島嶼中的建築
Architecture in the Island

摘要 Abstract：

Taiwan is not merely an island; it encapsulates the potential of an oceanised terrain, where the ocean transcends mere physicality to become a perceptual entity intricately woven into the sea. This intricate relationship faces a dialectical interplay, grappling with the dissonance between Taiwan's maritime essence and its inherent island condition. In response to the call for "Urbanity from the Ocean," our expedition, titled "Sailing on the Road," embarks on a four-day multiscalar architectural journey along Route 61, Taiwan's coastal lifeline, during the field trip in summer 2023.

     This architectural odyssey transforms into a mobile exposition, emphasising a methodology grounded in the FIXED-POINT idea. The methodology revolves around the FIXED-POINT (Fig. 1), delving into how individuals ground themselves above the world's plane (axi mundi) through bodily movements. Anchored in Tainan City, a cradle of urban evolution, our exploration spans diverse landscapes, unveiling survival, security, and coastal governance imprints shaped by early Chinese immigrants.

     The architectural exploration of Oceanity finds manifestation in sites such as the Wang-Ye (王爺) boat and Wang-Ye (王爺) boat temples, nestled within fishing ports. These sites epitomise human existence shaped by the interplay between the ocean and land, establishing an AXIS for spatial navigation and defining boundaries of INCLUSION and EXCLUSION through the premise of a SENSE-OF-SECURITY. This dynamic interplay is demarcated by the village-EDGE.

     Our expedition encounters Sea-quence, a systematic exploration revealing multiscalar architectural artefacts and debris at the Jingzijiao (井仔腳) Tile-Paved salt field, emblematic of Taiwan's salt industry. This exploration transforms the ocean into common land, reshaping the architectural landscape into a mosaic of intertwined function and necessity. Navigating an unfamiliar ORIENTATION becomes a pivotal aspect, embraced and assimilated by the body. The ritualistic THRESHOLD is defined by the body and human sensation when venturing beyond one's comfort zone.

     As movements unfold, various THRESHOLDs become anchors, establishing a renewed SENSE-OF-SECURITY and giving rise to the emergence of the notion of time. CIRCULAR TIME cycles within the territory of inner life, while unidirectional developments establish LINEAR TIME. The culmination results in the creation of the FIELD, challenging conventional planning methodologies at the architectural scale. Watery-common redefines the built environment's relationship with the liquid expanse, fostering innovative pathways for architectural exploration amidst this expansive watery common land.

     Each architectural component, whether AXIS, INCLUSION, EXCLUSION, EDGE, ORIENTATIONS, THRESHOLDS, CIRCULAR TIME, LINEAR TIME, or FIELD, is identified through architectural elements. This Multiscalar Expedition transcends mere exploration, urging a deeper dive into architectural sampling, archaeology-like debris, artefacts, and human tracing imprints. It is a call to uncover the multidimensional interplay of Oceanity, Sea-quence, and Watery-common amidst environmental and societal challenges. These elements restore sanctity, rediscover rituals, and prompt a reevaluation of the body of humans and ocean territory.

     In this introspective journey, "Sailing on the Road" becomes more than a mere expedition; it is an exploration urging reconsideration of our institutionalised and mechanised existence, asking how far we are from the ocean, both physically and perceptually, within our homogenously modern world.

關鍵詞 Keywords：Oceanity, FIXED-POINT, Sea-quence, Watery-common, Multiscalar Expedition

摘要 Abstract：

對於一般大眾來說，「建築」一詞泛指所有與興建房舍有關的專門技術，同時指涉設計與工學等專業內容，但有趣的是「建築」一詞如果就字面上直白的拆解釋義，可以發現，不論是「建」或是「築」字，兩者都意指與營建有關的行為，因此「建築」一詞實際上是意義不明的疊字詞。2012 年象徵建築專業的最高榮譽──普立茲克獎頒給中國建築師王澍，似乎揭示東方的建築傳統，終於在西方文化所主導的現代建築，走出自己的路來。王澍選擇以傳統工匠的自覺，對西方文化中的「建築師」形象進行強烈的批判,這不僅只是設計方法上的取捨，而是從本質上挑戰「建築師」的專業形象的權威。

王澍的成功，鼓勵許多華人建築師,意識到成為一個「成功的」建築師，不用再像張永和全然擁抱西方的文化才能有所作為。就像台灣早期許多建築學子一樣，相信要成為一個「好的」建築師必須要出國留學，甚至還要有國外的工作經歷才行。因此，對於當代的建築人來說「建築師」的理想形象不再隱身於學歷與專業證照之後，而是可以清楚的回應何謂「台灣的建築師」。

但當要具體的論述「台灣建築師」的專業形象時，大多數人容易忽略台灣是島國的事實，習慣從「中國」的大陸尺度來開展,因此缺乏空間與時間尺度縮放的意識，讓台灣的建築史始終受至於特定的虛無的盲點，例如兩岸在六七零年代，對於中華文化道統的競爭，導致有所謂的新中華文化的建築式樣設計的熱潮，這種認知更多是建立在「思鄉」情懷上的作用，實際上更近似於現代化過程中，地域性的文化建構與反動，但卻被一廂情願的誤解為是一種文化上的對抗。

台灣的建築史無法也沒必要像中國那樣，立基於龐大的敘事架構上展開，因此如何從自身的條件與素材中，建構出適當的研究框架是重要的基礎工作，本文是跟據國立台灣博物館所執行的「二次戰後台灣經典建築圖說徵集計畫」所蒐集的重要建築圖說作為基礎，以及為了協助相關圖說完成後設詮釋資料的編輯，從兒展開的基礎研究與知識建構為基礎，逐漸推展出台灣戰後建築師譜系研究。本研究最重要的成果在於進一步深化且完備台灣戰後的建築師研究，能夠跳脫以往指依賴學歷與籍貫的分類傳統，從而回到更具體的台灣建築專業意識的建構，建立起脈絡性的思考取徑，以便逐漸完備台灣建築史的研究框架。

摘要 Abstract：

在已有相當豐富的臺灣漢人廟宇論述中重新提出其社會性的主要意義，是為了再釐清廟宇建築的物質性是如何調節和生產臺灣移民社會的流動，以及意圖消解遺產保存者總是對廟宇重建持有一種破壞的偏見。更確切地說，透過分析廟宇「重建」的過程性本質，來掌握它是如何提供社會運作的巨大潛力？本文認為，歷史上漢人廟宇的重建是形塑臺灣這個島嶼社會的物質形式之一，涉及的是社會過渡階段的想像與認同。一是將廟宇重建視作人們可藉以探討當下時空中物質表現的機會，而不是單純的宗教信仰行為；二來旨在「建築」成形的知性活動，它是一種將經濟資本轉化為象徵資本的過程。本文將透過北港朝天宮和馬公銅山館分別在 1900 年代和 1930 年代發起的重建，來說明構成全島性社會的內在邏輯，全島性可理解為島嶼社會在區域重組和形成新區域體系的終極成就；關乎於它們是如何促進臺灣和澎湖這兩個不同尺度的島嶼社會的再生產。在這裡，我們曾經提出的「協贊圈」概念指出了重建貢獻者及其空間關係的能動性之於地方社會的內涵。本文也在這層內涵上將許多關於歷史、政治的思考與建築實踐聯繫，發現了廟宇重建的過渡性使新的認同和新的政治得以介入，當廟宇重建以後，全島性社會自然成為其意料之外的產物。

關鍵字 Key words：臺灣、澎湖、協贊圈、社會變遷、建築史