策展人藉由各種展示手段,透過歷史脈絡來詮釋空間,建構新舊之間的對話。在規劃一套理想的展示內容架構與展示方式時,一般常忽略歷史建築本身的第二層外延意義,即內涵化(connotation)的意識型態與文化霸權。本研究即針對歷史建築所牽涉到之博物館化、歷史建築體的「展示」(exhibition)觀點為主要論述,爰引阿圖塞(Louis Althusser)意識型態與葛蘭西(Antonio Gramsci)霸權觀念,著重於「歷史建築展示」上意識型態/文化霸權探討;對囿於傳統歷史建築之既有「展示」及保存觀念提出另一思維。 歷史建築「展示」具有自身的成長邏輯,它立足於真實生活之中,並非在成長中改造人與社會,但因文化資源不易集中,需要國家機器的介入,但介入也絕非「包辦」。歷史建築成為物質生活在展示觀念上的「昇華物」,也是人們在現實生活過程中意識型態上的“反射和回聲”。
Exhibiter establishes the conversation between the new and the old with all kinds of exhibitive methods to explain the space through historic vein. When planning the ideal exhibitive content structure and exhibit method always ignore the second level meaning which is the outer extension of historic building. It means the connotation of ideology and hegemony. The study is focus on the exhibitive concept under the preservative concept of historic building. In this issue the major discussion is about the exhibitive concept of museum. Be used Ideology by Louis Althusser and Hegemony by Antonio Gramsci to analyze the exhibitive objectives and methods of historic building. Eliminating investigates of exhibitive design method or evaluation; it focuses on the ideology and hegemony issue in exhibition. Bring up another viewpoint of exhibitive thought in the exhibitive concept of traditional historic building. The exhibit of Historic Building has growing logic in itself. It base itself on the true life, don’t transform in people and society. But the resources of culture don’t collect easily, so need the country to intervene inside. However the intervention isn’t to run all show. Historic Building becomes material life sublimation in the viewpoint of exhibition. It also becomes Ideology reflections and reverberations in people true life.