近代中國建築的發展，“民族形式”（National Form）是非常重要的嘗試。它試圖在建築的現代化過程中尋找一條捍衛文化主體性的道路，而「中國式的屋頂、西洋的屋身」成為當時普遍的建築實踐。 原籍福建集美的新加坡華僑陳嘉庚（1874-1960年）可說是華人嘗試民族形式的第一人，比起南京首都計畫（1929年）要求的“固有形式”早了近十年。陳嘉庚首度嘗試民族形式是於1910年代末，他所主導的集美學校與廈門大學建築採取了閩南式的屋頂結合西方殖民樣式的作法；第二波則是1950年代初期，中共建政之後高漲的民族主義浪潮。陳嘉庚的建築風格，被稱為“洋裝碗帽”，其象徵表現一方面融合了地方風格及殖民建築的空間語言，是混血或混雜的文化形式，一方面亦再現了海外僑領的國族主義和文化認同，以及對中國現代化的一種思維方式。本文以陳嘉庚之學校建築的研究對象，剖析“洋裝碗帽”之建築論述，並藉由殖民與後殖民論述的理論概念，討論近代僑領的國族主義、現代性及文化認同、文化抵抗等意識。

　　　　　In the early twentieth century, the rising tide of Chinese nationalism led architects and nationalists to develop a national architectural style to counteract western imperialism. This style was not initiated by an architect, but rather by Tan Kah Kee, a Chinese businessman living in Singapore. The architectural style he created-called 'yangzhuang wanmao' (western dress with a Chinese round hat)-can be described as a British colonial building with a Minan (southern Fujian) roof, and is distinct from the northern palace roof on a western building used as the 'National Form' for government buildings. Tan's hybrid style echoed Chang Zidong's notion of "using the Chinese knowledge as the body, and applying western knowledge to it" (zhongxue weiti xixue weiyong). This paper is concerned with the implications for Chinese nationalism of Tan's hybrid architectural style. It argues that the yangzhuang wanmao style is a spatial representation of Tan's hybrid national identity, which in turn stems from his colonial experience.