粗犷与诗意 台湾战后第一代建筑的多元与囿限

Rustic and Poetic Diversity and Constraints of the First-generation Post-war Architecture in Taiwan

文章试图分析与王大闳、陈其宽同一代的台湾建筑师如何在当年特殊的政治经济氛围下从事创作。他们创作的高峰期约略在1950年至1970年之间。这代建筑师大致可以被归纳为三种类型:其一是跟着败退的国民政府来到台的外省籍建筑师;其二是日据时期在台湾接受日式教育,随后赴日本求学的建筑师:其三是因西方教会来台湾引介而来的外国建筑师。当年的台湾建筑界,呈现出既极权又开放的现象,加之整个营建体系仍处在一初期发展阶段,因此建筑师只能用有限的技术与材料来表现建筑,今天以回顾的眼光来看,会发现它们共同形成了一个粗犷与诗意的面貌,相对于当下有点"甜腻"的建筑形式,更显珍贵。

This article discusses how Taiwan Residents architects,Dahong Wang,Chen Chi-Kwan and their contemporaries,developed their practice under specific political and economic conditions.The peak of their practices is around 1950 s through 1970 s.Generally,we organize them into three categories.First category are of the ones who followed the retreat of the Nationalist government to Taiwan and are originally from other provinces in China.Second category consists of the architects who initially received Japanese education in Taiwan and moved on to Japan to further their studies.The last category includes foreign architects who were introduced to Taiwan through western churches,influential ones such as Justurs Dahinden and Kenzo Tange.In those days,the development of architecture in Taiwan can be considered totalitarian and open at the same time.And the construction system still remained at its initial stage.Architectural design was limited to available technology and materials.In retrospect,one can observe a sense of rustic and poetic in the appearance of their works,which is rather precious in contrast to the excessive architectural forms today.