一直以來，有關博物館內部美學與藝術管理的空間設計，大多數是來自於設計師本身的設計經驗。而這種以經驗為導向造成的藝術及美學價值，往往缺乏一套可應用的模式來加以實做或落實。本研究所探討的雕塑藝品配置模式（Deploying Statues Model）不僅將群眾展覽路線，雕塑藝品的總數，大小，以及彼此間之距離均納入考量，更技巧性的規劃出雕塑藝品在展覽空間中的擺設位置以追求藝術性的展現。對大多數的設計師來說，一個藝術空間設計的成功與否，往往來自於是否具有簡潔與明快的視覺效果，以便投射給予觀眾一場舒適的藝術響宴。因此本研究嘗試以「簡單就是美」作為空間美學的主要假設，並藉由空間複雜度(spatial complexity)作為衡量空間簡單性的一種指標，至於衡量空間複雜度之方式則採用碎形維度（Fractal Dimension）之觀念。除此之外，本文運用福傳程式（Fortran Program）發展出一套計算智慧（Computational Intelligence）來實施藝術作品擺置的設計。接著，運用前測實驗設計測試本研究計算智慧的可用性。最後再以位於臺灣嘉義市的祥太文教基金會文化館作為實例施測對象。透過驗證之結果，顯示出本研究所提出之計算智慧，著實在雕塑藝品展覽空間設計的初始思索過程中，扮演極具價值與參考性的角色。 The design for exhibiting statues in an exhibition area comes from the designer’s experience, but such design has no simple criterion to be followed. Our model, Depolying Statues (DSs) model, not only applies the fractal dimension to measure the spatial complexity as its objective, but also considers the traffic flow zone, the number of statues, the average diameter of a statue, and the minimum allowable distance of adjacent statues to deploy the spatial configuration in an exhibition area. The minimal complexity (fractal dimension) is mainly focused because exhibiting designers deem that the spatial simplicity leads to comfortable visions for visitors. In fact, this paper submits an applicable aspect of fractals, and a computerized tool written in Fortran program to perform the spatial arrangement of statues in an exhibition area is provided. A case study through visual reality design for exhibiting Mercy Buddha in Hosanna Museum at Chiayi Taiwan is followed. This study indeed contributes a valuable tool in conducting the pre-stage of thinking process for exhibiting designers to design their exhibitions.
