| Summary: | 碩士 === 國立聯合大學 === 建築學系碩士班 === 102 === Since the promulgation of the “Regulations Governing the Installation of Public Artwork” by the Council for Cultural Affairs, Executive Yuan (currently the Ministry of Culture) in 2009, the implementation of the public participation mechanism has a been a requirement during the public art installation process. In addition to its aesthetics, public art also has to be accessible and cater to the locality. As a result, in addition to the beautification of public space by visual art, the functions of the space also need to be considered. The characteristics above are closely related to the public who has access to the space. Through public participation, citizen’s interests in participating in public affairs and their appreciation of public art will be not be neglected. As such, public participation is indeed a crucial factor in this game.
Over the past, the implementation team’s distrust over the general public and the general public’s passive attitude towards public affairs during the public art installation process have become an obstacle to the implementation of the public participation mechanism, resulting in doubts in public participation. Vandalism of public art in Taiwan in recent years may also be the result of failure to implement public participation.
In this study, three public art case studies of National United University (Bajia Campus) were adopted as examples. Among the three cases, the public artists and the degrees and content of public participation varied. Through literature review, non-participant observation, and in-depth interview, the impact that different degrees of public participation has on the general public was explored. Additionally, the roles of the locals, the implementation team, and the artists in public participation in public art installations are also discussed. The discussion is for getting an insight on the three roles’ perception and experience in the public participation mechanism, further facilitating the examination of the current public participation mechanism in the public art installations, putting forth recommendations and discussions of public art in the various stages of public participation mechanism implementation. Furthermore, discussions and recommendations were proposed for implementation units engaged in public participation related activities during public art installation. The research findings are as follows.
A）Public participation related activities in public art installation indeed affected the locals’ attitude towards public art. As the public participation related activities increased, the general public’s awareness and appreciation of public art also increased, indicating the significant importance of public participation in public art installation.
B）The current public participation mechanism in Taiwan is a means to promote public arts to the public. “Low level” participation in Arnstein’s “Ladder of Citizen Participation” is still the most efficient way in awakening locals’ recognition and appreciation of public art.
C）The artists and two of the implementation teams in the three cases still showed unfamiliarity and reluctance when planning and implementing public participation related activities in public art installations, which in turn hindered the implementation of public participation related activities.
|
|---|
