臺灣古蹟與歷史建築對於文物防災意識比較與分析－以具備有文化資產身份之博物館為例

A Comparison and Analysis of Disaster Prevention Awareness of Cultural Artifacts Preserved in Historic Buildings in Taiwan --the Example of a Museum with Cultural Heritage Status

李建緯(Lee Chian-Wei) ； 岩素芬(Yen Su-Fen) ； 陳遵旭(Chen Zun-Hsiu)

《逢甲人文社會學報》 43期 (2021/12) Pp. 119-167

摘要

過去對文物的防災概念，無法跳脫從其所處的建築空間整體環境出發，有從博物館類館舍的防火概念進行的分析、或涉及到傳統寺廟、古蹟與歷史建築的防火策略與管理等。由於臺灣多數具文資身分的古蹟、歷史建築是木構，因此防火、防震幾乎成為文物防災的首要工作。文物的防災作為與其所在的空間環境有著密不可分的關聯，惟文物和建築防災概念不同的是，文物更加脆弱，需有更縝密的防災意識。以公立博物館而言，不論是展場或庫房皆受到溫度、濕度的調整與控制，使得不同材質物件能以最適合的環境被保存，這多歸功於博物館本身即肩負著文物保存的使命，而在各項硬體設備與空間規劃上，均能以此為目標進行符合規範之設計。然而，若是博物館保存與展示空間同樣具有文化資產身份，在相關空間與硬體設備的運用上，勢必會受到相關法規的規範，因而侷限了其空間設備的使用方式。同時，具有博物館身份或冠之以名的古蹟、歷史建築，也並非均設有完整嚴謹的文物保存與防災相關規範，這當中不僅牽涉到此類館舍是否有著博物館管理的自覺，也顯示對於保存文物與建築之間的衡量比重。博物館是理所當然的文物保存者，若同時又兼具著文化資產身份的博物館建築體，透過現代科技的運用，盡可能的減少在其空間使用上的侷限，達到文物保存的目地。更重要的是對於古蹟、歷史建築類的文物保存館舍需建立完整的文物保存與防災意識，才能達到真正的文化資產保存意義。

關鍵字

文化資產 ； 古蹟 ； 歷史建築 ； 博物館 ； 文物防災

並列摘要

In the past, the concept of damage prevention for cultural artifacts had been analyzed from the location of the building itself as an overall environment where the cultural objects are stored. There are some studies emphasizing the concept of fire prevention to protect cultural assets while others focusing on fire prevention strategies and management implemented in traditional temples, historic sites and buildings. Since most of Taiwan's monuments and historic buildings awarded as cultural assets were constructed with wood, fire and earthquake prevention to minimize damage on the stored cultural artifacts have almost become the primary task in disaster prevention. Definitely, disaster prevention is closely related to the spatial environment in which cultural artifacts are kept. But, to prevent artifacts from damage is different from protecting the building from disasters because artifacts are more fragile than buildings themselves and are thus worth higher prevention awareness and more meticulous care. In the case of public museums, as both exhibition halls and storage rooms are constantly regulated by optimal temperature and humidity adjustment, cultural objects are preserved in the most suitable environment regardless of their materials. Furthermore, as the museum itself is tasked with the preservation of cultural artifacts, it should meet this objective by designing the building, hardware, and spaces according to norms and codes. However, if a museum's preservation and exhibition spaces all have the status of cultural assets, the use of the space and hardware is bound to be regulated by relevant laws and regulations, thus limiting the use of the space and equipment. On the other hand, not all monuments and historic buildings having museum status or named as such have comprehensive and stringent heritage conservation and damage prevention regulations in place. The would involve not only the awareness of the role of the museum's management, but also the balance of the weight of preservation between cultural artifacts and the buildings. Museums are obviously the conservators of heritage, but if the museum buildings also have the status of cultural assets, then using modern technology to minimize the constraints on the use of space may better serve the purpose of heritage preservation. More importantly, without comprehensive conservation measures in place and the awareness of damage prevention for those cultural artifacts preserved in monuments or historic buildings, we are still far from achieving the true goal of conserving cultural properties.

並列關鍵字

cultural assets ； monuments ； historic buildings ； museums ； damage prevention for cultural artifacts

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