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題名 | 斯地降臨!﹖:東海神話暨其早期建築設計論述(1950年代末至1960年代中)=Has Come the "New World"﹖!--Myth of Tunghai and Its Early Discursive Formation of Architectural Design (L1950s-M1960s) |
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作者 | 蕭百興; Hsiao, Pai-hsing; |
期刊 | 城市與設計學報 |
出版日期 | 19980900 |
卷期 | 5/6 民87.09 |
頁次 | 頁63-104 |
分類號 | 922.8 |
語文 | chi |
關鍵詞 | 建築史; 建築設計史; 臺灣; 論述分析; 空間性; 空間; 異質地方; 依賴的現代性; 神話; 結構理性主義; 東海大學; Architectural history; History of architectural design; Taiwan; Discursive analysis; Spatiality space; Heterotopia; Modernity of dependency; Myth; Structural rationalism; Tunghai university; |
中文摘要 | 「設計」在戰後台灣的建築學院中,早已建立起幾近神聖的歷史地位。這種現象與台灣戰後特有的依賴現代性情境脫不了關係:在國府地緣政治依賴脈絡下,西方各種「改良」的現代主義陸績輸入了台灣的建築學院,從而開展了一段第三世界建築學院藉由設計論述展露主體意慾的歷史過程。其中,由陳其寬及青年漢寶德等東海建築系師生於1950年代末至1960年代中在大度山頭藉由真實空間的營造、表徵的空間的實踐、以及空間表徵的建構所揭示之「更」為現代的「結構理性主義」設計論述,承續了1950年代金長銘等建築知識份子的努力,乃是台灣建築學院設計論述日益美學化、並形成忽略空間性神話的重要關鍵。本文旨在對此設計論述淪為魔咒的關鍵過程作一論述形構的系譜考掘,除希望闡明爾等設計論述所產生的空問性基礎、以及所蘊含的文化邏輯與歷史社會意涵外,亦希望能因此開放「設計」的象徵性意義,以為下階段「學院」.設計教育提供另類可能的視野。 |
英文摘要 | As a newly established discipline, 'Design' has acquired its historical position, which is nearly holy and mystical, in the architectural academies of postwar Taiwan. The causes that resulted in the phenomena had their complicatedly social-historical origins, which were closely related to the condition of the dependent modernity of postwar Taiwan. Under the structural context of geo-political dependency, so many different editions of the improved modemisms of the 'western' world had been imported into the academic world of Taiwan. It had had so great advantage to develop different discursive practices in Taiwan's academies. Among so many discursive practices, the propagation of the 'more' authentic and authoritative modern architecture by Chi-kuan Chen, young Pao-te Han, and their colleagues and students at Tunghai University from the late 1950s to the middle 1960s was a very important one. By using the building of the real space, the practicing of the representational space, and the manipulation of the representation of space, they constructed the architectural-design discourse of structural rationalism. Though their attempts were to solve the problems that were generated by the material limitation existed in agricultural Taiwan, their practices paradoxically consolidated the ahistorically and antisocially aesthetic approach which had been set up by Changming Chin in 1950s, and resulted in the ignoring of the meanings ofspatiality. The writing of this paper aims to display the concretely historical process of the formation of the architectural-design discourse of early Tunghai. Therefore, we can attempt to demystify the ideological clouds obscuring 'design', to release the magically symbolic power of 'design', and to suggest openly an alternative horizon for the design teachings in Taiwan's architectural academies. |
本系統之摘要資訊系依該期刊論文摘要之資訊為主。