0

訂閱當期季刊

實構築季刊 - 亦舊亦新 Future of the Past
電子版試讀

著名的英國建築史家Reyner Banham（1922-1988）曾在1962年出版的《Guide to Modern Architecture》書中說道，在當時不但關於建築該如何被欣賞的文章很少，建築評論家被看不起，而且建築師與大眾之間亦壁壘分明，建築師的作品只有其他建築師能理解，大眾對於建築師圈內認為的好作品總是抱持敵意，一般媒體上總是批評這些作品空洞乏味。對照Banham近五十年前的觀察，至今日仍差異不大，建築師專業與一般大眾距離仍然遙遠。Guide to Modern Architecture問世前兩年，Banham出版了《Theory and Design in the First Machine Age》，這本書源自於他1958年在Nikolaus Pevsner指導下完成的博士論文，但此博士論文卻脫離Pevsner的現代建築史觀，將義大利未來主義和蘇聯構成主義等都納為二次戰前現代建築的一部分，而形成我們今日現代建築史的常規論述。四年後，1966年，Banham在Jürgen Joedicke鼓勵下出版《The New Brutalism: Ethic or Aesthetic?》一書，此書為其1955年為《The Architectural Review》所寫的〈The New Brutalism〉一文的延續，就此成為粗獷主義建築的經典著作，他也藉此書對於1960年之後的國際粗獷主義熱潮提出批判。

適逢忠泰美術館和德國法蘭克福建築博物館合辦《SOS 拯救混凝土之獸！粗獷主義建築展》，本期實構築季刊特別企劃「亦舊亦新」，除了刊登1960和1970年代台灣重要粗獷主義建築的設計原圖外，也刊登四件具有粗獷主義況味的當代建築作品：田中央的沙丘、大元的臺大次震宇宙館、廖偉立的礁溪教會和璞園的初心園。

《SOS 拯救混凝土之獸！粗獷主義建築展》呈現了二次戰後全球性建築文化的形成過程，它與冷戰、電視機、搖滾樂和學生運動同步。這個展覽讓我們有機會對於全球性文化現象，重新進行理解，並反思它們正面臨的歷史保存問題。粗獷主義建築不但是過去式，也是未來式！

台灣在1960年前後，開始出現國際粗獷主義建築；同樣地，柯比意亦是最主要的影響來源，比如公東高工（達興登，1959-60）、臺北醫學院（吳明修，1961-66）、省立護專文教大樓（今國立台北護理健康大學城區部文教大樓，基泰）（高而潘，1961-63）和四結教會（劉明國，1964-66）、新淡水高爾夫球場（高而潘，1969）、中原建築系館（中原理工學院建築系＋黃寶瑜，1972）和華視大樓（高而潘，1983）。其中公東高工不但最早，且值得較深入討論。丹下健三在八里觀音山腳下所設計的聖心女中（1967），則是一件奇特的作品，有突破柯比意窠臼之意。首先，這建築雖然擁有顯而易見的柯比意式的細部，如混凝土灌鑄之粗大落水口，然而其建築物粗糙表面卻不是由清水混凝土所澆鑄而成，而是使用洗粗礫石而成。其次，其善用山坡地形而組織出的多方向性配置，其實更近於奧托，而非柯比意，尤其餐廳棟的放射狀平面和行政棟的三樓陽台的處理，更可見奧托建築的投射。最後，其使用大小不一、各有個性的五座垂直塔樓，作為宿舍、餐廳、橋廊和行政樓等四棟水平性建築物之連結，反映的是日本代謝派可無盡延展的主張。

此外，台灣亦有少數建築，反映對美國粗獷主義建築的影響，尤其與王大閎同時間就讀哈佛的魯道夫（Paul Rudolph，1918-97）的影響，如張昌華的清大體育館（1969）和台北教師會館（1971），以及林博容的成大學生活動中心（1983）。

在1960年代至1970年代中期，台灣粗獷主義建築發展的高峰期間，除前述作品外，亦有幾件原創性極高的作品值得一提。其一為陳仁和（1922-1989）1963年完成的高雄三信家商波浪大樓。波浪大樓為一四層樓高之長方形教室大樓，因應教室採階梯狀，好讓學生有較好上課視野的考量下，將左右鄰接教室高低反轉，而形成連續高低起伏的走廊。為了空間形式達成連續性，波浪走廊全由間隔九十公分之小樑支撐，為小樑露頭不收邊樑，而由鋼筋混凝土一體灌注之座椅取代邊樑功能。左右兩側之半圓樓梯細部，亦甚可觀。波浪大樓在結構、空間和機能對應關係上之獨具創意和施工上之煞費苦心，皆為台灣戰後建築中之少見。波浪大樓之成功，得力於陳仁和對於建築工程之精湛造詣，其作品結構設計和計算皆由陳仁和親自擔任，不假他人之手。

王秋華在1972年完成的中央研究院美國研究中心（現歐美所圖書館），可能是1970年代台灣最好的建築作品之一。這件作品的革新之處在於，形式上它顯露許多影響來源，比如粗大的落水口令人聯想到柯比意，嚴謹的砌磚令人想到1920年代上半葉密斯的幾棟磚造住宅，樑柱細部朝向木構造修是與日本新傳統主義之間的連續關係等，但設計者又有足夠的操控力將它們組合成一個整體，並標識出自己的關懷：合人性的親切尺度和與環境和諧。而為適應南港特定氣候條件，外牆和屋頂為雙層構造，各式門窗也充分考慮其位置、方向、大小和遮陽，減少熱氣進屋並產生足夠空氣對流，為台灣地域主義建築之先聲。宗邁事務所1976年完成的曾文青年活動中心，亦是具有原創力之作品，主要設計者為陳邁。國際粗獷主義在台灣，也與國族主義產生關聯，其中最具代表性的作品為王昭藩設計的高雄市文化中心（1976-81，原名高雄市中正堂）。

《SOS 拯救混凝土之獸！粗獷主義建築展》呈現了二次戰後全球性建築文化的形成過程，它與冷戰、電視機、搖滾樂和學生運動同步。這個展覽讓我們有機會對於全球性文化現象，重新進行理解，並反思它們正面臨的歷史保存問題。粗獷主義建築不但是過去式，也是未來式！

In his book Guide to Modern Architecture published in 1962, the celebrated British architectural historian Reyner Banham (1922-1988) mentioned that very few articles were written on how to appreciate architecture, architectural critics were not well respected, and there was a great gulf between the architectural elite and the public. Only architects understood other architects’ works. There were usually public hostilities toward architectural projects that were well received within the architectural community. The general media always criticized those works as insane. It seems little has changed with reference to Banham’s observation 50 years ago. The architectural profession is still disengaged from the public. Banham had published Theory and Design in the First Machine Age two years before Guide to Modern Architecture. Theory and Design in the First Machine Age evolved from his doctoral thesis completed in 1958 under the guidance of Nikolaus Pevsner. His doctoral thesis deviated from Pevsner’s view of modern architecture history. Banham included Italian Futurism and Soviet Constructivism in the modern architecture cannon prior to World War II. His thesis established the general discourse on the history of Modern Architecture as accepted today. Encouraged by Jürgen Joedicke, Banham published The New Brutalism: Ethic or Aesthetic? four years later, which was a continuation of “The New Brutalism” written for〈The Architectural Review〉in 1955. The New Brutalism: Ethic or Aesthetic? became a classic on Brutalism architecture, and formed the basis of his critique of Brutalism after the 1960’s.

The title of this〈a+tec〉issue is “The Future of the Past”, coinciding with the joint exhibition by Jut Art Museum and Deutsch Architecture Museum (SOS Brutalism — Save the Concrete Monsters). It features original design drawings of Taiwanese Brutalist architecture from the 1960s and 1970s and four contemporary architectural projects with Brutalist influences, namely The Zhuangwei Dune by Fieldoffice Architects, The NTU Cosmology Hall by KRIS YAO|ARTECH, The Jiaoxi Taiwan Presbyterian Church by AMBi Studio, and The House for Beginner’s mind by Pauian Archiland.

Like the rest of the world, International Brutalism began to emerge in Taiwan around the 1960’s, and Le Corbusier was the main source of influence with examples from The St. Joseph’s Kung-Tung Technical High School designed by Dr. Justus Dahinden (1959-60), The Taipei Medical College (now Taipei Medical University) by Frank Ming Hsiu Wu (1961-66), The Education Building at Taiwan Provincial University of Nursing and Health Science (now The National Taipei University of Nursing and Health Science Downtown Campus) by E.P. Kao (1961-63), The Presbyterian Sihjie Church by Min-Ko Liu (1964-66), the club house at The Taiwan Golf & Country Club in Tamsui by Da-Hong Wang (1963), and the CTS Kuang-Fu Building by E.P. Kao (1983). The St. Joseph’s Kung-Tung Technical High School was the earliest and worthy of further discussion. Moreover, Kenzo Tange’s Sacred Heart High School for Girls (1967, formerly Taipei University of the Sacred Heart) at the foothills of the Kuanyin Mountain in Taipei’s Bali District was a unique project with its ambition to surpass Le Corbusier. First of all, despite familiar Corbusian details such as the rustic cast concrete spouts, the building’s rough surfaces were formed from washed coarse gravel instead of architectural concrete. Secondly, the architect’s skill in utilizing the hillside topography to organize multidirectional configurations was more reminiscent of Alvar Aalto than Le Corbusier, especially in the radiating plan of the cafeteria building and the treatment of the third-floor balcony in the administrative building. Last but not least, Tange’s use of vertical towers connecting four horizontal buildings reflected the Japanese Metabolist advocacy for endless extension.

The development of Brutalism in Taiwan reached its zenith during the 1960s through the mid-1970s. Besides the aforementioned works, there were several works worth mentioning due to their originality. The Wave Tower at San Sin High School of Commerce and Home Economics, Kaohsiung designed by Ren-He Chen (1922-1989) in 1963. The Wave Tower was designed as a four-story, rectangular volume. Considering better sightlines for students during classes, the direction of the tiered seating was reversed in adjacent classrooms, resulting in continuously undulating corridors. To achieve spatial continuity, the undulating ramps of the corridors were supported by concrete T-beams spaced 90cm apart. An integrated poured-in-place concrete seating was conceived structurally to replace the need for edge beams. The details of the semi-circular spiral staircases on either sides were especially impressive. The originality of the Wave Tower comes from the high level of integration between structure, space and function. The realization of the work through its painstaking execution in construction was a rarity in post-war Taiwanese architecture. The success of the building is an outcome of Ren-He Chen’s accomplished mastery over architectural engineering. He personally participated in every phase of the design and the structural calculations were done in-house.

Center for American Studies of Academia Sinica, (now The Institute of European and American Studies Library) completed by Chiu-Hwa Wang in 1972 was probably the most outstanding architectural work of 1970s in Taiwan. The work revealed various sources of influences through its formal expression. The large water spouts referenced Le Corbusier’s design, the meticulous brickwork recalls Mies’s brick homes in the first half of the 1920s, and the wooden ornamental details in the columns made connection to Japanese Neo-Traditionalism. But the innovation came from the architect’s powerfully control and integration of these elements into a holistic composition. At the same time, the work demonstrated a personal dedication to the intimacy of human scale and architecture’s harmony with the environment.

The Tsengwen Youth Activity Center completed in 1976 by Fei & Cheng Associates is another work of originality lead by chief designer Mei Cheng. International Brutalism in Taiwan was also a vehicle of Nationalism, and the most prominent example is The Kaohsiung Cultural Center designed by Chao-Fan Wang (1976-81), formerly the Kaohsiung City C.K.S. Hall.

presents the formative process of global architectural culture after World War II, along with the simultaneous development of the Cold War, the ubiquitous television, rock music, and student activism. This exhibition gives us an opportunity to interpret the phenomenon of globalization all over again, while re-examining the issue of the preservation of history. Brutalism is not only a past tense, but a future we should pay attention to.

更多作品或文章More Article
全部季刊All Magazine