閱讀二戰後臺灣的中國古典式樣新建築之木構遺存型態

Reading Timber Skeuomorph of New Chinese Classical Style Architecture in Post-War Taiwan

本文藉由探討中國古典式樣新建築中木構遺存型態的多種表現形式以及其文化意涵，一方面用來詮釋構造意象的轉化、作為一種看待二十世紀後半部分臺灣建築風格的方式；另一方面從中國傳統建築構築角度，思考構造遺存型態的文化價值差異。透過分析歸納的方式，本研究大致梳理出斗栱、雀替與闌額出頭三種常用的木構遺存型態，並依相關文化價值判斷的論述與表面效果的理論針對三種木構型態進行討論。雖中國古典式樣新建築之屋頂形式亦為明顯特徵，但因影響屋面形式的屋架並不會以構造遺存型態呈現，因此無法針對屋頂形式進行探究。
本研究引用中國營造學社的研究成果之文化價值判斷，從梁思成企圖提供建築師設計古典風格作品參考的《中國建築資料集成》及他所提出「文法」與「語彙」的觀念，以及班哲明對於建築立面表面效果的分析與克耐帕特對於考古物件社會背景的解析，藉此來探討木構遺存型態的作品。吾人可以發現中國古典式樣新建築以多種木構造遺存型態的方式呈現，且其背後各自有文化意識的主導。而中國古典式樣新建築並非僅是復舊，對於「文法」的再現，實則是在現代結構理性的理論下，審視中國傳統木構造的精華與價值，並再現於建築設計中；對於「語彙」的再現，則呈現較為自由文化集體意識的選擇與再現，有時亦擺脫「文法」的架構。故透過木構造遺存型態的觀點，吾人可將中國古典式樣新建築的發展，視為在現代建築知識與中國傳統建築歷史、以及現代理性思維與文化意識中的選擇。

By discussing various expressions and the cultural implication of timber skeuomorph in New Chinese Classical Style Architecture, this article will first interpret the transformation of constructive form as the way to consider architectural style in Taiwan in the second half of the twentieth century. Secondly, this research will also consider the different skeuomorphs of cultural value from the perspective of traditional Chinese architectonics. Dougong, carved wood brackets, and protruded architraves have revealed the most frequently deployed timber skeuomorphs. Relative discussions have been based on the arguments of judging cultural value and surface effects. Although the traditional roof forms are the significant expressions of the style, the roof trusses as the factor of roofing forms are usually ignored in skeuomorphic representation, so it would only be appropriate to study the roofing forms with roofing trusses in skeuomorphic discussions.
This research borrowed the cultural values and judgments of The Society for Research in Chinese Architecture. The style references The Chinese Architectural Graphic Standard, the design concept of‘grammar’and‘vocabulary’of Chinese architecture that Sicheng Liang provided, the analysis of surface effects by Andrew Benjamin, and the interpretation of archaeological objects and their social background by Carl Knappett have offered the discussing fundament of timber skeuomorph. It can be found that various timber skeuomorphic expressions of New Chinese Classical Style Architecture have been led with cultural identity. Moreover, New Chinese Classical Style Architecture did not revive the antiques but, more importantly, represented‘grammar’and‘vocabulary.’The former examines the essence and value of traditional Chinese timber construction under modern structural rationalism, which could be considered the embodiment of the‘grammar’concept. The latter represents the choices of free cultural collective cultural identities and embodies the concept of‘vocabulary’leaving the‘grammar’framework. Therefore, from the point of view of timber skeuomorph, the development of New Chinese Classical Style Architecture could be considered the choice between modern and traditional Chinese architecture, between current rational thinking and cultural identities.