Are creative industries popular in the UK?
這裡有不少人問我：英國老百姓對於文創的反應如何？
我回答的第一句話是：文創在台灣是全民運動，但是至少在我最熟悉的倫敦並不是。我們只能說，英國工黨政府極為成功地外銷了文創這個政策，但是它在英國「風行」的程度，絕對不是在台灣這般。
文創在台灣，是很多的口號推動、是很多的政策（甚至立法）、是很多的希望、是很多的預算、是很多的官方民間與學校開的課程與活動----這些加起來，就叫做全民運動。而以上的很多，很多都沒有在英國發生。
Wednesday, 27 October 2010
Saturday, 23 October 2010
CAMOC conference, ICOM Shanghai: abstract of paper in English and Chinese
link to CAMOC
City and museum renovation
Since the Guggenheim in Bilbao transformed the whole city, there has not been another museum project on so great a scale. However, either because of the museums’ role in a city’s economic system, or because of the need to fulfill a government’s multiple objectives, museum renovation projects of various scales have been highly popular over the last 10 to 15 years.
However, for museums with long histories and located in old cities, museum renovation projects can often be highly challenging as the buildings themselves are historical sites or of particular significance, and the urban landscape cannot be changed easily.
Starting from this point, my research explores three museum renovation projects that have greatly transformed the museum space from inside: the recently renovated Ashmolean Museum in Oxford, the British Museum’s Great Court project, and the Museum of Modern Art’s renovation project in New York.
These three highly successful projects did not change their museums’ external appearance, nor did they intervene in the urban landscape. I would like to discuss how the projects transformed the museum space and enhanced the visitor experience, while preserving the museum building’s connection with the city landscape, and the city’s history. These would be good examples for fast-developing countries which sometimes have the tendency to demolish everything old and build anew from scratch.
城市与博物馆更新
自从古根汉毕尔包分馆的兴建改变了整个城市之後，尚未有第二个规模如此庞大的博物馆兴建计画出现。然而，过去的十至十五年以来，或是为了要让博物馆成为刺激城市经济活动的一部份、或是为了要符合政府对於博物馆多功能目标的期望，各式各样的博物馆的更新计画显然已蔚为风潮。
同时，对於历史悠久、且位於旧城市中的博物馆，进行博物馆更新计画经常是充满挑战性的：一方面是因为博物馆建筑本身就是古迹、或是有特殊的意义；另一方面是因为既有的城市景观无法轻易变更。本次研究以此为出发点，探讨三个使博物馆内部空间大为改观的更新案例，这三个计画包括新近完成更新的牛津的艾许莫林博物馆、大英博物馆的大中庭计画、以及纽约现代美术馆的更新计画。
这三个非常成功的博物馆更新案例并没有大幅度改变博物馆的外观，也没有改变城市景观。本次研究讨论这三个案例如何转变博物馆的空间、增进观众叁观经验，同时如何保留博物馆建筑和城市景观的关系。期望本研究的讨论，对於快速发展的国家倾向将现存建筑物拆除、建造全新博物馆的方式，提供另外一种处理方式。
City and museum renovation
Since the Guggenheim in Bilbao transformed the whole city, there has not been another museum project on so great a scale. However, either because of the museums’ role in a city’s economic system, or because of the need to fulfill a government’s multiple objectives, museum renovation projects of various scales have been highly popular over the last 10 to 15 years.
However, for museums with long histories and located in old cities, museum renovation projects can often be highly challenging as the buildings themselves are historical sites or of particular significance, and the urban landscape cannot be changed easily.
Starting from this point, my research explores three museum renovation projects that have greatly transformed the museum space from inside: the recently renovated Ashmolean Museum in Oxford, the British Museum’s Great Court project, and the Museum of Modern Art’s renovation project in New York.
These three highly successful projects did not change their museums’ external appearance, nor did they intervene in the urban landscape. I would like to discuss how the projects transformed the museum space and enhanced the visitor experience, while preserving the museum building’s connection with the city landscape, and the city’s history. These would be good examples for fast-developing countries which sometimes have the tendency to demolish everything old and build anew from scratch.
城市与博物馆更新
自从古根汉毕尔包分馆的兴建改变了整个城市之後，尚未有第二个规模如此庞大的博物馆兴建计画出现。然而，过去的十至十五年以来，或是为了要让博物馆成为刺激城市经济活动的一部份、或是为了要符合政府对於博物馆多功能目标的期望，各式各样的博物馆的更新计画显然已蔚为风潮。
同时，对於历史悠久、且位於旧城市中的博物馆，进行博物馆更新计画经常是充满挑战性的：一方面是因为博物馆建筑本身就是古迹、或是有特殊的意义；另一方面是因为既有的城市景观无法轻易变更。本次研究以此为出发点，探讨三个使博物馆内部空间大为改观的更新案例，这三个计画包括新近完成更新的牛津的艾许莫林博物馆、大英博物馆的大中庭计画、以及纽约现代美术馆的更新计画。
这三个非常成功的博物馆更新案例并没有大幅度改变博物馆的外观，也没有改变城市景观。本次研究讨论这三个案例如何转变博物馆的空间、增进观众叁观经验，同时如何保留博物馆建筑和城市景观的关系。期望本研究的讨论，对於快速发展的国家倾向将现存建筑物拆除、建造全新博物馆的方式，提供另外一种处理方式。
Monday, 11 October 2010
小國與文化發展之芻議一：整合管理資源
Notes from a small island/country: enhancing cultural development by consolidating resources in the public sector
台灣是個小國，資源有限，文化資源也有限。政府提供、掌握、並且分配大多數有限的文化資源。在博物館這一塊，二十一世紀初期發展的地方文化館是中央政府一連串、有計畫的博物館計畫（地文化館的定義一直不清楚；基本上，創造它的文建會把它算成博物館。雖然有些地方文化館真的不能算博物館。針對此可以進行很多討論，但不是本文目的）。這個計畫在政治與文化上有良好的立意，但是產生了一個很基本的問題：博物館的建設和社區資源有限的本質，是不相容的。博物館需要很多專業的資源，而此間關鍵在於：社區規模大多太小，並不是供給這樣資源的單位組成（unit）。
那麼現在這麼多的地方文化館要怎麼辦呢？作法之一是積極整合資源來補救這種博物館設施過度分散的狀況。這就像海運的時候，整合不同來源、目的地相同的貨物在同一個貨櫃中--所謂的「consolidated shipment」--，以節省運送成本一般。
台灣是個小國，資源有限，文化資源也有限。政府提供、掌握、並且分配大多數有限的文化資源。在博物館這一塊，二十一世紀初期發展的地方文化館是中央政府一連串、有計畫的博物館計畫（地文化館的定義一直不清楚；基本上，創造它的文建會把它算成博物館。雖然有些地方文化館真的不能算博物館。針對此可以進行很多討論，但不是本文目的）。這個計畫在政治與文化上有良好的立意，但是產生了一個很基本的問題：博物館的建設和社區資源有限的本質，是不相容的。博物館需要很多專業的資源，而此間關鍵在於：社區規模大多太小，並不是供給這樣資源的單位組成（unit）。
那麼現在這麼多的地方文化館要怎麼辦呢？作法之一是積極整合資源來補救這種博物館設施過度分散的狀況。這就像海運的時候，整合不同來源、目的地相同的貨物在同一個貨櫃中--所謂的「consolidated shipment」--，以節省運送成本一般。
Wednesday, 6 October 2010
Bamboo, scaffolding and art: Doug and Mike Starn on the Met roof garden
Doug and Mike Starn's Big Bambu on the Met roof garden
Long time ago, bamboo poles were used as scaffolding at construction sites in Taiwan. This is the first time I see so many bamboo poles in the West. The possibility of art is infinite.
Long time ago, bamboo poles were used as scaffolding at construction sites in Taiwan. This is the first time I see so many bamboo poles in the West. The possibility of art is infinite.
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Tuesday, 5 October 2010
Inventing culture: barbecuing on the mid-Autumn festival in Taiwan
Twenty years ago, barbecuing was not popular on the mid-Autumn festival in Taiwan. Since I-don't-know-when, barbecuing has become part of the festival, in addition to the long tradition of eating moon cake.
We are witnessing cultural tradition and heritage being invented in Taiwan during our life time.
We are witnessing cultural tradition and heritage being invented in Taiwan during our life time.
Friday, 1 October 2010
The inspiration and aspiration of the cultural development in Taiwan: Japan, the US, France, and the UK
日美法英：台灣文化建設的榜樣
I would say Japan, the US, France, and, in recent years, the UK, are the sources of inspiration and aspiration of the cultural development in Taiwan. Japan the earliest, and the UK the most recent. Japan and the US remain the dominant sources of influence on Taiwan's cultural development (,and development in general). The influence from France is more ad-hoc. The UK's influence comes from two strands: creative industries and museums.
I would say Japan, the US, France, and, in recent years, the UK, are the sources of inspiration and aspiration of the cultural development in Taiwan. Japan the earliest, and the UK the most recent. Japan and the US remain the dominant sources of influence on Taiwan's cultural development (,and development in general). The influence from France is more ad-hoc. The UK's influence comes from two strands: creative industries and museums.
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