全球化下都市再生與名牌建築－－庫哈斯與臺北藝術中心

Design-Led Urban Regeneration and Signature Architecture Rem Koolhaas and Taipei Performing Arts Centre

在資本主義全球化的發展趨勢中，城市是各個國家競逐舞臺。城市行銷與品牌建構的強烈意圖作用，以文化與設計引導城市再生（culture and design-led urban regeneration）的策略成為都市治理主流。兼具老舊與歷史城區活化、提升整體生活品質、以文化魅力帶動地方經濟再生的空間計畫，經常往大型文化建設計畫發展轉向，挪用城市文化行銷模型，訴求全球知名度的建築師，以視覺景觀的名牌建築（signature architecture）承載的文化資本（cultural capital）與支配性美學，打造城市自明性。但在滿足觀光客凝視（tourist gaze）之際，是否對在地居民的地方依附（place attachment）與認同產生衝擊？這些大量來自西方的知名建築師進軍亞洲城市，其造成建築表徵與都市景觀的高度表現性，是否是另一種文化帝國主義？「批判性地域主義」（critical regionalism）作為對抗現代主義及當前全球化普同性（universalism）取向的見解，是否能回應亞洲城市面臨的強勢文化入侵？本文以荷蘭裔建築師庫哈斯所設計的臺北藝術中心建築案為例，以設計文化為分析架構，思考全球化發展趨勢下，都市再生、城市行銷與名牌建築之間的辯證關係。

Under the context of globalization, cities are the stages of world competition. It is the culture and design-led urban regeneration becomes the vital strategy of urban governance. To redevelopment the historic areas of cities, to improve the quality of lives, to promote local economic growth by introducing cultural industries is the aim of urban regeneration. However, the strategy of urban regeneration appropriates the city branding model, to invite star architects with global visibility designing signature architecture which earn its cultural capital and construct the city identity. Nevertheless, is the dominant vision of the landmark architecture threatens the identity and place attachment of local people? Is the highly aggressive and expressive of these architectures another version of cultural imperialism? Is so-called critical regionalism by Tzonis, Lefaivre and Frampton a useful analytical approach for the cultural resistance of Asian cities? This article takes Taipei Performing Centre designed by Rem Koolhaas as a case study, by using the framework of culture of design proposed by Julier Guy, to analysis the dialectic relation between urban regeneration, city branding and signature architecture under the globalization context.