位於台東市西北的公東高工，1960年由白冷會錫質平神父（Hilber Jakob）創校，同年由瑞士建築師達興登（Dr. Justus Dahinden）進行校園整體規劃與建築設計。配置規劃上，採用斜四十五度的佈局方式來呼應與都市的關係。其次由東邊聖堂大樓、南邊辦公大樓與西邊教室大樓共同圍塑三合院空間，並利用校門口軸線與往工廠區的次軸相互錯置，將合院角落部分鬆開引入動線，創造以三棟大樓圍塑出的動態校園中心空間。

在建築部分，公東校舍不僅反映出達興登對於現代主義理想與原則的熟稔，更以自身的設計邏輯表述，顯示出柯比意粗獷混凝土手法對其之影響。其中又以樓高四層的聖堂大樓最為精彩。此作品以兩種不同的現代建築論述，將多重機能與空間變化整合於一長方形體中。面對一至三層樓的實習工廠、教室及宿舍等世俗空間時，以現代主義的功能概念安排；頂層的小教堂宗教空間，以情感性的象徵主義手法進行構成。微暗的小教堂空間運用斜面屋頂、噴置粗面水泥砂漿的牆面、聖壇微光和線性天光共引的神聖主軸，加上鑲彩玻璃窗與清水混凝土和原木共組之座椅，創造出一種厚重、靜謐的聖堂空間，與廊香教堂和拉圖黑修道院（Convento de La Tourette）的空間氛圍與手法不謀而合。

此外，達興登亦與結構技師Dr. Schubiger合作，採用當時台灣少見的板構造。在施工上不僅省去一半的鋼筋用量，更克服當地只能用小號鋼筋之難處。在形式上，因應地域營造條件所形成的厚重粗糙板牆，正凝塑出宗教建築特有的空間品質與氛圍。而同時透過此構造系統整合工廠、教室、宿舍與小教堂各種不同尺寸與空間需求，並由此具現清水混凝土裸露原始材料的粗獷語言。使作品看似為一穩定的結構構體，實質上卻具有相當動態與彈性的空間組織，最終達成結構、空間與形式三者明晰合一的現代建築理想。此作品的影響力透過吳明修建築師於當時《建築》專業雜誌的介紹，跨出了台東地理上的侷限；提供當時建築師追尋現代建築論述與實踐相當重要的實際參照，更與當時台灣一系列由國外或本地建築師所設計的教堂建築作品，形成一股現代主義美學在地化的精神實踐。（文／黃少妤）

Kung-Tung Technical Senior High School, located in northwestern Taitung City, was founded by Father Hilber Jakob of the Bethlehem Mission Society, and the campus master plan and architectural design was undertaken by Swiss architect Dr. Justus Dahinden in the same year. The site plan addresses the relationship with the city with a 45-degree turn. The chapel building to the east, office building to the south and classroom building to the west form a three-sided courtyard house configuration. An offset of the axis at the school gate and the secondary axis leading to the factory cluster loosens a corner in the courtyard house and introduces a line of circulation, creating a dynamic space at the center of the campus circumscribed by the three buildings.

The architecture of the campus complex reflects, in addition to his prowess in modernism ideals and principles, Dahinden's own design logic and statement that evidence the influence of Le Corbusier's brutalist approach to the use of concrete. The result is especially spectacular in the four-story chapel building. It represents two different discourses in modern architecture, integrating multiple functions and spatial transformation into one single rectangular block. The functionalist idea in modernism is applied to the secular spaces from the first to third floors including the intern factories, classrooms and dormitories, whereas the religious space--chapel at the rooftop--is composed with an emotive symbolist approach. Inside the dim space of the chapel and complemented by the stained glass and pews made of wood and as-cast concrete, a slanted roof, walls sprayed with rough-textured grout and the sacred axis formed by the soft light at the altar and the linear daylight create a grounded and serene spiritual space. The tactic and resulting ambience bear an uncanny resemblance to the Chapel of Notre Dame du Haut in Ronchamp and Convento di La Tourette.

Dahinden also collaborated with structural engineer Dr. Schubiger and utilized beamless slab construction, an uncommon technique in Taiwan at the time. This not only cut the use of re-bars by half but also helped overcome the hurdle that only small-sized re-bars were available locally. With regards to the form, the crude and weighty slab walls as a response to the local construction limitations gave rise to the unique spatial quality and aura of religious architecture. At the same time, this structural system fuses together the varying sizes and spatial demand of the factories, classrooms, dormitories and chapel, thereby manifesting the language of exposed and unpolished materials expressed by the as-cast concrete. Consequently, what appears to be a well-balanced structure in fact carries a set of dynamic and flexible spatial organization, ultimately achieving the modernist ideal of the unambiguous trinity of structure, space and form. Thanks to architect Ming-Shiou Wu's write-up in the trade journal Architecture, the influence of this work spread beyond the geographical boundary of Taitung. In addition to serving as a crucial real-life reference for architects exploring discourses and practices in modernism, the project together with a series of churches designed by local or foreign architects at the time form a body of works that encapsulated the localized realization of modernist aesthetics. (by Shao-Yu Huang)