本研究針對美國十九世紀末二十世紀初折衷主義樣式美術館進行建築類型研究,範圍依據美 國博物館時代的建設熱潮時間,因其美術館類型建築受社會政治經濟各層面影響,對照美國人口 普查局的各城市人口排名資料,篩選社會綜合性發展層面較高的城市,擇 1860 年至 1920 年人口 排名前二十之城市資料做交叉對照,取其聯集之城市作為初步案例來源的城市名單;另因 1950 年是美國城市發展一個重要分水嶺,二戰結束、退伍軍人法案、改善基礎建設等社會的發展下城 市間產生些微變化,並且此類型建築因時代推演於近期出現許多改擴建的實際案例與計劃,故擇 1860 年至 2014 年人口排名前二十之城市資料與上述資料做交叉對照,取其聯集之城市納入案例 來源的城市名單,以此增加案例的討論與分析。依據此區段的主要城市名單,以符合折衷主義樣 式主建築及其具改擴建實例的美術館案例,進行資料收集與分析,例如以建築圖面來探討相關建 築項目等進行各案例研究內容。
重點於主建築的建築樣式及其本身的相關發展上,主要劃分四大研究項目,分別為發展背景、 區位、主建築建築樣式-整體造型、主建築空間序列-動線安排為主。發展背景部分,針對各案例 的成立背景與建設起因做共通性探討與分析,得此類型建築之發展成因多為建設一城市文化中心 為主的核心目的,卻也相對隱藏實質推動者貴族色彩的背景因子;區位分析部分,根據現況衛星 圖與主建築位置做相互參照,得出此類型建築的區位特性上可分為六大類型,以位城市中心受基 地限制的區位類型為主,回應城市核心建設目的;主建築建築樣式-整體造型部分,探討量體配 置形式及立面形式兩大項,得知量體配置形式以矩形為基礎,多個矩形相互組合產生九大類型, 以T型量體形式配置為主,並有四大內中庭配置類型,但內中庭的案例數占總案例僅約三分之一; 主立面立面切割依照水平向度由下而上進行建築元素的探討,得出主立面入口形式可分六大類型 及主立面兩側三大類型的造型樣式,分別以希臘羅馬神廟主入口類型和兩側窗框切割類型為主; 最後,主建築空間序列劃分外部和內部空間序列進行探討,以參觀動線進行作業,得出外部空間 序列可分六大類型,以街道廣場外部空間類型為主;內部空間序列大致可分入口空間、中堂大廳、 後堂空間三大部分,其中中堂大廳為表現重點。
由各案例四大分析項目的結果,進行綜合分析,藉此探討相互關係與操作表現,並歸納出各 自最具代表性的案例名單。首先,可得知回應城市文化核心建設的目的外,區位和量體配置間的 相互影響程度低,以各自表現其主要形式為重;整體建築元素的操作表現上,以線性元素為主, 幾何符號為輔且少裝飾性元素;主立面和量體間的互動強調主入口處,並且操作方式在於使用線 性元素的視覺份量、方向和均值間隔上;內外部空間序列的形式表現上,著重視覺的延展性,以 水平延展轉化到縱向延展上的空間過度。借由以上的綜合分析結果,美國折衷主義樣式美術館的 場域精神為其對立的統一性表現,核心價值在於其圍塑公共性場所與凝聚社會意識的核心價值, 並且表現社會政經實力和城市文化優越性,最終都透過主建築的整體建築形式來表現,線性元素 的規劃創造幾何秩序感與視覺感知的變化,提升整體空間序列的精神性象徵意義,塑造儀式性、 識閾性、神聖性的參觀動線三部曲。

This study examined the typological of eclectic style art museums in the United States from the end of the 19th to the early 20th century. The research was conducted to locate eclectic style art museums founded during the boom period of US museum construction. Because the museum architecture was influenced by sociopolitical as well as economic factors, the population data of various US cities were collected from the US Census Bureau to select cities with higher overall social development. Data from the 20 most populous cities during 1860–1920 were cross-referenced to create the union set of the main case samples. 1950 was also a crucial time for many US cities because it came only a few years after the end of World War II and the introduction of the G.I. Bill and saw improvements to basic infrastructure and other social developments, leading to minute variations between cities. Subsequent societal progress and changes also led to actual construction and design cases and plans to renovate and expand these museums. Thus, the 20 most populous cities during 1860–2014 were identified and those not included in the aforementioned list were added to it. Doing so increased the number of case samples for discussion and analysis, thereby enhancing the development options of and related background factors identified for these types of museums. Data were collected and analyzed for museum case samples that matched the criteria of having an eclectic style main building and having undergone actual building extension. An example of the analysis was the use of architectural drawings to investigate relevant architectural elements in the various case samples.
The research focused on the architectural style and development of the main buildings, and was thus divided into four major research areas: development background, location, the architectural style of the main building (overall design), and the space syntax and flow of the main building. For development background, the background behind the establishment of representative cases and the reasons for construction were investigated and analyzed for common factors. This revealed that these buildings were often constructed with the core purpose of serving as the cultural center of a city; however, the aristocratic background of those people promoting these projects were often concealed. Analyses of the museum locations were performed by using current satellite images of the cities and the geographical position of the main buildings for cross-referencing. The features of these buildings in terms of their location can be divided into six major categories, the most dominant of which was being located in a city center and covering limited space, echoing the development background of core urban structures. Two major aspects were identified in terms of main building architectural style (overall design): massing and facades styles. Regarding massing, sectional analyses of the case samples’ building floor plans revealed that rectangles were most commonly used in the building massing. The results of the interaction and combination of multiple rectangles can be separated into nine major massing categories, with T-shaped layouts being the most common. Four major types of atrium configurations were observed, but these were relatively rare, with only approximately a third of the cases including an atrium. Regarding facade style, the overall expression of the facade structures were explored by examining the elevation. Sectional analyses were also performed on the main facades, and the architectural elements were examined in a horizontal manner from the bottom up. The styles of the main facade entrances can be divided into six categories, dominated by Greco-Roman temple entrance style, where the sides of the main facades can be divided into three categories, dominated by window frames flanking the main facade. Finally, the space syntax of the main buildings was examined by investigating the space syntax of the interior and exterior space of the museum, with the museum access routes used as the basis for spatial ordering. The syntax space of the exterior areas can be divided into six categories, most of which utilize exterior passages and squares, followed closely by two others categories of squares. The syntax space of the interior areas can be broadly divided into the entrance space, the main hall, and the back hall space, with the focus being on the presentation of the main hall.
Using the results from the four categories analyzed in each case study, comprehensive permutation analyses were performed to investigate their interactions as well as expression in order to determine the case sample that most accurately represented each category. First, it can be seen that in addition to the buildings resonating with the purpose of serving as the cultural center of the city, the degree of interaction between location and massing is low, with each element having its own style. The overall use and expression of architectural elements were predominantly based on linear elements, complemented by geometrical symbols and very few embellishments. The synergy between the main facade and massing emphasized the main entrance and manipulated the visual weight, direction, and mean interval of linear elements. The styles and presentations of space syntax inside and outside the museum focused on visual extension, using the spatial transition created by transforming horizontal extensions into vertical ones. Overall, this comprehensive analysis revealed that the spirit of eclectic-style art museums in the United States constituted a uniformed expression of opposition, with a core value of shaping and molding public spaces and aggregating social consciousness. The museums also represent the political and economic strength of society at large and superior urban culture, all of which is expressed through the overall architectural style of the main buildings. The use of linear elements creates a sense of geometrical order and changes in visual perception, thus enhancing the spiritual symbolism of the overall space syntax and incorporating ceremony, liminality, and reverence into crowd flow.

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