本研究試圖剝解1950-70年代,「現代主義者的地域主義」論述在台灣現代建築運動「民族形式」爭論中的意義。探討支持無裝飾建築之「國際風格」論述闡釋者,如何與「民族形式」議題折衝,產生「現代主義者的地域主義」(modernist regionalism)建築論述實踐計劃。這批設計者普遍將作品中流露的「東方神韻」(鄉愁論述)視爲「文化主體性」之「理想形式」(ideal form)-現近乎已成典範性措辭。相關案例包括:《國父紀念館》、《教育部》、《東海大學校舍》等。本研究試圖在此基礎上,重探這些「紀念性」公共建築提案(公共性的「社會建築」)的知識論傳統以體現其「鄉愁論述」之意涵。首先,本文以文化代理人王大閎設計之「國父紀念館」爲引子,輔以同時期建築專業者的論述實踐,論其捍衛之「現代主義者的地域主義」立論知識論傳統。後討論「地域主義」及其形式生產作爲文化主體性表徵之意義。
This research tries to explore the contents of modernist regionalism in the context of how the modernists shifting the angle of international style to regionalism for national character representation in post war Taiwan. This critical moment, is not only important for building up specific discursive formation of architectural professionalism, but also a concern amount of professionals regarded that the abstract oriental aura (nostalgia) which excerpted from famous architects was match the imagination of the ideal form of cultural subjectivity. Wang, Da-Hung, I. M. Pei, and Chen, Chi-Kwan were regarded as the most successful representatives appeared in a bunch of historical pictures. Their design projects were Sun Yat-sen Memorial, National Education Department, Campus planning and dormitory design of Tunghai University, etc. Amount of them, Sun Yat-sen Memorial designed by Wang, Da-Hung was stand for the most acceptable case due to successfully merging modernist regionalism with power bloc's desire for national character expression in early 70s. This paper initiated by the case study of design negotiation process of Sun Yat-sen Memorial in order to figure out the epistemology tradition of modernist regionalism and architectural monumentality. Besides, according to comparative studies of design discursive practice at the same period, the influence of modernist regionalism will be review by globalization consciousness.