學術引用 Citation
Huang, Sun-Quan & Chiu, Yung-Teen Annie (2006). Taipei Culturing Re-Mapping: Landscape and Brandscape in the 90's. Paper presented at IFOU, International Forum on Urbanism: Modernization and Regionalism — Re-inventing the Urban Identity. Beijing: TU Delft + Tsinghua University + NTU.
Abstract
The landscape meant to cultivate, spatially and discursively---urban landscape meant in the production site such as factory, such as farm land, are being transformed dramatically through urbanization process into the brandscape. While the transformation of space of commodification seems inevitable, the process of such changes, the production of space become a re-mapping process culturing Taipei as site of counter insurgent, and site of consumption. It is important to investigate this cultural remapping process (urban culturing process) and also to exam the visible spatiality as totality Taipei urban image. The paper would attempt to theorize the landscape of production and landscape of consumption and the dialectic relationship in the formulation of the new maps as well as cultural forces in producing such space and place.
Keyword: landscape, brandscape, production of space, modernity, neoliberalism
1. URBANIZATION OF MODERITY
Subversive historiography connects oppositional practices form the past and forms of resistance in the present, thus creating spaces of possibility where the future can be imagined differently – imagined in such a way that we can witness ourselves dreaming, moving forward and beyond the limits of confines of fixed locations. — Bell Hooks (1994), quoted form Leonie Sandercock (1998:1)
The epitome of today's Taipei, however, is Taipei 101, 7 Xinyi Road, Section 5 ; currently the world's tallest building, a 1,671-foot behemoth that may have disturbed an ancient fault line on the earthquake-prone island. A trip to the 89th floor costs 350 Taiwan dollars, a waltz around the 91st-floor observation deck is another 100 Taiwan dollars; children under 3 feet 3 inches tall get in free. ……For the opposite of such advanced architecture, take a taxi to Treasure Hill, a grassy neighborhood of illegal dwellings that Taipei's Culture Department is starting to transform into an arts district. Its epicenter is the lovely Treasure Hive cafe, 3, Alley 16, Lane 230, Dingzhou Road, Section 3, which holds weekly outdoor concerts. — New York Times, Feb 22, 2006
The two views which seems to be in the direct opposite view—yet all a must see for Taipei for the global trotters seem to speak loud and clear that under the urban image. City as built form, as Castells (1976) firmly confirm no urban without modern Capitalism, Harvey follows Lefebvre’s view on urbanism which makes science and urbanism, a process “ …to counter the increasing standardization of global system of production, and both can either help or hinder the dominant organization of production”. For Harvey, “the major axes of repression and liberation coexist in cities, for this is where the core of modern economies lies.” (Zukin, p105). Capitalistic modernization opens up such contradiction where on one hand, opened space to further economic and political interests and on the other , the same group limit the use of space to affluent consumers who could pay for the amusements (café, theatres, and commodity) that now adorned the modern city (1985a: 204-5). In such visible display of modernity in Asia Pacific city such as Taipei: Taipei 101, Ferries Wheel (shopping mall) are the unconscious dream of middle-class and capitalists making who desire the sanitized, as well as reflective self imaging of number one in the world kind of aspirations’ shopping city (Chiu, 2005) while dreams of others, as Benjamin’s believe the modern city give rise to dreams, is either displaced or forgotten, both in history and space. Harvey make it explicit between” the negative energy of commodity fetish” and the “positive charge of urban social movements.” (Zukin, p 109) –Taipei which undergoing the capitalistic modernization process is the site to display such contradiction and spectacle.
How the view or landscape of duality has shaped the cities? What are the forces behind the space of dichotomy? Yet it is important to revisit and see how the past ten years has shaped the landscape of Taipei. Taipei 101 all are mirage of global projects which showcasing the world, that Taipei as a city of possibility in entering the international competition of symbolic representation of modernity. Through the frequent global and economic prosperity and the Asia Pacific imaginary, making the technology of the modern building or rather the global economic collaboration a possibility—the landscape of the global architecture, through such process of local labor, foreign designer and migrant workers seem to be the formula in constructing and housing the middle-class weekend leisure site such as shopping mall (Chiu, 2005). Treasure Hill then is an outcome of insurgent planner’s negotiation with Taipei city government after dramatically social movement of 14th 15th park anti-city bulldozer campaign.
Historically, we must see these landscape changes as a process of urbanization of modernity. Urbanization of modernity here specially characters the self-image of national landscape and Middle Class social and cultural experimentations (see Table 1). In 1995, CCA (Council for Cultural Affairs) claimed “Community Renaissance” policy which opened a new wave of cultured Taiwanese itself made what a “good manner of community culture” should be and preached participation design as a way of reaction to the calls of democracy after abolishment of martial law at 1987. In 1997, Taipei city government advocated the “community planners” and set up community planning service center in every district relying heavily on professions and college resources. In 2001, the community planner system spread out all around Taiwan because of the encouragement of “Creating New Urban and Rural Landscape Plan” by the central government.( Kuo, 2004) Since then, an emerged new modern landscape of New-Taiwanese, or the which coincidently merge nicely with global modern city landscape which era of globalization is earning for.
Ironically, contrast to known democracy- if democracy means people have right to keep his memory and fight for better living, 90’s Taipei urban landscape is reformed by event spectacle rather than truly bottom-up participations. Perhaps new values are represented, suggested but certainly lives have not been transformed or improved, at least not those who need to be improved. Modernity as an imaged ideology, or Lefebvre‘s representation of space, proliferated by counter-insurgences, provided a path-dependent of neoliberialism. Brenner & Theodore ‘s ‘Urbanization of Neoliberalism’ seem to suggest such process the clearest- a “destruction of extant institutional arrangements and political compromises through market-oriented reform initiatives; and the (tendentious) creation of a new infrastructure for market-oriented economic growth, commodification, and the rule of capital” process. (2002:362). The resulting urban spaces is the case at the local scale which explain consistantly such creative destruction.
2. YEAR OF 1997—THE LAST OF SOCIAL MOVEMENT AND THE BEGINNING OF THE EVENT SPECTACLE
2.1 Site of Insurgency: 14th and 15th Park
Two spectacles came together. However, spectacles are constructed and does not just happen by accident. In 1997, “National Community Renaissance Expo” held in Yi-Lan County, participate by hundreds of community association which has at least 350,000 held visitors prove the community renaissance has become a national policy success. At the same time, during this Chinese new year holiday, one community in Taipei---14th 15th park relocation site, over 3000 residents which reside for 50 years, was told to evacuate in three weeks, the place they have called home since these veterans arrive in Taiwan.
Mostly veterans, average over 60 years old, over 3000 years two third were low income housing, in Taipei 2/3 of the city cleaner came from this community. Yet local government consider the need for greening for the Middle Class conscious and economic development concerns resulted in three weeks resulted in the anti 1415th park anti-city bulldozer), is also the first urban social movement which point out the long term policy issue, illegal squatter is no longer the tools for KMT’s domination (a historical debt) which leave the veteran situating in the site with no legal contract but allow them to stay indefinitely. This caused the problem where one stay in a place call home but has no legalality of staying for the duration of 30 years. In Yeung’s qualitative research of the residents illustrates such traumatic change has hurt the elderly psychologically deeply, and in the other research employ the political economic approach in analyzing the movement which has become a progressive planning model.（Cheng, 1999）
This is the before picture of the modern landscape, as Huang discusses how the 14th and 15th park movement transform from nature state to nature estate--- in explaining the government’s urbanization process in the name of modernity transform from informal landscape which include all the informal sector of economic production, periphery groups, which see all the old, depilated, in other word, anything that not explainable or appropriate---or unsightful, in site map would be considered illegal, or illegitimate and thus would cause the city danger and cancer was to be taken out（Huang: 1997）. On the contrary, the institutionalized landscape denote a sense of state approval, citizen identification which satisfy the urban aesthetic gaze that is fit to have the look of the international city. Most importantly, the institutional landscape would fit into the scheme of the grand historical project of national scale landscape. (Huang, 1997:114) From this movement, what is transformed is not space---the space still went through the palimpsest where modern looking park replace the old squatter settlement with nothing left to memorize. But what has become the public consciousness is that local government’s decision may no longer voice the single voice of the public space, it is not simply about cleaning up the city, but city is lived by all—those voices as well as space contestant with one another. Through public incentive policy and greening discourse, the eagerness to have the nationalistic aesthetic and the desire to be institutionalized has concretized the nature and such project become instrumental as the national landscape. To the professional field of planning and design, production of the park is not simply a physical landscape design, but a site of contestant of different meaning and memories and ideologies. Though the park today become the backyard garden for the 5 star hotel with the appearance of what park should look like with all the facility, the cultivating process here is not through space, but green bulldozer’s squatter movement become the classic case of the model for insurgent planner in the creation of the civil society of Taipei (Cheng, 1999)
In the sanitized landscape, in the appropriate landscaping where history elements—the sight of the squatters, illegal is to be erased and deem cultureless, and with no visual legitimacy, despite the students’14th 15th park proposals have won the Taipei community planning award, such vision where landscape and the old residents can coexist on the same site could not beat one sight from Michael Jackson. Taipei city’s community planner still upheld the project of modernity, one ideological project that comprise state, planner, Middle Class community consciousness in one ideological project. The urban experience and social experience is different, from projecting how culture and whose culture is to sustain—the community planner is not progressive but ironically serve the capitalistic city which the serve contradictory a idiosyncratic the require earns for since the final outcome still exclude non middle-class’s value and culture landscape. Like modern planners, the result is, diversity and distinct culture as part of the internal control—What is not being protected is class, thus those otherness, but the usual leasability and sight. Neoliberalism’s urbanization process is a strategy of privatization of public goods. The aim is not to utilize the public space fully or to all in the subversive sense but through the public space such as park with increase in value of private estate without paying for the extra capital. Through urban renewal, the surrounding of the 14th and 15th park increase value by 30% and the government has allude the middle-class a green oasis which in terms increase its house value, interiorially and exteriorly gain a huge backyard and finally state indirectly still secures the Middle Class’s vote and values. Just as many researches shows, the park distance is in direct proportion to the adjacent real estate value（Hendon,1971）such new urban experience through the new public infrastructure appeal to neoliberal project, and makes all the hidden bonus, hidden.
2.2 From liberalism to neoliberalism--Wisteria tea house
Another tourist site which is also the frequent must see in Taipei tourist guide. Wisteria (Zitenglu), “where Ang Lee shot Eat, Drink, Man, Woman is Taipei’s most historic - with wisteria in its garden.”.
Wisteria Tea House that nests in Taipei urban street is known for the tea and Japanese/Chinese hybrid tea houses form the private (of liberal groups meeting ) to semi-public space ( of the Taiwanese elites gathering) and thus become the site that witness the democratic movement of Taiwan. In the early period, Wisteria Tea House is a breedroom for counter-KMT totalitarianism which liberals and anti-KMTer meet for liberalism ideals and request for free speech, the site also serve as offices for underground political press as well. In 1997, the privately run Wisteria Tea House, but a public property was ask to return to the public agency and through the cultural movement, constructing the discourse which help teahouse to be preserve that the tea house is not just the privately use public property, but find a way out by making constructing the new discourse of preservation of the architecture of the tea house. The tea house was appointed to be the Taipei historical architecture and change the land use from residential to culture facility use and thus the continuation of culture use can become legitimate and privately run, as well as the public speech is continuously encouraged. It is through such spirit, and ideal that even today, the ambiguity of the Japanese tourist visiting to have a drink for the cost of cup of Starbucks coffee and in the other room, the public gathering where much of the free left-prone lectures were given, that tea is free. Thus the continuation of the public-private dialectics is preserved at the same time transformed where the architecture and garden are both preserved. Two cultural ideology the Chinese traditionalism and history of Taiwanese liberalism help to preserve the space. It is the history and discourse of liberalism to neoliberalism which makes the tea distinct from other tea house by disturbing the public-private boundary and zoning law and most importantly, it unveil the beginning models of public investment/ building but privately operating management a possibility.
2.3 Reclaim or Disguise the periphery through Art—Treasure Hill as an Ideal Neoliberal Project
The cultural landscape which is contestant, from the uneven geographical site of the illegal hillside veteran resident is another historical debt of KMT— Treasure Hills neoliberal project was slow and emerged, completely out of the time efficiency in terms of modern development standard. From city destined historical site, the place strive to have the alternative visibility by reconstruction of the GAPP ( Global Artivists Participant Plan) making the hybrid culture intermediary role, not just the artist and not just the activist, and emphasis on the dual role of culture workers through exchange labor, among the drillers, resident artists and community activists. Since 1997 headed by NTU graduate students in saving the site from torn down as squatter settlement, fought to preserve the place by finding the historical-geographical legitimacy to be preserved, and in 2004 the Department of Cultural Affairs of Taipei step in marking it a culture site, by the year 2005—many ad hoc but organized by the DCA public events such as artist forum, movie showing art markets were held —as an ideal neoliberal project where things could happen now that it in good guys hand and it is saved. While the immediate threat from development were not challenged. Art and culture became the Treasure Hill talismanic against the economic development discourse. Yet with the new facility of Artist live-in, hostel, and the 30 old residents’ new home---the ideal program still manage to make the full use of the new program, by torning everything down in a timely manner, with little or no opposition, with art event continue to say farewell.
3. BRANDSCAPE IN THE MAKING
Under the tourist gaze—all the tactics are being thematized and carnivalized---to different groups. Planner, state, Middle Class cultural intermediary all try to find its place, exerting the line in the neoliberal project and play up its contradictory situation. The brand store in the consumption space while the shop or browse and in the Treasure Hill market halls—the proletarian or students sells like merchant without much of the revolution thought. Through various scale of planning, the brand store would host the party, transforming the nationalist symbol into the local grandmother cloth symbolize the localization through globalization process of global brand grand opening celebration. The paper argues the existence of the existence or even the visible appearance does not help one to ‘see’ culture but only confirm the Taipei as a segregated city and segregated soul----where culture is in the hand of the winner---the global capital who allows the local scene to transform the nationalistic state into the local prints. This re-mapping process with forces of localization and globalization force both to look ways and strategies to complete the work of art. It is this frame of thought—the culture or the culturing remapping process become the internalize process of the capitalistic global city---where Taipei still did not escape from the modern-tradition dialectics and continue to be exercise and building the city or the image of the city through the same discourse.
Many public space and historical building begin to take up the public investment but privately-run to ensure the cultural estate class and the grassroots organization cooperate to ensure the NGO would not ‘insurgent’, such model has followed the route where the government has provide the hardware and allow the private organization to manage the space—such ‘culture commercial space’ which is not inclusive to all, and has indirectly excluded especially those who could not consume. Mayor’s residence Arts Salon, Guling St. Avant Garde Theatre, Red theatre, Spot Home, The ling Yutang House, Chien Mu House, Taipei Artist Village, Musum of Contemporary Art Taipei, Taipei Story House, Puppetry Art center of Taipei, Tsai Jui-Yueh dance foundation, Puppet Theatre Museum Bi Tao Hot spring Museum, Taipei Zhongshan Hall, Taipei 228 Memorial Museum are such model in spatial management of public space. This also applies to the cultural policy in Taipei. For example, legalizing the illegal event into the public events where state control or sponsor all the folk devil event，such as rave, gay and lesbian parade。User pay become the spatial domination rule, transcend all the ambivalent such as class, other than. By copying other global capital imaging as self satisfying urban imaging---it is through the landscape and not through the policy. Culture become the space as expression of political achievement and as space performance---this becomes the Taiwan’s cultural governance in the 90’s Ultimately, brandscape is the scene shared by political and economic power block, and both insurgent planner and capitalist play critical role in the city building of such cultural-remapping.
3.1 Investment for the Bourgeois
The bourgeoising of Taipei is constructed not only the in the built environment. The project of bourgeoising Taipei associated with education, learning process where children need to be bilingual in the kindergarten. Café is more common where Taipei is more find the lifestyles images of the Parisian’s love of antique, public leisure and display. While the commodification does play role in the shaping of such urbansape. All the readings regarding the culture of Eslite is about learning the lifestyles. With some small effort of integrating the Asian, the search, though seemed endless in the choice of the lifestyles, seem to follow the bookstore’s book selection. The task is learning to be bourgeois. In order to afford to buy a bag which might cost a office girl for a month of salary for example 4k---one need to think like a Middle Class sense of investment.
3.2 Cultural re-mapping
Cultural landscape has meaning of contestant---whether it is emerged, transformed, or created in the city would be easier when it is setting on the clear privatized property—culture landscape is created through the capitalistic investor with help of the architect with his or her own version of what good life style represented in the image of the home to city. This can be readily seen in the most of development where the homogeneity take place and the variation of the design become the only task of the designer. In short, how to make the same and the standardized looks entirely exotic, and a spectacle is the task of the design profession. The culture landscape of the middleclass is to ensure what is possible is to look and to gaze, only allow to take a piece (through purchase and participating in a show) --- in other word, the time and space is considered in seconds and moment, rather than life time.
3.3 Neoliberal Project, not Movement
Planner and architects in Taiwan make everything a project---even the insurgent architect/planner who refuse to follow the commercial route is still after the project, and these makes the culture landscape---another form of planning project—as funded project mainly supported by the culture ministry, private foundation and local culture department, there are limitation and restriction of the service contract. Often the project is to suffice the public value that is uphold in the society now. It is easy to term the successful as right thing to do. Everything becomes event, festival, carnival or as Featherstone has called this “aesthetization of everyday life”. Yet these paying carnivals which seem to be free or commercial entertainment are servicing the adjacent to the adjacent brandscape, creating the space of contradiction or appearance of diversity. The design of the Warner Village Cinemas movie center at Shin-Yi district has created a street that seem to make the public alley street private owned—when in fact the space is really public and should be free. The same logic goes to the bridge that is pay by the shopping mall but the sky is lease by the local government for free since it would make the shopper, shop more conveniently. Design has capacity to disguise and make the space inclusive for the consumption—making all the private and public, a brandscape, labeled only through brands.
Project meant time, with constraint of capital, there is client even the progressive planner could express his and her position and value aftermath and what values have been transformed. But since 1995 the Community Renaissance and 1977 community planners---with all the social movement’s courage and utopia ideology, with all the good intention, it is only a ‘ project and the execution is only event spectacle, no matter of spectacular it is. What is being exhibited is community utopia, touching spectacle has satisfied reactionary to populism ---this is representation of space and Middle Class’s project of modernity. This Modernity Project allow project has the appearance of the movement but is all under the structural system which allow all to have the modern city to create the brandscape to find the ironic match.
4. CONTESTING VALUES, CONTESTANT LANDSCAPE
Tafuri’s bourgeois value is deeply rooted in the planning and architectural community---the value is manifested in the lifestyles and into the cultural forms of space from home to consumption space. Yet, without the production of space way of analysis, rather than design form, the value of system remain hidden. While Treaure Hills continues to invite the live-artist –the neo liberal idea of progressive planning---is progressive because of its inertia of time---that it is not based on the efficiency, expediency of transportation or the instant spectacle of event, but slow process of the individual artist’ collective effort, and event with its local community’s relation in search of new program and format of the community. The 14 th and 15th park movement challenge ideology that the squatter’s settlement is live by the parasite of the society but the historical debt of KMT party and inefficiency of state to protect and provide policy for people---seem to have made some progress in the ideological fight regarding who actually could speak for the landscape. The same goes with the Wisteria tea house while it became the ultimate place to drink a cup of Chinese tea in Taipei, unlike its simulacrum of other fashionable tea house, it continue to struggle to be ambiguous in terms of public and private uses and accessibility, and at the same time, continue to be neoliberal site by making left ideology public and free, under the guidance and approval by Taipei culture department. While the contestant in the urban space become less and less apparent, the production of the landscape, or rather the culturing process would ultimately shape a different city which undergone a different process that is gentrified the space to the exclusive or that might have the similar appearance or program.
The brandscape, followed the sum and invest, is consistent in its value system and its final spectacle—to make profit through capital---thus all the symbolic capital, event capital are to come to the final summation of capital accumulation or symbolic capital gain (for the easier loan to the bank)
While in the time of the appearance, one couldn’t longer tell from the artist market, concert hall, as the cultural people could transform itself between the event, through the examination of the landscape, the value and meaning of the landscape, the contestant and what has been challenged become ever so evident. All the movement, though illusive, and not ever intended, rather than project become the permanent marking of the Taipei landscape.
Yet, in a deeply capitalistic society, Taipei in the last 10 years, we have witnessed the transformation of landscape or rather the culturing process of the landscape and site---whether through creative destruction of development or the discursive culture. Both challenge the time and space of the capitalistic city. These two rhythm is not in sink with one another but becomes two strong forces which is based on the different lifestyle emulation, value system, class differences—resulted in the landscape which is designed by different constituency groups---one lead by the professional team of global design team and other
5. CONCLUSION: SPACE PROJECT TO CULTUR PROJECT AND BACK AGAIN
Consumption space where events are fashionable event from the world series, holiday events such as Christmas, Valentines, special, Disney, Eslite, events became middle-class parents reluctant only choice of public evebt participation.
While these projects which involved movement has similar characteristic, issue and spatial concerns: some public into private, some private into public, some private into private, but all seek to transform the value and space in the unique urban landscape that make strong distinction from the brandscape even the final concretization might have the appearance of the modern public space ie the wisteria tea house become the a must see for the Japanese tourist and treasure hills become the site of the New York’s ‘s Taipei guide and the 14th and 15th park looks just like any modern urban oasis in the city. What is hidden of the project is like the 14th and 15th park---is the changing values from laborer could define their own memories and squatters settlement is not parasite of the city but lack of public policy in resolving the problem(Hwang1997). The illusive changing values, time based movement all transform into public space that in one way or the other, leaving obvious mark (labor sculpture) or not so obvious (14th and 15th park) continue to compete against dominant middle-class valued brandscape such as Eslite book store, shopping mall with combination of the global urban Taipei as a city a continue visible dialectics which only the process, not just spatial gaze could be equip to analyze.
In most of time, community participation becomes a way of getting projects, project of getting more projects. From landscape to brandscape become the site where the community planner and modernist architect who find the ironic collaborative relationship in redefining the visible landscape through. Sharing the brandscape in the site of legitimacy through commercialism and the landscape in the name of the public and the weak through the progressive architects --- that ironically find peace in remapping the culture landscape. And at times, the two roles might cross over just in the spirit of interdisplinarness---or to display the various talent of the individual designer or the unlimited capacity of the community designer to design modern building.
When in fact the two ideological fight when rest in the brandscape where modern design find the resting mark and has its own spatial procedure: from the local design team in collaboration with the international team, all the way to the detail design by the local architects doing the construction document and foreigner designer and individual boutique have its in house designer. The brandscape has created a flawless procedure in locating the best site in the city and making its mark of the global city. While the other community designer find these an alternative find difficult (or impossible) to go into the global design process, employ the localism, participation design as the name of design, and mostly public project, defending the commercialization of the brandscape, and challenge the aesthetic of space through event spectacle.
These culturing process became a way urban space which is being filled with visible ideology and culture from sports event, fashion show, art market to installation art exhibition all became culture projects---that at times the art market is more like a pageant and the sport event is more like participation design competition, or public hearing meeting—in the postmodern era where anything goes culture event ironically became de-culturing process.
Unless we look through the historical analysis of the neoliberal city’s own creative destruction and re-imagine how space is produce and has transformed ie what values are in operation in the urbanization process in order to justify the competitiveness between the landscapes, in speed and in space. Through spatial metaphor of the real space, the neoliberal project has achieved something tangible in space through discourse, metaphor and representations of space. The state owned site has changed into the special culture zone as in the wisteria tea house; 14th and 15th park change the static view of the poor as parasite and government is effective and finally the Treasure hills has finally became a ground of the alternative global culture art site where program are less likely to be usual gentrification and has been inclusive of the old residents’ right to stay, at least 30 households. These are still drastic different from the usual capitalistic monopoly game where park, tea house, or art village can be created in the matter of a moment, but in fact what is being created is the values, lifestyles and space have compete against the capitalistic logic operation where only capitalists gain the green, public space or sky from the city for free. It is not surprising through movement and not goal oriented project by institutionalizing, thus the gathering event and art installation is a symbolic relic of the movement and not spatial concretization in other word, it can not be reproduced like spectacle, and the moment has gone as soon as the movement is over or idea has been shifted and the continuation of the movement could not rest in the final concretization of representation of space , just as brandscape modeling or replication after the proficiency of the whole procedure down to perfection, but progressive design and neoliberal planning means that dream of “ actually existing neoliberalism” and the possibility keep on dreaming for insurgent space to be an eternal project against the usual capitalistic spatial accumulation—not forgetting the task for insurgent designer/planner in the city is for people, not just for shopper.
Table 1: Culturing re-mapping Chronology
| Year | Events |
|---|
| 1933-1994 | The ex-President Lee Teng-Hui（李登輝）claimed the importance of coagulating the construction of shengming gongtongti (a community of fate) in his third year inauguration in May 20th, 1993. In October, the ex-chief of the Council for Cultural Affairs Shen Hsüeh-yung (申學庸) responded to Lee with redeveloping the consciousness and ethics of community. Since then, “Community Renaissance”(社區總體營造) became the preface to future culture strategy. In 1994, the term “Community Renaissance” used in the policy address of the CCA , then lead the development of community for the next ten years.
In April, 1994, the KMT's old party headquarters─ original an colonial historic building, Red Cross Center- was decided to be rebuilt, some activist launch a action for saving it. |
| 1996 | As an top-down policy, whole bureaucrats plunged into it. More than billions subsidies every year, Lots NGOs evolved as well, including academic institutes and local groups, local literature studio. The state became the big boss for all culture events.
Department of Urban Development of Taipei City Government forged the “community planner”, they are paid less or even in voluntary basis which became connection between grassroots and government. |
| 1977 | March- April, Yilan holds “The National Community Renaissance Exposition”, visit people had reached above 350,000.
No 14.15 reserved park site , in KanRo Community, had over 3000 inhabitants and two third are low-income and elder, fired the intense counter-relocation movement. February, students and professor joint together form widely urban planning and architecture academics organized by Huang SunQuan with inhabitants initiated “Anti-city bulldozer Alliance”. On March 4 early morning, the squatters had demolished after seven fires and came to an end of three month counter-relocation movement. It’s the first Taiwan squatter movement and influenced coming squatter movement deeply.
May, Wisteria Teahouse, exceed 20 years, which is a breeding ground of liberals in Taipei was taken back by Ministry of Finance. After the Council For Cultural Affairs designate it a historical building rapidly by appeals for of the academic, it avoided demolish. Wisteria Teahouse started public investment privately run model.
June, artists organized a “Huashan Arts Special Zone Promotion Agency”, penetrates a succession of “illegal invasions” strives for this unused space to a positively artivists gathering place, succeeded reforming the first Taipei Brewery development that was planned to be an office building of legislators. It opened the prologue for the activation use of unused space. |
| 1998 | January, the Warner Village Cinemas inaugurated, raised drastic competitions among department stores and fashion industry in east Taipei.
On November 28, activists groups including OURS(Organization of Urban Reforms) and the Institute of Building and Planning hold “The first festival of Taipei disadvantaged Community” at Treasure Hill which is also a squatter community at Taipei city fringe. All candidates racing next Taipei mayor election form different three party addressed in that festival. |
| 1999 | OURS organized the “Non-Shell Snail Alliance”（無殼蝸牛聯盟）once again, hold campaigns against the Executive Yuan’s housing policy.
On May 12, campaigns against the relocation project of squatters, Dragon Gate community (for a primary school ), the YuanShan community (for park), Peel Skin community (for a primary school also) , approximately more than 100 inhabitants and “Anti-Bulldozer Alliance” activists went to city hall to reclaim “ build before demolish”, however the new mayor Ma and city government had still repeated the old scenario, activists were draw off by police force.
The first local apparatus for cultural affairs - Department of cultural affairs of Taipei City Government on November 6 had been established, Long Yingtai became first bureau chief on invitation, she made a clear statement for development of this apparatus with “Culture Into Life”, “Tradition Blossoms in Modern”, “Unveiling Taiwan to the World”. The revitalization of unused space was an important agenda of cultural policy. |
| 2000 | January, indigenous peoples squatter -Huadong New Village, located on north Taiwan was pulled down.
The Council For Cultural Affairs officially listed “Revitalization of Unused space” as the year significant administration goal, will entrust various local municipal government to propose the unused space preliminary examination, participants enthusiastically, including the peasant barns, libraries, abandon schools, military compound, colonized dormitories, worker dormitories, airports, bathhouse, jails, tunnel and so on, proposed all kinds of, reach more than 200 places. Take Taipei city as an example, the unused space and the historical sites are over dozens of deals, whatever through BOT or public investment privately run” methods.
The first veteran village in Taipei – No.44 South Village was reconstructed, villagers are moved in public hosing elsewhere and village space partly became a new citizen clubhouse. In recent years all over Taiwan veteran villages vanished one after. |
| 2001 | May, Mayor Ma hosted No.14, 15th park operation ceremony , estimated finished in 2003. #July, Sungshan Tobacco Factory holds the first international design campaign of “The Presidential Palace Square Transformation”. |
| 2002 | Long Yingtai had gave impetus to reuse of “Former U.S. Consulate” cooperated with TSMC Foundation from 2000. That created the enterprise coupled culture property preservation a fresh experience. This year Department of Cultural Affairs trusted Taiwan Film & Culture Association to manage “Former U.S, Consulate” (changed name as Spot House) opened on November 10. # Executive Yuan Chair You Xikun proposed “2008 National Challenges” plan, Council For Cultural Affairs coordinates to impel five big unused areas for reestablishment.. |
| 2003 | October, "Treasure Hill Redevelopment for Art Village Plan" started. GAPP (Global Artivists Participant Plan) ran one and half year experimental plan for transforming residents to artists village, it brought artists into village and executed works by exchange labor. By 2006, October, the new program of youth hotels would be implemented with old veterans living in the new buildings.
November, tallest building the world, Taipei 101 opened. |
| 2004 | February , Losheng Yuan, Taiwan first leprosy sanatorium – faced relocation because of MRT project. The grassroots organization call “Youth Losheng”, mostly came from medical and urban planning school, initiated lots resistance events, including music festivals and march at City Hall, the demolition postponed to the year's end and continued in 2006. # May, Sungshan Tobacco Factory planned to become a baseball stadium # September, Huashan brewery turn a “Star of the Literary Arts” project claimed by CCA.
On November 19, a new Shopping center at Neihu District raised curtain, one-hundred meters ferris wheels and the multi-purpose commercial space, including international night club chains- MOS in, has given the city periphery the emerging modern style. |
REFERENCES
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[2]Chen , Ying Chieh. “Reseeing Bao Tzang Yan - Building Process and Forms of Urban Informal Cultural Landscape in Developing Countries”, National Taiwan University, Graduate Institute, Unpublished Master thesis, 2002
[3]Castree Noel, “A Critical Rader: David Harvey in “ David Harvey on City” edited by Sharon Zukin pp 102-120 Blackwell Publishing, 2006 [4]Chang, Li-Pen, “Production of Space, Urban Social Movements and Cultural Strategies: The Boa-tzang-yan Anti-Relocation Struggle”，Shih Hsin University graduate school for soical transformation studies，Master Thesis, 2004
[5]Chiu, Yung-Teen Annie, “The Construction of the Spectacle and Production of an Alternative Project”. Graduate Institute of Building and Planning National Taiwan University, PhD. Dissertation, 2005
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[8]Gross, Matt, “Goint to Taipei “ in “New York Times” Feb 22, 2006
[9]Huang, Sun-Quan , “Green Bulldozer: The Squatters, Parks, Nature Estate and Internationalized Landscape in 90s Taipei”, Graduate Institution of Building and Planning, National Taiwan University, Master Thesis, 1997
[10]Yang, yeo-reon, “Circulative Debts :A Historical Perspective on Squatters and Urban Planning in Taipei”. “Cities and Design”，No. 4, March , 1998
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[13]Huang, Shih-ying, “The Construction and Contestation of the "publics"--An analysis of city monument Wistaria Teahouse”, Shih Hsin University graduate school for Soical Transformation Studies，Master Thesis, 2000
[14]Sandercock , Leonie, “Framing Insurgent Historiographies for planning”, in Sandercock edit. “Making the Invisible Visible”, pp:1-36, University California Press, 1998
[15]Cheng, Luce “Planners, Communities, and the Local State of Taipei” in” Plurimondi: An international Forum for Research and Debate on Human Settlements”, edited by Sandercock, Leoni, Edizioni Dedalo: p193-212, 1999
[16] Shih, Mi, “Squatter Settlement and Wealth Accumulation”，National Taiwan University, Graduate Institute of Building and Planning, 1999
[17]Kuo, Li-Chin, “From Community Empowerment to "Community Planners"-The Institutionalizing of Community Planning in Taipei(1995-2004)”，National Taiwan University, Graduate Institute of Building and Planning, master thesis, 2004
[18]Hendon, William S., “The Park as a Determinant of Property Values”, in “Americana Journal of Economics and Sociology” 30:289-300, 1971
PhD, National Taiwan University, Graduate Institute of Building and Planning, Taipei Taiwan, inertiaism@gmail.com
Assistant professor, Shi-Chien University, Taipei, Taiwan, HYPERLINK "mailto:shenhsin@ms10.hinet.net" shenhsin@ms10.hinet.net
Michael Jackson came to Taipei in 1996, who live in the presidential suite who could see the park from the 14th floor of the Regent Park. Right before the demolition, the then mayor Chen, now president Chen, exclaimed that “I could not stand the fact that Michael Jackson has seen such cancer of Taipei.”
Taipei Tourist Attraction& Taipei Tourism : HYPERLINK "http://www.iexplore.com/cityguides/Taiwan/Taipei/Where+to+Go" http://www.iexplore.com/cityguides/Taiwan/Taipei/Where+to+Go
本體論維度 / Ontological Dimensions