都市公園設計評析－－以大安森林公園、中山美術公園及萬華民俗公園為例

Design Review of Urban Park-Case Study of Ta-An Park, Chung-Shan Park and Wan-Hua Park

文探討臺北市九十年代都市公園的空間形式、表徵意涵與社會歷史脈絡間的關係。本研究引用的理論架構及相關概念來源有二，一是引申Henri Lefebvre空間生產理論之觀點，協助釐清公園的建置過程；一是運用補充Lodewijl Baljon的公園設計理論，以解析地景形式背後蘊涵的設計意圖，實證研究案例則為大安森林公園、中山美術公園、萬華民俗公園。經由經驗研究分析可將九十年代都市公園設計的特點與發展趨勢簡要歸納如下：一，解讀公共性的爭奪戰：都市公園表徵著公共性的轉化過程。二，公園地景是「□」的延伸：都市公園早昔多以園藝材料為地景營造之基礎，衍生相關造地景形式，現今又逐漸轉為建築延伸的陪襯空間。對於未來都市公園的四個期望，分別是：作為批判當代文化的象徵地景、貼近當地民眾日常生活的經驗與軌跡、與當地生態環境的連結、複合性的空間設計策略。

This essay examines urban park from the viewpoint of the professional to provide an analysis of the complex relation between the spatial form and representation of urban park and the social context in Taipei during 1990s. This research analyze it by two ways: at first, to quote Henri Lefebrvre's theoretical concept on ”the production of space” to analyze the social production of urban park in contemporary era. Secondly, Adjusting the design theory of Lodewijl Baljon to decompose and analyze the spatial form and uncovering the ideology behind it. Case studies are Ta-An Park、Chung-Shan Park Wan-Hua Park. All the case studies imply two meanings: (1) The social production of urban park is a continuous meaning-battle in the public doman (2) Landscape is always an extension of ”□”. Finally, the article provides four expectations to urban park: be a critical art form in contemporary life; close to the everyday-life experience of local inhabitants; link with local environment; be a complex design strategy of space.