八里觀音山腳下的聖心女中（1967年竣工，原名聖心女子大學）為日本建築師丹下健三（1913-2005）於海外第一個完工的作品。此作不僅可視為柯比意粗獷主義路線在台灣最顯著之代表，更是現代主義結合日本代謝派理念在台實踐最重要的地域性作品。丹下提出對校園的概念是人與人能在預期與不預期的趣味空間中不斷交流；老師和學生間的接觸不應受到九十度的限制，應多角度的延展，讓建築成為一種代謝物，創造出許多輕鬆並豐富的行為空間。其對於基地環境的主張以順應地形為原則，善用山坡地形與南北方位，組織出多方向性的建築群體配置，正是將校園本體概念反應於空間策略上，依此邏輯鋪陳出整體的空間架構。

首先運用機能主義原則，將每棟建築體因機能差異形塑出可辨識的個別空間型態。進而置於環境架構中，衍生出不同層級與形式的戶外空間。量體高度則統整以三層樓為限：最高量體為行政（現為修道院），次高為餐廳、宗教與聚會空間（現為靈修中心）與宿舍，最低則為廊橋。三種高度構體彼此以室內戶外空間穿透交錯，使機能活動與空間經驗有更豐富的交匯。為滿足有彈性且有秩序的校園發展需求，丹下設置五座各有特性的垂直塔樓，作為服務承載量控管點，並以橋廊水平性地連結各方向主體建築。當空間使用量超過需求時，新的單元（垂直塔樓）將會如細胞分裂般再度產生，建構出新的機能區域體，正反映出日本代謝派可延展擴張的機制。雖然校園規劃僅完成原計劃的三分之一，但這場現代主義與代謝派的精彩對話過程，仍可在多重尺度下的環境配置、量體群架構、實虛體交錯間清晰地被經驗與閱讀。

在建築構造部分，現代主義的語法可從宿舍與餐廳屋頂除去表面裝飾並以裸露樑柱系統的反樑表現探見；以直觀地反映結構力量作為本質的傳遞。此外，建築體雖有顯而易見的科比意式細部，如混凝土灌鑄之粗大落水口，粗糙外牆面與梯間引入光線的做法等，但因在台施作材料紋理表現不如預期，原預計延續柯比意在粗獷主義上對混凝土材料的詮釋，則遂以洗粗礫石取代，成為一種對於在地工法適切性的回應。丹下便利用此表面材的細緻變化——質感不一的洗石子或粗粉光、細粉光等，強化了空間中的統整性並帶出精巧豐富的細部體驗。（文／黃少妤）

Sacred Heart High School for Girls (completed in 1967, formerly Taipei University of the Sacred Heart) is situated at the foot of Guanyin Mountain in Bali. It is the first work by Japanese architect Tange Kenzo (1913-2005) to be completed overseas. Not only can it be viewed as the emblem of Corbusian brutalism in Taiwan, it is also the most important realized regionalist work in Taiwan that fuses modernism and Japanese Metabolism. Here, Tange argues the campus is about enabling people to continuously interact in expected and unexpected spaces of interest; contact between teachers and students should not be confined to 90-degree angles, but rather span out into multiple angles. Architecture becomes a kind of metabolite, creating many loose and rich behavioral spaces. His proposal for the site is to follow the original topography as a principle; the hill topography and north-south orientation are leveraged to organize building volumes in multiple directions. Thus, the overall spatial structure is laid out according to the logics of reflecting the campus ontology onto the spatial strategies.

First, the principles of functionalism are applied to shape every building into identifiable typologies of individual spaces based on functional differences. The same principles are then put in place within the environmental framework to derive outdoor spaces of varying hierarchies and forms. The building heights are consolidated and capped at three stories: the tallest volume is the administrative building (now convent), followed by the restaurant and religious and gathering spaces (now meditation center), and finally the linking bridges. The indoor and outdoor spaces within the three structures with three different heights crisscross and intersect, allowing rich confluences of functional activities and spatial experiences. To fulfill the need to develop a flexible yet orderly campus, Tange places five vertical towers, each with its own qualities, as control points for service load and then link the main structures in all directions using horizontal bridges. When the spatial load is exceeded, a new unit (vertical tower) is to be generated like a divided cell, creating a new group of functional areas--the extensible and expandable mechanism of the Japanese Metabolism. Although only one third of the original campus master plan has been completed, this remarkable dialogue between modernism and Metabolism may still be vividly experienced and read at multiple scales within the site plan, volumetric framework and intersecting solids and voids.

With regards to the structure, modernism vocabulary may be found in the de-ornamentation of the surfaces of the dormitory and restaurant roof and expression of inverted beams in the exposed post-and-beam system; conveyance of the essence is achieved through intuitive reflection of the structural forces. In addition, although details like the large cast-concrete openings, rough exterior wall surfaces and introduction of natural light from the stairs have clear Corbusian roots, adaptation to local construction techniques is also evident. Namely, textures expressed by the materials in the way they were put together in Taiwan could not meet the original expectation, so Le Corbusier's brutalist interpretation of concrete as a material was replaced with an exposed rough aggregate finish. With refined variations of this surface material--differing textures in exposed aggregate or fine or rough plastering, Tange manages to cement a spatial consistency and shape refined and abundant experiences with the details.（by Shao-Yu Huang）