If the surface of the earth is its face, then architecture is its expression.
In eighty years, a person goes from birth, naive childhood, and crazy adolescence, to a socialized, unsentimental old age which understands what fate has in store. In the process one experiences so much myth and so much growth, and the expressions on one's face differ with each stage.
Over eighty years, Taiwan has passed through the Japanese occupation, the War of Resistance against Japan, the debilitating period after retrocession, economic take-off, and today has miraculously become one of Asia's "Four Little Dragons." It is impossible to deny that the changes in between have been dramatic, and the faces of each stage have been left behind in its architecture.
The transformations in architectural style from 1911, the founding of the Republic, to 1991 can be divided into seven phases: There was neo-Mannerist architecture in the Japanese occupation era: Eclectic architecture; and Imperial Crown style architecture of the War of Resistance period. After the war came early modernism; Brutalism and a period of commercialism and postmodernism.
It is necessary to clarify one thing; The architectural style for any period is the mainstream, but not the only style. There is overlapping where some trends have not yet run their course, and no clear dividing points.
Today, at the eightieth anniversary of the founding of the Republic, Sinorama presents a special feature on "Eighty Years of Architecture in Taiwan," in which representative architecture from each period will be used to illustrate the "expression" on the face of each era.
From the functions of the buildings, you can see the needs of society at that particular time; from the style you can see the economic and cultural background of a given period; from the techniques used, you can see the advance of civilization. . . and from "Eighty Years of Architecture in Taiwan" you can see in the 80 years since the founding of the R.O.C., the continually changing face of Taiwan and the footsteps on this particular road to the present.
(1) Neo-Mannerist Architecture (1912-1920):
Architecture of this period is also called the "Late Cultural Renaissance" style. After the Meiji restoration, Japan pursued a path of westernization. Taiwan, under Japanese rule, was no exception. Almost all the public construction at that time was the style of the later period of the European Renaissance.
This type of architecture emphasized detailed decoration, with traces of Baroque. In terms of form, there is a division between classical and nonclassical. Classical neo--Mannerist architecture favors round pillars and gables, and the external walls are mostly decorated with white false stone; it is relatively stately. Non-classical neo-Mannerist architecture includes Byzantine-style or the North European traditional brick construction; the outside is relatively complex, luxurious, and free-wheeling.
The most representative buildings from that era are the Taiwan Provincial Museum, the Taichung City Hall, and the Control Yuan.
(2) Eclectic Period (1920-1937):
Cities had already begun to take shape and a modern financial sector also appeared.
In this period, European and American architectural thought was at a high tide. After the industrial revolution, products were increasingly standardized, reflected in architecture by the use of straight lines. The eclectic style, generally speaking, hoped to free itself of the restraints of the old forms. But before the new concept of space could really mature, those things which were done were merely "simplifications" with the embellishments eliminated.
The eclectic period was a transitional phase from neo-Mannerist to modern architecture. Sun Yat-sen Hall, the Land Bank of Taiwan, and the main auditorium at National Normal University are all representative works.
(3) Imperial Crown Style (1937-1945):
After the Marco Polo Bridge incident in 1937, the Japanese stepped up military activity throughout the Far East and mobilized for further combat. Ordinary construction began to be cut back, so there are very few buildings from this time. Under the impetus of the "southern thrust" policy of Japan, there was more new construction in Kaohsiung than in Taipei; the Kaohsiung train station is a characteristic work from this era.
After full-scale war broke out, Japan promoted the East Asian Co-Prosperity Sphere, and hoped that architecture would express "the Oriental spirit." This was the origin of the Imperial Crown architecture, with its colored glazed tiles on the rooftops. The Taiwan Superior Court and the National Nor auditorium at National Taiwan Normal University are all representative works.
(4) Early Modern Period (1945-1961):
In 1945 Japan surrendered, ending its 50-year rule of Taiwan. Taiwan could finally escape from Imperial Crown style architecture, and begin an architectural modernization movement of its own.
But after the war, everything was in ruins, the amount of capital that could be invested in architecture was limited, and very few private citizens had the capital to undertake important construction. After the government moved to Taiwan, the need for office space increased sharply. Public institutions, such as the Taiwan Provincial Assembly and the Taiwan Science Hall, are representative of this period.
The style of this period was hung up and lost between traditional and modern; in the end it amounted to nothing more than an uninformed extension of eclecticism, except that the lines were even more simple.
(5) Brutalism (1961-1971):
In the 1960's, Taiwan's economic growth began to take off, and people's horizons were widened. There was a corresponding increase in contact with and longing for Western culture. The construction industry was also able to accept foreign or overseas Chinese architects.
Brutalism was strongly influenced by the concrete sculpture forms of the later period of the French modern architect Le Courbusier. On the exterior, most embellishment was eliminated, in order to deliberately express the bluntness of concrete and the totality of the form or shape.
At the same time, a type of building quite different from the Brutalist style appeared briefly as a minor stream. This style focused attention on mosaic, tile, or cut stone (that is, small rocks cut flat with a knife to give a more refined sense of bluntness) in place of the Brutalistsense of concrete.
The church at Tunghai University and Sacred Heart Middle School's octagonal structure are classic examples of Brutalism.
(6) The Era of Commercialism (1971-1981):
During this "phase two" of the economic takeoff, private investment in real estate was vigorous, and architecture came increasingly to be seen as a commercial product. Under free market competition, construction companies each staked their claims. The trend in construction was toward Western architectural styles, which began to appear in large numbers on the streets of every city.
This was just the time when glass-walled skyscrapers were being thrown up in Western cities. With rust-proof steel, plate glass, and glossy flat faces that looked like they had been cleaved with a knife, these plate glass buildings, rising like giant mirrors into the clouds, marked a new milestone in construction techniques. They are perfect company for the cold, rational, progressive sense of the modern city. These glistening buildings closed ranks of Taiwan's streets. However, though they symbolized a rise in the technical standard of architecture in Taiwan, the heat absorbent nature of glass makes them less than ideal for the Asian subtropics. Their popularity was the beginning of the emphasis of sensory impact over practicality in Taiwan architecture.
The IBM building on Tunhwa North Road in Taipei and the Chieh Lien Information Systems Building on Chungkang Road in Taichung are both rather outstanding examples of plate glass architecture.
(7) Postmodernism (1981-1991):
After the technically powerful plate glass architecture swept the globe, and gave New York, London, Tokyo, Taipei, and other major metropolises many mutually recognizable aspects, people began to turn back and look for a face that was truly their own. History, tradition, and the humanitarian spirit became the main points to consider. Buildings began to return to the classic, with an emphasis on unique traditional features and local characteristics. This is so-called "Postmodernism."
The rise of Postmodernism in Taiwan did not result in great searching for a Taiwanese identity in architecture but brought instead the same pointed brick towers that were being thrown up in Europe and America. Right up to the end of the 1980's, more and more scholars in Taiwan were devoting themselves to the study of traditional architecture, and such works were gradually promoted. The idea has been to express concepts of traditional Chinese architecture in modern construction forms. The Ta An public housing project, with its traditional rooftops, and the brackets of the Hongkuo Building are both excellent examples.
In a photograph, no matter when the photo has been developed, and no matter whether the colors are bright and fresh or faded, the hair styles, dress, and expressions of the people will unwittingly reveal the time the photo was taken and the living conditions of that time. Buildings are also this way; they stand on street corners, each with its own face, reminding each passer-by to give a thought to that golden age to which it belonged.
(This article was written with the help of Li Chien-lang, an associate professor in the Department of Architecture at Chinese Culture University and Wang Tseng-jung, a lecturer in the Department of Architecture at the Taipei College of Industrial Arts.)
[Picture Caption]
National Taiwan University Hospital (1916).
The Control Yuan, formerly the Taiwan Prefecture offices (1915).
The Presidential Offices (1919).
Taiwan Provincial Museum (1915).
The auditorium at National Normal University (1929).
Tamkang Middle School's octagonal structure (1925).
Headquarters of the Land Bank of Taiwan (1935).
National Taiwan University Library (1929).
The College of Literature at National Taiwan University (1929).
Changhua Commercial Bank in Taichung (1938).
Kaohsiung train station (194O).
Kaohsiung City Hall (1931).
National Taiwan Museum of Science (1959).
The Taiwan branch of the National Central Library (1955). (photo by Pu Hua-chih)
The New Tamsui Golf Club (1967).
Tseng Wen Youth Activities Center in Tainan (1976).
The China Hsin Building in Taipei(1968).
The church at Tunghai University in Taichung (1963).
The IBM building (1984).
The commercial district on the Jen Ai Circle is surrounded by plate glass buildings.
Central Clinic(1972).
Customs Building (1973).
World Trade Tower (1976).
Kenting Youth Activities Center (1981).
The Tsui Heng Tsun Mansion (1985).
Eastern King China Palace (l984).
Hung Kuo Building (1988).
Ta An public housing project (1985).
National Taiwan University Hospital （1916）.
The Control Yuan, formerly the Taiwan Prefecture offices （1915）.
Taiwan Provincial Museum （1915）.
The Presidential Offices （1919）.
The auditorium at National Normal University （1929）.
Tamkang Middle School's octagonal structure （1925）.
Headquarters of the Land Bank of Taiwan （1935）.
National Taiwan University Library （1929）.
The College of Literature at National Taiwan University （1929）.
Changhua Commercial Bank in Taichung （1938）.
Kaohsiung City Hall （1931）.
Kaohsiung City Hall （1931）.
National Taiwan Museum of Science （1959）.
The Taiwan branch of the National Central Library （1955）. （photo by Pu Hua-chih）
The China Hsin Building in Taipei（1968）.
The New Tamsui Golf Club （1967）.
Tseng Wen Youth Activities Center in Tainan （1976）.
The church at Tunghai University in Taichung （1963）.
The commercial district on the Jen Ai Circle is surrounded by plate glass buildings.
World Trade Tower （1976）.
Kenting Youth Activities Center （1981）.
The Tsui Heng Tsun Mansion （1985）.
Eastern King China Palace （l984）.
Hung Kuo Building （1988）.
Ta An public housing project （1985）.
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