南方女建客：台灣戰後第一代本土女建築師王秀蓮

王秀蓮出生於日本時代昭和4年（1929年），在戰後1948年就讀由臺灣總督府臺南高等工業學校轉型後的台灣省立工學院，並在1952年成為建築系第一屆第一名畢業的學生。1953年回到母校（台灣省立工學院）擔任教職，而後在1954年考取建築師執照並開業，也在同年與林錫山先生結婚，婚後搬進台南鹽埕林家，1965年從林家搬出來，帶著一家人住進博愛路（今日的北門路）自己從買地、設計、興建的住宅中，1969年，因應林錫山於1968年當選台南市長後的需求之下，帶著一家人住進第二棟東門路自家住宅當中。本文的問題意識為台灣戰後第一代本土女性建築師王秀蓮在建築領域中性別化的自身經驗。據此，筆者提出兩個研究問題：第一，王秀蓮如何詮釋自身身為女性建築師的建築之路？第二，王秀蓮畢業後選擇在家開業以及走入婚姻，在求職以及工作的歷程，其女性/建築師身份如何受到國家體制、性別秩序與社會文化的影響? 又如何呈現出第一代本土女性建築師的的多重行動樣貌與意義? 本研究採用口述歷史研究方法，深度訪談王秀蓮本人，以及她的家人，並搭配相關的老照片與歷史檔案，立體描繪王秀蓮建築歷程中的圖像，並以當時的歷史社會脈絡情境下去思考王秀蓮的口述，以理解和分析她本人建築歷程的時代意義。本文的研究發現是「家庭戰婦的養成、展現與實踐」，王秀蓮受到日本時代的女子教育中新女性的影響，再加上當時台灣島上處於不斷戰爭的情境中，形塑出在當時台灣特殊歷史情境中「家庭戰婦」的樣貌，帶著這樣的性格意識從家政類科跨越至當時以男性為主工科的建築領域，走上建築這條路，更在建築訓練中展現戰婦面對學習環境、同儕互動間的戰鬥力。建築系畢業後，王秀蓮直接面對整個國家體制與社會文化的壓迫之下，以「家」作為她的庇護空間，走入婚姻並且在家開業做建築，成為台灣史上第一個開業的女建築師，但是，本文發現在家庭戰婦的概念之下，並無所謂公私領域之分，對她們而言，持好一個家是顧全生產與再生產，從王秀蓮的生命歷程看見當時在大家族中，面對的雙重壓迫第一是來自家族中女性的階層壓迫以及協助丈夫擔起生產經濟的責任，做建築在其中扮演重要的角色，在不同情境之下是牽絆也是武器，做好一個稱職的家庭主婦之下，後來帶領著一家人走出大家族，建造自己的家，形構家庭戰婦實踐的歷程。

關鍵字

女性建築師；台灣戰後；台灣建築史；口述歷史；王秀蓮

並列摘要

Siou-Liang Wang was born in Taiwan under Japanese rule in 1929. 3 years after the Second World War, she studied at the Taiwan Provincial College of Engineering (later renamed National Cheng Kung University), where she became one of the first graduates of the Architecture Department in 1952 and started teaching there since 1953. A year later, she successfully passed the Professional and Technical Examinations for Architects and set up her own architecture firm. In the same year, she was married to the former Tainan Mayor Lin Hsi-Shan and the newly-weds moved together to Lin’s hometown Yancheng in Tainan. In 1965, Wang moved out from her Parents-in-law’s house in Yancheng and relocated her husband and children on Bo’ai Road (now renamed Beimen Road) in Tainan. From the purchase of the land to designing and building of their new family house, everything was all done by Siou-Liang Wang alone. Owing to the need of her husband’s new position as Mayor of Tainan, Wang and her family moved to the second self-built family house on Dongmen Road in 1969. This essay aims to examine the gender typing of Siou-Liang Wang’s own experience as the first generation of female architects in Taiwan. As far as Wang’s case is concerned, I would like to raise two research questions, which are: 1. How did Siou-Liang Wang interpret herself in pursuit of her career as female architect. 2. After graduating from the college, Wang managed to pursue her architect career and, at the same, to start her own family. How was she, as a female/architect, influenced by the state, gender and sociocultural environment at the time? And how did she demonstrate the multitude and the meaning as a first-generation female architect in Taiwan. The research method of this study was carried out through oral history by in-depth interviewing with the research subject Siou-Liang Wang herself and her family. With help of photo archive and historical documents as well as Wang’s own recount, the reconstruction of her image as a female architect under the sociocultural circumstance at the time can also be used to analyse the historical meaning of her career in Taiwan. The research topic of this study is “The Development, Representation and Fulfillment of Athena in the Household.” Influenced by the Japanese-styled education for women and girls in her time and by the image of “Athena in the Household” during the time of wars in Taiwan, Wang with such personality took the path to pursue her career in a male-dominated profession. Despite the challenges from her professional trainings and peer pressures due to her gender, she was able to confront them with determination and encouragement. In spite of her confrontation with the sociocultural suppression and the oppression of the state, she managed to get married and became an architect with “home” as her shelter, but this study has found out that there is no difference between private and public life for the “Athenas in the Household”. To them, maintaining a household means to make a living or even something more than that. Throughout Wang’s life in the extended family, we can see that the double pressure comes first of all from her role as a female, that is required to constantly support the husband in the family. The profession as an architect also plays an important role in her life, and yet, under some other circumstances, it can also mean troubles for her. While she was required to be a perfect housewife, she started her own family by moving out of the extended family home. All these experiences helped with the completion of her image as “Athena in the Household”.