graphic design

目標與效益

臺北市建城已逾 120年，面臨全球經濟再結構、都市競爭的考驗，配合舉辦「2010臺北花卉博覽會」的契機，臺北市政府推動創新之都市再生計畫，打造臺北

市以嶄新風貌登上國際舞台。

「臺北好好看系列計畫」在公私部門共同努力下，土

地建物改善申請案及臺北市政府主動進行公有土地建

物改造案總計 243 件，共 159 件核准通過，至今已有60件完工，已完成綠美化面積達 106,260平方公尺，其他景觀改善項目重要成果包括廣告物拆除達 7,816 件、夜間景觀改善工程及水岸景觀改善工程合計完成

55項，執行已有具體成效。

主辦單位及諮詢電話》》》

臺北市政府交通局 1999轉 6867 （外縣市請撥 02-2720-8889#6867）

新穎道路街景整合道路景觀

貌現政府活力整合公產領航

政策目標

整合各種既有道路交通設

施，建構精緻化之道路景

觀環境，提升整體景觀視

覺效益，及整體美感。

政策目標

改變傳統的公有財產管理方式，負起公部門帶頭的

責任，以形塑良好的都市意象。

主辦單位｜臺北市政府

www.beautiful.taipei.gov.tw

主辦單位：臺北市政府承辦單位：臺北市政府產業發展局主辦單位：臺北市政府承辦單位：臺北市政府產業發展局

風華水岸景觀整合水岸資源

政策目標

藉由河濱自行車道及藍色

公路串聯週遭歷史文化與

各河濱公園之特色，活化

市民親水文化。


臺北市政府工務局水利工程處 1999轉 1040 （外縣市請撥 02-2720-8889#1040）


臺北市政府財政局 1999轉 4552 （外縣市請撥 02-2720-8889#4552）

整合

整合

▲觀山河濱公園自行車道

整合

▲

中山北路號誌路燈共桿

▲

羅斯福路三段

260號綠美化成果

「臺北好好看」共有 8 個系列行動計畫，與 3 個整合

之公共建設計畫，主要重點係改造臺北市容景觀，包括：

系列 1 　臺　北地標建築增加開放空間

系列 2 　北　市環境更新減少廢棄建物

系列 3 　好　社區新風貌清理家園環境

系列 4 　好　店家美招牌美化廣告招牌

系列 5 　看　見友善校園亮麗學校圍籬

系列 6 　都　市空地利用綠化公共空間

系列 7 　市　容夜景魅力照亮夜間景觀

系列 8 　展　現公共藝術彩繪公有建築

整合計畫 1 　新　穎道路街景整合道路景觀

整合計畫 2 　風　華水岸景觀整合水岸資源

整合計畫 3 　貌　現政府活力整合公產領航

市長的期許

現在臺北街頭，市民朋友可

以察覺到很多角落的環境綠

美化，即使是建築工地的臨

時圍籬也變得不一樣。事實

上，改變臺北市的景觀品質

乃是全體市民長期以來的共

同期待，現在透過「臺北好

好看」系列行動計畫的推

動，運用美麗的加法與減

法，臺北的都市景觀正在改

變，逐漸變好看。

加減清招牌大家一起來

校綠夜藝術臺北好好看

系列

after

臺北地標建築增加開放空間好社區新風貌清理家園環境

北市環境更新減少廢棄建物好店家美招牌美化廣告招牌都市空地利用綠化公共空間展現公共藝術彩繪公有建築

市容夜景魅力照亮夜間景觀看見友善校園亮麗學校圍籬

after

政策目標

延續 98 年鼓勵民間提出創意地標建築，99 年開始

制定「景觀管理自治條例」，並結合國內外大學提

出改善城市景觀之創意作法。

成果說明

98 年受理之申請案計 48 件，都委會通過 16 件。

政策目標

除延續 98 年度進行老舊建物外牆清理

及老屋拉皮等工作，99 年針對建築物及

街道牆壁遭油漆塗鴉，整合義工及鄰里

社區等社會資源，推動

全民投入清靜家園、環

境整頓運動，提升首都

城市國際環保形象。

成果說明

外牆清洗：98 年受理 33 件，經審

查核准 13 件，其中完工 10 件，99

年度受理時間自 2 月 1 日起至 4 月

30 日止。

老屋拉皮

本府受理之申請案計 57 件，審議

通過 22 件。99 年度受理時間自 2

月 1 日至 6 月 30 日止。

政策目標

以「短期利用方式多元化」

之角度出發，激發綠美化

空地利用之創意，使臺北

於環境改造，同時活化社

區閒置空間、提供市民休

憩場所。


臺北市政府都市發展局 1999 轉 8265 （外縣市請撥 02-2720-8889#8265）

before

▲中央官署辦公大樓行三基地綠化


臺北市都市更新處 02-2321-5696 轉 3005

成果說明

98 年共受理 94 件申請案，通過建物存記 83 案，

持續推動 75 案，預計綠美化面積共 17.68 公頃，

其中 16 處已完工。99 年度計畫受理時間自 5 月

31 日起至 8 月 31 日止。


臺北市政府環境保護局 1999 轉 1751(外縣市請撥 02-2720-8889#1751)

before

▲文化大學忠孝館整建

政策目標

為改善建築物的牆面外觀，

鼓勵目前本市違規招牌拆除

更置，以提升店家招牌之美

感，且響應節能減碳政策。

成果說明

98 年度至今已拆除完竣之廢招、違規廣告物達 7,816

面。99 年度廢棄招牌清除及廣告美化更置計畫自 1

月 4 日起至 9 月底止。

before


臺北市建築管理處 1999 轉 8343 （外縣市請撥 02-2720-8889#8343）

after

▲新民街 101號廢招拆除

▲彩虹橋夜間照明


臺北市政府都市發展局 1999轉 8281（外縣市請撥 02-2720-8889#8281）

政策目標

為加速本市公有建築物外牆及

周邊景觀之改善，鼓勵並協助

各公有建築物管理單位以公共

藝術手法達成市容美感提升之

政策目標，為城市景觀注入創

意，提昇市民美學素養。

before


臺北市政府文化局 1999轉 3569（外縣市請撥02-2720-8889#3569）

after

▲自強隧道公共藝術

系列

系列

系列

系列

系列

系列

系列

政策目標

藉與學校、學生的互動，將

環境綠化理念植入教育者和

孩子的心中，強化學校與周

圍環境之結合，並將學校圍

籬生態化，以落實生態都市

政策，永續城市願景。

before


臺北市政府教育局 1999轉 1204（外縣市請撥 02-2720-8889#1204）

after

▲木柵國小綠籬成果說明

98 年度已完成 18 所學校圍牆綠美化。

99 年度：包含建國中學、中山女中等學校加入本

計畫，共計 32 所。

政策目標

為塑造本市夜間

特色景觀，同時

藉由使用環保與

節能燈具，推展

省能減碳之環保

理念，以及創造

城市夜間魅力延

續夜間活動。

成果說明

98 年針對橋樑及

人行陸橋、水岸

及花博熱區部分

之工程，已完成

28 件。

成果說明

自強隧道美化計畫，已完成大直往故宮向（東側）

隧道美化工程，西側工程於 99 年 6 月底完成。

▲南港中信總部開放空間改善模擬

政策目標

為改善本市公私有閒置土地

因缺乏管理維護而破壞城市

景觀之現象，鼓勵民眾以及

協調公部門提供閒置土地，

藉由本府代行綠美化方式，

以提昇整體景觀視覺效益、

提供市民休憩場所。

before


臺北市政府工務局公園路燈工程管理處

02-2381-5132轉 225

after

▲銅山街口綠地公園成果說明

98 年度完成 13 處空地綠美化改造，99 年持續積

極辦理共完成 22 處空地綠化改造。

2010鶯歌陶瓷博物館

案號：TCM990318

English-languageMediaPromotionProposal

英文報紙媒體宣傳

服務建議書

Ceramists struggling with modernity and personal expressionBy Cho Yin-cheng

STAFF REPORTER

During the 1970s when theCultural Revolutionoverwhelmed China and sloweddown development of itsceramic art industry, Taiwan’scontemporary ceramic circlecontinued evolving with theinflux of new concepts asstudents and professionalsreturned from overseas studiesin Japan, the US and Europe.

Well equipped with alreadymature and modern ceramictechniques, Taiwaneseceramists have been relativelywilling to accept andincorporate contemporary artconcepts into their works. Incontrast, in the face of rapidmodernization Chineseceramists present introspectionbased on social observation intheir works.

Utopian Garden, a colorful

anthropomorphic work byTaiwanese ceramist Lu Chih-jung, reveals her inner conflictsthrough humorous and quixoticexternal forms which bare all ofthe insecurities, complaints, andanger resting deep in her heart.

“All the inspirations aresparks touched off by conflictsand dialogues with myself,”saidLu, whose path of creativity hasbeen a process of self-therapy,in the exhibition catalogue.From her work one might saycontemporary ceramic creationis a carrier of abstract thoughtsand feelings rather thanconcrete substance.

Reflecting China’s changingcultural orientation andthinking, ceramists in Chinainfuse their own introspectioninto artworks. Liu Dan-hua’sTacks, an installation ofmagnified tacks spread on theground, tries to convey an

indescribable feeling ofcontradiction and anxietyprovoked by confused visualexperiences to viewers.

Choosing similar techniquesof expression, The Post-Arthropod Era by Feng Shushows magnified insects withbeautiful patterns and giantsteel legs, signifying an invasionfrom outside into Chineseculture.

Though Taiwanese andChinese ceramists may differ intheir idiosyncrasies and uses ofmaterial, creations by femaleceramists on the two sidesdemonstrate similar femininecharacteristics.

Taiwan’s Wang Yi-hui isinterested in abstract forms thatrefer to the human organismand bodily experiences. “Theform is a metaphor that I createfor feelings and thoughts aboutphysical, psychological, social

and cultural effects on thebody,” said Wang in theexhibition catalogue inreference to her works Herstoryand The Moment III. Wangadds that she attempted toreconsider her knowledge ofself and body regarding cultureand gender identity.

Female ceramists in China,however, demonstrate theirfeminine characters in a morepersonal way. Li Qin’s Close tothe Body, a set of clothesranging from a little girl ’sgarments to a young lady’sdress, is a representation thatreflects her life courses.

This Cross StraitContemporary Ceramic ArtExhibition facilitates culturalexchanges and also givesceramists as well as visitors ingeneral a chance to learn moreabout contemporary ceramic artdevelopment across the strait.

Divergent styles seen at Yingge’s Cross Strait art showBy Eva TangSTAFF REPORTER

All photos by Rick Yi, Taiwan News

Politics, economics, or nationalidentities are probably the mosttalked-about topics in Taiwan-China relations. Rarely does oneread about exchanges in ceramicart. But this is changing with theCross Strait Contemporary CeramicArt Exhibition that started in Juneand will end on October 11 at theYingge Ceramics Museum, TaipeiCounty.

The exhibition features theparallel displays Thoughts ofCulture and Speech of Objects, andSurveying and Testing theFoundation. Both showcasecontemporary ceramic art createdby 27 artists from China, and 8from Taiwan.

“This is the first time China’scontemporary ceramics is shown inTaiwan,” said Yu Jan-chi, directorof the Yingge Ceramics Museumduring an interview with theTaiwan News on September 4th.“Visitors get to compare anddiscover the characteristics ofcontemporary ceramic art throughboth exhibitions.”

Last year during a cultural weekorganized as a run-up to the BeijingOlympics, Yu headed an exhibitionshowcasing Taiwan’s contemporaryceramic creations, whichastonished China’s ceramic artcircles. A connection wasimmediately made with theNational Art Museum of China(NAMOC).

“NAMOC curator Fan Di-anshowed great interest in holding anexhibition in Taiwan after seeingthe work of Taiwanese artists,” shesaid, “and I think it is a wonderfulopportunity for ceramists from bothsides to catch up on thedevelopment of contemporaryceramic art.”

Realistic vs. surreal

In Thoughts of Culture and theSpeech of Objects, contemporaryceramic artists in China draw fromChinese traditions, social realities,and personal experiences forinspirations of their creations, saidcurator Lu Pin-chung in a nexhibition pamphlet, “ReflectingChina’s social problems is whatdrives their ceramic art.”

On the other hand,contemporary ceramic art inTaiwan features a strong personalexpression that for curator ChangChing-yuan, is a vehicle forpersonal ideas to challenge thehedge between mainstream andalternative art.

“In terms of the materials theyuse, Taiwanese ceramists tend todecode and re-construct thetexture, thus offering a differentmedium for their contemporaryart,” he said.

Yu, a self-professed ceramics-lover, thinks the difference betweencontemporary ceramic art in Chinaand Taiwan lies in the style.

“Overall, I think China ’sceramists prefer realism, themesthat they have seen andexperienced in their lives,” shesaid, “Taiwan ceramists are oftenvery surreal.”

Meng Fu-wei ’s 2008.5.12, alarge-scale stoneware representingthe devastating Sichuan earthquakethat happened last year in China, isso different from Su Shu-mei ’sOnce, That night, a stoneware of animaginary hospital room.

“I think both of them wanted totell people what they personallyexperienced,” she said, “Mengwitnessed the devastation of theSichuan earthquake; while Su, aformer radiologist, showed that lifeis both strong and fragile by

making a hospital bed with steel-like ceramic strips.”

“I think they were out to conveythe same message, yet their meansof conveying that message iscompletely different,” she added.

Meng is a Sichuan native whowent back home after May 12, 2008and experienced several strongaftershocks. His work depictspeople ’s reactions after thectastrophe.

“I wish the happiness ofrebuilding their homes dissolvesthe sorrow they suffered,” saidMeng in the exhibition catalogue.

Su saw body parts and seriouslyinjured people when she worked ina hospital’s radiology department,and this could have influenced herartistic style.

“Every strip is hand-shaped,glazed, and burned in a 1230ºCelectric kiln,” said Su in the

exhibition catalogue, “the wholeprocess is like running amarathon.”

The differences in contemporaryceramic art between China andTaiwan may be attributed tohistorical factors. According to Yu,China’s Cultural Revolution shutthe country out from the worldwhile ceramists in Taiwan pursuedfurther studies in Japan, the U.S.and Europe at that time.

“Sophistication in technique iseasily seen in the works fromChina, while boundless creativityembedded in diverse styles prevailsin those of Taiwan,” she said.

“But we can learn from China’scultivation of talent,” she said.“China ceramists are highly skilledbecause they are trained well inschool, in my opinion, a well-rounded academic system inceramic art is urgent in Taiwan.”

"2008.5.12" by China ceramist Meng Fu-wei.

“Once, That Night”by Taiwan ceramist Su Shu-mei.

“Tacks” by Liu Dan-hua from China shows magnified tacks made of titanium-plated porcelain.

Yu Jan-chi, Director of the YinggeCeramics Museum thinks the differencebetween contemporary ceramic art inChina and Taiwan lies in the style.

TaiwanNews FRIDAY, SEPTEMBER 11, 2009 3SUPPLEMENT

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