由陳仁和建築師（1922-1999）設計，於1963年竣工。畢業於日本早稻田大學專門部建築科（1945）的陳仁和，承接嚴謹的日本現代主義訓練，在面對當時台灣戰後社會語境與建築系統轉異的狀態下，以獨特的形式語彙建構出一種當時當地的建築陳述。波浪大樓為一四層樓高之長方形量體，配置坐東朝西，正面具西曬問題，乃於西側安置懸挑廊道，以為調節並同時反應南台灣當地氣候。此挑廊的波浪形式，實屬於機能安排與結構實驗性下的呈現，而非形式主義的先驗置入。
由於波浪地板可形成階梯教室；浪的低點是講台，升高處為座位，此安排不僅解決上課視線的問題，且左右鄰接的教室單元以背靠背方式排列，創造出波浪重複韻律的走廊，延伸至南北端的半戶外半圓螺旋梯作為動態收頭。在如此空間構成的需求下，運用模矩化的結構系統：走廊以九十公分T形小樑為模矩最小單元展開安排，於270（90x3）公分處落東西向小柱，1080（270x4）公分處落大柱，此位置與教室隔間牆同處因而具有穩定結構之用。視覺上，則將垂直線條統整於一，進而強化水平線條的連續動態，並於2160（1080x2）公分處輔置斜樑。層次分明的結構序列，形成一接近格子樑概念的系統，不僅成就了波浪動態的形式展演，亦勾勒出建築「力」的秩序和語彙。在結構、空間和機能對應關係上之獨創性，是為台灣戰後建築中少見之佳作。
此外，T形小樑的使用不但在構造上減少樑材、標準化樑尺寸並減輕量體感，其外露之樑頭更再現了中國屋簷的斜椽，清楚地呈現出受日本進化傳統建築思潮的影響。以混凝土材料表現原木構造形式與其質地的細部轉化，亦可從懸挑廊道的扶手與鋼筋混凝土一體澆灌之座椅，探見原為木構方式出現於中國庭園內的細節。秉持積極實用，結構清楚，材料語彙轉化的原則，陳仁和更藉顯露原始、樸實的混凝土結構，伴隨模組化現場澆灌元件的構法，將日本現代主義與粗獷主義的特質，以獨有的方式轉譯於台灣在地的真實實踐中。（文／黃少妤）
The architect of this 1963 project is Ren-He Chen (1922-1999). Chen graduated with rigorous training in Japanese modernism from the faculty of architecture, Waseda University in Japan in 1945. He crafted an architectural discourse specific to the time and place with his idiosyncratic formal vocabulary as he negotiated Taiwan’s post-war social context and transforming architectural institutions. The four-story, rectilinear Wave Tower faces westward; cantilevered corridors are placed along its front facade to modulate the western sun exposure while reflecting the local climate of southern Taiwan. The wavy form of these corridors, rather than being dictated by a priori formalism, is in fact a functional arrangement born out of structural experimentation.
The wavy floor gives form to a tiered classroom, with the valley of the wave serving as the podium and the elevated portions the seating. This configuration coupled with a mirrored classroom layout not only solves sightline issues but also creates wavy and rhythmic corridors, which extend to a dynamic finish at the semi-outdoor, semi-circular spiral stairs on the north and south termini. The spatial composition of this project warrants a modularized structural system: the 90cm T-beams at the corridor forms the smallest module and everything expands from there; posts are placed in the east-west direction at 270cm intervals (90x3) and columns at 1080cm intervals (270x4), with the positioning of the latter n conjunction with the classroom partition walls fulfilling the function of structural stabilization. Visually, vertical lines are consolidated with an eye to reinforce the continuous dynamics of the horizontals, and bracing is added at 2160cm intervals (1080x2). The highly articulated structural hierarchy acts similar to a grid-work system, setting the fluid waves into a formal performance while expressing the orderliness and lexicon of “power”. The originality found in its structural, spatial and functional relationships makes this a rare and exemplary post-war architectural work in Taiwan.
Furthermore, the use of T-beams reduces the use of material in the beam system, their standardized size lightens the massing, and their exposed ends recall the rafters in Chinese eaves, reflecting the influence on the architect of then-contemporary Japanese philosophy to modernize traditional architecture. The corridor railing and reinforced concrete seats also allude to detailing found in the wooden structures in Chinese landscaping. Chen predicates his design on the principles of proactive pragmatism, lucid structural organization and transformation of material-specific vocabulary. However, what makes his work truly unique is how he has successfully translated the qualities of Japanese modernism and brutalism into localized practice in Taiwan by accentuating crude and unadorned concrete structures using the technique of modularized cast-in-place components.
(by Shao-Yu Huang)