1970年三月十五日，在日本大阪郊區吹田市，亞洲國家第一次主辦的「萬國博覽會」開幕，這是繼1964年日本舉辦東京奧運之後，日本再度展現二戰戰敗國堅定的國族國家重構表現，並藉此展現日本重塑國家形象及未來邁向現代化國家建設的意圖，而「中華民國館」（以下簡稱中國館）在萬國博覽會中，亦以其當時仍為國際承認的聯合國會員國的國家名稱參展，在這項源自十九世紀中且歷史悠久的博覽會展覽活動，自清代以來的「中國」，並不是第一次參與國家館的展覽，但歷次參展皆以「傳統中國文化」為展示內涵及空間形式，忽略了博覽會本身不斷累積的現代性追求的殘酷現實，加上「中國」在這段時間內國力不振，國家無力在此尋求新形象的建構，直至1970年的大阪萬博，當時的中華民國政府有感內政、經濟及外交、政治、貿易的多元現實考慮因素下，透過邀請貝聿銘的參與及指導，一反過去保守之傳統「宮殿式」中國館建築及展示形象，展現了具現代性意義的中國館建築，向全球展現了「中華民國」有意積極建設成為現代化國家的新形象。二年後（1972），「中華民國」被終止聯合國會員身份，亦同時失去了往後參展的機會，而貝聿銘所參與指導完成的建築無論對當時的「中華民國」時代背景而言以及對貝聿銘往後的建築作品創作而言，都是一個具有關鍵性地位的角色存在。另外，大阪萬博中國館的建築設計對貝聿銘而言是非常重要的創作轉折歷程，不幸的是隨著博覽會結束及中國館的消失，對這件幾乎為歷史所遺忘的重要作品而言，相關且必要的討論是如此的不足，因此，本文即以三個觀點分別論述：
一、中國館的設計：1950－1970臺灣在國族與國家重構為背景歷程呈現的現代性意義；
二、中國館的建築設計發展過程；
三、中國館建築設計的時代意義。（全文請見《實構築季刊》10期）
On March 15, 1970, the first “World Expo” hosted by an Asian country opened in Suita, Osaka, Japan. This was the second time Japan, as a losing nation of WWII, demonstrated its determination to reconstructing its national state after hosting the Tokyo Olympics in 1964, through which Japan also manifested its intention to reshape the national image and become a modernized country. The “R.O.C. Pavilion” (Chinese Pavilion) in this World Expo also participated under the name that was still recognized as a member state of the United Nations. It was not the first time the China as a state from late Qing Dynasty participated in the world fair first organized in the 19th century as a stand-alone national pavilion, but in the past, it had only focused on exhibits and spatial designs that showcased “traditional Chinese culture,” neglecting the cruel reality of the World Expo’s continued pursuit of modernity. Furthermore, “China” had its share of struggles during this period of time, and the state had been unable to pursue the construction of a new national image. It was not until the Osaka World Expo 1970 that the R.O.C. government considered the real domestic, economic, diplomatic, politic, and trade factors, and invited I. M. Pei to provide guidance to transform the conservative and traditional “palace-style” architectural image of the Chinese Pavilion in the past, designing a Chinese Pavilion that manifested modernity and showing the world the new image of the “Republic of China”, Oct. 1971, the R.O.C.’s UN membership was terminated, and lost the opportunity to participate in future World Expo. However, the architecture completed with Pei’s participation and guidance played an influential role to the temporal background of “R.O.C.” and I. M. Pei’s future architectural works. In addition, the design of the Chinese Pavilion at the Osaka World Expo marked a very important creative turning point for Pei. Unfortunately, as the expo closed and the pavilion removed, there has been a lack of discussion on this important work forgotten by history. Therefore, this paper aims to examine the important architectural design from three perspectives:
1. The Design process of the Chinese Pavilion: 1950-5070 The Significance of Taiwan's Modernity in the Course of National and State Reconstruction;
2. The Development of the Design of the Chinese Pavilion;
3. Temporal Meaning of the Design of the Chinese Pavilion.