臺灣博物館展示設計的發展歷程與特徵

The Process and Characteristic of Exhibition Design of Museum in Taiwan

陳由宜(You-YI Chen)

指導教授 ： 諸葛正

朝陽科技大學/設計學院/設計研究所/碩士(2009年)

摘要

摘　要
博物館話題最近在臺灣掀起廣泛討論，像是2002-2004年臺中市的「古根漢美術館」興建案便相當受到囑目。雖然，最後臺中古根漢美術館因各種評估因素而胎死腹中，但是「博物館事業」卻也因此更加鞏固，成為政府推動文化創意產業中社會教育類別的一項重要定位。文化創意產業（以下簡稱文創產業）的本質可謂為國家文化財的延伸，比起傳統產業中以廉價勞力、大量生產的營利方式謀生方式，文創產業提出以創意、特有性、文化性為產業新契機的新思考方向。根據此思維，博物館事業的發展逐漸受到重視乃時勢之所趨，更何況臺灣還有一座世界排名世界前五大的故宮博物院。綜觀之下博物館事業似乎是一項好文化生意，但仍是必須依靠各項營運要素（教育、展示、收藏、研究）的配合，才能成為真正的「好生意」。至於其中「展示設計」的地位，更因新博物館經營概念中將博物館機構的競爭對手，設定成如迪士尼樂園、電視媒體、電玩遊樂器等對象，而更受到重視。因此，探討臺灣的博物館展示設計之歷史內涵，其實也有助於博物館的未來發展走向，而這也是本研究的研究動機來源。

本研究第一章以解讀、分析相關文獻為主，作為探討研究內容基礎。第二章則以日治時期所設置的第一座官置「總督府博物館」為前導，論述臺灣自1908年開始，迄今約100年左右的博物館與展示設計的發展歷程。內容主要從總督府博物館成立的前因為起點，並溯及19世紀下半西歐列強博覽會概況，與其對日本本土所造成的影響，也成為臺灣島內相關博物館、展覽會舉辦時的重要前導經驗。經由解讀展示設計如何開始應用於博物館與曾在臺灣舉辦的大小共進會、博覽會上，成為商家競技重要項目的過程，進而瞭解展覽行為對當時商業性經濟的助益，同時顯示櫥窗展示發展的蓬勃性。

第三章主要為1945年迄今的臺灣博物館發展概述，因政權易手臺灣博物館開始另一階段的發展契機，但是其實至1970年代為止，館務經營大多仍沿襲舊況。不過臺灣社會漸趨蓬勃的經濟發展，無形中成為博物館事業後來興盛、熱絡的根基基礎。至1980年代，十二項建設計畫中的首座「國立自然科學博物館」得以完成，也帶給國內博物館界一股新的助力。之後，如雨後春筍般，博物館（包括美術館類）紛紛成立。加上1990年代回饋社會的觀念興起，私人博物館的設立更不在少數，如奇美博物館、朱銘美術館等，也成為國內博物館事業邁出美好盛景的新興力量代表。

第四章開始則進入主要研究重點的展示設計發展部份，內容涵蓋1908年開始的總督府博物館，與其後的大、小博覽會（展覽會），進而連接至戰後的臺灣博物館展示設計發展歷程。時至今日，以觀眾互動參與式為主導的展示設計，在教育目標為前導的要求設定下，開始獲得社會大眾的普遍迴響，也帶動臺灣以往停滯不前，了無新意的「展示設計」發展。同時，隨著時代科技的進步，電腦多媒體、資訊工具應用更為普及，且由於民眾的普遍認知，而能夠獲得高度認同。

最後，第五章則以博物館展示設計議題為範圍，包括對設計教育與歷史發展的相關哲學進行交叉探討，以作為本研究的總結論使用命題。

當然，現代博物館形態在社區博物館、生態博物館等概念一一出現於博物館界後，連帶的改變展示設計原本的封閉性格。設計人員除與館內研究人員、教育人員、技術人員、行政人員等進行溝通協調外，更需加入民眾觸摸、操作、參與、互動、羅列等方式綜合運用，以在最終能夠達成原本展示設計所欲達成的相關目標設定。

關鍵字

展示設計 ； 博物館事業 ； 生態博物館 ； 社區博物館 ； 互動參與式

並列摘要

Abstract
The topic of museum has attracted much attention in Taiwan recently, and an example was the debate over the construction of the "Guggenheim Museum" in Taichung City between 2002 and 2004. Although this project was eventually terminated due to a variety of reasons, the status of the “museum industry” has nonetheless been raised and became an important category of social education in the government’s effort of promoting the cultural creative industry. The nature of the cultural creative industry is an extension of a nation’s cultural asset, and when compared to the traditional industries that rely on cheap labor and mass production, the cultural creative industry proposed a new way of thinking that focused on creativity, uniqueness, and culture. Based on this reasoning, the fact that the development of the museum industry is receiving more attention is an inevitable trend – not to mention Taiwan’s National Palace Museum that is one of the top five museums in the world. At first glance, the museum industry seems like a promising business; however, it can only truly be rewarding with all the operational elements available (e.g., education, exhibition, collection, and research). The importance of “exhibition design” has also been amplified since the “opponents” of museums in the new concept of museum management now include Disney Land, television media, and video games. As a result, a discussion on the historic implications of Taiwanese museum’s exhibition design would help clarify the future directions of museums, which is the motive of this research.

The first chapter of this study is the literature review and analysis that services the basis of the discussion. The second chapter introduces the “Sotofuku Museum” that was established by the Japanese government during its occupation, and the evolution of the design of museums and exhibitions since 1908.The discussion starts from the origin of the Sotofuku Museum and extends to the museums in powerful Western European nations during the second half of the 19th century, and then examines how the latter’s influences on Japan served as important lessons for the museums and exhibitions in Taiwan. By interpreting how the exhibition design was utilized in the museums, exhibitions, and fairs in Taiwan and became an important competition, the benefits of exhibitions on the contemporary business and the potential in the business of window display can be understood.

The third chapter discusses the development of Taiwan’s museums since 1945 and a new stage of development due to the transfer of power. The fact is, however, that museum operations at that time basically followed the traditional method until the 1970s. Nonetheless, the rapid economic growth of Taiwan has indirectly become the pillar of the prosperous museum industry at a later time. The completion of the “National Museum of Natural Science” in the 1980s, one of the 12 major construction projects, has also brought a new life to Taiwan’s museum industry, and all sorts of museums (including galleries) were established soon after. With the rising idea of “giving it back to society” in the 1990s, more and more private museums were also introduced such as the Chimei Museum and Juming Museum, symbolizing a new force in the bright future of Taiwan’s museum industry.

The fourth chapter discusses the focus of this study – the development of exhibition design, by covering the Sotofuku Museum that was established in 1908, exhibitions of different scales that followed, and the exhibition design of Taiwan’s museums after the war. Given the requirement of being educational, today’s exhibition design that focuses on audience interaction has been acknowledged by the public and facilitated the growth of “exhibition design” which used to be unchanging and uncreative. At the same time, the widely available computer multimedia and information tools made possible by the advancing technology have also been highly recognized by the public due to their popularity.

Lastly, the fifth chapter is a cross examination of the philosophy behind the education of design and its history in the domain of museum and exhibition design, and a conclusion of this study is drawn.

Naturally, concepts such as the “community museum” and “ecological museum” that emerged in the museum industry have also changed the isolating atmosphere of museums. Today’s designers not only have to communicate and coordinate with museum researchers, educators, technicians, and administrators, but also need to arrange exhibits for the public to touch, manipulate, participate in, and interact with in order to reach the goals set in the original exhibition design.

並列關鍵字

Community Museum ； The Museum Industry ； Exhibition Design ； Interactive Participation ； Eco- Museum

參考文獻

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