摘要
街头艺术是发生在城市公共空间中的一种独特的艺术行为,对提升空间活力、增加人的交往与塑造场所精神都具有区别于其他艺术形式的重要价值。在中国大部分城市中,街头艺术通常被等同于“乞讨“”诈骗”及“秩序破坏者”。这不仅桎梏了街头艺术的发展,也成为公共空间活力提升、城市文化生活丰富以及艺术氛围营造的阻滞。台北市通过政府管理、制度设计、多主体组织以及民众参与性培育等多种手段,有效降低街头艺术带来的外部负效应,并使其成为提升城市空间活力、打造“艺术城市”名片的关键一招。多维度剖析台北市街头艺术管理的经验,提出集中与分散互补的空间布局模式、刚性与弹性结合的行为约束机制、组织与自组织的多主体介入管理以及积极舆论引导与严格执法保障等规划策略,以期为我国城市公共空间活力的再生和塑造提供参考,为街头艺人的管理与街头艺术的健康发展提供有益借鉴。
Street art is a unique artistic behavior to happen in urban public space.It has the important value different from other arts in promoting space vitality,increasing exchanges and molding place spirit.In most China cities,street art is considered as "begging","defrauding" or "order destroying",which not only restricts its development,but also becomes a barrier in promoting space vitality,enriching urban cultral life and creating artistic atmosphere.Taibei tries to reduce negative external effects of street art by government management,system design,multi- agent organization,public participation training,etc.This paper has a detailed analysis of Taibei street art management experience,and puts forward planning strageties such as the spatial layout modes of the complementation of centralization and decentralization,the behavior restricting mechanism of the combination of rigidness and elasticity,and multi-agent intervention management of organization and self- organization,hoping to provide references for vitality regenerating of urban pulic space.
作者
张鹏
蒲卉
ZHANG Peng;PU Hui
出处
《上海城市规划》
2019年第3期107-112,共6页
Shanghai Urban Planning Review