Museum fatigue refers to the physical and psychological fatigue that visitors experience when visiting exhibitions due to information overload, dense display, or monotonous space design. This study takes Mawangdui Han Tomb as an example, draws on Lefebvre’s spatial triad theory, and realizes the transformation of cultural connotation from tomb space into museum space by analyzing perceived space, conceived space, and lived space. This transformation process also proposes a spatial design narrative strategy for this study to solve the problem of museum fatigue. This qualitative study uses ethnography to understand the Taoist and ritual-influenced tomb culture of the Mawangdui Han Tombs, followed by a phenomenological analysis of the museum (lived space). The research results show that a reasonable spatial layout, coherent narrative clues, and a multi-sensory interactive experience significantly improve audience concentration and reduce fatigue. This study provides practical design suggestions for future historical and cultural exhibitions.

Based on the narrative perspective, this paper studies the spatial characteristics and cultural significance of the Shike Ancestral Hall in En Village, Guangdong, as a sacred building. By drawing on Lefebvre’s theory of spatial production, the physical space, cultural value, and community sentiment of the Shike Ancestral Hall are linked to explore its role in the sense of place, clan memory, and cultural identity. The study found that the combination of perceived, conceived, and lived space gives the Shike Ancestral Hall profound social, cultural, and religious significance. The ancestral hall is not only a material existence but also a vital link to maintain the emotional and cultural identity among clan members. Through the multi-sensory experience of the building, including light, sound, touch, and smell, the unique atmosphere of the sacred space is revealed, further deepening the need for sustainable development and protection of cultural heritage.

Museum space narrative continues to develop today. The exhibition is not only a means of display but also a means of narrative. Paying attention to the narrative means we must pay attention to the energy "field" of the spatial narrative. In the spatial field, an object with some internal force exerts a force on the object it is not touching, and the latter responds to that force, and the two interact and form an energy field. This also means the spatial narrative design must establish a more diverse relationship between exhibits. Exhibits must be appropriately combined according to the narrative logic, and the relationship between exhibits and space, exhibits, and audience must also become more dynamic, flexible, and dramatic. Currently, there is little research on the energy "field" in the narrative design of museum spaces. In the past, the monotonous experience of a museum has been that each space is neat and uniform, which can easily lead to aesthetic fatigue. The relatively simple narrative form of the museum leads to the problem of low audience experience and participation. It cannot meet modern people's museum experience and spiritual pursuit needs. Therefore, this study aims to clarify the representation of its energy field by using the theory of spatial narrative, and especially to explore how the concept of "field" can be used to explore the relationship between space and the narrative of Hunan Provincial Museum. This study adopts the method of field investigation, and the exhibition of the Mawangdui Han Tomb in the Hunan Provincial Museum is the focus of the study. Documenting the components of the energy field: exhibits, exhibition Spaces, and narratives. The analysis results show that the museum is the place of spatial narrative, and the space is both the coordinator and the result of the generation of the exhibition structure, which gathers scattered energy together to build a complete energy field. Paying attention to the display of the energy field can improve the audience's experience and participation, which proves to be beneficial to the long-term development of the museum.