A display usually appears in museums, or quasi-museum institutions, or places exhibiting particular collections. Within this category, it is philosophically framed as an abstract box of displayness showing particular perspectives and phenomena of objects. Architecture, as one representation of displayness, registers twofold meaning of containing displays and/or being displayed. From a perspective of arts and cultural-political management, architecture therefore suggests the semiotics of epistemological transdisciplinarity and positional perplexity, which hints at a key process once it is musealised (becoming like a museum). In excavating the musealising institutionalisation of architecture that pragmatically identifies the displayness as one factor in managing Asian culture and the arts, this paper asks questions about its phenomenal methodologies, representation and concerns. Architecture as one vital and most direct and visual cultural forms in Asia is taken as an analytical platform in this study in order to further decode the cultural complexity which is argued to be less comprehensible when it is examined by normal 'Western' logic. This paper argues that a form of epistemological transdisciplinarity has begun phenomenal in an Asian context. Through a critical examination of select empirical cases in Asia, this paper strategically proposes four contextual theorisations, which are notionally discoursed through the questioning of the displayness of Asian architecture in terms of creation, preservation and conservation.