「空間分享 城市共造」國際論壇與會手冊

[ 目錄 ] 議程 Agenda

序：台北市空間資源分享平台

3

Preface："Space Share, Taipei" Platform

I. 韓國經驗 - 首爾地方創新的匯聚與分流

12

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

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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

56

Experience of "Space Share, Taipei" Platform in Taiwan

Ⅵ . 新社會空間與聚落

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New Social Space and Settlement

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

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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

2

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

Sign in to take place in the reception area

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

4

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

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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

6

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

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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

8

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.

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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).

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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.

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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

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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。

13

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。

14

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

15

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.

16

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.

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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.

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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.

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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,

22

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.

24

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。

25

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

26

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

28

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.

29

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.

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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

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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.

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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,

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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.

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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

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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.

37

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

38

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

39

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

40

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）。

41

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.

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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

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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。

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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.

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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

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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

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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.

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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

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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。

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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

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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

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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.

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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

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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.

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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

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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.

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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

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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

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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。

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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

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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

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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

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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

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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

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[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

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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.

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【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

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“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.

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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