2014年3月30日 星期日
2014年1月8日 星期三
文摘：新紐奧良的文化生態學 A brief reading of 'Cultural Ecology in the New New Orleans' by Benjamin Morris
文摘：新紐奧良的文化生態學 A brief reading of 'Cultural Ecology in the New New Orleans' by Benjamin Morris
這篇文章討論了美國南方城市紐奧良在2005年遭颶風卡崔娜襲擊後，重建過程中建築、環境主義和生態之間的關係。作者以三種不同介入方式的重建案例：單一街區、較大社區和整個城市，說明建築設計若未能納入其和地理環境、地方紋理及社區的基礎關係，單純的以功能性為重點，就不能真正深入該地的文化底蘊，即使非常強調環保節能，這樣的綠建築設計依然無法深入人心。作者將這種考量稱之為「文化生態學」，亦即從生態觀點去思考和重新檢視所有領域、文本、基礎、建築和場址等，一方面讓自然環境或生態得以永續，一方面也關注到和這些自然環境緊密相連的社會和文化網絡。
這三個案例分別為：
*
iciNola in Bywater
*
Make It Right Foundation houses in the Lower Ninth Ward
*
“Reinventing the Crescent” suite of interventions across the city
紐奧良這個城市，本來就是建立在一個容易受水患影響的地理位置上：它位於密西西比河三角洲北方，瀕臨墨西哥灣，平均低於海平面0.5公尺，部份地區甚至低于海平面2公尺。由於三角洲的土地被海水侵蝕的情況嚴重，加上三面被水包圍，南有密西西比河向東蜿蜒，然後轉向東南注入墨西哥灣，北邊和東邊分別為Pontchartrain湖和Bogne湖，使得紐奧良天然防澇優勢盡失。18、19世紀的早期聚落位於密西西比河岸高地，並且採用適應當地環境的建築式樣和建材，例如高架屋的形式、使用當地生長在水岸的墨西哥落羽杉為建材來防潮，以及極高的天花板和大窗戶，可以天然散熱。隨著城市發展，為防洪患而建造的堤防愈來愈多，然而這些堤防也切斷了隨著河水而下的淤沙補充，阻礙了密西西比三角洲和路易西安納州濕地的沈積供應。再加上建築物和基礎建設的承重，以及地下水和石油及天然氣的開採，地層下陷的程度也更加快速，海水則不斷上升。另一方面，因石油公司和私人挖掘運河，引入海水，使海岸濕地遭鹹水侵蝕，不斷流失，也破壞了可以消減颶風威力的第一道防線。
在卡崔娜颶風過後的重建過程中，如何以減碳設計因應當地敏感環境是普遍的共識。然而這個回歸環境意識的共同方向，在不同的規劃單位執行下，卻出現不同的結局，也反映了生態思考的複雜層面。
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iciNola是要在歷史街區Bywater進行的一項住宅與商業發展建設計劃。這裡居民主要以低收入戶為主，建築形式也很樸素。由於它是早期聚落，相對地勢較高，在洪水泛濫時受災較輕微，但因有人口流失的問題，因此也成為藉開發重新活化的對象。然而，當設計師與開發商的計劃公布時，卻遭到當地居民的強烈反對。單單只有綠色科技是不夠的，居民們擔憂的是未來所帶來的影響，例如房價高漲、傳統建築風格瓦解，以及外來投資客的進入，和向住在開發地段的居民強迫徵收與迫遷。
議題迅速擴展成兩派聲音：保護主義和迎向仕紳化的趨勢。雙方爭論的焦點有部份來自於「歷史誰屬」的問題。到底什麼才是紐奧良的建築特色？開發單位認為，一味模倣歷史形式並不代表對當地歷史建築的重視，反而減損了真正的歷史建構中的社會和建築價值。但他們所設計的住宅區高度的確超越了鄰近的住宅區，而且也欠缺當地房屋形式特有的風格，如門廊、迴廊、陽臺和百葉窗。雖然市政當局最後仍以長遠來看有其經濟效益而投票通過該案執行(2007年5月)，但因全國經濟衰退的影響，該計劃工程受到延宕。
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Make
It Right：粉紅計劃
Bywater和iciNola開發區的東邊，是卡崔娜颶風後受災最重的下九區。2008年初，在宛若廢墟的土地上，出現許多巨大的粉紅色立方體和三角形的帳篷屋，為期一個月，像是個巨大的地景裝置。這是由美國影星布萊德彼特發起的Make
It Right Foundation所進行的粉紅計劃，目的在宣告接下來的重建工作。
這計劃一提出立刻受到熱烈而持久的歡迎，主要原因除了它是一個基金會而非營利單位，且目標在讓居民們重回家園外，它要求設計師們在設計時，不但要順應該地環境，強調永續及再生利用，且需尊重地方文化，時時以原居民為念。下九區是紐奧良的文化重心，許多重要傳統皆出自於此；讓居民回到自己家園，也意謂著恢復當地的文化和生活方式。雖然它也以減少能源消耗、引進自然光和通風等作為設計元素，卻不像iciNola那樣被視為違反了紐奧良的建築傳統而被妖魔化。iciNola之所以受到極大阻礙，其背後有個隱憂，那不只是開發商的利益問題而已，更長遠的角度來說，居民們憂心，這種再造工程其實是一種緩慢而不自覺的仕紳化過程，將迫使原住居民因房地產價格提升和生活物價上揚而不得不離開原先生活的家園。在iciNola的案例中，建築風格被視為可以獨立於地方文化之外的技術性作為，然而Make
It Right基金會自一開始便將風格視為與文化不可分割的一部份，證明建築不只是建築，而是文化的體現，一種生活方式的表達。
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Reinventing
the Crescent
紐奧良建設當局(NOBC)於2006年下半年公布這項徵選計劃，以重新發展水岸關係為號召，邀集各方提案。最後有5家廠商得標。然而，實際執行過程中卻出現阻礙。地方民眾對於比較不過份侵入的作法，如在法國區內的公園地區增加民眾可進入區域較無意見，不過對更具野心的計劃則反應激烈，Bywater
Point是其中一例。開發商Cummings也是知名旅館業者，它除了要將整個街區重新整修，拓寬街道，而且要興建新的旅館和一棟豪宅大樓，以及在原有的遊艇碼頭之外，另外再興建一座。這種作法和iciNola一樣，引來強烈批評，認為會帶來交通壅塞、人口密集、過度觀光化，破壞當地傳統風貌。雖然這項計劃最後縮小規模，但可以看出，財團的利益和社區民眾可以有多麼大的衝突，背後隱藏的邏輯是，誰才擁有水岸的控制權？既不是當地人，也不是外來者，而是一小撮商業菁英階級。儘管這項計劃號稱可以為當地帶來16億美元的消費、5億2600萬美元的營收，產生約24000個新工作，和3480萬美元稅收，但對地方特色、都市密度和形式以及公共空間的使用所產生的影響卻難以估計，更不要說仕紳化和狄士尼樂園化的後果。我們可以問，這樣的計劃，到底是在為誰創造價值？
2013年12月20日 星期五
some keywords for myself
水井村：雲林縣水井村，著名以鑿井師父群聚而居，地勢呈龜背的村子。這是以技術工程人員為主所建的聚落。其它西南沿海，特別是嘉義以南的北門、台南一帶，則是以漁民為主，故類似地形所形成聚落往往被命名為鯤鯓。2013-12-18(Wed)12:30-2:30PM 與福昌在台大校園內丹堤店訪談時所提及。
另，參考資料一：
南瀛探索/第二章/第五節 - 维基文库，自由的图书馆
臺灣西南部海岸變遷
另，參考資料一：
南瀛探索/第二章/第五節 - 维基文库，自由的图书馆
臺灣西南部海岸變遷
二、台灣西南海岸平原環境變遷研究北港溪至二仁溪Environmental changes in the southwestern Coastal Plain ofTaiwan－Peikanchi-Eherjenchi
| 台灣地質分布圖 |
台灣西南部海岸沙洲島地形變遷
八田與一網：清代嘉南平原的水利開發
貳、淺談台灣海岸的類型、變遷 及利用
台灣的海岸
海岸高風險區調適策略-以自主防災社區為例
參考資料二：
台灣旅遊品味的發展
參考資料三：
自我修復的建築學
2009年11月19日 星期四
Active travel in a time of Energy Descent?! ;-)
I always wanted to write about Knowle West Media Centre and the fruitful work they have done in the community, but never found sufficient time to really sit down and get concentrated on the materials they provided to me.
Finally I'm home and this is a good place to leaf through and start with.
Reading blogs the other day by Rob Hopkins of Transition Culture and the exchange between his responses and Alex Steffen's critique of Transition at WorldChanging is quite interesting. They provide two different views on Transition and raised a vehement debate among each other's supporters, which needs more devotion to get explicit understanding. However, one point is quite amusing to me when Alex offered to fly over to UK to have a debate with Rob face to face next year, while Rob replied I no longer fly and your coming here would be, at least in climate terms, somewhat conterproductive. That reminds me my own experience of travel, particularly the recent trip to UK.
I was on a research trip for ecological art development in UK. Many people I met and interviewed are environmental-minded souls. A lot of them told me they give up flying and don't travel abroad any more. Since I just flew a long way from Asia to UK, those remarks always made me quite jittering and feeling guitly. So it took me of surprise when I came across a handbook by Knowle West Media Centre provided by KWMC staff Misty, the "Active Travel -- supporting you to become MORE ACTIVE!" It immediately grasped my attention.
The booklet is beautifully handled and designed, with a cover page of grass-green background and bright red hand-written titles, some silhouettes of activities against a simple but idyllic patterns, nicely knitted together, delivering a soothing atmosphere.
Inside it uses very lively words and smart designs to keep you follow their thread of message. In fact the booklet is to promote travel by walking or cycling, riding a horse or on roller skates! To quote from the handbook: ... anything that is people powered! No wonder it is "ACTIVE"! You have to be very active to take the trip of travelling around by those means! It is a humorous way to deliver the message while making impressive sense on readers or audiences.
On the back page of the booklet, it gives such instructions:
How To Use This Handbook
● Keep it safe and use it whenever you need motivating
● use our handy quiz to work out what is realistic for you
● Use it together with support from the AT team
● Take one step at a time; be proud of what you do, not what you don't do
I feel particularly inclined to the last line, about being proud of what you do, not what you don't do. It shows the sympathy with people who are not ready yet but willing to take a try. No accusing fingers to shy off the hesitant but warm-hearted support. It also shows an attitude of building up positive responses instead of rejective feelings. THAT is really something won my heart over.
Finally I'm home and this is a good place to leaf through and start with.
Reading blogs the other day by Rob Hopkins of Transition Culture and the exchange between his responses and Alex Steffen's critique of Transition at WorldChanging is quite interesting. They provide two different views on Transition and raised a vehement debate among each other's supporters, which needs more devotion to get explicit understanding. However, one point is quite amusing to me when Alex offered to fly over to UK to have a debate with Rob face to face next year, while Rob replied I no longer fly and your coming here would be, at least in climate terms, somewhat conterproductive. That reminds me my own experience of travel, particularly the recent trip to UK.
I was on a research trip for ecological art development in UK. Many people I met and interviewed are environmental-minded souls. A lot of them told me they give up flying and don't travel abroad any more. Since I just flew a long way from Asia to UK, those remarks always made me quite jittering and feeling guitly. So it took me of surprise when I came across a handbook by Knowle West Media Centre provided by KWMC staff Misty, the "Active Travel -- supporting you to become MORE ACTIVE!" It immediately grasped my attention.
The booklet is beautifully handled and designed, with a cover page of grass-green background and bright red hand-written titles, some silhouettes of activities against a simple but idyllic patterns, nicely knitted together, delivering a soothing atmosphere.
Inside it uses very lively words and smart designs to keep you follow their thread of message. In fact the booklet is to promote travel by walking or cycling, riding a horse or on roller skates! To quote from the handbook: ... anything that is people powered! No wonder it is "ACTIVE"! You have to be very active to take the trip of travelling around by those means! It is a humorous way to deliver the message while making impressive sense on readers or audiences.
On the back page of the booklet, it gives such instructions:
How To Use This Handbook
● Keep it safe and use it whenever you need motivating
● use our handy quiz to work out what is realistic for you
● Use it together with support from the AT team
● Take one step at a time; be proud of what you do, not what you don't do
I feel particularly inclined to the last line, about being proud of what you do, not what you don't do. It shows the sympathy with people who are not ready yet but willing to take a try. No accusing fingers to shy off the hesitant but warm-hearted support. It also shows an attitude of building up positive responses instead of rejective feelings. THAT is really something won my heart over.
2009年11月5日 星期四
walking as an artistic tool or method ....
Walking must be some kind of meditation for some artists, I guess.
Richard Long, maybe?
There seems to be a long tradition of walking in the countryside or the wildness in UK. Although now they walk dogs more often.
I heard from John Jordan that James used to lead a few groups of people walking in the city until the two artists decided to make the walk into a beautiful piece of work which is the fabulous opera piece along with a walk in the city: "And While London Burns".
I took the walk three times. First time quickly lost my way after getting into the Underground Bank Station and go round and round and round ....
I had to emerge from there to the ground and frustratedly walked along the Thames to listen to the audio. The river, the sound and the story made a strange combination, sometimes attached and sometimes detached, making the whole experience even more surreal. I knew I need a guide.
The second time I asked Claudia's help. She came as a guide. We shared the MP3 that I have, and listened to the story by using only one side of the earphone. So we had to walk like Siamese twins. :D However, wandering through the big high-rising buildings and seeing enormous amount of people and computer screens in the offices is thrilling. We still lost directions a few times but overall it is quite good and we ended up in front of the monument. Time was too late to get in and climb up.
Two days later, before the interview with John Jordan, I made the final trip to the Monument and listened to the audio while climbing up the stairs. That was the ending point of the whole work. Standing at the height of the tower and looking around all in front of you, brings another latitude of understanding and feeling. I can not but think, this is a very clever work. It even makes the audience perform on the stage of the city without self-consciousness. The audience is the actor, and the streets of the city are the stage; those high-rising buildings are the backdrop, and the pedestrians and automobiles become the living props. What a grand scale of the performance!
* * * *
some afterthoughts:
The physical presence is very important in this work,
as well as the integration of knowledge, senses, and movement or action.
For someone like me who gets lost a lot, it is a journey of building up a complex neurological web with intertwined linkages of right and wrong, virtual and real, at the same time.
Richard Long, maybe?
There seems to be a long tradition of walking in the countryside or the wildness in UK. Although now they walk dogs more often.
I heard from John Jordan that James used to lead a few groups of people walking in the city until the two artists decided to make the walk into a beautiful piece of work which is the fabulous opera piece along with a walk in the city: "And While London Burns".
I took the walk three times. First time quickly lost my way after getting into the Underground Bank Station and go round and round and round ....
I had to emerge from there to the ground and frustratedly walked along the Thames to listen to the audio. The river, the sound and the story made a strange combination, sometimes attached and sometimes detached, making the whole experience even more surreal. I knew I need a guide.
The second time I asked Claudia's help. She came as a guide. We shared the MP3 that I have, and listened to the story by using only one side of the earphone. So we had to walk like Siamese twins. :D However, wandering through the big high-rising buildings and seeing enormous amount of people and computer screens in the offices is thrilling. We still lost directions a few times but overall it is quite good and we ended up in front of the monument. Time was too late to get in and climb up.
Two days later, before the interview with John Jordan, I made the final trip to the Monument and listened to the audio while climbing up the stairs. That was the ending point of the whole work. Standing at the height of the tower and looking around all in front of you, brings another latitude of understanding and feeling. I can not but think, this is a very clever work. It even makes the audience perform on the stage of the city without self-consciousness. The audience is the actor, and the streets of the city are the stage; those high-rising buildings are the backdrop, and the pedestrians and automobiles become the living props. What a grand scale of the performance!
* * * *
some afterthoughts:
The physical presence is very important in this work,
as well as the integration of knowledge, senses, and movement or action.
For someone like me who gets lost a lot, it is a journey of building up a complex neurological web with intertwined linkages of right and wrong, virtual and real, at the same time.
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