從「建築展覽」邁向「展演建築」

相較於藝術作品，建築始終面臨難以被移動的根本問題。當繪畫、雕塑或裝置藝術能夠直接進入展覽空間時，建築卻必須透過模型、圖面、照片與影像等媒介被重新轉譯。建築不僅是巨大的物質實體，更重要的是其張開的空間中所發生的活動、事件、人與環境之間的綜合關係。當建築離開現場，進入展覽時，往往只能透過圖紙、模型、照片、影像與文字等媒介被重新呈現。

Architectural exhibitions have long faced the fundamental limitation that architecture itself cannot be easily relocated. As a result, they often rely on drawings, models, photographs, and moving images as representational media. Yet architecture, as a spatial, material, and temporal phenomenon, contains forms of experience that are difficult to communicate fully through exhibition. A similar problem exists within architectural history education, where architectural knowledge has largely been transmitted through images and texts, often remaining disconnected from embodied experience. Taking the long-standing tradition of full-scale (1:1) pedagogical experimentation in the Department of Architecture at Shih Chien University as its point of departure, this paper explores how construction, fieldwork, and material sampling can transform architectural history from a representational form of knowledge into an operational one. Building upon this foundation, the paper proposes the concept of ''Performing Architecture,'' arguing that architectural exhibitions should move beyond the mere representation of architectural objects. Instead, through bodily engagement, material manipulation, and spatial practice, architecture can be reactivated as a process to be experienced, enacted, and continuously reproduced. Keywords: Architectural Exhibition; Architectural History Education; Embodied Experience; 1:1 Construction; Architectural Rubbing; Performing Architecture