移植現代性-論戰後台灣的現代建築

Abstract

為了回應當代對戰後台灣現代建築的探究，本文以歷史研究為基礎，重新建構方法檢驗「建築是特定社會的產物」之概念脈絡。本文嘗試從1970年日本大阪萬博會的中華民國館設計爭議切入，重回當時國家與社會動盪的局勢中看建築的能動性。宏觀的敘事從1970年前後開展多向的視域，這些段落重建歷史脈絡使建築透明，藉此我們檢視建築如何跟國家的政治經濟、社會變化、文化認同之間產生關係。這樣的現代建築看起來是一種物質空間的形式，實質是一種流動空間，同時是一種制度。作者於本文結論中反思本文敘事脈絡，建構移植現代性的論述，並強調當代的建築專業須重構認識論的方法檢視「現代–建築–歷史」可能的力量與流變，以重新理解戰後台灣的建築與現代性。

To respond to the questions of Modern Architecture in postwar Taiwan, this paper is based on the research of history. The approach is reconstructed for re-contextualizing the concept of “architecture is the product of specific society”. Reconsidering the architectural agency, the arguments of the Pavilion Republic of China design in the Osaka Expo in 1970 are reviewed under the conjugation of the nation-state and the society. To begin with macro-narrative before and after 1970 is to re-create the multiple visions. These paragraphs reconstruct the context of history to visualize the transparency of the building. Through it, we are able to see the connections among the building, the nation’ s political economic negotiations, social transformation, and the cultural identity. This kind of modern architecture looks like a physical space with modern form; in fact, it is a flowing space and an institute. In the conclusion of this dissertation, the historical context is examined to construct the discourse of Transplanting Modernity. Author emphasizes that the contemporary architectural profession should re-construct epistemological approach of seeing the possible initiative and transforming within “modern-architecture-history” to re-understand Architecture and Modernity in postwar Taiwan.