白冷會公東高工教堂建築之研究

本文探討台東白冷會的公東高工教堂，以其與真實世界之間所交織而成的脈絡，呈現公東高工教堂的建築意義，以及公東高工教堂對台灣建築的意義。公東高工教堂的形成，是白冷會（業主）、達興登（建築師）與營造單位之間協力合作之下的產物，三者的建築觀在各自的世界之中成形，對建築各自懷抱著不同的意圖與想像，這些不同觀念之間從概念到實體的轉譯，成為公東高工教堂最後的實體呈現。為文首先將公東高工教堂放入台灣天主教教堂建築的發展脈絡中，以詮釋公東高工教堂對台灣建築的重要意義。其次，梳理瑞士現代教堂的發展過程、白冷會的教堂理念，以及達興登的建築觀，以現代教堂空間觀的演變作為脈絡背景，詮釋公東高工教堂的建築意義，並比較白冷會對教堂建築的想像與達興登設計意圖的異同。最後從營造單位對施工圖的調整與適應，解釋公東高工教堂最後呈現的實質樣貌。本文的研究發現如下。首先，公東高工教堂在台東的落地生根，將歐洲在二十世紀初現代教堂發展的高峰帶到台灣，讓台東成為二戰後建築國際交流的重要場域之一。一群來自瑞士天主教的白冷會傳教士，在大時代的歷史洪流中，輾轉來到了台東，並帶來白冷會樸素務實的建築觀。其次，達興登在公東高工教堂設計中，與白冷會的教堂建築觀並不完全相同。白冷會早期的現代教堂中，接受瑞士簡約的現代建築觀，並沒有受到現代藝術動態平衡的影響，謙遜質樸是白冷會重要的物質精神。達興登則在公東高工校園設計中，實踐他在《現代建築發展與定位》這本博士論文中提出的「衍生形、動態平衡、相對的創意」等的建築原則，並以知覺性與情緒性的建築語言，顯現他對於建築精神性的追求。達興登在公東高工教堂中繼承廊香教堂的設計手法，加上他對於天主教的禮儀改革運動的認識，將瑞士中部山區的場所精神轉化到他的設計，以戲劇化的光線、質樸的噴凝土材料、動態平衡的空間配置，以及祭壇為核心的空間佈局，塑造現代教堂的神聖氛圍。達興登的建築思想受到德日進的泛心論、海德格的存在現象學、格式塔心理學與榮格精神分析的影響，而這些觀念在青年達興登的公東高工教堂中已經可以看到端倪。最後，公東高工教堂的建築實體，是二戰後初期台東現代營建技術的呈現，營造單位面對台東的氣候與環境對原始設計做了局部的調整。為了抵禦颱風的侵襲，調整了門窗的構造形式，卻在無意中影響了達興登的設計意圖。當時台東的建築匠師還在努力克服新的技術，對於構築的詮釋能力還有待提升。達興登認為每一種類型的現代建築，都有其相應的精神性，而教堂作為現代建築的一種類型，現代教堂的精神性就是教堂的神聖性。白冷會公東高工教堂默默的矗立在台東50多年，台灣也已經逐漸脫離僅僅維持基本生存的社會狀況，有能力追求更高的精神生活，在這個時候重新理解這棟教堂，將對台灣建築未來的發展，有著非常重要的啟示作用。公東高工教堂並不只是教堂，它是引導我們認識現代建築的精神性與空間感動力最有效的範例。

關鍵字

現代教堂；建築現象學；建築精神；公東高工；達興登

並列摘要

This study analyzes the context of Church of Kung-Tung Technical Senior High School (KTHS) belonging to Societas Missionaria de Bethlehem (SMB) to explore the architectural significance of the church and its meaning for Taiwanese architecture. The building of Church of KTHS is completed by SMB working with the architect Justus Dahinden and the constructor. Their different views of architecture are translated into the building entity of Church of KTHS. This study explores the significances of the church for Taiwanese architecture by analyzing the development of the building of Catholic churches in Taiwan. The architectural meaning of Church of KTHS is also explored by interpreting SMB’s philosophy of the church, the architectural view of Justus Dahinden and the development of spatial view of modern church. Finally, the influences on the appearance of Church of KTHS are explored by comparing the differences among SMB’s imagination toward church architecture, the architectural design of Justus Dahinden and the constructor’s revision to the shop drawings. The findings of this study are as follows. First, the church building in Taitung represents the peak of the development of European modern churches in the early twentieth century. Taitung became one of the important fields of international exchange for architecture after the second World War. The priests of SMB came all the way to Taitung in hard times and introduced the ideas of minimal architecture. Second, the architectural design of Justus Dahinden is not totally the same as SMB’s. The architecture views of SMB influenced by minimalism in Switzerland are not affected by the concepts of modern artistic dynamism. SMB emphasizes the importance of simplicity. The church design of Justus Dahinden is based on the concepts of “derived form, dynamic equilibrium, and relativist design principle” suggested in his doctoral thesis “Versuch Einer Standortsbestimmung Der Gegenwartsarchitektur” The architectural language of perception and emotion shows his emphasis on architectural spirituality. Influenced by the design of Church of Notre-Dame-du-Haut and the Liturgical Reform Movement, he transforms the spirit of place (GeniusLoci) of the mountain in the middle part of Switzerland into his design with dramatic light, simple sprayed concrete, the dynamically balanced spatial arrangement, and the altar-centered spatial layout space in order to create the sacred atmosphere of the modern church. The influences of the epistemology of Pierre Teilhard de Chardin, the existential phenomenology of Heidegger, Gestalt’s psychology and Carl Jung’s psychoanalytic analysis on Justus Dahinden are shown oh his design of Church of KTHS. The final appearance of the building entity represents modern construction technology in Taitung after the second World War. The constructor partially revised the design due to the climate and environment in Taitung. The structure and type of the doors and widows are modified in consideration of the typhoons while the modification changes the design intention of Justus Dahinden unintentionally. At that time, the constructors worked hard to learn new skills while they still needed to improve their ability of interpretation. According to Justus Dahinden, each type of modern architecture has its corresponding spirituality. As one type of modern architecture, the spirituality of the church is its sanctity. Church of KTHS has been standing in Taitung for more than 50 years. The social changes enable people in Taiwan to pursue a higher spiritual life in addition to fulfilling basic needs. Re-understanding this church will bring about inspiration in the future development of Taiwanese architecture. Church of KTHS is not only a church but an example for us to understand the spiritual and spatial dynamics of modern architecture.