未竟的青春幻夢──以「離現代」論王大閎建築與文學文本

An Analyzing the Encounter in Wang Da-Hong’s Architectural and Literary Text from the “Off-Modern” Perspective

本研究立基在博伊姆提出的「離現代」概念，分成四個部分詮釋臺灣戰後代表性建築師王大閎：一，離現代作為一條飽受摧殘的勇者之路，如何有別於現代性|二，嘗試超越後殖民史觀，以「根」與「路徑」思考王大閎何以遊走在「美援文藝體制」與「國家文藝體制」之間|三，牉合王大閎建築與文學作品，分析以月球為藥引打造的類烏托邦（quasi-utopia），實為一場未竟的青春夢，中國建築裏慣用的語彙月洞窗，旋踵成通往《幻城》（Phantasmagoria）的基地。王晚期創作逸出實體國度，以虛擬及未竟之業繞開外人眼中他奉為圭臬的現代主義，構築類烏托邦作為青春幻夢的所繫之處，重寫一個從未到來的空間臆測史。博伊姆「離現代」的特質，提醒我們能夠思考現代性的另類譜系與歷史，同時邀請我們反觀世界各地不同樣態與形式的現代經驗，開啟王大閎建築文本與文學文本「相遇」之可能。

Based on the concept of “Off-Modern” coined by Svetlana Boym, this essay is divided into four parts to interpret Wang, Da-Hong, the representative architect of Taiwan in the post-World War II. First, to analyze how “Off-Modern” can be different from modernity. Second, attempts to transcend the postcolonial view of history and to think about how Wang romps between the “US-aid Literary Institution” and “National Literary Institution” by Clifford’s “root” and “path” concept. Third, by a combination of Wang’s architectural and literary works, to analyze the text takes the moon as the clue, and the architect /author builds a quasi-utopia patterned after a nostalgic science fiction book. It is essentially an epitome of the unfinished dream of youth. The “moon-like window” is a typical Chinese architectural concept, and it is also paving the way for Wang’s fiction Phantasmagoria to draw close the intertextuality and superposition between architecture and literature. Wang’s later composition escaped from the entity nation to avoid modernism, which has been worshiped by laymen as the touchstone in practically and incompletely and rewrites the history of spatial imagination from the past to the future. It constructed a utopia as the place of youth dream rewritten the history of spatial speculation that never came. Svetlana Boym’s “Off-Modern” reminds people to think about the alternative genealogy and history of modernity, enlightening people to ponder the modern experience in various states and forms across the world to excavate more possibilities of “encounter” in Wang’s architectural and literary text.