街舞！對抗？中正紀念堂－－人、活動與公共空間關係之探討

STREET DANCE! RESISTANCE? AND CKS' MEMORIAL HALL: A RESEARCH ABOUT THE RELATIONSHIPS OF PEOPLE, ACTIVITIES, AND PUBLIC SPACE

公共空間應該是什麼？公共空間裡的衝突該如何解決？藉由中正紀念堂與街舞之經驗研究，歸納公共空間理論上爭論不休的問題。如何讓活動在公共空間中自由的發生？作為公共空間的中正紀念堂，代表特殊之文化意涵，與街頭舞蹈的另類價值，因為硬體因素與交通區位而聚集在一起，但重要的是街舞者如何利用實踐的方式，爭取真實空間壓抑下的對立基地…第三空間，使公共空間真正公共，最終達成好的城市與好的公共空間願景。研究結果可以歸納為四點：第一、弱勢者在公共空間中其實一直被視而不見，因此公共空間裡需要的是真正屬於弱勢者的第三空間，否則沒有市民實踐的公共空間就沒有意義；第二、解決公共空間中的矛盾，必須回歸社會文化研究，發覺第三空間中，人、活動與次文化網絡關係內隱含的契機；第三、規劃者必須有非正式體制的認知，在第三空間的社會文化與體制網絡內貢獻專業；第四、公共空間並不是天生公共的，必須適當扶持差異的公共空間（第三空間） ，公共空間與好的城市空間才有可能經由市民實踐而存在。

What should public space be? How to solve the conflicts among different interest groups in public space? We tried to induce some issues on public space by the research of street dance in CKS' memorial hall. The CKS' memorial hall has some kind of 'special culture' meaning and alternative value of street dance. All these factors combined because of facilities and location. But the most important is how street dancers use methods to strive for resistant foundation-'third space'. Then make public space real public. Finally we can reach visions of good city and good public space by this kind of method. We summarize our four conclusions. First, disadvantaged people are always invisible in public space. So we need third space that really belongs to them, or public space will mean nothing. Second, we must go back to social and culture study to find out opportunities behind people, activities, and sub-culture. Third, planners have to know 'informal systems', and do their profession within networks of social/cultural third space. Finally, public space isn't 'naturally' public. We must help building the 'different' third space, and then we can realize good public space and good city space.