纪念性展示空间承载着故事与人的记忆，其中带有崇敬或反思意义的群体性 情感使其区别于其他科普类的科技馆、体验馆等文化场所。观者在此读取着信息， 感受其纪念的氛围，无数的纪念之情在此地得到了抒发与凝聚。 纪念性展示空间作为观者与展览进行互动的容器，是此篇论文的主要研究对 象。现今个别纪念馆的空间设计仍然体现为对传统展示手法的归纳复制，其中空 间设计单一，多采用几个矩形空间进行简单串联，甚至不同主题的纪念馆也会采 用相似的设计方法，空间缺少与展示内容的关联。针对这种套路式展示方式的设 计问题，也为提高受众在纪念馆中的观展体验，笔者试图引入现象学中梅洛庞蒂 提出的现象身体与现象空间理论，以观者的“身体”为线索，探究纪念性展示空 间的现象学营造方法，以“身体”揭示抽象的心理感知和具象的纪念性空间表达 之间的联系。用“身体”将空间和人的感知与行为进行连接，重新把握纪念性展 示空间的理论构建与空间营造，以此加强其纪念的氛围，令观者在空间中缅怀和 思考，最终激起其纪念之情，使观者的思绪脱离物质性的纪念馆而延伸到历史与 文化中去。 综上所述，笔者基于现象学的观点，以“身体”为线索，从纪念性展示空间 中观者的感知与行为的角度，探索纪念性展示空间新的设计思路。寻找一种客观 空间、展品与人的新的连结方式。

The memorial exhibition space carries stories and human memories, in which group emotions with reverence or reflection make it different from other cultural places such as science and technology museums and experience museums. The viewers read the information and feel the atmosphere of remembrance, and countless feelings of remembrance are expressed and coalesced here. The memorial exhibition space is the main object of this thesis as a container for the viewer to interact with the exhibition. The spatial design of individual memorials nowadays is still reflected in the generalized replication of traditional display methods, in which the spatial design is single, mostly using a few rectangular spaces for simple stringing, lacking correlation with the display content, and even different thematic memorials will adopt similar spatial design methods. In response to the design problems of this set of display methods, and in order to improve the audience's experience in the memorial museum, the author tries to introduce the theory of body space and phenomenal space proposed by Merleau-Ponty in phenomenology, taking the viewer's "body" as a clue to explore the phenomenological creation method of the memorial display space, in order to The "body" reveals the connection between the abstract mental perception and the figurative monumental spatial expression. By connecting space and human perception and behavior, the theoretical construction and spatial creation of monumental exhibition space is regained, so as to strengthen the atmosphere of remembrance, make the viewer remember and think in the space, and finally stimulate their feelings of remembrance, so that the viewer's thoughts will be extended to history and culture instead of the material memorials. Thus, based on the phenomenological point of view, the author explores new design ideas for memorial exhibition space from the perspective of III viewers' perception and behavior in memorial exhibition space. The author seeks a new way of connecting objective space, exhibits and people.