Taiwan received economic aid from the United States from 1951 to 1965. Consequently, Taiwan became integrated into the “American cultural sphere.” Beyond defense and military supplies, this aid encompassed infrastructure development in industrial, agricultural, transportation, water resources, power, education, public health, public housing, city planning and urban development, among various technological corporations. All government agencies were involved in US-aid-related matters, making the support widespread and representing a comprehensive infusion of American modernity.

Chinese Retro emerged in the early 20th century and gained popularity among foreign churches and charitable organizations active in mainland China. It was a manifestation of the “Chinese Indigenous Movement” endorsed by Christianity and the Catholic Church’s advocacy for “Sinicization.” The architectural characteristics involve utilizing modern materials like reinforced concrete or steel as the primary components. The exterior adopts a three-part composition, resembling the traditional Chinese wooden structure with the foundation, body, and roof. While the planning of the internal space aligns with functional needs, the overall design aims for an integration of external appearance and internal function, embodying a unity of form and utility.

The architecture of Chinese Modern in Taiwan initiated by several architects, lacked official endorsement. Even the architects involved had limited interactions with each other. The approach of Chinese Modern rejected the idea of imitating or reviving traditional Chinese architecture and did not conform to Western modern architecture. Instead, it meant to fulfill the responsibility of promoting Chinese culture by incorporating the essence of traditional Chinese architecture and autonomously creating modern architecture with a distinctly Chinese character.

Since the late 1950s, rapid economic growth, urban expansion, and other significant social changes have been commonly experienced by the majority of the population in Taiwan. Rooted in Taiwan’s unique modernization process, the emergence of “Regional Modernity” in architecture deliberately disregards grand narratives of nationalism and seeks to embody the modern experiences of individuals or small groups. At the same time, these buildings widely absorb influences from Europe, America, and Japan, embodying a rich and diverse local architectural experience and fully demonstrating Taiwan's unique position as a crossroads of East Asia.

“Outliers” refer to works that deviate from the norm or context, appearing somewhat abrupt compared to mainstream design trends of the time, and are unable to be categorized. Regardless of whether the architects were foreign or local, they reflect the designers’ self-assured expression and imagination. The existence of these outliers is thought-provoking, not only highlighting the transformation, compromise, hesitation, and divergence of “modernity,” but also may refer to another kind of typicality, adding a dialectical trait to the development of architecture in Taiwan.

As Taiwan experienced economic growth and urbanization, significant transformations occurred in people’s lifestyles. In 1956, approximately 33% of the population resided in cities with a population exceeding 50,000. By 2000, this percentage had surged to 78%. Meanwhile, increased prosperity and external influences spurred a shift in people’s expectations for a higher quality of living. Housing emerged as a central issue in Taiwan’s modernization, and various responses to these social and cultural challenges shaped Taiwan’s new way of life. Throughout this evolution, the private sector’s influence on Taiwan’s architectural development outstripped that of the public sector, leading to a gradual commercialization of the architectural profession.