Other Recommended Guides
科工館是一座充滿趣味性的博物館，透過「科學」與「工藝」的展現，激發了人們探究好奇的本能，再從找尋中獲得了開放性的答案，而科學常常不僅僅只有想，從試著做，做了數次，不斷修改變動才將「想」落實於實際。 一直以來，「培養人人都是科學人」就是科工館的願景目標，而科學與人文亦是密不可分的存在，從歐洲的文藝復興開始，科學的興起革命是建構在人文科學源頭的追尋，自然在培養的過程中，藝術是必要的存在。 悠閒又帶著讓人驚豔的科工館，豐富的趣味體驗和引導、啟發型的科學內涵，是您休憩、旅遊、生活最佳場域。
Shihsanhang Museum of Archaeology, New Taipei City
【 History of the Museum 】 The First Archaeological Museum in Northern Taiwan The Shihsanhang Museum of Archaeology was established in conjunction to the “rescue excavation” undertaken at the Shihsanhang Archaeological Site in 1990. At that time, Taiwan Provincial Government’s Department of Housing and Development planned to build a sewage treatment plant on top of the site. A group of noted archaeologists launched a campaign to rescue the artifacts at Shihsanhang, and they were able to garner a large amount of public support. As a result, the site was recognized as a second-class Historic Site, and part of the original site was ordered to be preserved. The Shihsanhang site is now a National Historic Site. In 1992, the Executive Yuan Council ordered the Taipei County government to establish a Shihsanhang Site Exhibition Room to display the objects that were unearthed. It was renamed to "Shihsanhang Museum of Archaeology" in 1998. It’s objectives were to preserve and display artifacts unearthed at the Shihsanhang Site, to serve as the archaeological museum of northern Taiwan, and to serve as an educational center to teach people about the importance of the prehistoric culture. After its official opening in 2003, the Museum has also become an ecomuseum of the Bali Left Bank area. The Shihsanhang Museum of Archaeology cost NT$380 million to build, paid for by both the federal, Taipei County and New Taipei County (since 2010) governments. Construction of the main buildings, the outdoor plaza and parking lot began in 2000, and the project was completed in 2003. 【 Buildings 】 Winner of the 2002 "Taiwan Architecture Prize" and the 2003 “Far Eastern Architect Awards” The Shihsanhang Museum of Archaeology was designed by architect Te-hung Sun.The main idea of design the museum was based directly on archaeological excavation and the fact that our ancestors crossed the great ocean and reached the coast of Bali by canoe.The Museum is composed of three distinctive building groups, representing the mountain, the ocean and time.The building materials include exposed concrete, sandstone and highly plastic titanium alloy. The steel structure represents the ocean, with its structural lines radiating toward the sea. The slightly angled roof represents a sand dune or the back of a whale swimming in the sea, images the people of Shihsanhang would have been familiar with as part of their daily lives. Visitors take the steps to an elevated viewing platform from where they can gaze into the vastness of the ocean and enjoy the novel experience of standing on the roof of one of the museum buildings. The simple and neat shape of the three-floor exposed concrete building represents a mountain. The two high walls point directly to the Tapenkeng Site located on Guanyin Mountain, alluding to the time-link between Shihsanhang and Tapenkeng Cultures. This representation of mountain and ocean meets in the octagon tower that links the past with the present and represents the passing of time. Designed to stand at an irregular angle of 17°, this structure alludes to the destruction of the historical remains and the impossibility of ever restoring the past. The arrangement of exhibitions in the building leads visitors through a series of different eras, allowing them to experience the passing of time and the lasting importance of each historical period. The Shihsanhang Museum of Archaeology is also designed in such a way that its ground floor is located 1.5m under ground level. The walkway to the entrance, which first climbs and then gently slopes downwards, symbolizes the fact that one is about to enter a treasure trove unearthed by archaeologists. The parts of the Museum that prove most popular with the public have been the “Whale Dune Observation Platform” and the angular irregular “Archaeological Octagon Tower”. These buildings are so distinctive that they received first place in the 2002 “Taiwan Architecture Prize,” and outstanding design in the 2003 “Far Eastern Architect Awards”. Official website：http://en.sshm.ntpc.gov.tw Facebook：www.facebook.com/13hangmuseum/ Transportation：http://www.sshm.ntpc.gov.tw/xmdoc/cont?xsmsid=0G245566982604740685 Google panorama：https://goo.gl/gpPhUx Introduction video：https://www.youtube.com/watch?v=KqbF3MnX7vs
臺灣文學館每年為響應5月18日國際博物館日舉辦「博物館日玩文學」系列活動，自2011年起已陸續舉辦「許丙丁的小封神地圖」及「葉石濤文學地景」等踏查活動，邀請民眾一同走讀府城，探訪城市的記憶，並在活動後出版專書。 2014年，臺灣文學館與台南市五條港發展協會共同策畫「穿越五條港」踏查活動，尋訪五條港幾個具有歷史記憶的景點，結合古典詩作，並由專家的古蹟導覽，帶領參與者穿越古今的五條港。同年出版《穿越五條港：府城文學踏查地圖4》專書收錄踏查地景的介紹。 「五條港」指的是臺江內海逐漸陸化浮出後的殘餘港汊水道，大致分布在今西門路以西、成功路以南、中正路以北的區域，為府城的商港區。五條港由南到北分別為安海港、南河港、北勢港（南勢港）、佛頭港、新港墘港。我們之所以選擇「五條港」做為府城文學的踏查路線，乃因「五條港」過去是府城對外貿易的轉運站，更是各種郊商店鋪、貨棧雲集之處，周邊不僅有米、糖、茶等南北雜貨，還有木材相關產業。日治市區改正後，港灣特色不再，但是該區域依然是臺南最繁華的地區。五條港豐富的民俗文化及港道地景，每成為文人創作的題材，而本區的酒樓茶肆更是文人雅士交際應酬之所，所以從清代到日治出現諸多與城西五條港相關的文學作品。 本書從《全臺詩》1-30冊及《區域與城市：臺灣古典詩選注1》中蒐集相關的作品，內容涵蓋五條港的歷史遺跡、商業經濟、姓氏宗族、生活實景四大面向。配合地景挑出淺顯易懂並能呈現昔日五條港風貌的14首詩作，邀情民眾一同神遊古人的詩文情境。 如欲購買本書者，可至臺灣文學館網站查詢販售地點：https://www.nmtl.gov.tw/content_152.html
Daily+― The Second Greater Taipei Biennial of Contemporary Art
Baptised as Daily+, the 2nd Greater Taipei Biennial of Contemporary Art unites 35 artists from France, USA, Austria, Luxembourg, Japan and Taiwan. Engaged firstly in the biennial, the Taiwanese novelist Yi-Chin LO writes along the exhibition venues, Nine Single Rooms Art Space and Northern Campus, and transforms the spaces full of winding alleys as interwoven reminiscences into Wall Climber, which mixes residual images of daily life with segmented work on what had happened here. The novel is the first invited work that lifts the curtain of the biennial. Taking the novel and exhibition spaces as reference of inspiration, the invited artists develop as a card game their projects in multiple direction, and the developing projects later become as well a reference to each other, through which the invisible relationship of linkage is thus gradually drawn out. Therefore, the novel based on the exhibition sites and the artworks referring to the novel ― both create intertextually between artwork, text and site a sort of multi-level dialogue from which is generated a significance network of inter-reference, similar to a parchment-like invisible text, full of layers of overlapping and accumulated traces. Derived from the daily life, the Daily+ is neither translation nor representation of the daily; it is not a clean break from the daily routine either. Rather, it signifies that in the different slices of reality stands a subject of art creation who, by means of various art practices, deconstructs and reconstructs the daily in order to return to it anew. Out of the very returning can a subject reveal the originality of the daily. In other words, keeping a distance from the daily life, a subject is thus able to discover in the relationship of dependency some points of reference, of substantiality and of transcendence, and to further transform the daily into infinitive resources for creation. As a folding mark cut slightly on the inner of the daily, the daily+ diverges the dimension of the daily to the unknown, to a place seemingly close yet out of reach, and endows the daily with a future never expected. Thus, we hope to unfold a multi-dialogue between art and daily life, and at the meantime, through a series of forums and workshops, to reveal progressively the "daily of artist", and finally to invite spectators to stroll in a wrinkled space of imagination and thought so as to observe each layer of daily life, diverted, metamorphosed, or transformed. The more the daily becomes the daily+, the more the daily+ becomes the daily.