實踐開始建立國家看不到的地域，並且建立起統治者看不到的身份。」因此，幾乎每一位參與混公社建制的人員，其實都還有另一個身份存在。成員有學生、上班族、工程師、藝術家、律師、醫師、設計師、老師 ...... 等等，為的就是在各自私有領域以外，去設置一個「共同分享」的環境，去創造一個現實面以外的區域。

In 2012, a group of idealistic individuals set up a a hun commune (or commonly known as Hun Coworking Space) through an experimental operating mode. It was originally thought that “communes will change the relationship between work and life, letting everyone make the most of the free time. It is not that there is no need to work, it is that there is no need to work for a living. Having free time allows us to learn, to develop an instinct towards everything in life. By putting life into practice, areas that fail to be foreseen at national level and the identity that unseen by the ruler are established”. Therefore, almost every person involved in the hun commune setup has an extra identity”. Members in the hun commune include students, office workers, engineers, artists, lawyers, doctors, designers, teachers, etc. The purpose is to create an environment for “mutual sharing”, an area beyond reality, outside the private domains.

透過「公社（Communes）」的概念，我們試圖以「共同工作空間（Co-Working Space）」的形式去實際操作這樣的可行性。而相似「共同工作空間」的空間類型，這幾年來在世界各地不斷地冒出。會有這樣的發展，從軟體層面來看，除了是因為跨領域交流的重要性在現今社會逐漸提升外，就是有越來越人對於踏出原先舒適圈（comfort zone）有很高的想像，於是開始嘗試接觸沒有碰觸過的領域或是自行創業。而從硬體層面來看，最大的因素純粹就是「空間配置的不平均」。精確來說，這樣的現象主要在高密度人口的城市中容易產生。如同 1970 年代，當時歐洲房價高漲，市區空間不足，多數地產資產又在少數人手

Through the concept of “commune”, attempts have been made to put the feasibility of “coworking space” into practice. On the other hand, “co-working space” space types have emerged one after another around the world in recent years. From the software perspective, this development is not only the result of the growing importance of interdisciplinary exchange in the modern society, but it is also a higher level of imagination for stepping out of the comfort zone. People started learning areas unknown to them before or started their own businesses; from the hardware perspective, the key lies in the “uneven spatial distribution” factor. More accurately, this phenomenon is frequently observed in densely populated cities. For example, in the 1970s, rising housing prices in Europe, lack of urban space, and the majority of real estate assets fallen in the hands of few triggered a wave of “squatting”. Occupiers believe that “the behavior of using a space for consumption is in violation to the norms of 21

關於開放空間經營與社群策略｜游適任

中，於是掀起了一波「佔屋運動（Squatting）」的熱潮。這些佔領者認為，「將使用空間當成消費行為，早已違反了大自然的規範。」所有的空間都應該在共享（Sharing）的理念下做最有效的資源分配，才能達到最佳的經濟效果。可以說共同工作空間的概念雛形，就是在這觀念中浮出。在有限的空間內，成員可以各據一角，各自工作並相互輔助。

nature”. The most efficient allocation of resoruces should be done for all the spaces through the concept of sharing to ahcieve the best economic reuslts. It is said that the prototype of co-working spaces surfaced from this conception. In the limited space, members can each occupy a corner to work independently or engage in mutual aid.

共同工作空間是一個介於非正式的私有空間，與正式的對外空間過渡階段之間的共享空間形態。因此在私有空間的不足，或無法滿足其需求，但對於正式的對外空間所產生的成本負荷又無法承受之下，自然地就產生介於兩者間的環境。而如此新型的共享環境，對於鄰近區域又會產生漣漪性的效果。人與人之間由於各自的不滿足因素，群聚在同一個空間內，必然牽動原先私自領域或空間的模糊界限。而這樣的衝擊會先開始重新審視（市區內）空間需求問題，進而喚起城市間居民對於共享概念的意識。當初混公社建立在該社區時，樓上房東是最早與我們接觸的「長期在地居民」。對於我們要做什麼，怎麼做他們會好奇，但不是出於對於這產業的好奇，而是對於我們這些「外來者」的好奇，一個不安定的變數性進入一個長久沒有流動的區域，究竟是好的影響或是負面的亂象呢？然而由於共同工作空間本身就是一個開放的共享空間。於是從中，房東開始明白和認同這樣的概念，進而會與其他長期在地居民的

A co-working space is an informal private space, a shared space form during the transition stage of the formal external space. Hence, due to the lack of private space, inabilty to meet needs, and failure to withstand tge load of costs arising from the formal externaal spaces, the environment that comes between the two is naturally generated. The new shared enviornment in turn produces a rippling effect on neighboring areas. Considering people’s own sets of dissatisfaction, once gathered in the same place, the fuzzy boundaries of a private field or space will be triggered. In the face of the impact, one must first re-examine the issue of spatial needs (in the city) in order to evoke city residents’ awareness for the concept of sharing. When a hun commune was set up in the community, the landlords upstairs were the first “long-term local residents” we had contact with. They were curious about what we were going to do and how we were going to do it. Their curiosity was not drawn by the industry but by who we were as “outsiders”. An unsettling vairable entered the area that had long been stagnent. Could it be a good influence or negative turbulance? Since the co-working space itself is an open shared space, the landlords started to understand and give recognition for the concept. They mentioned it to other neighbors who are long-term local residents and even promoted it. As a result, the onlookers,

Open Space Management and Community Strategies ｜ Shih-Ren Yu

鄰居在閒談時提及，甚至推廣。於是原先觀望的人，配上本來就會進入這空間內的各類外來人群，透過這樣的空間（平台），逐漸有了交流的機會。社群，就是在這無形中巧妙地產生。

accompanied by all kinds of outsiders who entered the space, gradaully had the opportunity to engage in exchanges, which virtually and meticulously contributed to the formation of the community.

這樣的共享意識，曾在 2009 年我所發起的一個「Sharing Wheels」校園共享單車計劃中，親身試驗過。該計劃是以學生證登記，整學期得任意在校園內與四周騎乘使用，完全無需負擔任何費用。自行車身則以業主的贊助與媒體放置來作為營收成本開銷的收入來源。這計劃，除了希望將校園廢棄與囤積腳踏車的問題減緩，同時也明確的試驗共享概念的可行性（目前該計劃已在台灣的數所大學施行，將規劃進駐社區以及城市停車閒置空間進行合作）。從中認知到，人群不是不願意去進行分享，而是害怕分享後所產生的價值。他們在意的是那個「價值」是不是會損害原先自身利益。

I have personally experienced this sense of sharing through the “Sharing Wheels” oncampus bicycle sharing program I had initiated. Students are permitted to ride around on campus completely free of charge after having their student ID registered. Bicycles are sponsored by business owners and the media, which are the main sources of income to pay for operating costs and expenditures. The program is intended to lessen the problem of bike disposal and hoarding on campus. At the same time, the feasibility of the concept of sharing can be clearly tested (the program has been implemented in several universities in Taiwan. Bike stationing in communities and unused urban parking spaces are currently under collaborative planning). In view of this, instead of saying people are not willing to share, it is better to say that they fear values generated from sharing. Their concern is whether or not “values” will result in compromised interests.

於是今年在參與 Open Green 計劃後，想要透過設計讓目前閑置的空地，試驗成為新形態的開放空間或公園。希望從建造過程到建造完成，能讓周邊社區的居民與我們邀來的外來單位共同參與。在這之間利用「共造」一個閒置空地完成「共享」的共同環境。因此當混公社與 Plan b 設計工作室共同執行這計劃，便計劃從整地階段開始就邀請周邊居民一同參與，從最基本的借工具、插頭、借電施工 ...... 等等開始。同時由於設計規劃需要有

After participating in the Open Green Program this year, throuhg design, the current idle spaces will be tested and turned into new forms of open spaces or parks. Hopefully, from construction to completion, the nearby community resident and the outside units invited will jointly participate. Through the co-created idle space, the “shared” co m m o n e nvi o rn m e n t c a n b e co m p l ete d . Therefore, the hun commune and Plan b Design Workshop jointly executed theprogram. The surrounding residents were invited to participate right from the starst during land preparation, specificially borrowing of tools, plugs, and 23

關於開放空間經營與社群策略｜游適任

現場佈置照片，於是在固定時間邀居民來空地共同攝影。在等待時間時，長期居民與外來者間就會有談天的機會，光是透過這樣的交流，彼此間的隔閡就因此減緩不少。而由於該閑置空地正位處於混公社旁邊，因此他們之所以願意共同參與，多少會是基於這幾年來對於混公社的信賴。由於之前混公社「共享」概念的推廣，如前面所提及的，並沒有因為新產生的價值損害他們原先的利益。因此當我們提及這塊閑置空地要變成屬於大家的開放空間或公園時，他們自然會覺得願意試驗看看。總言之，若說共享是許多項目的新形態運作模式，那麼信賴到底還是最核心的價值所在。

electricity for construction needs. Meanwhile, sicne deisgn planning requires site layout photos, the residents were invited at fixed hours for photo taking. During the wiat, the long-term residents and outsiders had the chance to chat. Through the exchanges, the isolation between them was narrowed. Since the idle space is lcoated next to the hun community, their willingness to participate is to some extent based on their trust for the hun community over the years. Owing to the promtoion of the concept of “sharing” in the hun commune, as mentioned earlier, the new values produced did not compromise original interests. When we mentioened turnign the idle land into a common space or park for public access, naturally, they were willing to try. In short, if sharing means a new operating mode of progrmas, trust will be the ultimate core value.

當共享空間建制完成，社群也隨之群聚而成。社群會是改變一個區域最有效的力量。當一個社群有一個共識往某一個方向共同時，才有辦法實現共享空間的實際價值，而在一次又一次的價值實現結果下，才可能達到實際問題的解決。完

A community is formed a soon as shared spaces are completed. A community is the most effective force that leads to change. The substantial value of a shared space can only become a reality when a community has a common consensus towards a certain direction. Practical problems can only be resolved if value outcomes are repeatedly realized.

世界上根本沒有文創 —文化空間的公共性是什麼？ There Is No Cultural Innovation in the World. — What is the publicness of the cultural space?

鄭衍偉 Yen-Wei Zheng Paper Film Festival 執行總監 Executive Director,Paper Film Festival 浪跡天涯的旅行廚師，利用中英日翻譯與跨界策劃能力在世界各地工作。主要關心視覺敘事、公共空間與體驗設計，至今已經在 12 國參訪或專訪 100 個以上的社會創新組織、文化空間與活動個案。翻譯諸多日本當代藝術大師自傳，評論、散文、小說創作散見中港台三地媒體，涵蓋文化、動漫、劇場、都市議題領域。曾獲台灣文學獎、台北文學獎。

世界上根本沒有文創—文化空間的公共性是什麼？｜鄭衍偉

任何文化空間的成立，背後都必定有一個基本的價值目標。由於當代的「文化」從狹義的「文化藝術」延伸拓展到社會學廣義討論的「人類所有的精神與物質活動產出」，對於「文化」的定義也受各個地方的社會、經濟、政治現況影響，出現許多認知上的落差。因此，想要討論文化空間的公共性，我們一定得從背後的動機，也就是主事者的「文化決策」開始談起。如此一來，才有可能判斷這個文化空間的成效符不符合原本的目標。更進一步，也才有可能討論空間的「公共性」是什麼。

There must be a basic value target behind the establishment of any cultural space. Because contemporary "culture" has been extended and expanded from the narrow "cultural arts" to "all the outputs from spiritual and material activities of human" dicussed by sociology generally, and many cognitive gaps appeared between the definitions of "culture" affected by the current social, economic and political situations of different places, we have to start the discussion from the motive behind it, that is, the "cultural decision-making" of those in charge, if we want to discuss the publicness of cultural space. In this way, will it be possible to judge whether the effectiveness of this cultural space reach the original target. Furthermore, it is possible to discuss what the "publicness" of space is.

兩套不同的價值系統

Two different value systems

製造業外移、失業率升高、全球化經濟分工促使許多工業國家政府必須面對產業轉型的問題。為了解決社會與經濟的變化，「創意經濟」被視為諸多解決方案之一。許多國家都以英國工黨於 1990 年代末提出的「創意經濟」作為模範，希望效法英國政府的政策方向與產業發展模式，台灣也不例外。

Manufacturing relocated, rising unemployment rate and the economic division of labor of globalization has forced many governments in industrialized countries to face the problem of industrial transformation. In order to solve the social and economic changes, "creative economy" has been regarded as one of the many solutions. Many countries have followed the example of "creative economy" proposed by British Labour Party in the late 1990s, hoping to imitate the policy direction and industrial development model of the British Government; Taiwan is no exception.

工黨上台後，面對製造業崩解、產業出走的處境力求轉型，開始盤點全國產業結構，1998 年推出創意產業盤點報告（The Creative Industries Mapping Document），確認英國的在地產業狀況之後，才確定要發展創意產業。所謂產業，指的是具備上下游生產鍊的整體生

After coming to power, the Labour Party faced with manufacturing disintegration and industry relocation sought transformation, and began to review the national industrial structure. In 1998, it delivered "The Creative Industries Mapping Document". It decided to develop the creative industries after identifying the conditions of local industries in Britain. What is called industry refers to the whole ecosystem containing the upstream and downstream production chains, the

There Is No Cultural Innovation in the World. ｜ Yen-Wei Zheng

態系，從研發設計、生產製造到行銷物流全盤都必須包含在一起思考，這樣才有可能提供更多工作機會。

overall consideration including research and design, manufacturing, marketing and logistics, so that it is possible to provide more job opportunities.

然而，當我們回顧英國提出的報告，我們會發現「文化多樣性」並不在產業報告的關心範圍。此外，報告特別註記教育與訓練如同購買樂器，並不包含在「總產值」、「消費者支出」甚至「就業人口」的統計範圍。這似乎可以解釋，在經濟發展導向的產業路線中，推廣教育不能作為「產值」，反而算是開銷與投資的「支出」。白話的說法就是：推廣教育要花錢，沒辦法創造真正的產值。如果推廣教育與訓練必須以不同標準看待，那似乎也同時表示「審美」與「藝術性」並不是產業發展的重點。

However, when we reviewed the reports proposed by the United Kingdom, we would find that "cultural diversity" was not in the concerned scope of the industrial report. In addition, the report specified that education and training is like buying musical instruments, not included in the statistical range of "GDP", "consumer spending", and even "employed population". This seems to explain that in the course of economic development-oriented industry, the promotion of education can not be a "value", but should be regarded as overhead and the "cost" of investment. Frankly speaking, it is necessary to spend money on the promotion of education, which can not create real output value. If the promotion of education and training must be viewed in a different standard, and that seems to have also meant that the "aesthetic" and "artistry" is not the focus of industrial development.

然而，站在文化工作者的立場，為維繫心靈與社會的多樣性，我們需要增加不同的刺激，並支持輔助某些珍貴或瀕臨危險的弱小文化。從關照母語、古蹟、傳統一直到實驗、前衛與創新，這些都無法用「產值」來計算，也很難直接看到任何經濟成效。為什麼我們需要珍視文化資產、表揚傳統、發展母語呢？這是因為人類社會的各種組織形態需要建立集體與在地認同。文化的教育、推廣與發展本身，其實是一種社會投資與權力規訓的工具，本質是一種「文化公共建設」。

However, from the standpoint of cultural workers, in order to maintain the diversity of the mind and society, we need to increase the different stimuli, and give assistance to some rare or endangered minority culture. From taking care of the mother tongues, monuments, tradition to experiment, avant-garde and innovation, it is impossible to calculate their "output value" and it is difficult to see any economic benefit directly. Why do we need to cherish cultural assets, praise tradition,and develop mother tongues? This is because the various organization forms in human society need to establish the collective and local identity. The education, promotion and development of culture itself is a kind of tool of social investment and power discipline, a kind of "public construction of culture" in essence. In 2005, the "Convention on the Protection and Promotion of the Diversity of Cultural Expressions" promoted by UNESCO made it clear 27

世界上根本沒有文創—文化空間的公共性是什麼？｜鄭衍偉

2005 年聯合國教科文組織推動的「保護和促進文化多樣性表達國際公約」，更直接明言文化認同的價值不能比照商品來判斷。

more directly that the value of cultural identity can not be judged according to merchandise.

在此，我們看到文化教育和創意經濟兩者其實是完全不同的價值系統，一個著重「教育」一個著重「經濟」，然而在台灣，這兩者卻經常被混為一談。「文創」這個台灣自己創造的術語更進一步造成價值判斷上的混亂，進而在「文化空間」的規劃上引發進一步的危機。

Here, we see that cultural education and the creative economy are actually two completely different value systems, the former focusing on "education", and the latter "economy". But in Taiwan, the two are often confused. "Cultural innovation", the term created by Taiwan itself, has further created the confusion over value judgment, and then triggered further crisis in the "cultural space" planning.

要求經營文化教育、創新推廣的單位提供經濟產值，本身不切實際，更容易造成排擠弱勢文化的負面效應；而發展創意經濟必須盤點資源，協助有商機的上下游產業鏈自立壯大規模賺取收益，提供更多就業機會，促進經濟發展，現在卻讓它以文化名義依賴稅金補助，更是本末倒置。

It is unrealistic to require that the unit operaing cultural education and promoting innovation provide economic output, and more likely to cause negative effects of crowding out the weak culture. On the other hand, it is necessary to go through the inventory of resources for the development of the creative economy, help the upstream and downstream industry chain enlarge its scale and earn more revenues, provide more employment opportunities, and promote economic development. But it is upside down to allow industry to rely on tax subsidies in the name of culture.

台灣的文化空間問題

Cultural space issues in Taiwan

如今台灣政府討論「文化空間」的時候，多半打著「創意經濟」的口號追求營利收益，卻無創意經濟的實質，對於建構上下游產業鏈完全沒有任何具體對策。進而引發「觀光地景」以及「文化資產出租」兩種現象。

Today, when the governments in Taiwan discuss "cultural space", most of they blared the slogan of "creative economy" in pursuit of profit gains, but without the substance of creative economy. And they have not developed any specific strategy for the construction of upstream and downstream industry chain at all, so as to further trigger the two phenomena of "tourist landscape" and "cultural asset lease".

觀光地景分成暫時性與固定性兩種。暫時性的觀光地景通常以節慶的方式呈現，台灣近期

There are two kinds of tourist landscape, temporary and permanent. Temporary tourist landscapes are usually presented in a form of festivals, a recent

There Is No Cultural Innovation in the World. ｜ Yen-Wei Zheng

的例子可以參見 2013 年的黃色小鴨風潮。固定性的觀光地景則以指標性建築為目標，企圖透過國際知名建築師的品牌效益以及招搖的造型吸引目光。

example in Taiwan can be found in the Rubber Duck wave in 2013 . For permanent tourist landscapes, some indicator architectures are targets, in an attempt to attract attention through brand benefits and swagger shape created by internationally renowned architects .

為了吸引觀光人潮，這些觀光地景往往藉助於外力，希望透過外國人或者知名品牌的加持，在政治人物相對短暫的任期內迅速見到成效，追求媒體曝光，服務的是主政者個人的政績。此外，固定性的觀光地景還有另一個帶動週邊房地產炒作的效應，往往觀光地景本身還沒有確定可行性，週邊地產就已經漲勢驚人，進而造成社會財富分配的負面影響。

In order to attract tourist crowds, these tourist landscapes often resort to external force, in the hope that good effects can be achieved in the relatively short term of political figures through the blessing power of foreigners or well-known brands and the pursuit of media exposure. What they serve are the achievements of individuals who are in power. In addition, there is another effect, the speculation of the real estate around these landscapes, resulting from the permanent tourist landscapes. Usually before the feasibility of a tourist landscape itself has not been yet determined, the prices of surrounding real estate had soared amazingly, thereby adversely affecting the distribution of wealth in society.

臺中市可以說是觀光地景最典型的例子。近期耗費一億興建的光之塔因為維護成本過高決定廢除。而委託伊東豐雄設計的大歌劇院更是長期招標十一次流標，無人願意營運，唯一投標廠商從來沒有做過歌劇。另一方面是台灣的大型表演團體不多，觀眾人次也不足，很難支撐固定檔期的表演，未來使用率可能會造成更大的問題。但是週邊豪宅早已大打歌劇院招牌，開始動工熱賣。文化資產出租，則以老屋或廠房活化最具代表性。近期的文創園區多半依循這個邏輯。政府耗費經費整修基礎設備之

It can be said that Taichung City has seen the most typical examples of tourism landscapes. Recently, Taichung City Government decided to desert the Tower of Light that cost taxpayers NT$ 100 million, because the maintenance costs are too high. The contract for building the Taichung Metropolitan Grand Opera House designed by Toyo Ito had been put out to tender for a long time and failed 11 times. The only tenderer had never built opera house, and no one is willing to operate it. On the other hand, there are not many large performing groups in Taiwan, and the audiences are not big enough either. It is difficult to support a fixed schedule of performances; the usage rate may cause bigger problems in the future. But construction companies have long taken full advantage of the opera house to begin building luxuary buildings in the surrounding area and sell them at a huge profit.

世界上根本沒有文創—文化空間的公共性是什麼？｜鄭衍偉

後，希望吸引使用者進駐，然而官員將營運管理園區簡化成租賃，發包給相關廠商。廠商在租賃契約的壓力之下必須爭取獲利，就提高場地使用的租金門檻，造成只有商業性，具備規模經濟的娛樂性展演得以使用這些場地。

原本這些文化資產空間具備獨特的社會與歷史價值，非常適合作為文化教育，建構認同的基地，然而現在被當成均質性的空間出租獲利。不僅真正從事文化教育的團體無力負擔使用，對於創意經濟來說，政府往往只能吸引獲利的是管理建物、善於招商的財團或百貨進駐，變成新的商場。既沒有建構創意產業的上下游生產鍊，也沒有著力於文化教育的傳承保存或鼓勵實驗，無論對文化發展還是都市發展來說，都完全看不到任何未來。與其美其名，稱為「創意經濟」，不如稱為「短線撈錢」。文化空間的公共性是什麼？當年科比意等現代主義空間專業者企圖尋找一個通則，可以解決全球的問題，建築成為「居住的機器」，模組生產降低成本，可以解決許多居住以及都市化的社會問題。科比意等人的思考方式與價值觀源自於工業革命改變的生產模式，但是如今回顧，我們發現這也帶來 30

As for cultural asset lease, revitalizing old houses or factory buildings are most representative. Most recent cultural and creative parks followed this logic. After spending expenditure refurbishing infrastructure, governments hoped that those parks could attract users. However, officials just transformed the operation and management of parks into leasing, signing lease contracts with the relevant contractors. They, under the pressure of lease contracts, have had to do their best to generate profits, so they raised the rent threshold for use of the site, so that only commercial, entertaining exhibitions and performances with economies of scale could afford to rent these venues. Originally, these cultural assets spaces with unique social and historical value were very suitable bases for culture, education, and establishing identity, but now they are regarded as spaces of homogeneity for rental profits. Not only cannot groups truely engaging in culture and education afford to use the spaces, but also the government often only manage to attract consortiums and department store businessmen good at managing buildings and luring investment in terms of creative economy, transforming the spaces into new malls and producing profits. Neither has the upstream and downstream production chain of creative industry been established, nor has there been focus on the preservation of cultural and educational heritage or encouragment of experiments. Completely no good prospect for both cultural development and urban development can be seen. The euphemistically called "creative economy" is better known as the "shortcut to money." What is the publicness of cultural space? In those years, Le Corbusier and other modernist space professionals attempted to find a general rule, by which some global problems could be solved. According to the rule, a building becomes a "living machine", which is made of modules to reduce cost, and can solve many social problems with living and

There Is No Cultural Innovation in the World. ｜ Yen-Wei Zheng

許多副作用，原本的在地紋理被抹平，各國的都市空間越來越相似，沒有特色。因此當代都市空間專業者都了解，每個都市與地區都有其原本的脈絡，必須針對在地的社會經濟狀況尋找不同的解方。在此我以美國的 AS220 作為個案，希望能夠為台灣文化空間的營運帶來一點不同的想像。 1.AS220 最根本的價值是「平價空間（Affordable place）」，而且拓展到非常廣義的層面，二十幾年來拓展到擁有三棟四層建築。從最基礎的展覽空間（有三個展廳）、工作空間（印刷廠、多媒體實驗室、數位攝影棚、黑盒子劇場、排練場、FABLAB、錄音室，會員制使用，藝術家居民或會員當志工教課使用器材有折扣並另外有 PAY）到居住空間，全部都是以平價為原則。三棟建物基於共通原則做空間規劃：一樓是展間、店面出租加上餐廳聚會空間。地下室有排練場。二樓是教室與工廠。三四樓是藝術家的廉價住宅兼工作室。他們試圖經營的是一整個生態系，這和英國 ACAVA 有很大的不同。ACAVA 透過暫時性空間代管，在法規租稅中找到空間以商業公司方式營運，手邊多達 25 棟房產可用。我們很難說誰更務實。但 AS220 鐵定更永續。

urbanization. The ways of thinking and values of Le Corbusier and others derived from the mode of production changed by the Industrial Revolution. However, in retrospect, we found that this also has brought us a lot of side effects. The original local texture has been erased, and urban spaces in each country are similar, with no features. Therefore, contemporary urban space professionals understands that each city or region has its original context, and it is necessary to find different solutions for every local socio-economic situation. I hereby use the U.S. AS220 as a case, hoping to bring a little different imagination for cultural space operations in Taiwan. 1. The most fundamental value of AS220 is "affordable place", which has reached a very generalized level and expanded into 3 four-story buildings. From the most basic exhibition space (there are three exhibition halls), working space (printing factories, multimedia laboratories, digital studios, black box theaters, rehearsal space, FABLAB, recording studios, membership use, artists residents, or members as volunteers teaching how to use equipment, enjoying discounts and getting pay) to living space, all rents affordable in principle. The spatial planning for the three buildings was made based on a common principle: first floor used for exhibition, storefront rental, plus restaurants and gathering space; the basement used for rehearsal; the second floor used as classrooms and factories; the third and fourth floor are used as the artists' affordable homes and studios. What they have been trying to operate has been a whole ecosystem, very different from ACAVA in U. K. ACAVA found a legal way to operate the spaces in a way of commercial company through temporary space management on behalf of the owner, with 25 buildings available at hand. It is difficult for us to say which is more pragmatic. But AS220 is definitely more sustainable.

世界上根本沒有文創—文化空間的公共性是什麼？｜鄭衍偉

還是要重申一次，他們雖然自己經營一間餐廳方便聚眾，並租賃空間給在地商家（不租連鎖店）賺一樓租金，但建物 80% 都不是店面。絕對不是華山松菸邏輯。

I would like to reiterate that although they themselves operate a restaurant convenient for gathering crowds, and lease space to local businesses (excluding chain stores) to earn revenues by renting the first floor, 80% of the buildings are not storefronts, definitely not the logic of Songshan Cultural and Creative Park in Huashan Area.

2. 羅德島州的普洛威頓斯是一個小城，只有 18 萬人口，位於紐約和波士頓中間，擁有全美兩間頂尖藝術設計學院，硬要比較，或許類似斗六（風光明媚成為度假勝地這點可能差異比較大）。AS220 發展出很不一樣的空間治理理論：堆肥理論。目標是創造出不同的生活環境。對於 Bert 來說，他覺得就長遠的歷史來看，廣義的藝術創作者都是掌握溝通或表現技術的人，大部分現代科技在 1950 左右雛形都已經完備，現在不再是技術競爭的年代而是如何表現的年代。因此，創造一個好的生活環境，目的是聚集重新思考生活方式的社群（Maker 文化等等），長遠就會重新改變在地紋理建立可以營運的價值。優秀的環境會吸納傑出人才加入，這個讓我想到可以比對現在香港人開始移居台灣，還有中國雖然有工作機會但是生活環境日益惡化的背景。

2. Providence, located in the middle of New York and Boston, is a small city in the State of Rhode Island and only has a population of 180,000. However, it has the nation's top two Colleges of Art and Design. If a comparison must be made, perhaps it is similar to Douliou (the radiant and enchanting scene that makes Providence a tourist resort is very different from Douliou). AS220 has developed a very different space governance theory: the composting theory, aiming to create a different living environment. For Bert, he believes that from the long-term historical perspective, the generalized artistic creators are those who master the techniques of performance and communication. The prototypes of most modern technologies have been completed around 1950, and now it is no longer the era of competition among technologies but the age of how to perform. Therefore, the purpose of creating a good living environment is to gather members of a society rethinking lifestyles (Maker culture, etc.), to change the local textures and establish the value that can be operated in the long term. Excellent environments attract talented people to them. This reminds me of Hong Kong people who start right now moving to Taiwan, and China where although there are employment opportunities, the living conditions have deteriorated.

長年經營下來，2013 年，羅德島州宣告成為藝術州，政策上具體落實在所有藝術交易不課稅與諸多配套。這大概是目前看到最驚人的社會與政策影響

After long time operation, the Government of the State of Rhode Island declared the state was an artistic state in 2013, specifically implementing the policy to exempt all art transactions and many supporting policies. This is probably the most amazing case affecting society and policies that have been ever

There Is No Cultural Innovation in the World. ｜ Yen-Wei Zheng

案例。我覺得台灣與台灣的二線城市應該重新思考一下自己的區位定義。

seen until now. I think the second-tier cities in Taiwan should rethink their geographical definition.

3.80 年代普洛威頓斯整個城市經歷後工業化蕭條，地方政府急於看到改變，任何改變都好（這讓我想到越後妻有大地藝術祭，ACAVA 也都是在三次經濟危機時獲得大量房產）在大環境最差時介入最容易。從草根運動經營占屋十年做到市長支持，協助 AS220 貸款於 1991 買下第一棟房產。這是很重要的關鍵。

3. In the 1980s, the entire city of Providence experienced the postindustrial depression. The local governments eager to see a change, any change is good (which reminds me that Echigo Tsumari Art Field and ACAVA also obtained a large amount of real estate during the third economic crisis at the time ), and it is the easiest timing to intervene in the worst environment. After a decade of grassroots movement of squatting, the squatters finally got the support from the mayor, who helped AS220 obtain loan, allowing them to buy the first building in 1991. This is a very important key.

雖然銀行和地方政府都有提出租賃或暫時性使用的提議，但是 AS220 從一開始就覺得沒有產權沒有經營價值，25 年過去看起來真是遠見。他們成為在市中心反仕紳化的力量，更因為握有建物和社群，在市政發言上擁有截然不同的影響力。經營至今和六任市長交手，每次都像是要從頭練起，重新教育短視的政客。因此除了在地政府之外也積極接觸國家層級的相關資源：community development block grants、 historic and new market tax credits 和一些主要大型基金會 Lila Wallace foundaion、 Kresge Foundation、 Ford Foundation。尋找和公部門、法務還有財經界對話的語言很重要。長久下來，他們透過實務與成功案例建立出自己的空間論述：creative place

While banks and local governments have put forward proposals to lease or temporarily use the real estate, but AS220 from the outset thought that there was no business value if there was no property right. This was really foresight as we know 25 years later. They have become the anti-gentrification force in downtown, and have distinct influence on municipal policies because they possess buildings and society in the municipal statement . They have so far dealt with six mayors fight since the start of operation. Everytime when a new mayor took office, they seemed to practise teaching the short-sighted politician again. Therefore, besides the local governments, they also actively contact relevant national level resources: community development block grants, historic and new market tax credits, and some major large foundations, such as Lila Wallace foundaion, Kresge Foundation, and Ford Foundation. It is important to seek dialog with public sector, legal, and financial circle. Over time, they have established their own space discourse, creative place making, through practical and successful cases, and actually began to influence US policies.

世界上根本沒有文創—文化空間的公共性是什麼？｜鄭衍偉

making，並開始實際影響美國政策。 AS220 從一開始政府協助貸款，到 2006、2008 買下第二第三棟建築（每棟都是四層樓佔據半個街廓的大屋）也累積了很多和政府協商融資以及法務部分的操作經驗。

From the beginning when the government helped AS220 obtain the loan, to 2006 and 2008 when AS220 bought the second and third buildings (both are massive four-story buildings occupying half block), they also accumulated a lot of operational experience of negotiating with government about financing and legal matters.

4.AS220 的董事會成員相當多元，從社區中學老師到財經專家都有，相當特別。他們覺得傳統負責募款的董事會是 money board，但是他們目標是建立多樣性的環境，因此徵募不同專長領域的人加入董事（而且不支薪）對於非營利組織的營運和跨領域溝通會有很大的幫助。

4. The board members of AS220 are quite diverse, from community high school teachers to financial experts, quite special. They feel that the traditional board responsible for fundraising is money board. However, their goal is to create a diversified environment, so recruiting people from different areas to join the board of directors (and unpaid) is a great help in operating a non-profit organization and communicating with people from different areas.

透明化這件事情在美國其實也需要占很大的行政成本和開銷，但是很重要。我在現場他們畫廊就有拿到 AS220 去年的年報 ZINE，此外可以參見這個他們整理的基本公開資料（這個專門整理美國非營利組織的影響力、財務與各方面營運機能的公開平台 GuideStar 好像可以研究一下）。

In the United States, transparency truely requires a great administrative expense, but is very important. I got a copy of AS220 Annual Zine of last year at their gallery. In addition, everyone can read the basic public information they prepared (This open platform specifically put together the information about the influence, finance and operational mechanism in all aspects of US non-profit organizations. GuideStar may well conduct research on that).

透過以上概述，我們可以略微掌握這種創意基地與台灣既有文化空間的不同。它不但在文化創作的圈子內部建構生態循環，更透過教室與平價空間與設備的提供，在都市中建構更大範圍的循環。他不但扮演反仕紳化的力量對抗房地產炒作

We can partly understand the difference between this kind of creative base and the existing cultural spaces in Taiwan through the outlines mentioned above. It not only has constructed the ecological cycle in the circle of cultural creation, but also constructed a wider range of cycle in the city by providing classrooms, affordable places and equipment. It not only has played a role in anti-gentrification and fought against real estate speculation type of economic development logic,

There Is No Cultural Innovation in the World. ｜ Yen-Wei Zheng

型的經濟發展邏輯，更積極介入公共事務與法規，以更長久的視野改善都市的文化生活環境。這正是文化公共建設的最佳體現。

but also has been actively involved in public affairs and legislation, to improve the city's environment of cultural life with more long-term vision. This is the best embodiment of cultural public construction.

文化空間「公共性」的五個關鍵檢核基準

Five Key Inspection Criteria for "Publicness" of Cultural Space

這幾年陸續在全球各地做田調訪查，發現許多地方對於文化空間的想像已經和過去完全不同。以下簡單整理五個關鍵檢核基準，希望能夠拋磚引玉，作為台灣未來發展的參考。這些關鍵檢核基準的落實，都需要相關法規、行政以及公私部門的資源配套。若是在經營甚至是建設規劃之前就將這些基準納入考量，將會更有成效。

Over the past few years I have done field visits all over the world, and found that in many places people's imagination for cultural space was completely different from that in the previous years. I have established five key inspection criteria as follows, in the hope to throw away a brick to get a gem as a reference to Taiwan's future development. The implementation of the key inspection criteria need to be supported by legal, administrative, and public and private sector's resources packaged. If the these criteria are taken into consideration before operation or even before the construction planning is made, that will be more effective.

1. 不以審美做為最高篩選標準過去討論文化空間，往往專指狹義的「文化藝術」空間，譬如美術館或音樂廳。然而這些新形態的公共文化空間為了讓一般民眾更容易親近，會刻意針對廣義的使用者做規劃。因為喜好藝文、從事專業藝文創作的族群只是社會大眾的一小部份。文化展館應該要能夠降低門檻（包含入場價格、場地氣氛、內容規劃等），去除階級感。在此，文化審美是一種從旁協助的專業，協助一般市民親近文化，提升生活品質。這是一種精神性的賦權（empower）。

1.Do not use aesthetic as the highest screening criterion In the past, when cultural space was discussed, people often specifically referred to it as "cultural arts" space in a narrow sense, such as art galleries or concert halls. However, these new forms of public cultural space would be deliberately planned for general users, in order to make it easier for the general public to get close to them, because those who like arts and literature, and engage in professional artical and literary creation are only a small part of the general public. Cultural halls should be able to lower the threshold (including admission prices, venue atmosphere, content planning, etc.), to remove the class feeling. Here, the cultural aesthetic is a profession, helping the general public get close to culture and improving quality of life. This is a spiritual empowerment. 35

世界上根本沒有文創—文化空間的公共性是什麼？｜鄭衍偉

2. 提供「生產工具」

2. Provide “production tools”

無論著重文化教育，還是創意經濟，文化空間不應該只是一個出租／供應文化工作者使用的場地，譬如展覽場地、表演場地。更應該提供軟硬體的生產工具，讓使用者得以在此創造出新的價值，譬如錄音室、排練場、印刷工作室、專業書籍館藏、產業網絡聯結等等。若是使用者可以更容易獲得生產工具，接觸文化的門檻就會降低，使用工具（攝影、錄音、印刷等）會變成日常生活的一種能力。

Whether culture, education, or creative economy is focused, cultural space should not be just a place that cultural workers may rent or use free, such as exhibition space, performance venues. What also should be provided are hardware and software production tools, such as recording studios, rehearsal space, printing studios, library of professional books, industrial network links, and so on, allowing users to create new value here. If users can have easier access to production tools, then access to culture will be easier and using tools (photography, sound recording, printing, etc.) will become a capability of everyday life.

3. 建立主動參與使用的環境

3. Create an environment actively participated and used

傳統文化空間提供的服務多半是單向的呈現，使用者扮演的是觀眾或消費者的角色，前來觀看電影、聆聽課程、接收新知。因此有時候會落入明星效應，提供流行熱門的電影或名家展覽，企圖吸引人次，反而排擠掉在地或新人的發聲機會。文化空間的公共性，若是配合在地的需求，建立一個民眾可以主動參與使用的環境，可以慢慢培育出穩定的使用族群。當民眾可以參與策展過程、或者運用文化空間提供的生產工具自己主動學習，文化空間與使用者的關係就不會是單向被動的傳統教育模式，也可以扎根走得更長遠。

Services provided by traditional cultural space are mostly a one-way presentations. The users play the role as audiences or consumers, caming to watch movies, listening to programs, or receiving new knowledge. So, sometimes the star effect may be produced, providing popular movies or popular artists' exhibition in an attempt to attract visitors, but the locals' or new comers' presentation opportunities would be crowded out. If the publicness of cultural space meets the requirement of locals, to create an environment allowing people to be able to actively participate in relevant activities and use the space, then a stable group of users can be slowly cultivated . When people can participate in the curatorial process, or use the production tools provided by cultural space to learn actively on their own, the relationship between cultural space and the users would not be a one-way passive traditional education model, and can take root and last long.

4. 市場需求、資本與社會價值的考量

4 . M a r ke t d e m a n d , c a p i ta l a n d s o c i a l va l u e considerations

There Is No Cultural Innovation in the World. ｜ Yen-Wei Zheng

當我們討論文化空間提供的「內容」，我們會發現直接受到市場需求的影響。譬如大部分提供的藝文表演或學習多半是西方系統，亞洲既有或傳統的表現形式只能在特定場合接觸。又或者有名的商業娛樂比較容易吸引群眾前來參加。

When we talk about "content" that cultural space provides, we will find that it is directly affected by market demand. For example, most of the arts and cultural performances or learning are mostly provided by the Western system, and Asian existing or traditional forms of expression only can be contacted on particular occasions. On the other hand, famous commercial entertainment can attract people more easily.

這種市場需求的偏好又受到文化、社會、經濟資本的影響，譬如學習西方語言比傳統母語有價值，帶有機能性、功利性。從政府經營者的角度，提供有用、滿足市場需求的服務比較有利可圖，可以促進經濟或就業。從文化教育者的角度，則是希望促進推廣弱勢或者實驗性的文化表現。這個社會價值觀的背景會影響文化空間的「內容」與方向。

This market demand preferences are also affected by cultural, social, and economic capital. For example, learning Western languages is more valuable than learning mother tongues, with functionalism and utilitarianism. From the perspective of government operators, providing useful services to meet market demand is more profitable and can promote economy or employment. From the perspective of cultural educators, it is hoped to promote cultural expression of the disadvantaged or experimental art. This background of social values can affect the "content" and direction of cultural space.

5. 接軌在地紋理與資源

5. Connecting local textures with resources

當今都市空間專業者討論所有的空間都必須考慮原本的在地紋理。在地需要什麼樣的服務，文化空間可以扮演什麼樣的角色，可以掌控的資源有多少，都會因為區位而有不同。另一個需要考慮的是資源分配整合的問題，文化空間與學校、既有其它公共服務、甚至鄰近相關組織應該相互分工，以避免資源浪費或者浮誇不實的建設。完

Contemporary urban space professionals have argued that all the space must involve the original local texture. What kind of service the locals need, what role cultural space can play, and how many resources can be controlled will be different because of different locations. Another consideration is the integration and allocation of resources. Cultural space and schools, other existing public services, and even nearby relevant organizations should cooperate with each other, in order to avoid waste of resources or exaggerated construction.

III. 日本經驗 - 創新與分享氛圍的實踐 Experience of Japan The Practice of Innovation and Sharing Atmosphere

IV. 臺北經驗 - 時空縫隙與生活場域 Experience of Taipei, Taiwan Gap of Time-Space and Living

引言人 Introductor 吳慧貞 Hui-Zheng Wu 講者 Speaker 山崎亮 Ryo Yamazaki 唐園荷 Yuan-He Tan 王耀東 Yao-Tung Wang 主持人 Moderator 魯貴顯 Kuei-Hsien Lu 與談人 Panelist 黃舒楣 Shu-Mei Huang

引言人 Introductor

吳慧貞 Hui-Zheng Wu 禾磊藝術有限公司藝術總監 Director,Artfield Co. [ 學歷 ] 美國哈佛大學教育學院碩士國立台灣師範大學文學院學士 [ 專長 ] 公共藝術策展、藝文活動策劃執行、評論寫作、出版企劃 [ 經歷 ] 2007-2013 禾磊設計顧問有限公司藝術總監 2006-2007 理繼文化藝術有限公司副總經理 2005

公共藝術策展人

2000-2005 臺北市政府文化局聘用規劃師 2001-2004 臺北市公共藝術審議委員會幹事 1999-2000 毛毛蟲兒童哲學基金會副研究員 1998

帝門藝術中心畢卡索畫展專案人員

主持人 Moderator

魯貴顯 Kuei-Hsien Lu 天主教輔仁大學社會學系專任副教授 Associate Prodessor, Department of Sociology, Fu Jen Catholic University [ 現任 ] 文化局「推動師大生活圈社區安居補助計畫」計畫主持人水陸畔文化生活聯盟理事長台灣社會學會秘書長

與談人 Panelist

黃舒楣 Shu-Mei Huang 國立台北教育大學文化創意產業經營學系兼任助理教授 Part-time Assistant Professor,National Taipei University of Education Culture and Creative Industries Management [ 學歷 ] 華盛頓大學建成環境博士 [ 即將出版 ] 博士論文研究後九七香港城市再生的依存地景流變 Urbanizing Carescapes of Hong Kong: Two Systems, One City, forthcoming, Maryland: Lexington Books

社區設計 Community Design a 文章出處 Article Source：http://www.nippon.com/hk/people/e00043/

山崎亮 Ryo Yamazaki 株式會社 studio-L 法人代表 Founder & Director, Studio-L [ 現任 ] 東北藝術工科大學社區設計學系系主任 / 教授京都造形藝術大學空間演出設計學系系主任 / 教授慶應義塾大學特別招聘教授作為社區設計師，從事以下活動：成立旨在由當地居民解決地區課題的研習會，制定由居民參與的綜合計劃，設計建築和景觀，策劃由市民參與的公園管理等。主要著作有《社區設計》（學藝出版社）、《社區設計的時代》（中公新書）、《論街區的幸福》（NHK 出版）。

故鄉才是第一線—探索新時代下的地方振興｜山崎亮

山崎亮，作為一個啟動地方城鎮活力的旗手而備受矚目。他認為，人口過於稀少和老齡化現象嚴重的地區才是現代日本的最前沿，能否解決這些地區存在的問題，將關係到日本的未來。

In a given year, Yamazaki Ryō and his company Studio-L handle around 80 design projects aimed at rejuvenating communities ranging in size from villages of just a few dozen residents and regional cities to some of the biggest commercial facilities in Japan.

從幾十人的小村莊到中小地方城市，再到日本規模最大的商業設施，山崎亮每年會參與 80 個再生工程。山崎所追求的「再生」，與此前人們嘗試的恢復人口、刺激經濟等有些不一樣。他運用的是一種被稱作「社區設計」的手法。通過人際間的相互聯繫，讓當地的居民自己來解決本地區存在的問題，他的作用，就是設計出社區藍圖，並為此提供支援。

What Yamazaki is aiming for in these projects— unlike the approach of others up to now to reverse a community’s population drain or revive its economy—comes down to the approach he callscommunity design. His job involves sketching the designs and providing the necessary support so that residents themselves can come together in ways that lead to the resolution of their own problems.

社區設計師為什麼選擇了地方城鎮？山崎考慮的「再生」是什麼？記者在東京採訪了這位以大阪為根據地、奔走於全國的熱門人物。

We sat down with this Osaka-based community designer to learn more about his views on community revival and to find out why he has been so interested in projects outside the main urban areas.

—大城市是一線前沿的時代結束了

Big Cities No Longer Set the Pace

—山崎先生開設了「故鄉是第一線」的講座，為什麼說「故鄉」是「第一線」呢？

You recently held a lecture series titled “Hometowns at the Forefront.” Why this focus on “hometowns” and what do you mean by “at the forefront”?

「日本的人口，長期維持在 1,000 萬人左右，到了明治時期，成長到 3,000 萬人，到第二次世界大戰爆發前，已經成長到 6,000 萬人。當時 80% 的日本人都居住在鄉村小鎮裏。然而，二戰結束後，人口直線上升到 1 億 2,700 萬人，在這個過程中，城鄉人口出現了逆轉，鄉鎮人口比例急劇下降， 42

Japan’s population, which for much of its history had been around 10 million, rose to 30 million by the Meiji era [1868–1912], and just before the outbreak of World War II it had increased further to 60 million. Around 80 percent of the population was living in rural areas.Following the war, Japan’s population continued to rise, reaching the level of 127 million. This increase was accompanied by a drop in the rural population, turning the tables so that urban residents came to represent 80 percent

Giving Design a Local Touch ｜ Ryo Yamazaki

只占 20%，而城市人口則占到了 80%。過度的城市化使鄉鎮人口從 30 多年前就開始減少，老齡化問題日趨嚴重。在人口成長的時代，大城市是一線。如何開發才能讓人們在狹小密集的空間裏舒適地生活？怎樣確保勞動力？在什麼樣的店裏賣什麼樣的料理才能賺錢？這些問題都可以在城市裏找到答案。可是，日本人口在 2008 年達到頂峰後就開始逐年下降。可以肯定，至少今後四十年，人口將呈減少趨勢。之前，在人口稀少地區出現的問題，再過十年、二十年，會成為全國性的問題。這就意味著，不是大城市，而是這些人口過少和老齡化的地方鄉鎮迄今一直持有的問題，才是第一線的課題。只是，這不僅僅單純指人口減少，那種以前很美麗，而且現在通過合理的結構調整仍可以重拾昔日美麗的的地區，才能算是一線。這樣的地區讓我聯想到了『故鄉』。要想讓這個國家健康地存續下去，就必須仔細考慮他們之間的關聯性。」 —為何人口稀少的村落生活仍能感覺幸福？ — 不過，在人口過少的地區生活，想必很艱難吧？「在人口減少的過程中，有一些規律性的事情發生。比方說，小學合併調整之後 3 到 5 年，加油

of the country’s population. With this vast flow into the cities, the population in the countryside began to decrease in absolute terms over three decades ago, and that decrease and graying of the rural population has continued ever since. During the period of Japan’s population growth, the cities were front and center in Japanese life. Everyone looked to the cities to find out what was going on—such as to learn about ways to live comfortably in a confined space, find out how to secure personnel, or keep track of the latest culinary trends for business opportunities. But after reaching a peak in 2008, Japan’s population has begun to decline. It seems clear that, at least for the next 40 years or so, this declining trend will continue. There have been rural parts of Japan that have already been dealing with this population decline, but over the next decade or two it will be a problem throughout the country. This will mean that those rural areas will have a leg up on the urban areas when it comes to finding solutions to the falling and graying population. But the changing situation is about more than just a population decrease. Even when the population of a community that was once beautiful shrinks, it can recapture that beauty if it comes up with an effective approach—and those are the communities that will set the example for others. That’s the sort of community I have in mind in using the term “hometown.” For the sake of Japan’s own health as a nation, we will need to understand the dynamic at play in such community revival.

Finding Fulfillment in Unlikely Place But isn’t it challenging for a person to live in an underpopulated part of Japan? There are a number of milestones in the process of a shrinking population. For instance, if elementary schools are consolidated, you can expect that in 43

故鄉才是第一線—探索新時代下的地方振興｜山崎亮

站就會倒閉；此後再過大約 5 年，郵局又消失了。地區人口是階段性遞減的，可是郵局一旦撤出，人口便急劇下降。不過，有的地區即便沒了郵局，居民們也照樣活的有滋有味。與此相對，有的地方則十分悲觀，認為自己不行了。那麼區別從何而來呢？這主要是看該地區是否存在以社區關係為中心的社會資本（Social capital）。正是這種當地長期以來保持的獨特的規矩、習慣、祭禮、傳統文化而培養起來的信賴關係和交流網，讓整個地區變的豐富多彩、生機勃勃。每當看到這樣的地區，我總會感覺，即便現實嚴峻，人們也有辦法過的幸福快樂。」 —這個時候派上用場的就是「社區設計」這個方法吧。「社區設計，是指為解決各地社區存在的問題，採取一系列支援行動，靈活利用人與人之間的關係，促使居民自身展開思考，並以此啟動地區的活力。通過聽取地區居民的意見、舉辦研習會，來經營一個「軟」社區，而不是去改變建築物和公園這類硬體設施。例如，社會資本中既有積極的部分，但有時也可能成為一種障礙。比方有人說：「我們家和他們家從江戶時代起就一直在吵架」，所以會給工作帶來一些麻煩。這時，我們這些「外來人」如果能夠從中作一些調和，有時會發生 44

another three to five years the local gasoline station might close down, followed about five years later with the shuttering of the post office. And once the post office is gone, a slowly declining population can suddenly drop further. But even communities that have lost their only post office can be places where residents live active, fulfilling lives. At the same time, there are those communities that have basically given up hope. The difference between the two comes down to the existence, or nonexistence, of social capital, centered on the community ties.The unique rules and customs that a community has maintained, along with the networks and sense of trust built up through such things as festivals and traditional culture, can enrich the whole community and make it a more vibrant place. Looking at such communities has made me realize that even when the situation is a difficult one, people are able to find ways to live happy lives.

So “community design” is aimed at fostering that result? Community design involves supporting residents themselves to address the problems facing their community, making use of their interpersonal connections and their own ideas about what can be done to reinvigorate the place where they live. The key thing for my job is not the “hard” infrastructure, like buildings and parks, but rather managing the “soft” community-related aspects, like getting feedback from the local residents and holding workshops. For example, there are positive aspects of a community’s social capital but also cases where it becomes a fetter, like families that have a longstanding feud with each other. In such cases, interesting outcomes can emerge from a helpful outsider intervening to help reorganize things a bit.

Giving Design a Local Touch ｜ Ryo Yamazaki

一些意想不到的趣事。」 —薪資雖低但仍可有積蓄，而且網速也很快

A More Affordable Lifestyle.

—在那些凋敝的地方城鎮，還有恢復元氣的潛力嗎？

Do “worn-out” communities really have the energy needed to revive themselves?

「地方雖有潛力，但不可否認的是，人才嚴重不足。尤其是年輕人越來越少，新的創意在逐漸消失。

I think that even those communities have latent power to draw on, but no doubt they have a lack of needed personnel. Especially when its younger generation dries up, it becomes hard for a community to come up with new ideas.

因此，從這個意義上來說，有必要創造機會讓大城市的人們遷居到地方鄉鎮去。城鄉人口比例發生逆轉，這或許意味著那些從鄉鎮跑到城市的人們的後代大多留在了城市，而他們的父母原本能在鄉鎮生活的很充實安寧，只是因為找不到工作才去了城市。我不期望讓鄉鎮人口再次回到 80%，不過我覺得可以增加一些。不適應大城市生活的人，完全可以果斷地回到地方城鎮去。

This is why it is so important for a community to foster the trend of urban residents moving out to the provinces. It seems that one reason for the flipflop in the proportion of urban to rural residents in the postwar period was the fact that many of those who might have wanted to live a quiet, fulfilling life in the countryside had to move into the cities because that’s where the jobs were. I’m not saying that the countryside should try to regain its 80% share of the population, but I do think that its population can increase. I’d like to see those who are dissatisfied with urban life take the plunge and move out to the less populated regions.

這時非常重要的一點，是要知道現代的地方城鎮，和 20 世紀人們印象中的已經完全不同。的確，去了地方城鎮，薪資比大城市要低。可是，當你實際生活一段時間後就會發現，那裏的租金、伙食費和生活費都很便宜，所以反而比在大城市時更容易賺下錢來。至於網速，鄉下比城市更快。因為晚上 8 點以後誰也不會上網了，網路就像是自己專用的一樣（笑）。

What is important for such people to know is that the provincial areas today are not in line with the image they had back in the twentieth century. It is true, of course, that the level of salaries is lower there than in the big cities. But you’ll also find that the price of rent and food is quite a bit lower, making it possible for people to build up their savings. And Internet access is actually faster in rural areas than in urban ones. This is because after eight in the evening no one else there is online, so you’ll have the broadband line all to yourself. [Laughs]

這些情況，住在城市裏的人並不理解。如果他們頭腦中有一個關

These are things that urban residents don’t really understand. Once talented young people can 45

故鄉才是第一線—探索新時代下的地方振興｜山崎亮

於 21 世紀地方城鎮的印象，他們應該明白，那些城市裏優秀的年輕人來到地方城鎮以後，更能施展自己的才華。」

envisage what the provincial areas are like in the twenty-first century, they will be more inclined to move out of the cities.

—故鄉的智慧同樣適用於其它國家，

Setting a Good Example for Other Countries.

—不僅僅是日本，其它國家好像也存在類似的問題。

The sorts of issues Japan is facing seem common to other countries as well.

「最近十年間，日本是世界上人口減少最快的『已開發國家』。這種趨勢的出現，韓國比日本晚十年，中國比日本晚 16 年。中國由於實行計劃生育政策，其人口減少的速度將會比日本更快。毫無疑問，關於『故鄉』的智慧，日本顯然位列在世界前列。所以，我們能夠給那些即將面臨同樣問題的人們提供這方面的知識和經驗。

That’s right. Over the past decade Japan has been the “advanced nation” with the most rapidly declining population, but South Korea is only about 10 years behind the pace of Japan, and China about 16 years behind. With its “one-child policy,” China will experience a population drop that will be even more precipitous than Japan’s.In terms of an awareness of the importance of “hometowns,” I think that Japan is clearly at the forefront, globally speaking. So I think that when people in other countries face similar issues, we will be able to provide them with our knowledge and know-how.

不過，如果想要將這些知識和經驗產業化，從其它國家吸引資金，前景未必樂觀。在此前的『硬體時代』，日本做了許多這種事情，不過，在『軟體時代』，最好嘗試用不同的方法去做。

But if Japan tries to drive change in other countries by adopting a purely business approach, it won’t improve the situation. In the past era of “hard” infrastructure, Japan engaged in quite a lot of that sort of activity, but it isn’t an approach suited to our current “soft” era, which requires different methods.

社區設計是我們能夠對世界所做的貢獻之一。不過，我不希望自己去國外通過翻譯來教授社區設計，關鍵是那些想和我們做同樣工作的人能來到日本，來到我們的工作現場，這樣我會把社區設計的知識經驗傳授給他們。把從我們這裏學到知識的帶回到各自的國家，結合本國實際情況靈活應用和實踐，我認為這才是最好 46

Community design is something that I think we have to offer to the rest of the world. But we can’t make that contribution by going overseas and directly translating our own initiatives. Rather, we need to engage in fostering communities of people abroad who are interested in engaging in the same sort of work that we are doing. I think the best approach is for those who have acquired some of our knowledge to then come up with the methods to apply that knowledge in the way best suited to the situations in their own countries. That is the

Giving Design a Local Touch ｜ Ryo Yamazaki

的方式。而且社區設計也只有通過這種形式才能得以實現。」 —因為想獲得誇獎，所以堅持至今。 —面對人口減少這個難題，你可謂是挺身而出、勇敢應對啊。

only way that community design is possible.

Fueled by Praise. I really get the sense that you have dedicated yourself to addressing this issue of dwindling population.

「說實話，在我的內心深處，並沒有『要為誰做些什麼』的想法。我只是想在自己做完這件事後，有人對我說『你能來太好了，謝謝！』『你太厲害了！』。其實我只是特別特別想聽到別人的讚美（笑）。

To be honest, at the root of my own motivation is not so much the feeling that I want to do something for other people, but rather I’d really like people to praise the work after it is done and say nice things like, “We’re really glad you came to our community” or even “You’re an awesome guy!” I must admit, I’m really a sucker for compliments. [Laughs]

即便你賺了錢或發表新產品，提高了銷售額，也不太可能獲得別人的讚美。可是，當你來到地方，幫助這個地區重新振興起來，你會直接受到人們的感謝。正是這一點讓我特別開心，也讓我覺得能把這項工作一直做下去。

There isn’t much chance to win such compliments if your job revolves around turning a profit, even if you come up with a hit product. But when your job involves going into a community, and the project is a success, you can get positive feedback directly from people. I get a lot of satisfaction from that, and it encourages me to continue this kind of work.

我的上一代總是說，「要認真工作，積累財富，為日本的產業做貢獻」。可是這些對我來說完全沒有吸引力。你建造了高樓大廈，擁有幾千名員工，賺了許多錢，可是死的時候也只能感嘆一句：『啊，我這輩子賺了不少錢啊！』。這讓我感到非常遺憾。我想在臨死的時候能說一句：『啊！我度過了多麼美妙的一生啊！』。

The older generation talks about how a person can contribute to Japan’s industry by doing their work diligently and carving out a fortune for themselves, but that sort of thing does not interest me in the least. If I were to design buildings for several thousand employees, and make a bundle doing it, at the end of my life I could look back and say, “Boy, I sure made a lot of profit.” But that seems a bit sad to me. I’d rather look back and think, “I really had a great life.”

如今的年輕人，如果很多都想獲得金錢之外的回報，那麼我覺得其中原因之一，就是他們想得到別人的讚賞。這也意味著，很少

There are a lot of young people today who are keen to find rewards other than money through their work, and earning compliments could be one such way. But my impression is that people are 47

故鄉才是第一線—探索新時代下的地方振興｜山崎亮

獲得讚賞的一代人開始行動起來了。」

undertaking their careers without having had that experience of receiving praise from other people.

—最後，請你談談今後的目標。

Could you say a word about your future plans?

「今後，人們會越來越需要社區設計，所以我想多培育一些這方面的人才。現在的當務之急是東北地區的重建。凡是東北地區委託的工作，我基本都會接。我還計劃從 2014 年 4 月開始在山形縣的東北藝術工科大學開設社區設計課程。我要讓學生們多多歷練，在參與東北振興工作的同時，通過實踐來學習社區設計。我希望通過這種方式培養出來的人才能回到自己的故鄉，從事振興故鄉的工作。」完

I want to support the development of other people who want to get involved in community design, because it is something that I think will be even more important in the future. What is particularly necessary now is the effort to revive the Tōhoku region of Japan devastated by the 2011 earthquake and tsunami.

I have been taking on as much work in Tōhoku as possible, and plans call for a community design department to be set up at Tōhoku University of Art and Design in Yamagata Prefecture in April 2014. I hope that the students trained there will assist the recovery effort in the region, while learning more about community design through those efforts. I would love to see such students return to their own hometowns and take part in work that helps to revitalize those communities.

遊牧的綠生活：駐點空間與社區風景 Nomadic Green: Resident Workstation and Community Landscape

唐園荷 Yuan-He Tan 粉紅豹文化事業有限公司專案企劃專員 Project Planning Specialist,Pinkpanther Co., Ltd [ 學歷 ]

輔仁大學社會學系學士、碩士 [ 主要經歷 ]

2013 臺北市政府文化局「102 年度推動師大生活圈社區安居補助計畫」專案執行臺北市政府文化局 102 年度設計攪動補助《送你一份「空」的禮物 ─社區閒置空地變身口袋公園計畫》行政執行 2012 內政部建築研究所《綠建築綠改善》執行編輯「2012 年輔仁大學社會學系研究生論文發表會「在社會學的巷子口閒談」企劃統籌

遊牧的綠生活：駐點空間與社區風景｜唐園荷

空間

Space

社區駐點的經驗中，我們發現空間佈置的重點必須要令人產生「好奇」，開啟對未來生活的想像。在社區營造的工作當中，我們的團隊經歷過兩種截然不同的空間經營方式，一是文化局的專案 -- 雲和小客廳，在空間的使用方面，我們使用可移動式的傢俱，包括各種尺寸的桌板、電燈等，不同的使用者皆能夠依照自己的需求改變空間，在有限的庭院與車庫鐵門上方的空間中，我們嘗試推廣都市農耕的可能，種植各種蔬菜或香草，並製作堆肥、養蚯蚓等等，增添都市空間的使用創意發想，也作為團隊推廣的宣傳招牌。二則是目前使用的古風小白屋空間，原本社區閒置空間的再利用，依循著過去的原則，以彈性、可變動的方式規劃空間，逐步的建立工具圖書館、公共修理空間、小型會議討論區等區域。由於人力的限制，因此小白屋的空間維護必須由各個使用者分擔，開放的層架、標示清楚的抽屜，讓各式工具能夠一目了然，並且方便取用歸還。

In the experience of working at the selected spot in community, we found that the key point of space arrangement had to arouse our "curiosity" and ignite the imagination for the future life. While carrying out the work of community empowerment, our team experienced two completely different modes of space operation. The first one was the project, YunHe living room, commissioned by Department of Cultural Affairs. For the use of space, we used movable furniture, including table plates and lamps of various sizes. Different users are able to change the space according to their own needs. In the limited space of courtyard and above the iron gate of garage, we pursued the possibility of promoting urban farming, planting a variety of vegetables or herbs, producing compost, raising earthworms, etc. This increased the creative thinking for use of urban spaces, and acted as the publicity sign for what the team was promoting. The second one is the space of Gufeng small white house currently used. Originally, following the past principles, to reuse empty spaces in communities, the space planning should be flexible and changeable, and the tool library, public repair space, the discussion area for small meetings and other areas would be gradually built. However, due to limited manpower, the space maintenance of small white house must be shared by every user. Open shelves and clearly labeled drawers allow the user to find the tool he want at a glance, and are helpful for users to get and return the tools.

無論是駐點空間或者是主題時段的空間開放，對於我們來說依循著環保、再生、藝術以及互動對話，讓我們的各種 Green Idea 能夠有個實驗的基地，在各個社區或者空間中持續調整，展現對未來生活的各種美好想像。

Whether it is an open space, or is the subject of space stagnation period, for us, it is to enable our various green ideas to have an experimental base, continually adjust in different communities and spaces, and show a variety of beautiful imagination in future life, based on the environmental protection, regeneration, art and interactive dialogue.

Nomad Green Life: stagnation space and community landscape ｜ Yuan-He Tan

綠化工作

Greening work

在綠化工作方面，持續進行的工作是廚餘堆肥的製作推廣，另外也嘗試連結各種棄物的改造，將生活美學與綠化結合，包括使用枯枝、寶特瓶、鞋子等物品，進行創意發想工作坊，這些手作的活動都深獲社區媽媽們的喜愛，但我們並不滿足於此。

For greening, the ongoing work is to promote the production of composting kitchen waste. In addition, we also try to link the remodeling of various wastes, so as to combine life aesthetics and greening, including the use of deadwood, PET bottles, shoes and other items. So, we conduct a workshop for creative thinking. These hand-made activities are highly popular with moms in the community, but we cannot be complacent about this.

我們認為空間的綠化不僅只限於個人住家而已，必須從自家陽台延伸至社區公園、街道，因此我們邀請社區的居民參加社區環境盤點工作坊，找尋街道中的綠色景觀、閒置空地等，經由鏡頭的觀看，重新發現生活空間中的各種景色，在分享的討論會中，許多人第一次發現路口原來有棵大樹、隔壁巷子的哪戶人家種了各式的香草等等，觀看照片能夠讓人的視角轉變，察覺許多過去忽略的小細節，因此除了發現環境中的美好之外，大家也看見了骯髒幽暗的防火巷、沒有經過整理的電視天線橫掛在兩棟大樓之間、停車格中的棄置腳踏車等等。經過盤點、分享討論的過程，我們與居民一起發現社區空間的綠風景、以及許多待改善之處，邀請設計師一同規劃可行的改造方案。我們認為都市中有許多閒置的空間，例如拆除後的日式房舍空地，若重新打造成社區口袋公園，符合附近居民的需求，打造與眾不同的綠地，因此我們建議里長針對社區的公園規劃方向，原本要拆除的房屋地基

We believe that green space cannot be confined to homes, and it must be extended to the community from balconies to parks, streets, so we invite community residents to participate in community environmental inventory workshops, to find green landscape, idle land etc. on the streets. Viewing through the lens, we rediscovered the various scenes in the living space. In seminars for sharing, many people, to their surprise, discovered for the first time that there is a big tree at the intersection, some family in the next alley planting a variety of vanilla, etc. Viewing photos can change people's perspectives, and let them perceive many small details they ignored in the past. So, in addition to discovering the beauty in the environment, we also saw the dirty, dark firebreak alley, unarranged TV antenna hanging across two buildings, abandoned bicycles in the parking lot and so on. After the inventory and discussion for sharing, we and the resident together found the green landscapes in the community space and many places in need of improvement. So, we invited designers to plan viable remodeling programs. We believe that the city has many idle spaces, such as the vacant land left after the Japanese-style houses were abolished. If it can be transformed into a community pocket park, a piece of distinctive green, to meet the needs of residents in the neighborhood. So, we recommended a planning direction for community parks to the chief of village. The building foundation 51

遊牧的綠生活：駐點空間與社區風景｜唐園荷

可以變成平台，提供更多活動舉行，在完工之後已陸續舉辦許多類型的社區活動，例如社區綠生活早餐會、花器變身工作坊等，讓附近鄰居產生對於公園的各種想像。另外，我們也發現了社區中有許多長期放置在路邊的廢棄腳踏車，透過募集的方式，重新修復二手腳踏車，並且在腳踏車上增加花器擺放，讓綠化工作成為一件可動的風景，另一方面也滿足社區居民的短程距離移動的需求，目前這些公共腳踏車仍持續在社區中提供服務。

that would be demolished originally could be turned into a platform to provide more events held. Many types of community activities have held on the completed platform, such as green living community breakfast meeting, flower utensils transformation, allowing the nearby neighbors to produce various imaginations for the park. In addition, we also found many abandoned bicycles that have been placed on the roadsides a long time. We collected and restored them, as well as put flower utensils on the bikes, so greening has created movable scenes. On the other hand, residents could ride them to meet their needs of short-distance movement. At present, these public bikes continue to provide services in the community.

社群連結

Community Links

各種類型的活動推廣，在各個社區中萌芽，我們並不追求固定的著點空間，而是帶動更多的夥伴一起加入我們的行列，將各種有趣的綠生活想法結合當地的社區特色，長出更多美好的果實。另一方面，結合各方的資源形成一個範圍較大計畫，作為每個階段的進步動力，例如組織「水陸畔文化生活聯盟」，串連社區在地里長、社區發展協會以及專業團體，將人力、物資、想法等等聚集。完

The promotion of various types of activities has sprout up in every community. We have not pursued the space of selected spot, but brought more partners to join us, to combine all kinds of interesting ideas of green life with local community features, growing more wonderful fruit. On the other hand, we combined the resources of the parties to form a larger scale of plan as the dynamic progress of each stage, such as the organization of "Water Land Banks Cultural Life Alliance", linking local chiefs of villages, community development associations and professional groups, and gathering manpower, materials, ideas and so on.

Nomad Green Life: stagnation space and community landscape ｜ Yuan-He Tan

相關報導 Related Coverage

[ 空間 Space] 自家栽種無毒蔬菜園─雲和小客廳 Cultivate our own toxic-free vegetable garden--YunHe living room http://www.fooding.com.tw/article-content.php?aid=100465

風行歐洲「修理咖啡館」首現台灣 "Repair Cafe" popular in Europe appears in Taiwan for the first time http://www.udn.com/2014/9/28/NEWS/NATIONAL/NAT5/8964261.shtml?ch=fb_share

維修家具小白屋工具共享 Repairing Furniture-Tools to be shared in Small White House http://www.chinatimes.com/newspapers/20140326000467-260107

[ 綠化工作 Greening work] 牯嶺街市集 15 獨立出版社開趴 In Guling Street market, 15 independent publishers gave a party http://www.chinatimes.com/newspapers/20131123000917-260115

[ 社群連結 Community Links] 水陸畔文化生活聯盟聯盟成立大會暨交流 Open Party Water Land Banks Cultural Life Alliance Inauguration and Exchange Open Party http://www.coolloud.org.tw/node/75161

被遺忘的大稻埕：老屋新意及社區活力 The Forgotten Dadaocheng: New Ideas for Old Houses; Community Revitalization

王耀東 Yao-Tung Wang 臺北市社區規劃師 Taipei Community Planner [ 現任 ]

華梵大學建築系講師 [ 學歷 ]

威尼斯建築學院東海大學建築學士 [ 專長 ]

社區規劃社區營造 [ 主要經歷 ]

臺北市大同區大稻埕公園改造案臺北市社區營造中心試營運計畫臺北市儲備社區規劃師培訓計畫

The Forgotten Dadaocheng: New Ideas for Old Houses; Community Revitalization ｜ Yao-Tung Wang

台北市大同區國順里內大多是傳統密集的街屋，擁有過去曾經極盛一時的草埔仔市場和粿仔街，從大橋教會起始的迪化街二段，更是曲曲折折地串起最傳統與歷史感的街道巷弄。在菜市場週邊，舉凡台灣各個節日大小節慶，都由地方的家庭工廠製作糕點進而販售，是台灣早期常見情況，從周邊迪化街的原物料批發位置購買到製作後販售，都在國順里地方完成。

Most houses in Guoshen Neighborhood, Datung District, Taipei City, where Caopucai Market and Luocai Street are located, are traditional densely arrayed townhouses. At the second section of Dihua Street where Dachaio Church originates, the twists and turns link the most traditional streets, alleys, and lanes that have had a long history. Nearby the market, sights of cakes made and sold by local household factories during major festivals in Taiwan were common in the early days. The raw material wholesale nearby Dihua Street, from purchase, production, to sales, took place in Guoshen Neighborhood.

隨著時間的流逝國順里已漸漸成為老舊的社區，年輕一代的皆在外區工作，留下里內的老人及兒童在此里居多，土地所有權為共有的房屋佔多數，造成土地問題繁生，多數居民已遷移此處，留下的房屋多數皆坍塌。

As time went by, Guoshen Neighborhood gradually became an old community. The young people moved outside to work, leaving only elders and children behind. Most of the houses had joint land ownership, which gave rise to land issues. The majority of residents have migrated to the location, while most of the remaining houses collapsed.

社區規劃師王耀東長期陪伴當地社區營造，透過里長媒合了社區內的閒置空屋，招募清理志工，讓社區居民與附近大學生，結合資源包括社區課輔班「放學窩」、藝術介入、Open Green 空間改造計畫，一同動手替未來的活動空間做進一步的初步整理。也與華梵大學學生一起舉辦工作假期，提高里民或更廣大群眾參與此活動，凝聚了社區活力、動能，老屋也因此新生。完

Community Planner Wang Yao-dong long engaged in local community building. With the help of hte neighborhood head, idle houses in the community were matched, cleaning volunteers were recruited, and the community residents and college students nearby worked together to clean the activity space through resource integration such as community classes titled “after-school houses”, art intervention, and Open Green Space Transformation Program. The students of Huafan University also organized working holidays to encourage the neighborhood residents and the general public to participate, thereby ensuring community vitality and momentum and facilitating the renewal of old houses.

V. 臺北經驗 - 空間分享實務經驗 Experience of "Space Share, Taipei" Platform in Taiwan

主持人 Moderator 劉柏宏 Po-Hung Liu 與談人鄭秀賢山崎亮魯貴顯黃舒楣張家銘

Panelist Sue-Hyun Jung Ryo Yamazaki Kuei-Hsien Lu Shu-Mei Huang Chia-Ming Chang

主持人 Moderator

劉柏宏 Po-Hung Liu 本計畫主持人 Chairman, Space Share Taipei Program 1990 年創立「經典工程顧問有限公司」，投身包括景觀設計在內各項環境營造相關工作，並於工作期間回臺灣大學建築與城鄉研究所充電取得碩士學位，帶著「參與式設計」的觀念在業界各種案型中不斷努力嘗試落實。包括校園規劃設計、公共工程設計與監造、生活環境規劃設計督導等工作，累積並回饋予社會大眾許多實務經驗，進而投入中原大學、輔仁大學景觀學系教學工作，帶領學生探索環境設計的奧妙。目前為中華民國景觀學會理事長、財團法人兒童教育實驗文教基金會現任董事。對提升臺灣環境品質有深切自我期許。經歷多年實務經驗與對臺灣社會的觀察，認為環境議題唯有不斷透過細緻地「社區營造」、「民眾參與」來逼近，因此期待在完成臺灣環境品質優質化之前，以「羅斯福路綠生活軸線」中的經驗：與非政府組織共同參與設計、耕耘議題、轉換觀念，慢慢擴散蔓延讓環境一點一滴的質變。

大同區｜國慶里貳拾號公民會所 Datong District ｜ Kuo-Ching Neighborhood Chief Office

吳思儒 Ssu-Ju Wu 景澤創意有限公司執行長 CEO, Jing Ze Creative Co. [ 現任 ]

臺灣溼地學會研究員 [ 學歷 ]

國立臺北大學自然與環境管理研究所碩士 [ 主要經歷 ]

青年社區規劃師中央研究院研究助理

萬華區｜方方屋 × 好加在團隊 Wanhua District ｜ Fun Fun House × Goodhomehere

好加在團隊 Goodhomehere 國立臺灣大學建築與城鄉研究所之「好加在工作室」 "Goodhomehere Studio" of National Taiwan University Graduate Institute of Building and Planning 一群關心南萬華的師生成立的好加在工作室，由康旻杰老師以文化地景、古蹟修復再利用、古街再造等相關專業，加入博士生陳志軒以行動劇場結合空間議題等專業，與十位碩士班學生等來自不同背景所組成的青年團隊，和南萬華 ( 加蚋仔 ) 地區居民一起討論社區的歷史記憶和未來願景。 2013 年 11 月起，於南萬華 ( 加蚋仔 ) 以拍攝紀錄片的方式深入社區，分別以地方傳統產業豆芽巷及東園街店仔口為主題，拍攝了「孵」與「店家」兩部記錄片，於在地信仰中心廣照宮與楊聖廟廟埕前舉辦放映與座談活動，並將紀錄片和社區故事帶到『2013 深圳香港雙城建築 \ 城市雙年展』展出，和香港當地社區產生進一步的交流。 2014 年，持續對加蚋仔地區的關注，經過多次社區訪談、閒置空間調查，順利在同年 4 月設立工作室「方方屋」，透過地方文化的展示計畫與空間改造，引發在地居民更多討論。另外，也與萬大國小合作舉辦川堂展示和在地遊學工作坊，以及東園街騎樓展示實驗計畫，共同帶起社區居民對於地方更多的認識和引發地方未來發展的想像。好＝GOOD 加＝加蚋仔在＝所在好加在＝好加在關心我們的所在 59

萬華區｜方方屋 × 好加在團隊

好加在團隊的形成，可以回溯到去年（2013）的實習課操作。當時因課程要求，團隊成員以拍攝紀錄片的方式深入社區，發現了南萬華（古地名為加蚋仔）存在了幾十年的傳統孵豆芽產業，以及東園街上凋零老店家等議題，拍攝成「孵」和「店家」兩部紀錄片，並分別於在地信仰中心廣照宮與楊聖廟廟埕前，舉辦記錄片放映和座談活動，藉以和加蚋仔結下了緣份。而後原本為兩組的成員基於共同對加蚋仔的關注，合併成立了好加在工作室，從此地過去傳統農業和東園街老店商業的議題，深入往下發展。

The formation of "Good Home Hear" team can go back to the practicum operation last year (2013). At that time due to course requirements, the team members shot a documentary way into the community, and found the issues of the traditional bean sprout industry that has existed for decades in south Wanhua (the ancient name is Gara), and withered old stores on Dongyuan Street. Accordingly, we shot two documentaries, "Growing Bean Sprouts" and "Stores", and then screened the two documentaries and organized informal discussion on the square in front of two religious centers, Guangzhao Temple and Yangshen Temple, respectively, so that we have been closely connected with Gara. Then, the members of the original two groups jointly established "Good Home Here" studio based on common concerns about Gara, furthering our exploration from the issues of the past traditional agriculture and old stores on Dongyuan Street here.

在發現加蚋仔、成立工作室之後，好加在為了深化議題，開始一系列的社區訪談以及創意行動策劃，並在社區尋找長期經營的駐點工作站，希望能與更多在地居民、社群建立夥伴關係。透過工作站的文史展示、奉茶聊故事等內容，讓在地特有的文化底蘊能讓更多人有所認識，尤其讓年青一代對每天的生活區域產生地方認同。

After we found Gara and established our studio, in order to explore the issues more deeply, Good Home Here studio began a series of community interviews and creative action planning, and looked for local workstations for long-term operation in the community, in the hope that we can form partnerships with more local residents and community groups, and allow more locals to be aware of the unique local cultural heritage, through the contents of historical shows, tea serving, and chatting stories at workstations, especially allowing the younger generation to recognize the local daily life of the area where they live.

從今年 2 月開始的一個多月期間，好加在歷經多次討論，提出各種工作站空間的評估指標，例如：區位、空間大小、屋況、使用、租金成本，也針對社區內閒置空屋或可共享的機關房舍，列舉出數多個潛力點，包括：窄窄屋、紅門屋、 60

During the period of 30-odd days from last February, after many discussions, Good Home Here established various evaluation indicators, such as locations, space, housing conditions, usage, rental costs, for the space of workstations, selected many potential sites including Narrow House, Red Gate House, tailor shops, Depot 9 dormitory, health service center and so on, among idle houses, private and public organizations' premises

Wanhua District ｜ Fun Fun House × Goodhomehere

西服店、機九宿舍、健康服務中心…等等，並列出心中理想工作站的排序。但在一處一處實地登門拜訪、分享成立工作站的初衷後，才發現事情進展不如預期。我們提出了許多修繕、代租或是整理空間，卻仍遭到各屋主以各種理由婉拒（例如：整理麻煩、空間不好使用），屢遭碰壁之後，我們開始另尋出路；也曾想過在停車場上搭一個鐵皮，或是在公園裡搭帳篷，或者是偷偷使用豪宅建案的一點開放空間。直到二月底的一個傍晚，我們走進了人潮漸散，燈光幽暗的東園市場，偶然地發現一條小徑，小徑的尾巴，通往一座之前我們都未曾發現到的羽球場，但讓我們驚喜的是，在羽球場旁有一座方型的鐵皮屋頂小屋，且下意識地對屋子取了名字「方方屋」。在初步和屋主羅阿姨聊天、自我介紹之後，當下我們在此設立工作站的構想並沒有立刻被回絕，羅阿姨說會和家人、屋主討論後再聯繫我們，這也開啟了我們對方方屋的一絲希望。

that can be shared, and then prioritized the ideal sites for workstations. However, while visiting these sites to share what we would like to do, we only found that things were going worse than expected. We proposed doing repairs, renting on behalf of the owner, or organizing spaces, each homeowner still declined for various reasons (for example, it's difficult to organize the space, it's hard to use the space). After being rejected repeatedly, we started to find another way. We have thought that we could put together a rough tin hut on parking lot, or pitch camp in the park, or secretly use a little open space in luxury apartment building site. Until one evening in late February, when we went into the dim Dongyuan Market where crowd gradually dispersed, we accidentally discovered a trail, leading to a badminton court that we have never found before. But what surprised us was that there is a square tin roof hut next to the badminton court, and I subconsciously gave it a name, "Fun Fun House" (square house). Aunt Luo did not decline our request for renting the hut to set up a workstation immediately after listening to the idea. She said that she would discuss it with her family, and then contact us. This raised our hopes slightly for renting Fun Fun House.

終於，3 月 17 日這天，工作室夥伴接到了方方屋屋主的電話，同意將方方屋無償借給我們使用，作為日後我們團隊在加蚋仔地區的工作站。接洽的過程中，屋主原本有些猶豫，因為這畢竟是要把自家空間借給外人使用，這樣的要求連我們都未必能大方答應，但在屋

Finally, on March 17, one studio partner received a phone the owner of Fun Fun House. She agreed to lend Fun Fun House to us free, allowing us to use it as the workstation of our team in Gara area in the future. When we negotiated an agreement, the owner had some hesitation, because after all, it was she who would lend her own space to outsiders, and if we were she, we might not be able to generously agree to lend our house to outsiders free. However, after the owner's son knew this matter and our idea, he told 61

萬華區｜方方屋 × 好加在團隊

主的兒子得知這件事和我們的理念後，和他的母親說了一句：「若這是為社區、為在地服務的好事，怎能有不幫忙的道理？」於是我們終於得到了屋主的首肯。

his mother, "If this is for the community's sake and serves the locals. Is there any reason why we would not like to help them?" So, we finally got the owner's permission.

隔天傍晚，好加在工作團隊、指導老師以及合作夥伴再次來到了方方屋拜訪羅阿姨，一群人圍著約略 3 坪的方屋，想像著這裡未來的樣子，有人搶著說要修玻璃、有人說要一展景觀背景的專業重整瀕死的盆栽、有人已經開始為外牆的油漆顏色開始苦惱、有人趴在窗邊瞇起眼清點著屋內的雜物，還有人跑去果菜市場的橋下買了新鮮的豆漿，大夥舉杯用豆漿慶祝這美好的一天，開始期待這座小屋開張的日子。

The next evening, Good Home Here team, our mentors and partners once again came to Fun Fun House to visit aunt Luo. All of us surrounded the about 10 square meters of square house, imagining what it will look like in the future. Someone rushed to say that he would repair glass; someone said he wanted to show his skill in landscape profession to save the dying potted plants; someone have begun to worry about the color of paint on the exterior walls; someone leaned over the window, checking the litter in the house with squinted eyes; and someone ran to the stall under the bridge near the fruit and vegetable market, to buy fresh bean milk. We toasted with bean milk to celebrate this wonderful day, and began to look forward to the opening of Fun Fun House.

方方屋地點特性：

Location characteristics of Fun Fun House

方方屋位於舊東園市場旁的民和街巷道內，本團隊發現時，其作為閑置倉庫使用，本團隊透過多次探訪屋主後，和屋主達成協議，願意出借此屋提供本計畫使用，作為一加蚋仔地區文史資料展示、鄰里資訊交換及聯絡感情之場所。

Fun Fun House is located in a lane of Minhe Street next to the old Dongyuan Market. It was used as an idle warehouse when our team found it. After several visits to the owner, our team and the owner reached an agreement. The owner was willing to lend us this house, to be used for this plan and as a place where the literary and historical data of Gara area would be exhibited, neighborhood information would be exchanged, and people would make friendly contact.

過去的東園市場匯集了大量的攤商和人潮，是為店仔口鼎盛時期的代表性地標。方方屋昔日也是作為屋主家中的廚房使用，方方屋的區位條件易於喚醒此處居民對過往市場繁盛的記憶，在此地實有無可取代之

Dongyuan Market, in the past, brought together a large number of stalls and crowd, and was the representative landmark in Dianziko area in its heyday. Fun Fun House was the kitchen of the owner's home. The geographic conditions of Fun Fun House easily help the residents living here to remember the market's prosperous past. There is indeed no

Wanhua District ｜ Fun Fun House × Goodhomehere

特殊地位。方方屋也配合著健康服務中心駐點空間的使用，提供相應的協助和衛星展場之功能。

substitute for the special status of Fun Fun House. It was also combined with the use of the space in the health service center, to provide appropriate assistance and function of the satellite exhibition hall.

改造過程：

Transformation process

在得到屋主允諾使用方方屋時，方方屋內部堆滿廢棄傢俱和雜物，於是本團隊先將其內部物品初步盤點，將可再利用的物品留下，使空間內部視覺變得通透，也將能再使用的大型傢俱擺置屋外供人休憩、乘涼，結合羽球場的戶外開放空間，增強此一空間的公共性和可及性；在外觀部分，將方方屋的外牆重新塗漆，並請與鄰近的居民、小朋友共同改造為人人皆能參與的互動式牆面，並畫上加蚋仔地圖，標記出該地的地標如宗廟、學校，透過居民對自己熟悉的地點指認和移動路徑分享，藉此開啓鄰里間的對話，促進社區活絡。牆邊也藉著整理既有植栽、居民的自發性捐出果實種籽，將原本僅是停放機車、通行的巷道變成綠意盎然的腳下綠廊道。本工作室也於方方屋後搭起木棚架，讓該處的南瓜能夠爬藤生長。在栽種一段時間後，方方屋周邊居民們也開始會主動為此處的植栽澆水、施肥，藉著社區居民的參與，家家戶戶都更重視自家門前環境的綠美化。

When the owner permitted us to use Fun Fun House, in which the space was filled with discarded furniture and litter, so at first this team checked them, and then kept those items that could be reused, making the interior space visually clear. We also move the large pieces of useful furniture outside for people sitting, enjoying the breeze, combined with outdoor open space of the badminton court, enhancing the publicness and availability of this space. As for the appearance, we repainted the exterior walls of Fun Fun House, and invited the neighboring residents and children to jointly transform the wall surfaces into interactive spaces where everyone can paint. On the surface a map of Gara area was painted, marked with the landmarks such as shrines and schools, shared by residents pointing at the locations and paths they are familiar with, thereby starting a dialogue between neighbors and promoting interaction in community. The existing planting beside the wall was re-arranged, and residents donated fruit seeds voluntarily, transforming the lane originally just used for parking locomotives and passing into a lush green corridor. We also in erected a wooden trellis behind Fun Fun House, so that the pumpkin vines can clime up the trellis and grow. Periods after the planting, residents around Fun Fun House began actively to water and fertilize the plants. Every household also started to pay more attention to the environmental greenification for the land in front of their own homes through community residents' participation.

萬華區｜方方屋 × 好加在團隊

開幕：

Opening

經歷了約莫一個月的空間整備和裝修過程，方方屋於 2014 年 4 月 19 日正式開幕了。當天的從午後開始，羽球場旁的通道即湧現來自各處的人們。那天下午，我們和來訪的大家一同在方方屋牆面留下了手印，作為這個社區的印記。活動並邀請了前段時間，曾幫助我們整修屋子、提供器材、工匠技藝的在地巧人與鄰近的好鄰居們，分享他們在社區生活幾十年的故事。另外，許多地方居民也在加蚋仔的大地圖上指認出自己從小生長的地方。方方屋裡面，則展示了這陣子和社區的小朋友們在方方屋外牆彩繪的成果，並播放我們先前拍攝的紀錄片。當天活動的結尾就像週末將要收播的廣播電台，人們都忍不得關上收音機，還在腦袋裡回想這段時間共同經歷過的事情，而這些看似為小如繁星的事情，所給予的溫暖和感動是如此真切，我們也會小心翼翼地把它們都記載在某一本天文學百科裡。

After approximately one month's space preparation and renovation, Fun Fun House officially opened on April 19, 2014. From the start of the day's afternoon, the passageway next to the badminton court was crowded with people from ever ywhere. That afternoon, we and visitors jointly left our fingerprints on the wall surface of Fun Fun House, as a mark of this community. We also invited the local craftsmen and good neighbors who helped us renovate the house and provided tools and materials for us during the previous period, to share their stories of life for decades in the community. In addition, many local residents also picked out the place where they grew up on the large map of Gara. In Fun Fun House, what we exhibited was the outcomes of the painting accomplished by the community children recently on the exterior walls of Fun Fun House. The end of the day's activities was like the last radio broadcast program coming to an end on weekend, all of us reluctant to turn off the radio. We still recalled what we had experienced over the period of time in our heads and the warmth and moving these seemingly little things like small stars had given to us was so real. And we would carefully document them all in some encyclopedia of astronomy.

駐點：

Having the duty

方方屋開幕之後，工作室夥伴於周間固定輪流駐點值班。駐點時的工作內容包括照顧屋外的植栽區、並與來訪的社區居民、接洽合作事宜的各方團隊交流，駐點於此有助於我們了解該區居民的生活作息，也使我們與在地居民的關係變得熟

After the opening of Fun Fun House, studio partners take turns to have the duty on weekdays regularly. The work of those who on duty includes taking care of the planting area outside the house, and communicating with the visiting community residents and various groups discussing about cooperation. Having the duty at this place help us understand the lifestyle of the local residents, and make us familiar with local residents, helpful in expanding the accumulation of

Wanhua District ｜ Fun Fun House × Goodhomehere

識，有助於人脈存摺的拓展與累計。駐點時間多為一整個下午，原本作為倉庫使用的方方屋在本團隊改造、進駐後，值班時間都是敞開大門，路過的居民也都會好奇地探頭進來一探究竟，日子久了，人們也都會習慣地與我們打招呼、寒暄最近的生活瑣事。每日駐點的伙伴都會將當日駐點發現、心得記錄在駐點日誌中，以利我們回頭去發現這段時間以來區域的發展和細微的變化。

interpersonal relationships. The duty period usually lasts for an entire afternoon. After Fun Fun House originally used as a warehouse was transformed by this team, the door is open all the time during the period when someone is on duty. The residents passing by often came in and curiously probed the house. As time went by, people greeted us customarily and chatted with us about recent trivia. The partners on duty would record what they found on the day and their gained knowledge in the log, so we could go back and find the developments in the area and subtle changes during the recent period of time.

中秋節：

Mid-autumn festival

九月六日，中秋節前夕的週六下午，好加在工作室在方方屋旁的羽球場舉辦了農情覓意中秋場，藉由推廣在地的「創意農食」，以食材召喚在地記憶。這場中秋盛會我們首次與東園街上最有名的東園車輪餅攤合作，嘗試以過去本地盛產的農作物研發創意農食，該日推出麻竹筍、豆芽菜脯米、茉莉花奶油等三種新口味的車輪餅，邀鄰里居民一起吃餅、喝茶，共享在地記憶的和故事。

On September 6, on the Saturday afternoon before Mid-Autumn Festival, Good Home Here studio held "Agricultural Feeling Seeking Meaning Mid-Autumn Festival Event" at the badminton court next to Fun Fun House, using food ingredients to summon local memory by promoting the local "creative agricultural food". In this Mid-Autumn Festival pageant, we cooperated with the most famous Dong yuan wheel cake stall, and attempted to develop creative agricultural food using the local crops abundantly produced in the past. On the day, we launched three new flavors of wheels cake, Ma bamboo shoots, bean sprouts plus dried radish plus rice, and jasmine cream, inviting neighborhood residents together to eat cakes, drink tea, and share local memories and stories.

農情覓意中秋場的構想，是起源於期望透過社區共食、協作農園、分享市集等行動，將更多農藝社群的能量重新引入到東園街。藉由新世代活力和想法注入，使得東園街這樣雖不具備完整老街風貌，卻充滿豐富生活內涵的街區，得以展現出其自信和特色。

The idea of "Agricultural Feeling Seeking Meaning" originated in the expectation that we can reintroduce more energy from agronomic community to Dongyuan Street through eating together in community, collaboration farm, market sharing and other actions. With the new generation injecting vitality and ideas, Dongyuan Street without complete old street style has been transformed into a street area full of rich meaning of life, so as to show its confidence and characteristics. 65

萬華區｜方方屋 × 好加在團隊

空間轉移：

Space Transfer

另一方面，在我們已經開始經營方方屋之時，當初尋找駐地工作站的時候考慮名單之一，萬華區健康服務中心的主任聯繫上我們，表示中心主大樓旁邊的半閒置空間可以提供我們使用。這棟附屬於健康中心的兩層樓高建築，一樓空間主要提供周間早上復健使用，二樓空間則作為健康服務中心志工隊開會和才藝課之用，建築物前還有一塊庭園空間閒置。

On the other hand, after we began operating Fun Fun House, the director of Wanhua District Health Service Center, one of the selected locations on the priority list as we were looking for a workstation, contacted and told us that a half idle space next to the main building of the center could be provided for us. Attached to the health center, this building is a two-story building, of which the first floor is mainly used for the morning rehabilitation on weekdays, and the second floor is used by the volunteer team of the health center as meeting room and talent lesson classroom. There is an idle garden in front of the building.

我們發現該棟樓的一樓在平日下午、週末的時段在使用上相對閒置。而它的區位位處各項社區資源中心地帶，卻未能善用作為社區共享的空間，實屬可惜。於是，繼方方屋之後，我們開始在此經營「東園好窩」。

We found that the first floor of the building was relatively idle in the afternoons of weekdays and on weekend. The building is located at the heart of various resources in the community, but had not been appropriately used yet. It was a pity. So, after operating Fun Fun House, we started to operate "Dongyuan Good Nest" at this place.

在進駐東園好窩後，我們盤點各樓層空間和開放空間的使用情況；首先我們與居民們一起把門前草地改造成療育花園，增加可食植物的栽種。此外，針對一樓的室內空間，工作室在此定期舉辦各式社區環境議題工作坊，如此一來，不僅增加了該空間的使用率，更重要的是，居民對於該空間閒置時段的想像也被啓發了。目前為止，我們與在地的居民協力把本來嚴重的壁癌問題處理了，加強了牆面的展示功能。用牆面彩繪和舉辦社區攝影展的形式，將社區內看似尋常的日常

After moving in Dongyuan Good Nest, we checked the usage conditions of the space on each floor space and the open space. First, we together with the residents transformed the front lawn into a healing treatment garden, growing more edible plants. In addition, for the interior space of first floor, the studio held here on a regular basis all kinds of community workshops on environmental issues. In this way, utilization of the space has been increased, and more importantly, the imagination of residents for the usage of available periods of the space also has been inspired. So far, we have worked together with the local residents to solve the serious problem, the mold on wall, strengthening the display features of wall surfaces. So far, we have worked together with the local residents to solve the serious problem, the mold on wall, strengthening the display features of wall surfaces. With wall painting

Wanhua District ｜ Fun Fun House × Goodhomehere

風景呈現在居民眼前。甚至，因著空間品質的改善和社區空間的開放性的營造，好窩現在也常被其他團體借用為會議空間使用。完

and arranging community photography exhibition, the daily scenes seemingly ordinary have been shown in front of the residents. Furthermore, because of the improved space quality and the openness creation for community space, the Good Nest is now also borrowed by other groups, using it as meeting space.

Ⅵ 新社會空間與聚落 New Social Space and Settlement

主持人 Moderator 劉柏宏 Po-Hung Liu 講者 Speaker 張家銘 Chia-Ming Chang 朱駿騰 Chun-Teng Chu

友善媒合：雋永 R 不動產 Meet Space with friendly Way

張家銘 Chang Chia-Ming 雋永 R 不動產創辦人 Founder, JyuanYong R Estate co. 對不動產有極大的熱情，渾身上下都充滿了行動力與幹勁！以及各種為了改變這個城市而生出的可行與不可行的點子。可以說同時是雋永Ｒ的動力來源又是亂源。大概就是像這樣神奇的混合體。 [ 學歷 ] 台灣科技大學營建工程系 [ 主要經歷 ] 建設公司工地主任

北投空場作為新型態的藝術「聚落」 Bei-Tou "Polymer" as a New Type of Artistic Village

朱駿騰 Chu Chun-Teng 空場 Polymer 創辦人 Founder, Polymer Art Space 1982 年出生於台北，2010 年畢業於英國金匠大學 (Goldsmiths, University of London) 藝術創作碩士班。大學時主修電影，並執導多部實驗短片，靈感取自於川端康成同名小說的畢業作品『睡美人』，入選 28th 客萊蒙費宏國際短片影展、19th 新加坡影展等多國際影展。大學畢業後專心於藝術創作，作品已於上海 MOCA 當代美術館、台北當代美術館、格拉斯哥當代藝術中心、葡萄牙 Palácio das Artes…等群展中展出。

Ⅶ 空間分享與社群聚合 Space Share and Community Aggregation

主持人 Moderator 蕭麗虹 Li-Hong Xiao 座談會代表 Representative Forum 山崎亮 Ryo Yamazaki 楊育修邱詠婷鄭秀賢 Sue-Hyun Jung 莊熙平丁致成 Chih-Cheng Ting 張家銘朱駿騰 Chun-Teng Chu 陳靜亭林佑 Daniel Lin 林育正 Tyler Lin 林崇傑 Chung-Chieh Lin

Yuh-Siu Yang Yong-Ting Qiu Eric Chuang Chia-Ming Chang Mmting Chen

議題介紹人 Issue Introducer 施佩吟 Pei-Yin Shih

座談會代表 Representative Forum

丁致成 Chih-Cheng Ting 財團法人都市更新研究發展基金會執行長 CEO,Urban Regeneration R&D Foundation [ 現任 ] 財團法人都市更新研究發展基金會 [ 學歷 ] 國立台灣大學建築與城鄉研究所碩士私立淡江大學建築學系建築學士 [ 經歷 ] 丹棠開發股份有限公司董事都市更新審議會委員光世代建設股份有限公司董事財團法人都市更新研究發展基金會主任中華民國都會發展協進會副秘書長太平洋建設股份有限公司投資規劃部科長開創工程顧問公司規劃師劉祥宏建築師事務所設計師 [ 著作 ] 日本都市再生密碼：都市更新的案例與制度 ( 與何芳子合著 ) 購物中心：新建築 ( 與胡琮競合譯 ) 浴火重生：美國都市更新的奮鬥故事都市多贏策略：都市計畫與公共利益政府直接興建國民住宅補貼政策之社會成本與成本效益分析 - 以台北市個案為例 [ 研究專長 ] 都市更新 , 不動產開發 , 都市計畫 , 都市設計 , 建築設計

林佑 Daniel Lin FutureWard 未來產房創辦人 Founder, FutureWard makerspace + coworking space [ 學歷 ] 美國約翰霍普金斯大學生物物理系學士

林育正 Tyler Lin CLBC 慶隆商社 coworking space 總經理 GM, CLBC Ching Long business Enterprise, INC coworking space [ 學歷 ] 加拿大維多利亞大學

林崇傑 Chung-Chieh Lin 臺北市都市發展局副局長 Undersecretary, Department of Urban Development,Taipei City Government [ 學歷 ] 日本東京大學工學博士 [ 主要經歷 ] 臺北市政府都市發展局主任秘書、總工程司臺北市政府都市更新處處長臺北科技大學、中國科技大學、師範大學兼任助理教授中華民國都市設計學會常務理事

楊育修 Yuh-Siu Yang FutureWard 未來產房共同創辦人 X Producer, FutureWard makerspace + coworking space [ 學歷 ] 英國新保大學中英文口筆譯學系碩士 [ 主要經歷 ] 美國舊金山台北設設計中心總經理震旦行辦公家具銷售業務盈太企業商品設計專員魁星企業字幕翻譯組主任財團法人台灣創意設計中心研究發展組研究員財團法人台灣創意設計中心設計產業輔導組組長 FutureWard 未來產房創辦人

邱詠婷 Yong-Ting Qiu 臥龍二九創辦人國立臺北教育大學文化創意產業經營學系副教授 Founder, Wo-Long 29 Urban LAB Associate Professor,National Taipei University of Education Culture and Creative Industries Management [ 學歷 ] 美國加州大學柏克萊分校環境設計學院 / 都市設計研究所建築暨都市設計碩士

莊熙平 Eric Chuang 國立交通大學建築研究所助理教授 Assistant Professor,National Chiao Tung University The Graduate Institute of Architecture 具有豐富而多樣化的專業經驗，以建築專業為基礎，跨界發展、跨界整合。曾多年從事於建築設計規劃、不動產資產管理、科技創業投資，並投入文化創意、媒體、音樂、動畫、運動行銷等產業經營，近年熱心參與高等教育、創業輔導工作。 [ 現任 ] 國立交通大學建築研究所助理教授國立交通大學歐洲能源屋計畫 Solar Decathlon Europe 2014 發展顧問中國文化大學創新育成中心顧問美國建築師學會 American Institute of Architects 會員

陳靜亭 Mmting Chen CAMPOBAG 創辦人（URS155 經營團隊） Founder, CAMPOBAG C+ Culture Co. Management Team of URS155

2010 年至今已在澳門、重慶、雲南、廣州、東京、倫敦、新加坡等 7 個城市舉辦 17 場活動，參與創作人次逾 400 人。 [ 學歷 ]

台灣藝術大學廣電系 [ 經歷 ]

23 歲加入由林欣儀發起的 CAMPO 團隊，擔任公關 26 歲創立 CAMPOBAG 28 歲受邀至澳門擺攤，開始擺攤人生計劃 75

議題介紹人 Issue Introducer

施佩吟 Pei-Yin Shih 經典工程顧問有限公司專案經理 Manager, Classic Landscape Design and Planning CO. [ 學歷 ] 國立臺灣大學建築與城鄉研究所碩士國立暨南國際大學公共行政與政策學士 [ 主要經歷 ] 專業者都市改革組織 (OURs) 客家文化生活環境營造計畫區育督導團 ( 北區 ) 專案助理臺大建築與鄉發展基金會宜蘭分會兼任規劃助理臺北市第九屆青年社區規劃師

[Issue 1] A New Form of Urban Settlement

【議題 1】新型態的都市聚落 [Issue 1] A New Form of Urban Settlement

西元兩千年以前的都市聚集形式受到工業化生產的產業需求所支配，許多的科技園區、產業園區及商辦大樓的興起，交通便利與人口集中有利形成產業鍊上中下游的聚集效益。所形成的量產、規模化效益帶來了工商服務業的發展。然而，近年浮現的創意領域行業對於聚集的需求有了明顯的轉變。越來越多的社群，因為議題、技術、嗜好、認同等因素而聚會，這些聚會的形式卻不必然仰賴固著群聚式的空間提供，諸如會展、論壇、工作坊等這種暫時性的面對面空間也可以有效地提供創新思考的孵育場。檢視各式各樣社群團體的靈感構想，都因為每一次的聚合之間得到驗證的契機。科技網路盡可能的減低了空間聚集的依賴性，社群聚合所需求的空間可以聚會場所來取代。伴隨著知識範疇的多元化、創意原型（Prototype）對於手作的依賴性，協作（Collaboration）成為了下一波創新產業的核心觀念。回顧臺北市對於創新產業的空間提供情形，許多創意工作者（藝術、文化、3C 科技、程式設計等）皆意識到了「共同工作」空間的有效性。大至文化

The urban aggregation before Year 2000 used to be dominated by industrial production demands. Science and technology parks, industrial parks, and commercial office buildings, transport convenience, and population concentration are conducive to the aggregation of benefits for the industrial chain, from upstream, middle stream, to downstream. The mass production and large-scale benefits that resulted brought about development in the industrial, commercial, and service sectors. However, the creative fields and industries that have emerged in recent years have brought significant changes in aggregation demand. More and more communities have gathered to discuss issues, technologies, interests, and identity. The form of these gatherings does not necessarily depend on aggregated spaces, such as exhibitions, forums, workshops, and other temporary spaces for personal encounters to effectively provide incubation sites for creative thinking. In view of a wide range of ideas inspired by co m m u n i t y g ro u p s , eve r y gat h e ri ng was a n opportunity to verify ideas. The technology network reduces possible space-dependent aggregation, while spaces that cater to community gathering needs are replaced. With the diversification of knowledge fields, dependence for hands-on creative prototypes, collaboration has become the next wave of core concept in the innovative industries.

Looking back on Taipei City’s designation of spaces for innovative industries, many creative workers (art, culture, 3C technology, programing etc.) have become aware of the effectiveness of the “coworking space”. From cultural and creative parks to co-working spaces, “settlements” of different 77

【議題 1】新型態的都市聚落

創意園區，小至共同工作空間（Co-Working Space）等不同尺度的「聚落」成為創意激盪孵育所。異質與越益多元的跨領域協作處理的是複雜的議題與具前瞻性意義的想像，唯有真實的面對當代社會對於新型態的「都市聚落」的困境與需求，始得開創社會具備解決問題的韌性。完

sizes have become incubation sites for creative brainstorming. Heterogeneous and increasingly diverse interdisciplinary collaboration processing is a complex issue with visionary imagination. Only when we take the plights and demands of the new form of urban settlement” in modern society seriously can we develop the resilience to resolve problems encountered during social creation.

[Issue 2] Creative Aggregation and Spatial Matching

【議題 2】創意聚合與空間媒合 [Issue 2] Creative Aggregation and Spatial Matching

社群與社群之間各有專才，比喻來說，設計師專精於不同媒材間的組合；程式語言工程師著重邏輯架構的合理性；甚至許多自由工作者熟練於更具彈性的整合性工作。不同的地方所提供的養分及可孕育的涵養差異，有些提案想法可以一拍即合，有些則因為未經琢磨而與市場的需求有著落差。「好點子」的作用在於提供研發出一個又一個的創意原型的契機，因此所開發出的產品衍生出應用的課題，接下來則將挑戰市場普及化的方式。此不斷延伸的過程，則需與不同的社群進行跨領域的協作工作，彼此間相互討論並修正，不討喜的會被淘汰，引發共鳴的則可以引發更大的社群捲動進來，此可視為創意聚合的過程。

Every community has its own field of specialty. For example, designers specialize in a combination of mediums; programming designers focus on the reasonableness of local architecture; free lancers are skilled in more flexible integration work. They differ only in nutrients supplied and conceived literacy. Some proposals and ideas hit off, while others fall short of market demands due to their lack of refinedness. The role of a “good idea” is to have the opportunity to develop creative prototypes one after another. Hence, application related issues result from products developed. The products also face challenges as to which market penetration approach to take. This continuous extension process requires interdisciplinary collaborative work among communities. Through mutual discussion and correction, less popular products will be eliminated, while those that elicit positive feedbacks will attract more communities. This can be considered as the process of creative aggregation.

也因此，首先為了回應創意聚合的需求，將適當的社群與社群、社群與空間以及空間需求之間進行來來回回的溝通互動與確認顯得頗為重要。社群得以因為共用空間、區位鄰近性等關係，而在一層又一層的資源網絡化下產生產業規模化、精緻化等效益。近年興起的創意聚合形式，例如農夫市集、創意基地、替代性空間、共同工作室等即展現了有效的空間媒合的重要性。

Therefore, in response to creative aggregation demands, it is quite impor tant to conduct communication, interaction, and confirmation with suitable communities, communities, spaces, and spatial demands. Communities may, through common spaces, location closeness, and other relations, generate benefits such as industrial scale and refinedness under layers of resource networking. Creative aggregation forms such as farmer markets, creative bases, alternative spaces, and common workshops in recent years are a demonstration of the importance of effective spatial matching.

【議題 3】企劃嘗試與空間支持

「有效的」空間媒合，指的是扮演著「平台」的角色工作者。「平台」的重要性在於需處理、解決與回應差異社群彼此間對於空間需求的真實與想像之間的關係。空間需求的真實性包括了財務自償可行性、產品市場分析、內外社群網絡的串連、服務客群的定位等等，這些大大小小的庶務工作量往往超越了一般創意工作者可以負擔的程度。空間需求的想像則較接近於「好點子」所對應之理想工作環境，例如木作工作者希望有空間可以置放其較大型機具；社會企業志業者期待在其草創工作的期間，能以較低廉的租金減低其從事志業工作的壓力。從都市整體發展的角度而言，社會志業工作者所致力的工作通常與公共利益的關聯性高，而公部門應當著眼於此，參與在社群的需求情況中，進行較彈性的制度調整。完

“Effective” space matching refers to workers that play the role of a “platform”. The importance of a “platform” lies in handling, resolving, and responding to the relationship between communities’ differed actual and imagined spatial demands. The actual spatial demands include: feasibility of financial selfliquidating, market analysis, internal and external network links, service customer group positioning, etc. The workload of all sorts of general affairs is often too much for general creative workers to handle; Imagined spatial demands are like ideal work environments corresponding to “good ideas”. For instance, carpentry workers hope to have a space to store larger equipment; social business starters expect to lessen work-related stress by acquiring lower rentals. From the perspective of overall urban development, social business starters’ work is often highly related to public interests. Public sectors therefore should focus on this aspect and be involved in situations related to community demands in order to make more flexible system adjustments.

[Issue 3] Tryal & Error and Spatial Suppor

【議題 3】企劃嘗試與空間支持 [Issue 3] Tryal & Error and Spatial Suppor

社會創新的歷程就是企劃、嘗試、再修正企劃、再嘗試，透過此過程讓創意得以落實在生活之中。好比科學界的研究突破，仰賴著研究實驗室所提供的試誤機會。然而，走出了實驗室或學校，公私部門皆應已意識到，整個大的都市社會就是最真實的試煉場域。同時間，許多創新性的社群卻得在地產市場的邏輯思維壓抑下，掙扎著尋求理想實踐的可能性。延伸地說，面對既有空間制度恐有的闕漏，不得不承認當前臺北市的都市環境並未給予這些欲實踐具公益、公共性價值的事務空間上的支持。人類社會生活的環境中還有許多「未來」的課題需要在「當前」著手籌備，並展開醞釀整體社會具備共同解決問題的能力。也因此，有許多具可行性、前瞻性的企劃構想，更具有正當性聲張社會社群需要更多的空間給予支持。這樣的正當性，不論是公部門或是私部門，都無可迴避的有責任參與擔當。然而，回到地產市場為主導的真實的當下，需要透過一個又一個的「成功」案例找到可以啟發制度的潛力，讓政策制度也能因此有了修正調整、試誤的可能。而這些「成功」案例正是臺北市本土所長出來的特殊性，也是這個原因，提供了臺北與國際城市對話的介面。本次國際論壇邀請到了許多臺北專題的實踐案例，也是精彩所在。完

The course of social innovation involves planning, trial, proposal correction, and re-trial. Through the process, creativity can be put into practice in daily life. Take for instance scientific research breakthroughs that rely on trials and errors carried out in laboratories, outside laboratories or schools, both public and private sectors should be aware that the entire city and society are the most realistic locations for testing. Meanwhile, many innovative communities have no choice but struggle to search possibilities for putting ideals into practiced\ despite suppression from the logical mindset of the real estate market. To further put it, in consideration to possible insufficiencies of the spatial system, it is undeniable that the present urban environment in Taipei City has failed to provide support for spaces that cater to public interests and public values. In the social living environment, there are many “future” issues to prepare for at “present”. Hence, many feasible and forward-looking plan ideas proclaim the legitimacy of social communities’ need for space and support. This legitimacy is an unavoidable responsibility for both public and private sectors. In reality, with the dominance of the real estate market, “successful” cases are essential for finding the potential to inspire the system, thereby allowing the system to be corrected, adjusted, and tested for errors. These “successful” cases are unique known only to Taipei City. For this reason, an interface for dialogues between Taipei and international cities has been provided. Many practical examples of topics on Taipei have been introduced as highlights at international forums.

臺北市地區永續空間共享推動計畫委託專業服務案 2014 國際論壇大會手冊「空間分享，城市共造 Space Share, City Making」主辦單位｜臺北市都市更新處執行單位｜經典工程顧問有限公司協力單位｜雋永Ｒ不動產、崔媽媽基金會、學聯不動產資訊顧問有限公司、信義房屋、中華民國物業管理經理人協會、臺北市建築開發商業同業公會、中華民國不動產開發商業同業公會全國聯合會計畫主持人｜劉柏宏共同主持人｜連振佑、呂欽文研究成員｜施佩吟王俞棻劉哲瑋黃理詩黃思靜詹育芳林浩雯經典工程顧問有限公司地址｜ 23445 新北市永和區永和路一段 69 號 8 樓之一電話｜ 02-2927-5689 #150 王俞棻傳真｜ 02-2923-6199 E-mail ｜ spaceshare.taipei@gmail.com 網址｜空間資源分享平台｜ http://spaceshare-taipei.net/ Facebook 搜尋｜都市空間分享前線第一版製於 2014.11

「空間分享 城市共造」國際論壇與會手冊

「空間分享城市共造」國際論壇與會手冊