建築變身演藝廳？臺北表演藝術中心行動者網絡研究

How Is Architecture Transformed into a Performing Arts Center? Actor Network Theory and the Case of the Taipei Performing Arts Center

10.6686/MuseQ.202101_35(1).0001

殷寶寧(Pao-Ning Yin)

名牌建築 ； 臺北表演藝術中心 ； 庫哈斯 ； 表演藝術行政 ； 行動者網絡理論 ； signature architecture ； Taipei Performing Arts Center ； Rem Koolhaas ； performing arts administration ； actor network theory

博物館學季刊

35卷1期（2021 / 01 / 01）

5 - 31

繁體中文

在臺灣，要籌建設置一個館所通常經過相當冗長的時間。主要原因可能包括：文化場域專業者對建築工程相對陌生，相關工作介面整合困難；一座館所需要預算費用龐大，且涉及日後經營管理與運作模式。凡此種種，均使得籌備與興建館所變得更為複雜。全球化下的城市競爭趨勢，許多地方政府紛紛以藝文場館做為城市行銷主角，透過諸如「國際競圖」來引入明星建築師，以期量體龐大且造型奇特的地標性建築能創造話題，帶動城市行銷。對建築專業者來說，藝文館所本身是否制訂出周詳的使用需求與空間計畫書，是建築專業者得以依循的重要依據。跨領域專業者之間是否能充分對話與討論，實為影響建築構成與後續維管使用的關鍵，但兩者間如何展開實質對話，是否有任何因素導致雙方難以在專業場域有所對話？這些隙縫應該如何縫補？立基於前述的現象描述，本研究嘗試引入行動者網絡理論，以臺北表演藝術中心為研究個案，由雙方團隊工作者的訪談等質性資料切入，從各方行動者的網絡化關係著手，從中解析「人」與「非人」等因素的作用，試圖解析雙方在其專業實踐過程中，彼此對話與遭遇的難以對話所在，以期為臺灣館所等文化基礎設施的籌備過程提出不同的審視角度。

In Taiwan, a long period of time is often needed to establish cultural facilities. The main reasons are that cultural professionals are relatively unfamiliar with construction and engineering and there are difficulties in the integration of relevant work interfaces, in addition to the management of huge budgets and the need to develop continuous management and operations models. All these factors lead to complications in the preparation and construction of cultural facilities. Due to the urban competition trends that have developed in the face of globalization, many local governments have used art and cultural venues in their branding. As such, architectural design may take precedence over functionality. The cultural facility itself must be able to formulate detailed use requirements and conduct spatial planning to inform the designs of architectural professionals. Whether cross-disciplinary professionals are able to carry out full dialogue and discussion is the key to influencing the construction of a building and its subsequent use and maintenance. However, how can substantial dialogue be initiated between the two parties? Are there any factors that make it difficult for the parties to conduct professional conversations? How can such difficulties be overcome? These are important questions. The aim of this study is to introduce the actor network theory, using the Taipei Performing Arts Center as a case study. Qualitative information was collected from interviews with representatives of both parties. The networking relationship, from the roles of ＂human＂ and ＂non-human＂ factors, was analyzed, to understand the difficulties in dialogue between the two parties in the course of their professional practice. The value of this study lies in the provision of different perspectives on the establishment process of cultural infrastructure projects in Taiwan.

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