目前有關文化資產之保護，基本上已由對民眾之觀念的教育層面，進至一種對於文化資產保護與開發利益之爭，目前文化資產大致可分為遺址、古物、古蹟三大類，古物如置於故宮之翠玉白菜、各式歷代名家畫作即是；古蹟如萬華龍山寺、北港朝天宮等均是；唯遺址，如新北市之十三行遺址，是文化資產中觀念最模糊的，也是所佔地點之面積最大的。有關遺址、古物以及古蹟三者，本質上有很大的差異性。遺址由於展示性最差、保存環境最苛、移動困難度最高，也因此在管理上以其空間地理特性，使得現地展示絶對有其必要性，也最容易遭受外來的破壞，因此如何建構出一套讓觀眾易於了解的遺址現地展示，是未來文化資產展示教育一大課題，本文以觀察法及文獻分析法來進行研究，探討相關管理及維護之合宜政策。

The cultural heritage protection of today has gone beyond the conceptual teaching to the people. It has been moved forward to a battle of protection against development interest or benefits. Cultural heritage can be divided into three types: archaeological ruins, antiques, and monuments. Example of antiques include Jade Cabbage in National Palace Museum and Chinese paintings drawn by famous artists throughout history. As of monuments, the Wanhua Longshan Temple and Beigang Chao-Tien Temple are both well-known examples. However, archaeological ruins such as the Shihsanhang archaeological site in New Taipei City occupying the largest land area but are the vaguest in the cultural heritage concept. Archaeological ruins need to be displayed at its original site as it would be hard to be moved to another place. Furthermore it is the most fragile type in the cultural heritage and subject be to external force due to its nature. As a result, how to develop an on-site display of an archaeological site is a major topic in cultural heritage management. This involves various management and relevant preservation measures. Discussion in this paper has been done by documentary analysis and site observation.