「設計」在戰後台灣的建築學院中，早已藉由異質地方（heterotopia）的運作而建立神聖的歷史地位。接合了趕圖、熬夜與評圖等日常生活中一再上演的文化戲碼，設計有如一迷人的神話，總以它最鮮明卻也最曖昧的鏡像，偷偷展現了自身在建築學院的中心地位，並自然化既有的歷史空間性現實。這種現象與台灣戰後特有的依賴現代性情境脫不了關條：在國府地緣政治依賴脈絡下，來自西方、日本的各種「改良」的現代主義陸續輸入了台灣的建築學院，從而開展了一段第三世界建築學院藉由設計論述展露主體意慾的歷史過程。其中，以建築工學及人道關懷作為基調，由馬惕乾、劉明國、吳讓治與林建業等於一九六○年代中至七○年代末藉由淡江等學院開展出的「方法論」論述，承續了五○年代金長銘、六○年代初陳其寬等建築知識份子的努力，可說是台灣建築學院設計論述發展的另一重要篇章，揭示了設計作為一種藝術生產與技術間的可能關聯。本文皆在從文化研究角度，對此設計論述生產的過程作一論述形構的系譜考掘，除希望闡明設計論述產生的空間性基礎、以及所蘊含的文化邏輯與歷史社會意涵外，亦希望能開放「設計」的象徵意義，以為下階段學院教育提供另類可能的視野！

As a newly established discipline, 'Design' has acquired its historical position, which is nearly holy and mystical, in the architectural academies of postwar Taiwan. The causes that resulted in the phenomena had their complicatedly social-historical origins, which were closely related to the condition of the dependent modernity and its variations of postwar Taiwan. Under the structural context of geo-political dependency, so many different editions of the improved modernisms of the 'western' world (Japan included) had been imported into the academic world of Taiwan. It had had so great advantage to develop different discursive practices in Taiwan's academies. Among so many discursive practices, the propagation of the 'Design Method' basing on Architectural Engineering by Ti-gan Ma(馬惕乾), Ming-guo Liu(劉明國), Rang-zhi Wu(吳讓治), Jian-ye Lin(林建業)and their colleagues and students at Tamkang University from the middle 1960s to the late 1970s was also an important one. This research, basing on the horizon of cultural study and the methodology of discursive analysis, aims to display the concretely historical process of the formation of the technological-inclined design discourse of Tamkang architectural academy during m1960s and l1970s. Therefore, we can attempt to demystify the ideological clouds obscuring 'Design', to release the magically symbolic power of 'Design', and to suggest openly an alternative horizon for the design teachings in Taiwan's architectural academies.