結構理性裡的表現性──初探陳仁和的結構類型與特色

Expressiveness within Structural Logic: A Preliminary Study of Chen Renhe’s Structural Typologies and Characteristics

陳仁和1940年代初就讀早稻田大學專門部建築科，扎實的結構訓練、創科主任內藤多仲的啟發，以及前後屆學長學弟松井源吾與菊竹清訓的影響等，使其不僅是一位建築師，還身兼結構技師，因此其作品在臺灣戰後建築中顯得獨樹一格。本文透過建築圖紙、文獻分析、實地探查、訪談，以及參考Gottfried Semper和Kenneth Frampton的構造理論，探討陳仁和的三種鋼筋混凝土結構類型：密集小梁、格子梁與類格子梁，試析陳仁和的結構特色、結構設計原則及邏輯、其與空間和文化性的關係等。研究發現三者的結構邏輯相似：類中空樓板的概念，去掉不必要的結構負擔，減輕自重，增加跨度，減少柱子數量，增加空間彈性與美觀。密集小梁更一度有預鑄工業化的想法，可惜因施工技術不足與造價高，無法實現。除此之外，從訪談中得知波浪結構設計來自童年地域記憶的回應，以及從Semper論點（建築不僅是力學或技術的產物，而是文化的表達）、同期日本建築師的設計意圖，推測密集小梁與格子梁具文化記憶延續的企圖，如傳統建築的木椽、格子狀天花板等。最後，鳳山肉品市場，在大的環形類格子梁內，再崁入一個圓形放射狀的類格子梁，並自使用需求衍生的表現性，創造結構與空間多層次的虛實交替。

Chen Renhe, studying in the Department of Architecture of the Faculty of Science and Engineering at Waseda University’s Specialized School during the early 1940s, was shaped by rigorous structural training, inspired by the department founder Tachu Naito and influenced by his upperclassman/underclassman such as Gengo Matsui and Kiyonori Kikutake. This made him not only an architect but also astructural engineer, positioning his works like no other in Taiwan’s postwar architecture.
This study, through drawing on architectural drawings, textual analysis,fieldwork, interviews, and referring to the structural theories of Gottfried Semper and Kenneth Frampton, examines three reinforced-concrete skeletal systems developed by Chen: dense joists, grid beams, and quasi-grid beams. It also further analyzes Chen’s structural typologies and characteristics, the principles and logic of his structure design, and their interaction with space and culture.
A shared structural logic is found across these three systems: the concept of quasi-hollow slabs that reduce dead weight, eliminate redundant loads, extend spans, minimize columns, and enhance both spatialflexibility and aesthetics. The dense joist system further revealed potential for prefabrication, though unrealized due to technical and economic constraints. In addition, the interview part suggests that Chen’s wave-like structures were rooted in his childhood memories, while the dense and grid systems reflect apursuit of cultural continuity―recalling traditional timber rafters and lattice ceilings―in line with Semper’s notion of architecture as cultural expression. His Fengshan Meat Market exemplifies this synthesis: acircular radial quasi-grid beam embedded within alarger ring beam, producing expressive structural-spatial layers through functional necessity.