
Ming-Song Shyu, Architectural History Scholar, Assistant Professor, Department of Architecture, Ming Chuan University
DH Café (No. 153, Section 3, Zhongshan North Road, Zhongshan District, Taipei City)
One lecture for $500, including special snacks (sandwiches, desserts, drinks), and 10% discount on event book purchases.
This year marks the 100th anniversary of the Bauhaus (1919-2019) and also marks the first anniversary of the death of Mr. Wang Dai. Three architects influenced by the Bao Haus in Taiwan, Wang Daei, Chen Chiquan and Zhang Zhaokang, each contributed in different ways to the development of modern architecture in Taiwan after the war. Even though time has passed, the ancients return today to take a closer look at the works they left behind, and the cultural depth of their work still amazes us. For this centenary, it is necessary to reflect on what cultural assets the ancients have left us behind. This series of four lectures is the beginning of what we intend to reflect deeply on. The topic of the lecture is “Theme 2: Taiwan Architecture and Baohous-Wang Daishi Exploring Traditions in the Minimalist Forbidden Desire of the Mies”.
Wang Da-Hong spent his childhood in Suzhou, China, he was deeply immersed in traditional culture. At thirteen, his father was appointed a judge at the Permanent Court of International Justice in The Hague, marking the beginning of Wang’s seventeen-year journey of study and work across Europe and the United States. He lived in France, Switzerland, England, and America, enjoying both refined material comfort and intellectual life, until 1947 when he left Harvard, where his mentor Walter Gropius was teaching.
His solid grounding in both Eastern and Western culture, coupled with the influence of Bauhaus principles, naturally shaped his architectural style—merging minimalist modern spaces with the depth and sensibility of Eastern aesthetics. Wang described his design philosophy as “simplifying complexity”—integrating intricate ideas into pure forms and pushing them to their limits. This approach resonated with Mies van der Rohe’s “Less is more,” while also aligning with Daoist philosophy, forming a spectrum where tradition and modernity harmoniously converge.
As the civil war continued when he returned to China, in late 1952, Wang Da-Hong relocated to Taiwan with the Nationalist government, and remained there for the rest of his life. His personal trajectory, marked by rises and declines, mirrored the turmoils of his era. Political manipulation, along with capitalism’s inability to appreciate the subtlety of his introspective and refined aesthetic, led him in later years to focus on poetic pursuits like designing a lunar monument and engaging in literary creation.