都會中心商業區人行徒步空間系統的真實與想像

Abstract

如同十九世紀巴黎特有的拱廊街(arcade)見證改造後的新都市空間文化，提供Benjamin筆下的都市漫遊者(flaneur)終日無所事事、閒遊街坊，神遊捕捉新的都市印象。晚近亞洲城市陸續在市中心區建置人行立體聯通路網，台北在2005年連結百貨大樓的空中廊道正式啟用，信義計畫區的行人徒步空間系統終於建置完成；其以市府捷運站作為轉運樞紐，透過地下連通道、地面步行網絡，以及空中廊道系統的串連，創造出立體行人徒步空間，提供效率且便捷的人流動線。這樣的人行地景營造形式究竟是表徵著什麼樣的空間意義和功能? 本研究以此作為案例，考察台北信義計畫區人行動線系統網絡之空間格局及其建造歷程、以及其編納的空間構成、形式與結構，分析都會中心人流移動之新空間經驗和其表徵的都市文化意涵。現代的都會中心商業區市成為當代的漫遊者閒逛的拱廊街，信義計畫區之行人徒步空間系統在本質上強化了空間商品化的現象，配合著周圍空間的圍塑，人們完全進入了消費的氣氛中；此外，漫遊者作為一種身分，在性別與階級上，過去的漫遊者是中產階級的男性，而今日出現在百貨商場的大多數為具有經濟能力的小資女。

Just as the arcades of Paris in the nineteenth century, witnessing the transformation of urban space and culture, the flaneur described by Walter Benjamin was an idle stroller who was wandering around the city, to capture a new impression of the city. Recently, Asian cities began to build three-dimensional pedestrian network in the downtown area. Taipei officially opened the air corridor link to the department store in 2005, the Xinyi District pedestrian systems finally completed. City Hall MRT station as a transit hub, through the series of underground channel, ground pedestrian network, as well as air corridor system, creating a three-dimensional pedestrian space, provide efficient and convenient flow. The landscape of pedestrian system represented what kind of space meaning and function? The Xinyi District pedestrian system as a study case, based on the globalization of the 21st century space-time compression and under the context of change in network society, to examine the spatial pattern of the pedestrian network construction process, as well as the incorporated space, form and structure, and to analyze the human fluid experience in urban center and the representation of urban cultural meaning, also the interpretation of space aesthetics in the emerging era of mobile communication.