博物館空間模式場所精神構成之研究－以鶯歌陶瓷博物館為例

The Research of Genius Loci Formation of Museum Spacial Patterns : A Case Study of Yingko Ceramics Museum

洪瑩甄(Ying-Chen Hong)

指導教授 ： 胡寶林

中原大學/設計學院/室內設計研究所/碩士(2005年)

https://doi.org/10.6840/cycu200500051

摘要

摘 要

鶯歌陶瓷博物館是身處傳統地方產業色彩強烈涵構的一個專業博物館，其設計風格乃是以現代之機械美學與傳統陶藝的材料並陳，意似欲在地方歷史、當地人文與自然環境當中尋求一個新的地方精神。因此，本研究以非單一化功能的博物館理論與場所精神理論探討鶯歌陶瓷博物館空間的表現精神。具有強烈地域性，堪與比美「台灣景德鎮」之鶯歌，身為一專業博物館之場所認同性及歸屬性是否互相呼應、結合地方產業推動鶯歌陶瓷產業文化和觀光化是否成功？
本研究架構分時間軸、空間軸、與現象學「天地神人」交互分析研究。時間軸分別為平日、假日及節慶（2002鶯歌陶瓷嘉年華會）不同時間之觀察研究。空間軸則以博物館建築戶外及室內空間之使用觀察。所謂「天地神人」的現代詮釋是集合四方面的關係形成場所精神：「天」代表鶯歌之自然環境；「地」代表博物館及地方脈絡；「神」代表心靈、經驗感受與認同；「人」代表觀眾，包含觀眾之使用、民眾之間之互動情形。
整體陶博館空間分建築量體與空間軸線兩種形式，兩種形式各由三種空間模式所構成。依博物館建築量體分類，作室內展示空間模式之探討；依博物館空間軸線分類，作整體空間模式探討。整體空間展示模式結合了地方產業意象，提供展示說明結合鶯歌強烈地域性，也暗喻了場所精神由此展開。人們可在此集合，並且凝聚人心成為人們對鶯歌之認同所在。「水景」和「光影」之利用建構挑空和開口軸線之穿透空間，在線條與量體中貫穿。另一方面柯比意（Le Corbusier）式的設計手法「散步建築」（promenade architecture）展現博物館空間與時間糾結在一起；參觀者遊走水景及透光的室內場景，雖然入口大牆隔絕門外交通雜音，空間也因此開始持續展現「天、地、人、神」精神之互動，展示成為空間與人間溝通符號的元素，成為集體記憶的目標，引起精神上的共鳴，鶯歌陶瓷博物館中的場所精神強烈展現。
本研究透過亞歷山大（Alexander, C.）模式語言之空間品質及博物館名作設計概念觀察，分析陶博館的硬體設計模式，再加以「場所精神」理論和「新博物館」的社會化、社區化觀點實現，彙整其中可資參考，具場所精神之空間模式。發現本館有上述強烈之內化性場所精神，而街面活動、自然景觀及社教功能等軟體催生之場所精神尚待重整填充。

關鍵字

博物館空間 ； 空間模式 ； 鶯歌陶瓷博物館 ； 新博物館 ； 場所精神

並列摘要

Abstract

Yingko Ceramics Museum, a professional museum, is located in the place with strong traditional industrial structure. Its design style consists of modern mechanical aesthetics and traditional handicraft. They seem to hunt for a new regional spirit among local history, human, and natural environment. Therefore, the research will discuss the spatial expressional spirit on the basis of the museum theory and genius loci theory. We’ll have to know whether Yingko, Chin-do Town of Taiwan, with strong regionalism could integrate identifying with belonging and combine the local industries to promote the development of ceramics and tourism.
The research structure is composed of time axis, space axis, and “the heaven, earth, spirit, and human” of Phenomenology. The time axis is to do research on ordinary days, holidays, and festivals (2002 Yingko Ceramics Carnival).The space axis is to observe the usage of the exterior and interior spaces of museum. “The heaven, earth, spirit, and human”, in modern definition, combines four aspects of relationship to form the spirit of place；“Heaven” stands for the natural environment of Yingko; “ Earth” stands for the museum and regionalism; “ Spirit” stands for soul, experience, and identification; “Human” stands for audience’s usage and interaction between people.
Yingko Ceramics Museum has two spatial types - architecture system and space axis; both of which is composed with three modes. We discuss the interior exhibition space on the basis of the architecture system, and the whole space patterns on the basis of the space axis. The space exhibition patterns combine with the regional industrial image, explain the strong regionalism of Yingko, and empathize the enlightenment of the spirit of place. People can get together and make the place of the identification of Yingko. “Water view” and “shadow of light” penetrate the building with the spaces axis. On the other hand, “promenade architecture” reveals the combination of the space and time of the museum. As a result, space shows the interaction of “the heaven, earth, spirit, and human”. In addition, exhibition becomes the factor of communication symbols between space and human, and the focus of people’s memory. It also arouses human’s resonance, intensely expresses the spirit of space of Yingko Ceramics Museum.
By means of the space quality of Alexander’s pattern language and the conceptual observation of the famous museum design projects, the research analyses the hardware design patterns of Yingko Ceramics Museum. Moreover, we collect the space patterns which can be referenced and have the sprit of space on the basis of the “spirit of space” theory and the socialization of “New Museum”. Finally, we find out that the museum has strong inner spirit of space that we previously mention; however, the spirit of space which could be produced by software still need to be reorganized, such as the street activities, natural scenery, and social and educational function.

並列關鍵字

Yingko Ceramics Museum ； space of museum ； Spatial Patterns ； New Museum ； spirit of space

參考文獻

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