Tes-Nan HSIU and Chinese Cultural Renaissance
Date : 2017-04-01
(翻譯到一半)
Tes-Nan HSIU and Chinese Cultural Renaissance
By
Author: Ya-Chun Chiang, Assistant Professor at Dept. of Architecture, Chung Yuan Christian University
Published in Architectural Institute of Taiwan Magazine, issue no.86, Apr. 20th, 2017 Special Issue: "Athena of Architecture: in Memorial of Architect Tes-Nan Hsiu (修澤蘭)."
Link to the original post
Abstract
The characteristic works of architect Tes-Nan Hsiu embodies diversity. It enriches the postmodern looks of post-war architecture in Taiwan. In just two decades between 1959 and late 1970s, the grand spectrum of "images" of her works include her reading, conversion, fusion and digestion of architectural languages and contemporary thoughts--including functionalism, eclectic revivalism, expressionism, organism, and garden city at the least. Take two well-known cases in the same age (1966) for example: the great difference lies between "Chung Shan Hall", the palace style, eclectic revivalism and the Chapel of St. Viator Catholic High School which infused expressionism and mysticism, one may see the intense synchronicity and rich imagination
修澤蘭建築師作品的表徵多樣性，豐富了台灣戰後建築現代化樣貌，其巨大的建築「意象」光譜，在1959到1970年代末的近二十年間，至少涵蓋了對機能主義、折衷復古主義、表現主義、有機主義、花園城市等建築語言與思潮的閱讀、轉換、融合及消化，此間巨大的差異性，單就「紀念性」表述這一角度來看，就可在廣為人知且建於同一年代(1966年)的折衷復古主義的宮殿式建築「中山樓」，及融合表現主義及神祕主義追求的「衛道中學聖堂」兩案，窺見存於其間的「同時性」張力與豐沛的想像力。此現象凸顯了修澤蘭的建築實踐很難擺在西方中心論及建築語言「純粹性」的時代精神對應邏輯中分析，反而放諸台灣戰後的時代脈絡中理解，或可是個路徑，其正適以反映亞洲國家在建築現代化過程中呈現的矛盾、複雜與在地碰撞的樣貌及回應，以及專業現代性發展處在橫的移植而非縱的繼承之特殊狀態。據此，本文將不以全觀式的書寫(也無法)來進行修建築師作品與角色的時代閱讀，而是根據Manfredo Tafuri所提示「建築乃是種制度」 (architecture as an institution)出發，引援Pierre Bourdieu將建築師視為「文化代理人」(cultural agent)[1]的概念，文章書寫起始於考察修澤蘭建築師專業學習的重要學源－中央大學建築系教育的正統性，繼之從戰後文化政治論述(中華文化復興運動)與「中國古典式樣新建築」實踐－「中山樓」切入，追尋修澤蘭的建築設計及專業角色多樣性中的一個板塊，此雖不免偏頗，然仍企望以側寫的解度浮現些許歷史圖像以感念這位對台灣戰後建築現代化運動貢獻深遠的建築師。
Tes-Nan HSIU and Chinese Cultural Renaissance
By
Author: Ya-Chun Chiang, Assistant Professor at Dept. of Architecture, Chung Yuan Christian University
Published in Architectural Institute of Taiwan Magazine, issue no.86, Apr. 20th, 2017 Special Issue: "Athena of Architecture: in Memorial of Architect Tes-Nan Hsiu (修澤蘭)."
Link to the original post
Abstract
The characteristic works of architect Tes-Nan Hsiu embodies diversity. It enriches the postmodern looks of post-war architecture in Taiwan. In just two decades between 1959 and late 1970s, the grand spectrum of "images" of her works include her reading, conversion, fusion and digestion of architectural languages and contemporary thoughts--including functionalism, eclectic revivalism, expressionism, organism, and garden city at the least. Take two well-known cases in the same age (1966) for example: the great difference lies between "Chung Shan Hall", the palace style, eclectic revivalism and the Chapel of St. Viator Catholic High School which infused expressionism and mysticism, one may see the intense synchronicity and rich imagination
修澤蘭建築師作品的表徵多樣性，豐富了台灣戰後建築現代化樣貌，其巨大的建築「意象」光譜，在1959到1970年代末的近二十年間，至少涵蓋了對機能主義、折衷復古主義、表現主義、有機主義、花園城市等建築語言與思潮的閱讀、轉換、融合及消化，此間巨大的差異性，單就「紀念性」表述這一角度來看，就可在廣為人知且建於同一年代(1966年)的折衷復古主義的宮殿式建築「中山樓」，及融合表現主義及神祕主義追求的「衛道中學聖堂」兩案，窺見存於其間的「同時性」張力與豐沛的想像力。此現象凸顯了修澤蘭的建築實踐很難擺在西方中心論及建築語言「純粹性」的時代精神對應邏輯中分析，反而放諸台灣戰後的時代脈絡中理解，或可是個路徑，其正適以反映亞洲國家在建築現代化過程中呈現的矛盾、複雜與在地碰撞的樣貌及回應，以及專業現代性發展處在橫的移植而非縱的繼承之特殊狀態。據此，本文將不以全觀式的書寫(也無法)來進行修建築師作品與角色的時代閱讀，而是根據Manfredo Tafuri所提示「建築乃是種制度」 (architecture as an institution)出發，引援Pierre Bourdieu將建築師視為「文化代理人」(cultural agent)[1]的概念，文章書寫起始於考察修澤蘭建築師專業學習的重要學源－中央大學建築系教育的正統性，繼之從戰後文化政治論述(中華文化復興運動)與「中國古典式樣新建築」實踐－「中山樓」切入，追尋修澤蘭的建築設計及專業角色多樣性中的一個板塊，此雖不免偏頗，然仍企望以側寫的解度浮現些許歷史圖像以感念這位對台灣戰後建築現代化運動貢獻深遠的建築師。