建築之心．邊境之炬-傳統廚房爐灶之技術與文化

許聖倫

doi:10.6342/NTU.2004.01816

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建築之心．邊境之炬-傳統廚房爐灶之技術與文化

The Heart of Architecture,The Fire on Border- The Technology and Culture of Traditional Kitchen Stove

許聖倫 , Masters　　Advisor：夏鑄九　　

繁體中文 DOI： 10.6342/NTU.2004.01816

勞動；性別；空間；技術與文化；現代化；建築史；廚房；場域；灶； Modernization ； Labor ； Space ； Field ； Gender ； Architectural History ； Stove (Zao) ； Kitchen ； Technology and Culture

Abstract │ Reference (112) │ Times Cited (11) │ Altmetrics

Abstract 〈TOP〉

傳統建築史的研究取向，大多傾向於藝術史與技術史的範疇，其論述領域專注於物質面的形式、構造、結構，以及精神面的「建築意」、風格、象徵。建築史所選擇的材料，即使描繪從「大屋頂」的尺度到細緻的磚瓦、窗花等裝飾，但許多日常生活空間仍是未被發掘的寶庫，傳統廚房即為一例。

傳統廚房的發動器與中心地標，正是那逐漸消逝的爐灶。當台灣還處於農業社會的階段時，灶是主要的炊具，負責生產食物，使整個家族得以飽足。兒時為爐灶加柴添薪，在灶旁看著母親的身影，等待著食物的出爐，以及過年時廚房裡眾婦女一同忙碌的熱鬧情景…，都是人們共同分享的黃金童年記憶與情感符徵上的共同遺產。

爐灶的使用因著急促的現代化歷程，與現今生活形態發生斷裂。現代廚房的設計受到能源使用形式的轉換影響，升火的技術被精簡化，空間配置則多為西方包浩斯（Bauhaus）美學影響，以簡潔、明亮、符合人體工學為訴求。傳統廚房設計則是圍繞著大灶作為主軸。經驗研究的方法正好能探索傳統空間形成與使用的複雜性，並更能深入了解家庭成員角色的背後意識。

本論文將放在與傳統建築史對話的基礎上，將提及所有大灶的建構體系，包含風水理論與工匠技術。再來對空間裡的人與文化進行研究，例如大灶的使用經驗訪談，以及灶神信仰。我們會驚訝於在極私密、不為外人道的廚房空間中，小小爐灶的構築、設計與使用，連結了風水師、匠師、家主、煮食者(通常女性為核心角色)，更能從另一個角度重新理解婦女的母職建立與家務勞動的分工。她們不只是被動的編入生產線，更從中找到自身認同與暗地裡進行權力的操作。從婦女使用大灶的身影，我們窺探了廚房祕史裡所展現的恩怨情仇。爐灶的形成過程中，我們見到了空間、生活、信仰與權力關係的縮影，並為建築史提供另一個批判性的觀點。

第一、二章先陳述問題意識、文獻回顧、理論模型、研究方法；第三章則是描述灶的營造，即灶的成形過程。我們先簡略提及灶的起源、它在建築空間中的位置，然後研究在砌灶之前需要考慮的規劃理論如：風水與安灶、拆灶的習俗。接著我們進入設計與營造階段：燃料、火路技術及砌灶技術。至終以陳金井師傅的作灶實例作為本章的結尾。

第四章進行灶的生活脈絡紀錄以及人在空間中的行為分析。我們將提及大灶的應用技術(生火、烹煮)，以及空間中大灶作為中介，成為人與人的互動憑藉。還有不容忽視的灶神在那裡監視著人的日常生活。於是空間構成了多重場域，當煮食成為一種社會手段，我們能看見複雜的社會與文化。其場域中不同的「氛圍」，乃指場域內溝通的語言及情感的互動情境。最後在懷舊式的文藝作品再現中，我們詮釋大灶的「情感」面向，還有將『灶』的象徵與家的意義相連；第五章說到造成大灶生活消逝的原因－現代化，以及現代化如何成形、生活需求範型如何移轉、現代廚房與傳統廚房決裂所代表的意義。

第六章結論則是為爐灶建立在建築史的地位，說明爐灶如何在空間生產、性別角色、場域資本三元辯證中建構了整體的生活，以及分析爐灶在傳統建築史缺席的原因。爐灶其實是建築的心臟，它連貫了空間與空間，人與空間，並負責整個家族的生存，更在象徵上指涉了家的意義。它雖然位於邊境(空間與性別的邊緣之處)，我們卻藉由它看見了豐富的、跨領域的課題。建築史寫作必須向多面向的分析性工具開放自身，這也正是題目「建築之心．邊境之炬」的意義。本文因限於時間與精力，因此研究的時空對象將以日據時期之後的台灣地區為主體。

Parallel Abstract 〈TOP〉

Mainstream researches on traditional architectural history tend to discuss the category of art and technology history. Their discursive terrain focus on the material and spiritual dimensions of architecture. The former dimension includes form, construction, and structure while the latter includes conception (especially poetic portion) of architecture, style and symbol. Scholars choose these objects according to form and Great History .Even these objects scale from “big roof” to delicate ones like brick, tile, and window carving etc, many spaces in everyday life are still treasures unfound. Traditional kitchen (with its stove) is profoundly one of the cases.

Stove (Zao) is exactly the engine and central landmark of kitchen. It’s gradually disappearing. Stove was the main cooking utensil in the phase of agricultural society in Taiwan. It fed all of family. Many people still remember adding firewood into the stove, looking at their mother preparing food, waiting to eat, and the unforgettable thriving scene: in kitchen, many women were busy working during Chinese New Year. These are the mutual heritage of affectionate signifier and golden memory of childhood.

However, the use of traditional stove was punctuated by the rapid modernization of the society. The way of life was changed. The design of modern kitchen was influenced by the different use of energy. The technique of catching fire was simplified and the layout of space were affected by the aesthetics of Western Bauhaus: simple, bright, fitting Ergonomics. Through experience research methods, we could explore the complexity of spatial formation and use, while having more insight into the consciousness of the entire household.

Since this thesis is based on the dialogue with traditional architectural history, I’ll mention the whole construction system of stove, including Feng-Shui theory and the technique of craftsmen. Then we look into the people and culture in space, such as the experience of using stove and the belief of kitchen god. We are also surprised that in private, no-mentioned space, the construction, design, and use of stove serves as a hub connecting geography master ,craftsman, house master, and those who cook (women are the important figures).And we could realize the establishment of motherhood and division of household labor from another point of view. From images of women using stove, we get a picture of the mystery history of kitchen where people’s affection interweave a tangled yarn. Through the formation of stove, we see the epitome of space, life, belief and power polarization, all of which provide another critical perspective of architectural history.

Chapter one and two are the description of the problematic consciousness, literature review , theory models and research methods; Chapter three refers to the construction of stove (the formation of stove).At first, this thesis simply introduce the origin and location of stove in architecture. Before making stove, one must consider planning theory like Feng-Shui, the ceremony of setting or pulling down the stove. Then we discuss the phase of design and construction which includes fuel material, fire-way technique, building technique. Finally the chapter ends up with a craftsman Chen’s demonstration.

Chapter four refers to the life context of stove and its related behavior. We’ll mention the applied technique (catching fire, cooking) and stove as a means, through which people react to each other while kitchen god is there watching everything. Space ,therefore, provides multilateral fields. When cooking becomes a social activity, we could see the complicated relationships and culture. The word”atmosphere” is used to describe the communicative language and the interactive affection. Then, from literature and painting about stove, we interpret the aspect of affection towards stove. In the end , we find the symbol of stove is connected with the meaning of home. Chapter five explains the reason why traditional stoves disappeared – modernization. When did modernization begin? How was the lifestyle changed? And the thesis reveals the meaning of gap between traditional kitchen stove and modern kitchen unit, such as gas heater and microwave oven.

In chapter six, traditional kitchen stove’s position in architectural history will be established and the reason why it’s absent in architectural history would be analyzed. Stove constructs the whole life by trialectics of space- gender- capital. It is the heart of architecture,which not only links the public and the private ;space and people together ,but also takes responsibility of feeding and maintaining people. Although stove is on border (the edge of space and gender), by seeing it, we inspiringly sense a kind of transdisciplinary scope emerging. The writing of architectural history should be open-mined to multilateral analytical tools.This idea clearly elucidates why I use the title: “The Heart of Architecture, The Fire on Border.” Due to time frame and resources, the research field (time and place) chosen by this thesis would be set in postwar Taiwan.

Reference ( 112 ) 〈TOP〉

，《中央研究院民族學研究所集刊》，87卷：97-128
連結：
沈松茂(1995)，《廚房設計實務學》，台北市：中華民國餐飲學會
連結：
胡祖武(1998),〈生活形態與飲食文化對廚具設計的影響〉，《台灣廚具》, pp.80-88.
連結：
畢恆達(1993),〈物的意義：一個交互論的觀點〉，《國立台灣大學建築與城鄉研究學報》，第七期，97-110
連結：
Alexander, Christopher.(1977). A pattern language : towns, buildings, construction, Oxford University Press
連結：

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