21世紀初，隨著中國政治經濟的崛起，北京等各大城市紛紛成為西方各大建築師競技的主要場所，諸如中國國家大劇院等建築絢麗前衛的外型不斷引起了正反兩方的激烈論辯，面對了文化保守論者動輒以「民族形式」相詰的挑戰，現代擁護者除了高舉與世界接軌的論調外，更丟出了「水煮蛋可比羅浮宮金字塔」之類的話語，企圖形塑這類建築實踐的正當性，於是圍繞著「西方／現代vs.中國／傳統」這組古老命題所出現的相關形式話語，又一次成為建築等文化論述爭論是非的主要概念。然而，這類的攻防、其實正陷入了英國建築史大家大衛．沃金（David Watkin）所稱，將建築視為道德的窘境；也體現了威尼斯學派建築史大師曼菲德．塔夫利（Manfredo Tafuri）反省西方當代建築現象所說的，建築為意識形態遮蔽，而缺乏建築史以解除迷津的窘境。我們於是需要深度的建築史以解開當前建築實踐糾葛在全球化等種種制度力量下的團團迷霧，以便回復建築曾經組構宇宙、召喚認同，而讓人安身立命的歷史性功能，並賦予建築在城鄉實踐中形塑深度意義世界的能動性角色。本文乃是一個以深度建築史穿透北京國家大劇院空間形式的批判性書寫實踐，旨在從建築史的角度，以北京國家大劇院為個案，對當前西方建築師在中國城市實踐的話語現實及實質現實進行雙重解析，以便重構建築及建築史，並探討建築史理論（含教學）在當前有助於重建深度城鄉環境的可能道路。

As China stands out through its political and economical growth in the early 21 century, big cities in China such as Beijing etc. gradually become the skill-contesting arenas of famous western architects, and the dazzling high-technological form presented by the architecture such as the avant-garde National Centre for The Performing Arts causally arouses the sharp and contrast controversies between the pro and con camps. Facing the tremendous challenges from the cultural conservatives who take the stand of 'national form' as the proper approach, the modernists not only propose the argument of joining the international society, but also assert statements such as 'the Boiling Egg could be comparable to the Pyramid of Louver' in order to concretize the legality of such kind of practices. Hence, the formal discourses emerging from the old premise of 'western/modern vs. Chinese/traditional' become once again the key point of cultural debates on architecture. This paper is a critical practice of analyzing the spatial form of National Centre for The Performing Arts through deep architectural history. It also aims to disclose both the discursive and physical realities of western architects' practices in Chinese cities, in order to reconstruct architecture and architectural history. In addition, it suggests possible ways that architectural theories could offer to recreate the urban and rural environments in China.