當代美術館設計觀念之探討

Design and Concept of the Museum of Contemporary Art

吳麗美(Wu Li-mei)

指導教授 ： 林靜 ； 林勇

國立臺灣師範大學/科技學院/工業教育學系/碩士(2005年)

摘要

摘要
處於當代講求創意的世代裡，美術館等文化設施在當代所扮演的文化角色，因著全球化的概念而更加突顯。在多元文化的競爭下，以創意來加強與突顯自身文化的獨特性，成為提升國家競爭力的手段。
20世紀下半葉的藝術是多樣的、不斷變化的，藝術家以不斷的突破既有做為創作的最高指導原則，藝術變得越來越社會化、文學化、特殊化。藝術的表現方式大量增加，並相互影響不同領域間開拓出更新的創作方式。台灣在藝術思想的發展在國際上一向屬於文化的邊陲，連帶有關美術館空間的組織與藝術品之間的關係，大多停留在參觀動線、典藏、展示等技術層面。這些耗費大量國家、社會資源的設施，在當前資訊爆炸的時代大多面臨參觀人數流失，必需仰賴政府經費補貼的窘境。
透過分析國外近幾年出現具代表性之當代美術館案例，希望對這些多變且複雜的新型態美術館，歸納整理出其中設計創作的內涵與創意，從中尋找其如何吸引大眾的方式，以提供未來國內美術館的規劃設計者，藉由了解當代美術館的新思維以思索如何自我定位，以創造與眾不同的巧思與創意。
本研究藉由類比藝術創作的研究方式，包括：創作者觀念的表現方式、建築師對空間性問題的探討與對時間性的看法等作為美術館設計觀念的分析項目。經由十個不同案例的研究，我們發現一座好的當代美術館，它的設計首先必須同時滿足三項有關空間的要素：第一項；創作方式（概念），即創作的企圖，也就是空間的實踐（Spatial Practice）這項能力。第二項；必須滿足空間性的議題，也就是空間的再現（Representations of Space），空間的再現是一種屬於知識建構的能力。第三項；對時間性的看法，或稱為再現的空間（Representational Space），再現的空間是一種經驗、感官的知識，以記憶的形式潛藏在身體的互動當中。當代藝術以影像為主的藝術形式，同樣表現在當代美術館的發展方面，「表皮」成為近幾年建築設計最熱門的觀念。從畢爾包古根漢「肉慾」式的表達到妹島「清教徒」式的純白，早已預告藝術品及美術館「展演」時代的來臨。

關鍵字

當代美術館 ； 機械複製時代 ； 建築 ； 空間要素

並列摘要

Abstract
In the present generation of creativity, the role of cultural museums has become more revealing because of the globalization concept. Under multicultural competition, enhanced creativity with a distinctive quality of self-culture becomes the method to promote a country’s competitiveness.
The art forms of the second half of the 20th century has been diverse and ever-changing. Artists are always searching for breakthroughs as their creative priority. Art has evolved to be more socialized, more literature-based, and more unique. The artistic forms have increased and they affect the different domains in developing new creative methods. In terms of the development of artistic ideas, Taiwan has been known internationally to belong to the border region. The relationship between the organization of space in museums and the artwork has mostly been hindered by technical aspects relating to the tour routes, art collection, and art exhibits. These facilities expend a large quantity of social and government resources. In the present era of information overload, a decline in visitor patronage has required assistance from government funds to subsidize a solution to this predicament.
Through the analysis of overseas museums of contemporary art in recent years, we hope these complex art museums can summarize the new creative design connotations and originality found abroad in order to attract the general public. This will provide ideas for the plan designers of future Taiwanese art museums, help us understand the new concepts of the modern Museum of Contemporary Art, and to create an unusal kind of ingenuity and originality.
This research uses the Artistic Creations Analogy research method, which includes: the expression of the artist’s concepts, the architect’s investigations into spatial problems and his opinions on time issues serve as the items of analysis for museum design concepts. With research of ten different cases, we discovered an exemplary museum of contemporary art. The design must first satisfy three essential spatial elements: the first item is creation method (concept), namely creative attempts, also known as the ability of spatial practice. The second item is that it must satisfy spatial features, also known as representations of space, which is an ability that relates to establishing knowledge. The third item relates to the perspective of time, also known as representational space, which is a knowledge based on experience and sense; it is a form of memory hidden within bodily interaction. The primary form of modern contemporary art is the portrait, which is shown in the development aspect of museums of contemporary art. In recent years, “the Epidermis” has become the most popular architectural design. From “Sensual Love” of the Guggenheim Bilbao to "The Puritan" of Kazuyo Sejima, advance notice has been given on the “unfolding” era of artwork and art museums.

並列關鍵字

Museum of Contemporary Art ； the age of mechanical reproduction ； construction ； spatial feature