建築的法則：當代臺灣的建築場域結構與實踐

Abstract

臺灣社會興起自上世紀九ま年代末期,約莫以1997年為起點的建築熱,以建築的設計與美學面向為核心,至2007年安藤忠雄在臺北小巨蛋的萬人演講達到高峰。至今,看似多元而具包容性、使不同價值的行動者總能彼此合作的美學意識形態,滲透了權力場域、文化再生產場域與建築場域本身,並化為各種以美學為名的運動滲透每個人的日常生活。 我首先將此現象問題化,將之置回九ま年代以來建築相關場域的實踐,採用場域與實踐 理論,歷史性地分析其成因、場域間動態的實踐規則與歷時的轉變、不同行動者的策略與社會軌跡。我說明這些分析對象與美學的支配性,為何必須以建築場域的實踐為中介,最後並指出其支配與排除的社會效果。

The movement of “Architecture”-mania in Taiwan started towards the end of the 1990s roughly in the year of 1997, revolves around architectural designs and aesthetics, reached its peak in 2007 when more than 20,000 audiences attended a talk given by Tadao Ando at Taipei Arena. Until this day, this ideology of aesthetics that appears to be diverse, inclusive and bringing actors of various values to work together has seeped through the field of power and the field of cultural reproduction as well as the architectural field itself. It has also been transformed into a variety of the so-called aesthetic-related movements and invaded our daily lives.

In this thesis, I start by characterizing this phenomenon as problems and then placing them back into the practices of architecture-related fields developed since the 1990s. By using the theory of field and the theory of practice to analyze in a historical context the causes of these problems, the practice rules and linear changes of the dynamics among different fields, and the strategies and social trajectories of different actors. I then elaborate on the dominance between these analysis subjects and aesthetics, on why the practices of architecture fields should be the medium, and finally the social effects of their dominance and exclusion.