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實構築季刊 - 大都會舞台:臺北表演藝術中心 The Metropolitan Stage: Taipei Performing Arts Center
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庫哈斯(Rem Koolhaas)是一位擅長書寫城市現代性的建築師,從「譫狂紐約」開始,就如班雅明(Walter Benjamin)書寫巴黎為十九世紀現代性之都那樣,紐約是庫哈斯的廿世紀之都。班雅明的計畫是以巴黎來彰顯十九世紀歐洲現代性,用大量史料編纂出十九世紀資本主義魔法的諸種面貌,描述這個如地下莖一般秘密聯繫的世界,揭示那個時代特有的辯證意象,類如大衛.哈維(David Harvey)在「巴黎:現代性之都」中書寫的那樣。對我來說,OMA的臺北表演藝術中心正是哈維關於巴黎的現代性書寫的臺北版。

Rem Koolhaas is an architect who is good at writing urban modernity. Starting from Delirious New York , just like Walter Benjamin writing Paris as the capital of modernity in the 19th century, New York is Koolhaas’ capital in the 20th century. Benjamin planned to highlight the modernity of Europe in the 19th century through Paris with a large amount of historical materials to compile various aspects of the magic of capitalism in the 19th century. He described the world which was secretly connected like underground stems and revealed the unique image of dialectics in that era, similar to what David Harvey wrote in Paris: Capital of Modernity. For me, OMA's Taipei Performing Arts Center is exactly the Taipei version of Harvey's writings about Paris modernity.

如果說「譫狂紐約」是庫哈斯為曼哈頓寫的「回溯性」宣言,那麼,臺北表演藝術中心就是庫哈斯為臺北寫的「前瞻性」宣言。但與「譫狂紐約」不同的是,這個宣言只寫了開頭,是一部未竟之書,是一首僅有前奏、還未完成的狂想曲。

If Delirious New York is Koolhaas "retrospective" manifesto for Manhattan, then Taipei Performing Arts Center is Koolhaas' "farsighted" manifesto for Taipei. But different from Delirious New York, only the beginning of the manifesto was written. It becomes an unfinished book and an uncompleted rhapsody with a finished prelude. 

曲中他批判也挑戰了我們,同時充滿期許與祝福,且留下了大部的「空」供我們書寫。我們得奮力寫下去:這是一個巨大的現代性挑戰,從主體性欠缺到掌握住自己主體性的艱鉅挑戰!

In the rhapsody, he criticizes and challenges us, and at the same time, he has high expectations for us and gives us blessings. He also leaves us a great space of “void” to continue the writing. We must strive to write down: this is a great challenge of modernity, a challenge to turn the lack of subjectivity to acquiring our own subjectivity!