| Summary: | 碩士 === 朝陽科技大學 === 設計研究所 === 97 === 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.
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