主編語
Editor-in-chief’s Note

主編語

Editor's Note

王俊雄 Chun-Hsiung WANG

摘要

本期主題以「雙重重構」，對1950到1980年代的台灣建築發展進行提問。第二次世界大戰結束後，台灣的政經和社會文化環境，發生了重大的變革；同時間，台灣建築經歷了深刻的重新組構。這個重構是什麼？台灣建築的歷史重構和政經社會文化脈絡兩者之間，存在著什麼樣的關係？這是亟欲釐清的主要問題。更重要地，我們認識到，今日對於這段歷史的回望，也是對自己的一種重構行動：藉由對歷史的重構，藉由和過去之間的重新釐清，我們重新認識自己。歷史猶如一面鏡子，返照出現今的我們。

本專題曾在2022年3月以「現代與非現代」為主題的台灣建築論壇中，進行過熱烈的討論，本期收錄的五篇研究論文即具體呈現了當時研討的成果。黃冠智的〈白冷會與台東的現代教堂〉一文，追溯了一段獨特、迥異於台灣西部主流建築的地方教會建築發展史，作者以身體經驗為觀點，對其神聖空間的建構進行探索。相對於黃文著重在西方教堂新空間移植到台東的探討，接下來的三篇論文都與中國傳統移植到戰後台灣的歷史經驗有關，而且對於二戰後台灣建築的中國傳統化路線認識的拓寬，都具有相當的啟示。在〈民國與儒家：戰後台灣國家論述下的禮制建築〉一文中，黃奕智以中國朝代國家時期習用的「禮制」來論述故宮博物院、忠烈祠和孔廟等戰後建築，頗能切中在當日威權氣氛裡，這些我們今日感到空洞的建築象徵，為何對於統治者卻具有的重要意義。蔣雅君在〈自然及國族傳統的重合和試煉：盧毓駿之〈明堂新考〉到大成館的論述實踐研究〉一文中，則重新檢視了盧毓駿的觀點和實踐。盧毓駿作為蔣介石政權於國史重建計畫下建築向度表現的官方代言人角色，其對於中國建築傳統的重構，集中在對於周代「明堂」的研究，而這有著在營造學社之外另起爐灶論述中國建築傳統的時代脈絡；當時梁思成拒絕隨國民政府搬遷來台，營造學社諸論述被列入禁書，其留下的中國建築傳統論述的真空，亟待補充。盧毓駿的研究除了主要以古籍文字而非如營造學社以考古實物開展，顯得奇特之外，他還試著榫接「明堂」建築到「天人合一」哲學，好與現代建築自然論的有機主義接軌。這樣東拼西湊、削足適履的結果，蔣雅君認為似乎讓盧毓駿的努力功虧一簣。
 

郭聖傑在〈王大閎與丹下健三戰後初期的傳統論〉文中，除了突顯王大閎個人主義式的中國傳統建築現代化的觀點和路徑外，更引介丹下健三的日本建築傳統論來做比較討論，提供我們可以更寬闊來看待建築傳統論在戰後東亞的發展。相較於前面四篇較著重於建築「象徵」面的討論，沈孟穎的〈垂直居住實踐：台灣戰後1950至1980年代國民住宅計畫〉一文，則著重於現實面的討論。沈文除了鋪陳戰後台灣國宅計畫中高層化居住空間的歷史發展外，也對於相應的社會和經濟條件進行了交叉討論，並指出跟隨垂直居住帶來的諸種懸而未決的課題。最後，除了五篇通過嚴謹學術審查的研究論文之外，本期也藉「史料與評論」向讀者推介〈盧樹森與戰後初期台灣建築營造界的文化再構築（1946-1947）〉一文。該文作者翁睿宏透過對於「台灣行政長官公署」檔案的的爬梳，為我們揭露了一段少為人知的、由營建局主導的文化重構計畫，頗能與黃奕智和蔣雅君的文章相互呼應。
 

這些文章除了史料豐富而令人耳目一新之外，作者們所展現對於戰後台灣建築的認識還有一個重要特色，就是他們似乎都認為「外造」是形塑戰後台灣建築的主要力量。從白冷會對於台東現代建築的開啟，到國民政府國家機器對於台灣中國建築傳統的建構，到王大閎在台灣實驗其中國現代建築，到取自西方的國宅計劃在台灣的推行，似乎皆是以一種外力推動台灣建築發展的觀點來論述。這不禁令人好奇，這時期建築界是否有相對應的「內造」力量與之相抗？還是在這些建築論述和實踐的努力中，仍有本地因素尚待發掘？當然，這已超過本期有限篇幅所能容納的範圍之外，只能期待之後的回應了。

Abstract

This issue inquiries about the development of Taiwan's architecture from the 1950s to the 1980s through the theme of "Twofold Reconstruction." After the end of World War II, Taiwan's political and socio-cultural environment underwent drastic changes; at the same time, Taiwan's architecture experienced a profound reconstruction. What is the relationship between the historical reconstruction of Taiwan's architecture and the political, economic, social, and cultural context? This question needs to be urgently clarified. More significantly, we should realize that reviewing this particular part of history is also an action of reconstructing ourselves: by rebuilding history and reconnecting with the past, we reconnect with ourselves. History is a mirror that reflects our current images.
 

In "Societas Missionaria de Bethlehem (SMB) and Modern Churches in Taitung," Kuanchih HUANG traces the history of the development of local church architecture, which is unique and considerably different from the mainstream architecture in western Taiwan. Furthermore, HUANG explores the construction of their sacred space from the physical experience perspective. In contrast to HUANG's article, which focuses on the transplantation of the new space of the Western church to Taitung, the following three essays deal with the historical experience of transplanting Chinese traditions to postwar Taiwan. Besides, these essays are inspiring in broadening the understanding of the Chinese tradition manifested in Taiwan's architecture after World War II. In " The Republican China and Confucianism: Ritual Architecture in the National Discourse of Postwar Taiwan," Yi-Chih HUANG discusses postwar buildings, such as the National Palace Museum, the National Revolutionary Martyrs' Shrine, and Temples of Confucius in terms of the "ritual system" used in Imperial China. He provides pertinent remarks on the significance of these architectural symbols, which we find empty today, to the rulers in the authoritarian atmosphere of the time. However, in Ya-Chun CHIANG's "The Coincidence and Trial of Nature and National Traditions in Chinese Culture: A Study of Yu-Jun Lu’s Discursive Practices from Ming Tang Xin Kao to Da- Cheng Building," she re-examines Lu Yu-Jun's views and practices. As the official representative of architectural expression under the reconstruction of national history in CHIANG Kai-shek's regime, Lu Yu-Jun focused on studying the Ming Tang of the Zhou Dynasty when reconstructing Chinese architectural tradition. And the study background was that Lu aimed to discuss the Chinese architectural traditions outside the Society for the Study of Chinese Architecture. At that time, Liang Sicheng refused to relocate to Taiwan with the Nationalist government, and the publications of the Society for the Study of Chinese Architecture were banned, leaving a vacancy in the discourse of Chinese architectural tradition that urgently needed to be replenished. Lu Yu-Jun did not take archaeological objects as the starting point, as in the case of the Society for the Study of Chinese Architecture. Yet, peculiarly, his research focused on texts from ancient books. In addition, he tried to connect "Ming Tang" architecture to the philosophy of "unity of heaven and humanity" to converge with the organism of modern architectural naturalism. According to CHIANG, the result of his procrustean research made Lu Yu-Jun's effort invalid.
 

In "Concepts of Traditions in the Early Postwar Period between Da-Hong Wang and Kenzo Tange," KO Sheng-Chieh highlights Da-Hong Wang's individualistic perspective and method of modernizing traditional Chinese architecture. In addition, he introduces Tange Kenzo's concept of Japanese architecture tradition to compare and contrast with Wang's, providing us with a broader view of the development of architectural traditions in postwar East Asia. Compared to the above-mentioned four articles, which focus on the "symbolic" aspect of architecture, Meng-Ying SHEN concentrates on the practical side of architecture in her article, "Vertical Housing Practices: The Postwar Public Housing Program of Taiwan from the 1950s to the 1980s." SHEN first describes the historical development of high-rise residences in postwar Taiwan's public housing projects. Then, she discusses the corresponding social and economic conditions and points out the various unresolved issues that followed vertical housing. Finally, besides the five research articles that have passed rigorous academic review, we would like to introduce the article "Shu-Shung Loo and Cultural Reconstruction of Taiwan's Architecture and Construction Industry in the Early Post-war Period (1946-1947)" through "Historical Source and Commentary" section. Through his research on the archives of the "Taiwan Provincial Administrative Executive Office," the author, Ruei-Hong WENG, reveals a little-known cultural reconstruction project led by the Construction and Planning Bureau, which echoes the articles by Yi-Chih HUANG and Ya-Chun CHIANG.
 

These authors shed light on the research of Taiwan's architecture with rich historical sources. They further present a shared understanding of postwar Taiwan's architecture; they seem to agree that "external creation" was a significant force in shaping Taiwan's architecture. Societas Missionaria de Bethlehem initiated the development of modern architecture in Taitung. The state apparatus of the Nationalist Government established Chinese architectural traditions in Taiwan. Furthermore, Da-Hong Wang practiced his modern Chinese architecture experimentation, and the government implemented the Western public housing project in Taiwan. It was the external forces that facilitated the development of Taiwan's architecture. These historical sources may trigger further questions: Was there a corresponding and counteracting "internally-created" force in the architectural community during this period? Or are local factors still to be discovered in these discourses and practices? Indeed, the answers are beyond the scope of this issue, and we look forward to future responses.

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白冷會與台東的現代教堂

Societas Missionaria de Bethlehem (SMB) and Modern Churches in Taitung

黃冠智 Kuanchih HUANG

國立臺東專科學校建築科專任助理教授

Assistant Professor, Department of Architecture, National Taitung Junior College

摘要

1950、60年代當王大閎與陳其寬在台灣西部，以建國南路自宅（1953）及衛理會館（1959）等居住建築，追尋中國現代建築的精神性之際，白冷外方傳教會（簡稱白冷會，Societas Missionaria de Bethlehem，SMB）在台灣東部也藉由達興登（Justus Dahinden）、費宥諒（Karl Freuler）及傅義（Bro. Felder Juilius）等瑞士建築師，以天主教現代教堂的神聖空間，述說瑞士現代建築的精神性。文中描述白冷會在近代中國的變局之中，意外來到台東的過程，並探討傳承自德法的瑞士現代教堂發展歷程，作為解讀白冷會教堂的時空背景。最後以達興登的公東高工教堂（1960）、費宥諒的台東白冷會會院教堂（1966），以及傅義的小馬天主堂（1968）等作為案例，闡釋這些現代教堂如何以光及動線，表達隨著身體感知經驗探索而來的神聖空間。

Abstract

As Dahong Wang and Chi Kuan Chen designed their famous architectures such as their own house on Jien-Guo S. Road and Wesley House in Taiwan in pursuit of the spirit of modern Chinese architecture in the 1950s and 1960s, Societas Missionaria de Bethlehem (SMB) built some modern church architecture designed by Justus Dahinden, Karl Freuler and Bro. Felder Juilius, to represent the spirit of modern Swiss architecture. In this article, the background of churches of SMB is discussed on the basis of how SMB’s missonaries moved to Taitung during the period of turbulent changes in China and the development of modern Swiss church architecture influenced by Germany and France. The cases discussed in this article include the church of Kung-Tung technical senior high school (1960) designed by Justus Dahinden, SMB church (1966) designed by Karl Freuler and St. Nicholas of Myra’s church (1968) designed by Felder Juilius to interprete how light and circulation in these churches represent the sacred space perceived by physical senses.
 

關鍵字：現代教堂、白冷會、達興登、費宥諒、傅義

Keywords: modern church, SMB, Justus Dahinden, Karl Freuler, Felder Juilius

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民國與儒家： 戰後台灣國家論述下的禮制建築

The Republican China and Confucianism:

黃奕智 Yi-Chih HUANG

淡江大學建築系專任助理教授

Assistant Professor, Department of Architecture, Tamkang University

摘要

禮制，乃是一個民族與社會之政治組織、文化信仰、行為規範、社會道德和天地宇宙觀的綜合呈現。而為此而興建的建築物，也是反應了當時的政治權力組織、社會文化及信仰的物質性呈現。中國在政治上自漢武帝開始尊崇儒家以來，禮制建築變成了規範封建中國社會與文化的重要秩序象徵物。一直到1911 年滿清王朝被推翻為止，傳統的禮制建築在中國社會中，一直扮演重要安定秩序力量的角色。作為日本的前殖民地，台灣在二戰後被納入中華民國的政治體制當中。為此，作為推翻封建中國的國民政府，如何在失去中國大陸的領土後，又重新訴諸儒家的「道統」的概念，來推動如「故宮」、「孔廟」與「忠烈祠」等禮制建築的現代化，一方面藉此來推動在台灣的中國文化認同，另一方面也是合法化其治理的基礎。

Abstract

Ritual system is a comprehensive presentation of a nation's political organization, cultural beliefs, behavioral norms, social morality, and cosmological views. Therefore, buildings built for ritual practices reflect the materiality of the political power and cultural identity of the society at that time. Politically, since the Chinese Emperor Wu of the Han Dynasty began to promote Confucianism, ritual architecture has become an important symbol of order in regulating feudal Chinese society and culture. Until the overthrow of the Manchu Qing Dynasty in 1911, traditional ritual architecture played an important role in stabilizing and ordering in feudal Chinese society. As the previous Japanese colony, Taiwan was incorporated into the political system of the Republic of China after World War II. The Nationalist government, as the reformists that overthrew feudal China, resorted to the Confucian concept of "orthodoxy(道統)" after losing its territory in mainland China in order to promote its legitimacy in Taiwan. The modernization of ritual buildings such as National Palace Museum, Confucius Temples and Martyrs' Shrines not only promotes Chinese cultural identity, but also serves as the basis for legitimizing the governance of the Nationalist government in Taiwan.
 

關鍵字：禮制建築、儒家、故宮博物院、孔廟、忠烈祠

Keywords: Ritual Architecture, Confucianism, National Palace Museum, Confucius Temple, Martyrs’ Shrine

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自然及國族傳統的重合與試煉： 盧毓駿之〈明堂新考〉到大成館的論述實踐研究

The Coincidence and Trial of Nature and National Traditions in Chinese Culture:

蔣雅君 Ya-Chun Chiang

中原大學建築學系專任助理教授

Assistant Professor, Department of Architecture, Chung Yuan Christian University

摘要

本文基於國史建構論，透過東、西交軌重探盧毓駿視為「天人合一」哲學體現之〈明堂新考〉與大成館的知識論內涵。研究發現盧氏將生物學社會想像與二十世紀的現代主義機械論共構，試圖以還原論與結構理性主義再現「自然」之本真性，並轉化於「明堂」復原圖說和大成館。「衢室」隱含「庇護場所原始狀態」意涵，率直裸露的構造與空間穿透性宛若有蓋廣場，呈顯「自由中國」起源具現代主義建築特質。以人文主義機械論的「數」與模矩觀分析「明堂」台基與五室尺度與比例，說明此建築是高度文明表現，卻也將傳統的復原導向現代性之普同化認識框架。大成館以井田造形為基底結合「明堂」五室與合院，表達國族是由單一核心之有機體複製而成，具重農主義思想。借鑒萊特的有機建築觀，將其作品之細胞核心（火爐）轉換成無落柱講堂（太室），而同具「天人合一」意涵的合院，其中庭亦為細胞核心，在類比國族最小家戶單元時，串起聖人之治鏈結家國的隱喻，呼應中華文化復興運動家國一體化的道德政治理想，此原型再造於中國文化大學各校舍，成為不斷繁衍的垂直城市。惜建築室內根據三元論與可塑性發展以植物枝幹延伸之空間構成，遭遇國族外觀的面相學需求而產生斷裂性，且因忽略經驗的感知與地域性回應，並受空間論影響將建築中的人視為移動中以視覺為主體的物理性存在。最終，傳統的「天人合一」觀解離，而「自然論」的「本真」亦成為破碎殘影。

Abstract

This study aims to, through the interlaced trajectory of the East and West, rediscover the epistemological connotation of Lu’s “Ming Tang Xin Kao” and Da Cheng Guan on the basis of the notion of invention of national tradition. The study reveals that Lu has co-constructed biological social imaginary and modernist mechanisms of the twentieth century in order to represent the authenticity of “Nature” with reductionism and structural rationalism; and have them transformed in the restoration diagram. The "qu shi", which implies the meaning of "the original state of shelter", has a straightforward and exposed structure like a covered plaza, showing the origin of "Free China" and the characteristics of modernist architecture. Lu based on the humanistic mechanistic view of "number" and modular system, the scale and proportions of the base and the five chambers are analyzed, showing that "Ming-Tang" is an expression of a high degree of civilization, but it also leads the restoration of tradition to the universal assimilation framework of Western modernity. Da Cheng Guan, which is designed based on the shape of well-field system to integrate Ming-Tang’s five chambers and courtyard (he yuan), expresses the thinking that the nation is formed by the duplication of single-core organism and is physiocratic. Due to reference F. L. Wright's organic architecture concept, the cell core (fireplace) in Wright's works was transformed into a pillarless auditorium (tai shi). The atrium of the courtyard (he yuan) is recognized as the core of the cell, which also has the meaning of "Man-Nature", is compared to the smallest family unit, which is a metaphor of connecting the family and the state through the rule of the saints, echoing the Chinese cultural revival movement's moral politics. When this model is recreated in buildings of Chinese Culture University, it forms a vertical city. The asymmetrical composition of extended plant branches and rhythmic architectural form constructed based on the exterior architectural form defined by interior space functions, on the other hand, fail to co-exist in the appearance of architecture. In addition, Lu ignored the perception of empiricism and regional response, and was influenced by space theory regarding people stay in architecture as a moving physical existence with vision. In the end, the traditional view of "Man-Nature" is facing dissociation. Finally, the “Authenticity” of “Naturalism” becomes a shattered afterimage.

關鍵字：大成館、明堂、自然、中華文化復興運動、有機建築、天人合一

Keywords: Da Cheng Guan, Ming-Tang,Nature, Chinese cultural revival movement, organic architecture,Man-Nature

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王大閎與丹下健三戰後初期的傳統論

Concepts of Traditions in the Early Postwar Period between Da-Hong Wang and Kenzo Tange

郭聖傑 KO Sheng-chieh

東海大學建築學系專任助理教授

Assistant professor, Department of Architecture, Tunghai University

摘要

「傳統」，一個非西方建築發展脈絡中的永恆課題，如何詮釋傳統也是非西方建築有別於西方現代建築的一大特色。在現代建築發展脈絡中，建築師如何解釋傳統，被視為非西方建築師面對現代建築發展浪潮襲來時的一種覺醒與自我的建立，也是創造「建築」的基石。因此，本研究聚焦兩位對於台灣與日本戰後建築發展帶來重大影響的建築師，王大閎與丹下健三，期待透過作品與論述的考察，探討兩人於建築製作中的傳統論。本論雖為比較研究，但主要的著眼點並非是認識二者主張的不同；反之，本論期待探索兩者分屬不同發展脈絡中的建築師，面對同為東亞文化下所建構的傳統想像時，其建築主張的內涵與交集。本論的目的除了企圖系統性的認識兩位建築師在現代建築語境中回應傳統的主張外，更期待將過去被視為各自獨立的東亞諸國的建築發展，跨越地域的限制，透過二者傳統論內涵的交集建構對話平台，以一種更全面的視角來理解東亞戰後建築的發展。

Abstract

"Tradition" is an eternal subject of non-Western architectural development, and it is also a major feature that is different from the development of Western modern architecture. In the context of the development of modern architecture, how architects interpret "tradition" is regarded as the awakening and self-establishment of non-Western architects who face the wave of modern architectural development, and it is also the cornerstone of the creation of architecture. Therefore, this research focuses on two architects who have had a significant impact on the development of architecture in Taiwan and Japan, Wang Da-Hong and Tange Kenzo, to discuss their theory of architectural theories by researching their works and discourses. Although this research is a comparative study, the main focus is not to understand the differences between Wang and Tange; on the contrary, this research looks forward to explore the similarities between the two architects who are in different development contexts but facing the traditional imagination constructed under the same East Asian culture. The purpose of this research is not only to systematically understand the two architects’ response to architectural tradition in the context of modern architecture, but also to look forward to construct a dialogue platform which can transcend geographical constraints, to understand the development of postwar architecture in East Asia from a more comprehensive perspective.

關鍵字：東亞建築師、傳統論、建築構成、王大閎、丹下健三

Keywords: East Asian architect, Wang Da-Hong, Tange Kenzo

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垂直住居實踐： 台灣戰後1950至1980年代國民住宅計畫

Vertical Housing Practices: The Postwar Public Housing Program of Taiwan from the 1950s to the 1980s

沈孟穎 Meng-Ying SHEN

財團法人臺灣博物館文教基金會專案執行秘書/實踐大學建築設計學系兼任助理教授

Executive Secretary, Taiwan Museum Foundation / Adjunct Assistant Professor, Department of Architecture, Shih Chien University

摘要

二戰前台灣社會經過現代主義的洗禮，高層化住居逐漸成為現代建築設計核心議題。戰後當我們不假思索追求水平聚落邁向垂直城市時，似未真正理解垂直化住居帶來的挑戰。本文將採用文獻研究與歷史分析法，以戰後1950 至1980 年代國民住宅計畫為案例，闡述台灣住居從地面邁向高層化面臨的問題，以及專業者所作的嘗試與調整。並討論垂直的生活機器空間組構狀態、運輸條件與技術，以及垂直住居的圈地天空與生活風險、親近自然的權利等議題，為持續發展高層化住居的今日帶來新思考。

Abstract

Taiwan began its modernization before World War II, after which high-rise residential buildings gradually became the core issue of modern architectural design. When moving unthinkingly from horizontal settlements to vertical cities after the war, it seems that people failed to understand the challenges of vertical living. In this study, literature research and historical analysis were used to illustrate the problems faced by Taiwan in moving from ground-level residences to high-rise residences from the 1950s to the 1980s, as well as the attempts and adjustments made by professionals. This study also discussed the issues of spatial structural components, the transportation conditions and technologies of vertical living machines, the enclosure sky and risks of vertical living, the right to be close to nature, and other issues, bringing new thinking to the sustainable development of high-rise living.

關鍵字：國宅計畫、垂直城市、現代主義

Keywords: Public housing project; Vertical city; Modernism

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盧樹森與戰後初期臺灣建築營造界的文化再構築（1946-1947）

Shu-Shung Loo and Cultural Reconstruction of Taiwan's Architecture

翁睿宏 Ruei-Hong WENG

國立臺北藝術大學建築與文化資產研究所碩士

Master, Graduate Institute of Architecture and Cultural Heritage, TNUA

摘要

本文以1946 年戰後初期臺灣省行政長官公署於民政處下所特設的營建局為對象，考察1944 年國民政府為接收臺灣所擬定一系列文化再構築相關政策在臺施行的狀況，與其對臺灣建築的影響⸺戰後「文化重建政策」對建築、營造界的意義。行政長官陳儀委派曾任中央大學建築系系主任、並身兼中國營造學社校理、中國建築師學會正會員的盧樹森赴臺擔任營建局局長，盼將其在中國學術與實務上的經驗帶來臺灣，藉由盧樹森對中國建築的理解，推進臺灣建築「去日本化、再中國化」文化改造的意圖。
 

盧樹森執掌的營建局，其業務包括接收日產、復興工作、營建設計、工程監督、住宅改進、擬定法規等相關事宜。此外，盧樹森在《臺灣營造界》發表的文章中，一方面謫貶日人所興建的日式建築、一方面盼望臺灣應向祖國看齊並發揚祖國建築之美，揭示其去日化、中國化的態度。
 

除此之外，盧樹森正式上任之前，即以私人事務所「永寧建築師事務所」的名義於1946 年興建「臺灣銀行嘉義分行」，該案為戰後中國古典式樣建築在臺的濫觴⸺「再中國化」的代表，亦為官方政策指導「文化重建政策」脈絡下的產物。

Abstract

The article is a study on the Construction Bureau, which was established by Taiwan Provincial Administrative Executive Office and was specially subordinated to the Civil Affairs Department, during the early post-war period in 1946. In analyzing the implementation of a series of policies related to cultural reconstruction policy, which was formulated by the Nationalist government for taking over Taiwan in 1944, the focus will be on the influence of these policies on Taiwanese architecture and the significance of the post-war “Cultural Reconstruction Policy” to the architectural and construction fields. Chief Executive Yi Chen appointed Shu–Shung Loo, who had been the chair of the Department of Architecture in National Central University, the proofreader of the Society for the Study of Chinese Architecture and the full member of Society of Chinese Architects, to be the director of the Construction Bureau. Yi Chen hoped to bring Loo’s academic and practical experience from China to Taiwan. Yi Chen took advantage of Shu–Shung Loo’s understanding of Chinese architecture to promote the intention of the cultural transformation under the “uprooting Japan; implanting China” in Taiwanese architecture.
 

Shu–Shung Loo became the director of the Construction Bureau, and was in charge of the acceptance of Japanese assets, reconstruction, construction design, construction supervision, housing improvement, drafting regulation, etc. Besides, Shu–Shung Loo published the articles in < Taiwan Construction Industry>. Those articles belittled Japanese-style architecture built by the Japanese; on the other hand, hoped that Taiwan should emulate the homeland and promote the beauty of the homeland's architecture. The articles revealed his attitude towards uprooting Japan and implanting China.
 

In addition, Shu–Shung Loo had established the "Bank of Taiwan - Chiayi Branch" with the name of the private firm "Yongning Architects" in 1946 before he officially took office. This case was the origin of the post-war Chinese classical style architecture and became a representative of "implanting China" in Taiwan. The case also was the product of the "Cultural Reconstruction Policy" guided bythe official policy.

關鍵字：文化重建政策、戰後建築、戰後初期、民政處營建局、盧樹森

Keywords: Culture Reconstruction, Post War Architecture, Early Post-War Period, Shu-Shung Loo

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