中軸空間意象在台灣高等教育校園內的營造：戰後大學校園範型的形塑

Abstract

台大校園的「現代巴洛克」設計出自於日人對殖民地大學的想像，而東海大學的「現代中國」設計是現代主義設計者賦予在台大學的理想形象，兩座校園的原型皆涵納了多重的意義，但是它們於台灣深根時歷經整合，過程中卻逐漸顯現出「共相」，探索牽動這個共相的發展因素為何？即是本論文的意旨。 何以戰後大學校園內軸線的發展會轉向中軸配置的空間模式，甚至還嫁接於隨黨國政權登台的「中國新古典空間模式」？這影響軸線配置規畫的意識是值得關注的，其中牽涉美式布雜、中國建築文藝復興等議題，它們在台灣發酵時皆與日人植入的現代教育空間產生交流，並進一步的轉化了五零年代現代主義機能型空間模式的思維。文中藉由戰後諸多大學校園成長的變動來觀察，發現校園內軸線的轉化將建築文化的雜揉情形表彰無遺，其中維吉尼亞大學空間範型的詮釋扮演極有效的角色，也將潛藏於意識形態的漢文化中軸思想顯示出來，同時也開啟了台灣的大學校園空間範型生產的機會

The campus of “Modern Baroque” NTU established through the eyes of the colonial regime on what a university should be in colonized Taiwan; also, the campus of “Modern China” Tunghei University designed by modernist architect exhibiting an ideal image on what postwar Taiwan need. Though both prototypes of campuses embodied multiple meanings, when they rooted in Taiwan, they take the same path on their further developing. What triggered this consequence? This thesis intends to find out the answer. The tendency toward the space mode of Central Axial Disposition on campus planning after postwar Taiwan emerged. It transplanted from the idea of “Chinese Architecture Renaissance” which followed up KMT regime starting at Nanjing and mingled with the issue of “modern space producing” implanted by Japanese regime. Furthermore, during 1950, the space mode of functionalism had been introduced to the case of Tunghei campus but also transformed to fit the mode of Central Axial Disposition. Under this ideology of “Neo–Chinese Classic Space Mode” many campuses produced. Regarding on the performing of cultural hybrid in architectural convention, realize that the prototype of Jefferson’s academicals village has become an effective factor on interpreting campus planning among Taiwan. Campuses established after postwar Taiwan need further checked on its axial. As a result that the subconscious of Central Axial Disposition of Hans architectural convention revealed but also release the opportunities on forming the paradigm among Taiwanese university.