Reinterpretation of National Museum of Prehistory by Ja-Sheng Chen Architects

In 1999, the National Museum of Prehistory in Taitung, Taiwan, opened its doors to the public. Designed by the renowned postmodern architect Michael Graves, the museum occupies a rural site approximately five kilometers from Taitung City. Over two decades, the building became an important cultural landmark; however, several functional challenges emerged over time. Visitor circulation was complicated and inefficient, while key areas such as Mountain Plaza and the greenhouse restaurant were not suited to the tropical climate, limiting their usability. Recognizing the need to adapt the museum to contemporary expectations, Ja-Sheng Chen Architects undertook a careful reinterpretation of the building, enhancing both its functional efficiency and experiential quality while respecting the original architectural intent.

Rethinking the Museum Experience

The recent renovation addresses the museum’s evolving role in society. With the proliferation of digital knowledge, museums are no longer solely centers of information; they now serve as spaces for life experiences, interaction, and engagement. This shift prompted a reorientation of the museum’s design, balancing its educational mission with a greater emphasis on accessibility, social interaction, and visual connection with its surrounding landscape.

The architects’ primary goal was to connect the five main spaces of the museum, which had previously functioned in isolation. These include the Ticket Lobby, Mountain Plaza, Exhibition Atrium, Education Space, and Backyard Garden. The original layout fragmented the visitor experience, with circulation routes that were convoluted and physically challenging. To address this, the design team implemented bold architectural interventions, most notably the demolition of four massive concrete bleachers that were rarely used. In their place, a 12-meter-wide central corridor now links the museum’s core spaces, creating a legible, welcoming pathway that enhances both movement and wayfinding.

Enhancing Circulation and Connectivity

A central challenge of the original design was the disconnection between the Exhibition Atrium and the basement exhibition rooms. The previous 224-meter-long ramp, descending from the second floor to the basement, limited natural light and restricted visibility. In response, the renovation removed this ramp and introduced a 12-meter-wide grand stair, reconnecting the basement with the ground floor. This intervention not only brings sunlight into previously dark areas but also realizes Michael Graves’ original vision of an underground plaza accessible to all visitors. By establishing a clear visual and physical link between the Mountain Plaza and the Exhibition Atrium, the renovation creates a continuous circulation flow that guides visitors intuitively through the museum.

The reinterpreted circulation system prioritizes openness and spatial clarity. By integrating vertical and horizontal movement into a cohesive design, visitors can now experience the museum as a unified entity rather than a series of disconnected spaces. The central corridor and grand stair function as both practical circulation routes and architectural gestures, framing views, daylight, and spatial hierarchy throughout the building.

Adapting Spaces for Contemporary Life

Beyond circulation, the reinterpretation addresses the functional and programmatic needs of a modern museum. The Education Center has been expanded, with dedicated areas for parent-child activities, workshops, and interactive learning. These enhancements reflect the museum’s role as a social hub, catering to diverse visitor groups and promoting active engagement with history and culture.

The restaurant has been relocated from an underutilized greenhouse to a formerly abandoned corridor on the second floor, creating a visually prominent space easily accessible from the entrance lobby. The new location offers expansive views of the Backyard Garden, transforming the dining experience into one that connects occupants with the landscape while remaining sheltered from the tropical sun. Additionally, a special exhibition bridge has been introduced, freeing the special exhibition room from its previous back-of-house constraints and providing flexibility for dynamic displays.

The gift shop has been reimagined as an open, accessible space with window seating, offering a welcoming area for visitors and integrating seamlessly into the museum’s public areas. These programmatic shifts collectively transform the museum into a citizen-focused institution, emphasizing inclusivity, accessibility, and engagement.

Respecting Original Design Intent

While the renovation introduces significant changes, the architects were careful to retain the essence of Michael Graves’ original design. Key architectural gestures, material palettes, and spatial hierarchies were preserved, ensuring that the reinterpretation enhances rather than replaces the museum’s postmodern character. Interventions were guided by a sensitivity to scale, proportion, and context, allowing the building to function effectively in a tropical climate while maintaining its architectural integrity.

By harmonizing functional upgrades, contemporary programmatic requirements, and architectural respect, the National Museum of Prehistory now serves as a museum for all citizens. Visitors experience improved circulation, daylight-filled spaces, expanded educational facilities, and flexible exhibition areas—all while enjoying meaningful connections to the surrounding landscape and the building’s original design.

Conclusion

The reinterpretation of the National Museum of Prehistory exemplifies how careful renovation can bridge heritage and contemporary needs. Through strategic demolition, thoughtful reprogramming, and the introduction of light, circulation, and visual connectivity, Ja-Sheng Chen Architects transformed a postmodern landmark into a museum that is not only functional but also engaging, welcoming, and responsive to its community. The project demonstrates the power of adaptive reuse and thoughtful intervention in revitalizing cultural institutions for a new era.

Photography: Yuchen Chao Photography