隨著環境資源的耗竭逐漸受到世人重視，建築的永續設計理念與技術也陸續發展成形。其中美術館的自然採光設計跳脫了以往依賴主動式設備控制的思考模式，改以順應自然特質的被動式設計策略來減少能源的耗損。而被動式自然採光美術館的發展，尤以義大利建築師皮亞諾(Renzo Piano, 1937-)的美術館作品在設計思維和技術整合上最具有前瞻性與指標性意義。
本研究試圖透過從1980年代後至今皮亞諾所設計的自然採光美術館，包括梅尼爾美術館(The Menil Collection, 1982-1987)、湯柏利美術館(Cy Twombly Pavilion, 1992-1995)、貝耶勒美術館(Beyeler Foundation Museum,1991-1997)、纳許雕塑藝術中心(The Nasher Sculpture Center, 1997-2003)、亞特蘭大美術館增建(High Museum of Art Expansion, 1999-2005)、芝加哥藝術基金會增建(Chicago art Institute- the Modern Wing, 2000-2009)、洛杉磯郡美術館增建(The Los Angeles County Museum of Art, 2008-2010)等七幢美術館案例，透過案例文獻的彙整、各項圖面的比對分析以及繪製3D拆解圖的方法，來檢視皮亞諾在回應環境議題時的設計思考與構築實踐之間的邏輯關係；並進一步探究其如何應用被動式的自然採光思維與技術爲未來美術館的永續設計指引出一條可行的方向。
在當代數位技術的輔助下，他的美術館建築實踐從追求工程技術精確性的構築觀點，逐漸融入了對於環境特質探索與回應的精確性。研究分析後發現，皮亞諾依據均佈式、座向式與太陽鐶的採光原理來引進自然光線，並藉由元件組合的構築策略整合當代與傳統技術，來實踐自然採光與美術館的空間設計思維；展現出融合光線調控與結構組構邏輯，並兼具永續創新的當代美術館建築特質。

Due to the awareness of the natural resources depletion, the sustainable concepts and technologies of architecture have been developing gradually. In order to save energy, active systems for daylight design are replaced by passive systems in the general trend of sustainable museums. Concerning the development of the passive daylighting design in art museums, Renzo Piano’s works are more forward-looking from the viewpoint of design thinking and technologies.
Through a comparative case study of his seven museums works: the Menil Collection (1982–86), the Cy Twombly Pavilion (1992-1995), the Beyeler Foundation Museum (1991-1997), the Nasher Sculpture Center (1999–2003), the High Museum Extension (1999-2005), the Art Institute of Chicago Extension (2005-2009), and the LACMA Extension (2003-2010), we try to reveal not only how Renzo Piano could respond to the sustainable issues of environment with the integration of his design thinking and tectonic expressions but also his passive daylighting design strategies which might provide a bright outlook for sustainable art museums.
Comparing his preference for the precision of construction in his initial museum works, Renzo Piano has been more closely in response to environmental factors by digital technology. It has been found that Renzo Piano applies the polar-oriented skylights, the solar bracelet and the complex strategies to modulate daylighting. He integrates the characteristics of contemporary and traditional techniques, through “fitting in” and “fitting together” the pieces of construction. These works not only embody the logic of integrating daylighting and tectonic systems, but also represent the innovation of sustainable design of contemporary museum architecture.

第壹章 緒論
一.研究緣起
二.研究目的與內容
三.研究方法
四.研究架構
第貳章 美術館與自然採光整合的發展歷程與技術變遷
一.美術館建築空間演變的意涵
二.美術館自然採光的類型與技術的發展
三.皮亞諾美術館建築的發展與轉變
四.小結
第參章 皮亞諾自然採光美術館案例研究
一.梅尼爾美術館
二.湯柏利美術館
三.貝耶勒美術館
四.納許雕塑中心
五.亞特蘭大美術館擴建案
六.芝加哥藝術基金會擴建案
七.洛杉磯郡美術館擴建案
第肆章 綜合研究分析
一.自然採光的類型分析
二.系統化整合的類型分析
第伍章 研究結論
參考文獻
附錄
作者簡歷
授 權 書

外文資料
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參考期刊
Cannon-Brookes, S. (2000). Daylighting museum galleries: a review of performance criteria. Lighting Research and Technology, 32, 161.
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Emilie, S. (2005). High Museum of Art. Architectural Lighting, 19, 7.
Jessica, J. (2005). In the Spotlight. Architectural Lighting, 19, 5.
Keegan, E. (2008). Art Plus Light. Architectural Lighting, 22, 3.
Keegan, E. (2009). Painting With Light. Architectural Lighting, 23, 5.
08.) Shao, L. & Riffat, S. B. (2000). Daylighting using light pipes and its integration with solar heating and natural ventilation. Lighting Research and Technology, 32, 133.