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Localizing of Modernity Transplanting from Modern Western Architecture in 60'S Taiwan- in the Case of Luce Chapel

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Localizing of Modernity Transplanting from Modern Western Architecture in 60'S Taiwan- in the Case of Luce Chapel Localizing of Modernity transplanting from Modern Western Architecture in 60's Taiwan- In the case of Luce Chapel Jiang, Bo-Hong PhD. Student Dept. Architecture, TamKang University, Taiwan Wu, Kwang-Tyng Associate Prof. Dept. Architecture, TamKang University, Taiwan Abstract This study attempts to discuss the localizing process of Modernity, which was transplanted from Modern Western Architecture in the 1960s to a significant example, Luce Chapel in Tunghai University in Taiwan. The chapel is comprised of four pieces of “conoid” shell. At that time, this kind of composition relied much on complex calculations of structures and high-quality construction. Consequently, despite completion of the preliminary design in 1957, the chapel was not constructed until 1962. The major reasons of the delay are caused by lack of compatibility of construction systems in Taiwan then to realize the design of wooden construction accomplished in the U.S.A. This study intends to discover what was adopted and what was left out in terms of design, construction methods, and materials through in-depth description and explanation. This study aims at depicting the execution process of a particular case in a non-linear and more detailed, though somehow complex, way. Through the depiction, how contradictions are resolved in the process of design or construction is highlighted. Keywords : Luce Chapel, Localization, Tectonic Culture, Modern Architecture in Taiwan Introduction Concrete was gradually applied all over Taiwan in the 1960s and 1970s but in different ways. Roughly, in the 1960s, concrete was still costly, compared to man power. At that time, the maximum effect was attempted with least concrete. Therefore, construction methods such as shell, folded plate, expansion, etc. were largely adopted in the initial stage of industry building. However, in the 1970s, due to various factors, the construction business was mushrooming despite lack of manpower, high wages, and lack of technicians. The circumstances resulted in uses of tiling, curtain walls, and precasting. Take Chi-kuan Chen 1(陳其寬) for example. The construction method of shell was realized extensively in the 1960s, not long after the 1970s. The purpose of this study intends to explore the potential integration of resources which made the building of Luce Chapel possible before the transformation of construction methods in the 1970s in Taiwan. Meanwhile, this study will also probe into related research of this chapel and compensate for its inadequacy. Targeting at this chapel as reference for studying tectonic culture of Taiwan in the 1960s was because of its 1 Chen is the co-architect of Luce Chapel. unique status in the construction activities during the post-war Taiwan in terms of the era it was located, its geographical site, its designer, structure and space contour, and even its construction team. The study is divided into three parts: related discussions of Luce Chapel in Taiwan, the design and construction process of it, and insights of the author about it. I. Related discussions of Luce Chapel in Taiwan Luce Chapel, which locates in TungHai University in Taiwan, was commissioned to I. M. Pei, the designer of it, by the Luce family in 1956. One year later, the preliminary design was published in two magazines, “Architectural Forum” and “Architectural Record.” Although I. M. Pei has been worldwide recognized as the designer of Luce Chapel, most historians of Taiwanese Architecture attributed the honor to another famous architect, Chi-Kuan Chen. Luce Chapel gained a very special status in the post-war architecture of Taiwan. A bunch of studies or articles aimed at discussing it. Related discussions can be divided into two kinds. The first viewpoint viewed the chapel as a representative of Chinese modern architecture as well as the best combination of the eastern and western cultures (Fu, 2003; Han, 2003). The insight was based on a distinction between China and the western world or between modernism and tradition. Architecture was realization of architects’ personal idea and imagination influenced by a certain era. This viewpoint has been fairly prevalent until now. The other viewpoint attempted to investigate the Luce Chapel in terms of its construction process. The debate on modern and tradition or east and west was no longer an issue. The point was to explain the relationship between architecture concepts and space form (Lai, 1999). Since the stress was on the corresponding relationship between space form and architecture concepts, the description about construction process became praise to the past construction skill, not the effort which Chen and the construction team had made to bridge the gap between Taiwan and USA. Consequently, the description of its design and construction process was basically linear. However, it was the changes and turning points that showed the development and transformation of modern architecture in the 1960s in Taiwan. The events or factors related to those changes and turning points could only be clarified through those abandoned, transformed, or specially ordered construction methods or materials of the Luce Chapel. On the basis of the linear meta-description previously covered, there is still some possibility to probe into the subject, the Luce Chapel, in another way. II. Design of Luce Chapel and its construction process 1. Design of Luce Chapel Beginning in 1956, the primitive idea of Luce Chapel was making use of “brick arch.” With several times of revision suggested by Chen’s colleagues, its shape almost resembled the current one though the outline of façade was straight (See Figure 1). Recommended by Lady Ferguson 2, the outer walls of the chapel were settled down with Conoid shell. According to the pictures shown on Architectural Forum in March, 1957 and Architectural Record in August, 1957, the preset construction method of the chapel was based on wood (See Figure 2). Nevertheless, it was still uncertain about how to resolve wood construction by Conoid and further to finalize the budget (Chen ，1995; Lai ，1999). Fig.1.Models of Luce Chapel’s Developmental Stages Fig.2.Luce Chapel of Wooden Construction In addition to the technical problem just mentioned, there was still an irreversible hurdle to build the chapel with wood because of the poor condition of producing construction materials and transportation of them in the 1960s, Taiwan. The hyperboloid wall was composed of “board, frame and board” in Chen’s original concept. The edges of walls were enclosed by U-shaped steel. However, U-shaped edges are curved and 18- meter long so transportation at that time was unachievable (Chen ，1995; Zhen ，2006). In 1958, the next year Chen came to Taiwan, he got acquainted with a structure engineer, Hou-Shan Fong(鳳後三), who had studied further in France, so it occurred to Chen that concrete use might be a possible solution to building up the chapel. With insistence by his colleague on wood construction, Chen could not settle down the dispute so the son of the sponsor, Henry W. Luce, who initiated the publication of the Time Magazine, decided to cease the construction. In 1960, Henry W. Luce was shocked at the unstarting of the chapel when he visited Taiwan and determined to resume the construction. Meanwhile, Chen had decided the construction method. In December, 1960, Chen and Fong finished the design and sent it to the U.S. for verification. Due to some disagreement of Pei’s structure engineer on estimation of structure safety, the construction project was delayed. Finally, in April, 1961, the head of Tunghai University board committee wrote to H.R. Luce to clarify the results of the design and to decide on the budget; in November, 1962, the construction of the Luce Chapel commenced. 2 M. Ferguson, daughter of J. C. Ferguson, was a member of UBCCC (The United Board for Christian Colleges in China) then. 2. Working Drawing Working drawings was fourfold. First, one sheet of site planning was devised with English annotations. Second, architecture drawings, totally eight sheets, including elevations, sections, and details, along with mixed English and Chinese annotations within them were completed. Third, five-piece framework drawings with Chinese annotations and finally seven-piece structure drawings with English annotations were done by Fong and his assistants. Except some architecture drawing and framework drawings, the targeted people of this set of drawings were the staff of Pei’s firm overseas. Among the working drawings, the most particular part was the framework one. It clearly showed the size and location for temporary supporting system of the moldboards. Meanwhile, it marked the size and number of iron plates and bolts for supporting system (see Fig. 3). The framework drawings, different from the rest annotated in English or both languages, was annotated in Chinese. It can be assumed that this part was used only as reference for the construction department building temporary supporting system instead of the team members overseas. The need of framework drawing originated from the uniqueness of the chapel itself. The shell of the chapel was large-scaled; at the same time, Fong’s structure calculation had been questioned of its feasibility. Therefore, before the compressive strength of concrete was enough, temporary upholding was necessary. Besides, to avoid cracking of the shell when the load was uneven and moldboards were torn down, how to remove the supporting system had to be considered and estimated. Fig. 3. Plans of Fong’s Supporting System 3. Construction Process One of the important factors of the completion of the chapel was devotion of Gen-Zong Wu(吳艮宗), Leader of Guang-Yuan Construction Company(光源營造廠). Before the commencement of constructing the Luce Chapel, Wu intended to go to Japan to study the properties of concrete but the trip was given up due to the limitation of overseas trips on people at the time in Taiwan. Instead, he self-studied a book in Japanese to understand proper construction with concrete.
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