展示動線之演變-以三座國際美術館為例

現代主義「形隨機能」的設計法則，影響建築與室內空間甚劇。紐約古根漢美術館就是一知名案例。本研究以紐約古根漢、畢爾包古根漢及伊貝爾．卡馬戈三座美術館的展示空間為研究對象，由展示機能與動線、動線特性、動線與晝光及動線與作品等四方面，探討美術館中，動線與人、與物、與空間的交互關係。研究方法主要為個案分析、綜整比較與專家訪談。具體結論為：1）展示機能與動線，須以人為主，並最好在建築成形初始時，就納入考量；2）動線對應身體移動之關係，有「作品間」、「空間彼此間」與「空間自身」的移動狀態；而各動線類型，觀者的自主選擇權是須被密切考量；3）晝光是觀展過程中的視覺調節，具晝光的動線空間品質尤佳；4）動線的安排，不可忽視觀者觀看作品時的認知建構。後續研究建議，可藉由增加更多更新的世界級代表性案例之數量，探討出更多動線相關知識。

關鍵字

動線；美術館展示；形隨機能；觀者認知

並列摘要

The design principle of modernism is “Form follows function,” which substantially influences architecture and indoor space. The Solomon R. Guggenheim Museum in New York City is a famous case. This study targeted exhibition spaces in the Solomon R. Guggenheim Museum, Guggenheim Museum Bilbao, and Iberê Camargo Museum, and explored the interactive relationships between routes and people, objects, and spaces in these museums in four aspects: exhibition functions and routes, characteristics of routes, routes and daylight, as well as routes and works. The research methods included case analysis, summarization and comparison, and interviews with experts. The conclusions are as follows: (1) Exhibition functions and routes must be people-centered. Ideally, exhibition functions and routes should be considered at the beginning of planning a building. (2) The relationships between routes and corresponding visitor’s body moves included a move between works, between spaces, and within a space. For various types of routes, the visitor’s interests and choices must be considered. (3) Daylight is a type of visual adjustment during exhibition processes. Routes and spaces with daylight are desired. (4) Arrangement of routes may not ignore the visitor’s cognitive construction during his or her journey of viewing works. We suggest that subsequent studies can explore knowledge related to routes by studying more worldwide representative cases.