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文章试图分析与王大闳、陈其宽同一代的台湾建筑师如何在当年特殊的政治经济氛围下从事创作。他们创作的高峰期约略在1950年至1970年之间。这代建筑师大致可以被归纳为三种类型:其一是跟着败退的国民政府来到台的外省籍建筑师;其二是日据时期在台湾接受日式教育,随后赴日本求学的建筑师:其三是因西方教会来台湾引介而来的外国建筑师。当年的台湾建筑界,呈现出既极权又开放的现象,加之整个营建体系仍处在一初期发展阶段,因此建筑师只能用有限的技术与材料来表现建筑,今天以回顾的眼光来看,会发现它们共同形成了一个粗犷与诗意的面貌,相对于当下有点“甜腻”的建筑形式,更显珍贵。
The article attempts to analyze how the same generation of Taiwanese architects like Wang Dakun and Chen Qikuan were engaged in creation in the special political and economic atmosphere of that year. The crest of their creations was roughly between 1950 and 1970. This generation of architects can be roughly classified into three types: one is a foreign-born architect who came to Taiwan following the defeated National Government; the other is an architect who received Japanese-style education in Taiwan during the Japanese occupation and later went to Japan for study : The third is a foreign architect who came to Taiwan for introduction by the Western Church. The construction industry in Taiwan of the year showed the phenomenon of totalitarianism and opening up. In addition, the entire system of construction was still at an early stage of development. As a result, architects can only use limited techniques and materials to represent buildings. From a retrospective point of view, Will find that they together form a rugged and poetic look, more precious than the present “sweet” architectural form.