何康國Ho, Kang-Kuo尹乃菁Yi, Nai-Chin2023-12-082023-07-122023-12-082023https://etds.lib.ntnu.edu.tw/thesis/detail/a6de2d228af848db52c93349a568de18/http://rportal.lib.ntnu.edu.tw/handle/20.500.12235/121797從政策規劃、發包興建到完工營運，歷經三任台北市長、八任文化局長，由普立茲建築獎得主雷姆．庫哈斯（Rem Koolhaas）打造的台北表演藝術中心，2022年8月7日正式開幕，組織型態為行政法人。自政府進行組織改造、引進國外行政法人制度以來，原隸屬行政部門或新成立的表演藝術場館、文化機構、美術館…等，紛紛改制或設置行政法人。然而台北表演藝術中心董事長為專任有給職的「董事長制」制度設計，以及常務監事由市府指派事務官兼任，違背行政法人母法，常務監事應由監事互選…等規定，與其他同屬文化中介組織的行政法人採無給職董事長、藝術總監「藝術專業治理」的制度顯有不同。有給職董事長是權責相符、或是有礙藝術專業治理？兼任無給職、專任有給職、官派董事長，不同的制度設計，是否影響文化中介機構行政法人臂距組織的定位？不同的董事長制度對於課責權限的行使是否造成影響？研究發現，有給職董事長符合權責相符理念，也有助統整掌舵組織營運方向，但董事長和藝術總監（或執行長）在分工上，易有「雙頭馬車」疑慮；無給職董事長制較符合專業治理與臂距原則。不同董事長制度設計，依法不影響監督機關、民意機關的課責權限，但實務運作上，不同董事長制度，課責的強弱程度有所差異。本研究建議，行政法人董事長制度，應得為專任或兼任，視法人不同階段發展需要，多元延攬人才；研究行政法人首長制的適用性，專才專用，提升法人營運效能；明確監督機關與行政法人營運規範，確保行政法人臂距組織的定位；訂定合宜的自籌款比例與相關法規再鬆綁，兼顧行政法人的公共任務、永續經營與效能。The Taipei Performing Arts Center (TPAC) has seen changes in leadership throughout the years, with three mayors of Taipei and seven Directors of the Bureau of Cultural Affairs being replaced during its development and operation. However, on its official opening day of August 7, 2022, there was a significant change. TPAC, designed by architect Rem Koolhaas, was registered and approved as a Non-Departmental Public Body (NDPB), leading the government to maintain a hands-off approach to its operation.The concept of NDPBs was introduced as part of the government's restructuring efforts. Various performing arts venues, cultural institutions, and art galleries that were previously affiliated with different levels of government were granted the legal status of NDPBs. TPAC stands out in two ways: 1, it appointed a full-time paid chairperson with decision-making authority (known as the chairperson system); and 2, the city government concurrently appointed an executive supervisor. The first decision caused controversy as it diverged from the structure of other NDPBs, which typically have an unpaid chairperson serving a ceremonial role and a chief executive responsible for day-to-day operations. The second decision violates the Administrative Legal Person Act, which is the main law governing the establishment and management of administrative legal persons like TPAC.This study aims to address the controversy by exploring the following questions:1. Does appointing a chairperson without a background in arts management interfere with the professionalism of an arts director, considering their respective responsibilities and authorities?2. How do different chairpersonship designs (paid or unpaid, full-time or part-time, appointed or elected) affect the application of the Arm’s Length Principle, a policy rationale behind granting cultural intermediaries the legal status of NDPBs?3. What impacts do different chairperson system designs have on the bodies responsible for holding NDPBs accountable?Research suggests that the paid chairperson design achieves a better balance between authority and responsibility. However, concerns arise regarding the division of labor between the chairperson and the chief executive. On the other hand, the unpaid chairperson arrangement aligns more closely with the idea of governance by arts professionals and the Arm’s Length Principle. According to the law, different chairperson designs should not affect the authority of supervisory organs or public bodies, but in practice, variations exist in the strength of exercising accountability.台北表演藝術中心行政法人文化中介組織專任有給職董事長董事長制臂距原則課責Taipei Performing Arts CenterNDPBsIntermediary Cultural Organizationschairperson systemchairpersonArm's Length Principleaccountabilityetd