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Renzo Piano Box I: The Whitney Museum, New York; The Shard, London; The Stravos Niarchos Foundation, Athens

為了解決Private space的問題，作者 這樣論述：

"One of the great beauties of architecture is that each time, it is like life starting again." -Renzo PianoThe Renzo Piano Box is a set of highly collectible volumes by star architect Renzo Piano. The box is an elegantly designed slipcase that envelops three (11" x 11") gorgeously printed paperbo

und books, each showcasing one of the great architect's iconic buildings: The Whitney Museum, in New York; The Shard in London; and the Stravos Niarchos Foundation in Athens. Callaway plans to publish a box every season, each with three different titles, and to bring to the many readers and fans of

Piano's astonishing architectural masterpieces his entire series of collected works.The Whitney Museum, New York In 2015, the new home of the Whitney Museum opened to the public in downtown Manhattan's Meatpacking District, substantially enlarging the Whitney's exhibition and programming space. The

new building includes some 4,650 sq. meters of gallery space distributed over the fifth, sixth and seventh levels. The fifth level boasting a 1670 sq. meters, column-free gallery - making it the largest open-plan museum gallery in New York City. The book includes many architectural drawings and the

text at the end of the book provides the reader with a "behind the scenes" view. A conception of the museum that starts from the work of art to arrive at the architectural project. A journey that takes the reader through time and space during its realization.The Shard, London: The London Bridge Towe

r, the tallest building in Europe, also known as the Shard, is a 72-storey, mixed-use tower located beside London Bridge Station on the south bank of the river Thames. A mix of uses - residential, offices and retail - creates a building that is in use 24 hours a day. The slender, pyramidal form of t

he tower was determined by its suitability to the mix of large floor plates at the bottom for offices; restaurants, public spaces and a hotel located in the middle; private apartments at the top of the building. The final floors accommodate a public viewing gallery, 240 m above street level. This ar

rangement of functions also allows the tower to taper off and disappear into the sky, and makes the building look like a shard of glass, a particularly important detail for architect Renzo Piano given the building's prominence on the London skyline. The Stravos Niarchos Cultural Centre, Athens The S

tavros Niarchos Cultural Centre was constructed in Kallithea, 4 km south of central Athens. An important cultural and educational project, the site comprises the National Library of Greece and the Greek National Opera in a 170,000 square meter landscaped park. Previously a parking lot left over from

the 2004 Olympic Games, once upon a time the site of a racetrack, this new Renzo Piano project restores the site's lost connections with the city and the sea.

Private space進入發燒排行的影片

探討市場改建對於街道攤販的衝擊與時間性–以東門市場改建暨周邊街廓都市更新案為例

為了解決Private space的問題，作者蔡彥廷 這樣論述：

傳統市場改建計畫為近年來臺北市政府的重要政策，針對市場的軟硬體設施進行全面性的整頓，期望能夠藉此改變市場老舊的意象，提升整體的環境品質。然而，既有文獻指出，對於市場改建此種建成環境的研究，缺乏對於權力與時間的探討。故此，本研究以「東門市場改建暨周邊街廓都市更新案」為研究案例，透過時間性的角度，探討市場改建推行過程中所存在的「計畫的時間」和「攤販的時間」，以及彼此之間的抗衡。本研究採取質性研究進行，透過觀察研究法、訪談研究法及次級資料分析法作為資料收集的途徑，並以時間地景作為研究分析架構。本文的結論有三：第一，規劃下所存在的不同時間政治，反映了不同利害關係人所擁有的權力，以及對於時間的控制程度

；第二，計畫的時間性不僅受到利害關係人的影響，亦牽扯於其他銜接計畫；第三，快速的規劃使計畫缺乏彈性，當面臨意外的變革時，將迫使計畫停滯。在基於本研究之結論，並參考過往學者所提倡的緩慢規劃，提出未來發展與治理之建議，以促成更具包容性的都市規劃。

Church Space and the Capital in Prewar Japan

為了解決Private space的問題，作者Washington, Garrett L. 這樣論述：

Christians have never constituted one percent of Japan’s population, yet Christianity had a disproportionately large influence on Japan’s social, intellectual, and political development. This happened despite the Tokugawa shogunate’s successful efforts to criminalize Christianity and even after t

he Meiji government took measures to limit its influence. From journalism and literature, to medicine, education, and politics, the mark of Protestant Japanese is indelible. Herein lies the conundrum that has interested scholars for decades. How did Christianity overcome the ideological legacies of

its past in Japan? How did Protestantism distinguish itself from the other options in the religious landscape like Buddhism and New Religions? And how did the religious movement’s social relevance and activism persist despite the government’s measures to weaken the relationship between private relig

ion and secular social life in Japan? In Church Space and the Capital in Prewar Japan, Garrett L. Washington responds to these questions with a spatially explicit study on the influence of the Protestant church in imperial Japan. He examines the physical and social spaces that Tokyo’s largest Japane

se-led congregations cultivated between 1879 and 1923 and their broader social ties. These churches developed alongside, and competed with, the locational, architectural, and social spaces of Buddhism, Shinto, and New Religions. Their success depended on their pastors’ decisions about location and r

elocation, those men’s conceptualizations of the new imperial capital and aspirations for Japan, and the Western-style buildings they commissioned. Japanese pastors and laypersons grappled with Christianity’s relationships to national identity, political ideology, women’s rights, Japanese imperialis

m, and modernity; church-based group activities aimed to raise social awareness and improve society. Further, it was largely through attendees’ externalized ideals and networks developed at church but expressed in their public lives outside the church that Protestant Christianity exerted such a visi

ble influence on modern Japanese society. Church Space offers answers to longstanding questions about Protestant Christianity’s reputation and influence by using a new space-centered perspective to focus on Japanese agency in the religion’s metamorphosis and social impact, adding a fresh narrative o

f cultural imperialism.

探討社會資本型態對於文化資產防災調和性之影響-以新北市淡水老街及金門縣古寧頭地區為例

為了解決Private space的問題，作者陳怡君 這樣論述：

本研究關注不同類型之社會資本在文化資產防災領域上各自不同之防災任務與各單位協力合作關係架構，過去種種研究顯示社會資本公共財，有助於推動防災計畫、災中搶救與災後重建等過程，近年來由於氣候變遷加劇，導致災害的規模擴大、複雜性也逐漸增加，在2019年時巴黎聖母院因電線走火而引發祝融事件，引起世界密切關注，臺灣也逐漸重新審視現今對於文化資產防災政策是否完善。本研究將新北市淡水老街與金門縣古寧村兩地具豐富歷史文化特色區域作為研究範圍，而文化資產防災任務上需要透過各部門、領域之間的協力合作才能達成最終的目標，為整合各部門、領域之間在文化資產防災調和性上的影響，本研究分為三大研究目的，一、社會資本型態

對於文化資產防災調和性上的關係架構為何，二、社會資本三型態對於文化資產防災調和性的操作任務為何，三、跨領域社會資本該如何整合防災任務。 本研究透過文獻歸納、深入訪談與SWOT分析等方式進行研究，透過分析並對照訪談成果，歸納出縱連式社會資本定位為支援者，而橫跨式社會資本為協力與溝通之橋梁，牽絆式社會資本則是文化資產防災第一道民防系統。並將文化資產防災協力整合任務之架構歸納分為災害三階段，災前、災中、災後進行整合，災前可分為政策、資源與防災科技等三點，災中分為監控系統與災害資訊平臺，災後則分為災損統計、災害損失補助、重建永續發展等三點，綜觀上述架構可應用於審視當今防災政策是否有無改善之處，得以逐

步完成我國文化資產跨部門防災調和性之完整防救災架構。因此本研究最後提出兩點建議予牽絆式社會資本、橫跨式社會資本、縱連式社會資本，一、落實跨部門文化資產災害防救協力機制，二、建置跨部門整合協力溝通平臺，希冀助益於文化資產防災規劃之擬定。