Abstract:  Under current trends of digitalisation, informatisation and globalisation, free speech and opinion spreads more easily than ever due to the internet and social media. Technology brings all individuals and groups in society greater ability to build tolerance and freedom. Relatedly, contemporary art design demonstrates highly-personalised, diversified, emotional, and non-material trends. To effectively harness the performances of contemporary art within these interactive digital relationships, the design of contemporary art museums must be people-oriented, strengthen people's cognition and understanding of exhibits, and reflect the unique social functions of contemporary art museums. As a result, the spatial design of contemporary art museums has gradually evolved from object-oriented to audience-oriented. Quantitative spatial analysis is urgently needed to reveal the trends of different spaces and exhibits, further explore relationships between audiences, exhibits and spaces, reassess correlation between architectural design and the art context, and create better exhibition experiences for audiences.
　　With the development of environment-behaviour studies, spatial syntax, and other theories, more and more research has been conducted on space and behaviours. However, conventional research often disagrees with empirical studies due to interference from subjective factors. The Isovist analysis method that combines with information technology is an effective countermeasure that can provide quantitative visual representations of visual experiences during visits. The exhibition space of the Beijing Times Art Museum was quantified using Isovist analysis. After considering its characteristics (including large exhibition areas, a long exhibition line, many exhibition halls, and complex types of exhibits), two Isovist parameters (integration of sight and directed visibility) were selected. A field investigation was carried out on the Ninagawa Mika Exhibition at the museum, and results were output using Isovist_App. Output results were also compared to audience data to form conclusions. Using this data, the spatial design of contemporary art museums was explored from the perspective of audiences' experiences. Due to the limitations of the Isovist analysis method, some adjustments were made to the survey design and data processing methods.
　　The spatial perception of audiences is influenced by visual information along the visit line. According to the integration of sight analysis, audiences' perceptions of an exhibition space can be divided into three situations: low integration with a high evaluation, high integration with a high evaluation, and high integration with a low evaluation. Exhibition halls that differ significantly from the average degree of integration are more likely to be enjoyed by audiences, but they are also influenced by the arrangement of the exhibits. According to the directed visibility analysis, audiences can appreciate artworks at a comfortable pace when the directed visibility of an exhibition hall aligns positively with the visit duration; otherwise, they may feel fatigue. 
　　Integration of sight reflects the potential for a space to gather crowds. Planning the layout of exhibition halls based on integration of sight is conducive to deepened audience spatial perception, which could improve their evaluation of the exhibition. The relationship between directed visibility and visit duration can reflect whether the arrangement modes and densities of the exhibition halls are reasonable, with visit rhythm designed according to directed visibility so that audiences maintain energy and positive spatial perception. During quantitative studies, problems that influence visit experiences and spatial perception of audiences in sample exhibition design were recognised. General suggestions to optimise spatial perception are proposed based on the Isovist analysis method to provide new ideas for exhibition space design.

Key words: Isovist analysis, spatial perception, exhibition space

摘要： 博物馆展陈空间设计从“以物为导向”发展为“以观众为导向”，探究观众对空间环境的认知，以营造更好的参观体验。采用视域分析法对北京时代美术馆展陈空间进行量化，由软件Isovist_app中视线整合度和定向可见性模块输出结果，同时调研收集观众数据以对比得出结论。结果表明，观众的空间认知受参观动线中视觉信息影响。视线整合度反映空间聚集人群的潜力，据此的展厅布局规划有助于加深观众空间认知；定向可见性与观览时间的关系能反映展厅布置方式和陈列密度合理性，以定向可见性设计参观节奏，可使观众维持视觉活力。

关键词: 视域分析, 空间认知, 展陈空间