空間元素的並列到調和：以日治時期井手薰主導之建築活動為例

Abstract

本文企圖由社會氛圍與建築空間產生明顯轉變的日治時期1920~1930年代著手，透過擔任總督府營繕課長與台灣建築會會長的井手薰為引線，針對他所主導的三棟官方公共建築：建功神社、台灣教育會館和台北公會堂，序列化觀察其作品前後關係與轉變，納入社會文化層面之交互影響，並與相關的人物、建築相比較，進行整體性理解和分析，思考建築家如何跨越文化藩籬，由建築的學習模仿到運用、創作的過程。 井手薰在台灣這個殖民特殊場域的建築家生涯，受總督府限制下，亦須顧及台灣有別於日本的風土與文化成分，他如何回應呢？過去被人忽略的繪畫展示空間特色為何？本論文主要利用空間分析和比較的觀點，放入該建築成立的脈絡下，藉由建築與社會脈動進行整體性觀察，凸顯井手薰及其作品以往為人忽略的特點，藉此反映這些日治時期公共建築，在台灣近代建築史發展過程中的積極意義，並深化我們對井手薰和其建築作品的認識。

This thesis attempts to focus on the architecture projects leaded by the Japanese official architect, Ite Kaoru, especially during 1920s-1930s under the Japanese rule, when a specific turn of the socio-cultural atmosphere and architectural space occurred in Taiwan. Three of Ite’s leading architectural practices are emphasized here for their representativeness of this era: Kenko Shrine, Taiwan Educational Institute and Taipei Civic Hall. These three buildings are observed and compared particularly with notice of their interactions with the society, in order to specify their connections and apparent differences. A comprehensive application of spatial analysis is adopted to understand and find out how the architect dealt with the cultural and environmental differences between Taiwan and Japan. As an architect, Ite Kaoru was confined under the colonial official regulation, but he still concerned about the local factors. How did he react to such chasm? What are the critical elements of Ite Kaoru’s works which were overlooked before? Therefore, through this research, certain positive meanings of these public buildings in the development of Taiwanese colonial modern architecture can be reflected, with a deeper understanding about Ite Kaoru and his architectural practices at the same time.