在全球化脈絡下，建築藝術與博物館兩者儼然為都市景觀與文化產業發展中最具體的空間表徵。世界各地莫不以文化產業、美學經濟來重新界定自身在全球文化版圖的定位，博物館建築成為此競逐較勁的舞台。著眼於博物館建築在建築設計、都市地景、都市文化競爭力扮演之關鍵性角色，本研究以中國古都西安、建築師張錦秋設計的陝西歷史博物館個案，從其博物館設置之演進變化歷程、建築規劃設計與博物館專業運用，建築空間表徵與整體都市歷史文化等層面切入，探討博物館建築與文化表徵的關連與意涵。博物館為承載物質文明的容器，有其機能需求；但博物館建築形式又需表徵傳統與文化的印記，面對現代主義與博物館等文明力量的植入，建築表徵與傳統思為如何再現於現代化的博物館建築？立基於古都西安本身豐富的歷史涵構，本研究一方面試圖從建築研究領域，思索博物館建築類型面臨表徵形式再現文化的挑戰與課題；另一方面，探索建築設計者面臨此文化場域的考驗時，如何能保有文化傳統知本真性、主體性，建立與世界溝通的建築語言，同時能以現代主義建築的機能至上概念來滿足博物館建築的專業需求，並轉化文化與傳統的建築內涵與表徵。

The art of architecture and museum architecture are the most important representations of urban landscape and cultural industries under the context of globalization. Every countries and cities around the world take cultural industries and aesthetic economy to situate itself into the global cultural map. That makes museum architecture the locus of competition. Take museum architecture the key roles in architectural design, urban landscape and urban cultural competency into consideration, in this essay, I chose the case of Shaanxi history Museum, Xian City China, which designed by Architect Zhang, Jin-qiu in 1991, to study the process how the museum was set up, how it was designed and built for a highly professional usage in architectural field, and the representation it involved in the urban context. In one way, the purpose of this research is tried to reconsider the challenge the museum architecture now facing during an era of so-called New Museology, in the other way, to review what role the museum architecture taking under the cultural governance in a globalization context, and moreover, to know what an architect to conserve the authenticity and subjectivity of their own tradition, to transform their culture, meanwhile, to communicate the whole world by the language of architecture to fulfill the need s of the museum.