在建築博物館化現象下的四個亞洲「展示性」經營管理脈絡理論

Managing Asian 'Displayness' through Architectural Musealisation: Four Contextual Theorisations

舉凡在具有博物館性質的機構或是場所當中，展示的概念代表的是對於特殊收藏的陳列。在這樣的範疇下，展示性這個概念賦予客體物件在哲學性抽象意涵上有特殊的觀點與現象性。建築作為展示性的一種主體與客體的再現，本身蘊含了展示與被展示兩層的意義。從一個藝術與文化政治的經營管理觀點來說，建築在被博物館化的當下（或是其本身形式被凸顯的當下）因此提供了一個建築學作為跨領域域知識論與其在複雜性之定位上的符碼暗示。本文企圖發掘建築博物館化作為一種特殊的機構化現象對於亞洲文化與藝術「展示性」的經營管理脈絡在方法論、再現型式與相關議題上所扮演的角色。作為亞洲文化形式中一種直接與視覺化的再現，本文主張建築可以成為解譯亞洲的文化複雜性與主流西方知識論邏輯間差異性的分析平台。本文也主張亞洲的知識論脈絡已經慢慢發展並出現跨領域之現象。透過對經驗性案例的批判性分析，本文策略性地提出四個脈絡理論。這四個理論以亞洲建築的展示性為中心來探討其在創意性與保存上的關鍵性地位。

A display usually appears in museums, or quasi-museum institutions, or places exhibiting particular collections. Within this category, it is philosophically framed as an abstract box of displayness showing particular perspectives and phenomena of objects. Architecture, as one representation of displayness, registers twofold meaning of containing displays and/or being displayed. From a perspective of arts and cultural-political management, architecture therefore suggests the semiotics of epistemological transdisciplinarity and positional perplexity, which hints at a key process once it is musealised (becoming like a museum). In excavating the musealising institutionalisation of architecture that pragmatically identifies the displayness as one factor in managing Asian culture and the arts, this paper asks questions about its phenomenal methodologies, representation and concerns. Architecture as one vital and most direct and visual cultural forms in Asia is taken as an analytical platform in this study in order to further decode the cultural complexity which is argued to be less comprehensible when it is examined by normal ’Western’ logic. This paper argues that a form of epistemological transdisciplinarity has begun phenomenal in an Asian context. Through a critical examination of select empirical cases in Asia, this paper strategically proposes four contextual theorisations, which are notionally discoursed through the questioning of the displayness of Asian architecture in terms of creation, preservation and conservation.