本研究試圖從故宮的「中國正統」論述與空間設計實踐進路間相互形塑的關係切入，探討1960年代迄今「宮殿式」建築作為戰後三十餘年官方主流文化認同理想形式的內涵及1990年代以降的意義轉化。首先，本文視冷戰年代的故宮，是為國民黨政權的「中華文化復興運動」提供形式支持的「異質地方」，文復運動以「道統說」作為「中華文化」本體論的基礎，而故宮宮殿式建築的復古主義身影，及一系列禮制空間配置則提供了具體的空間顯像；位於軸線起點的「天下為公」牌坊象徵儒家理想政治烏托邦的入口，建築外觀參照北平午門剪影遙想帝國，設計者以「明堂」想像發展之室內品字型平面，不僅被視為宮殿建築胚胎，同時象徵「道德聖王」行王政之道的場域，此正當化了蔣中正與「自由中國」作為孫逸仙的道統繼承，而具「國魂」意涵的國寶，則為單一文化體系（華夏文化）的想像提供實質的佐證。接著，本文將討論向度延伸至晚近20餘年，多元認同角力及博物館美學經濟所共同改造的故宮文化論述，特別是2001年以降故宮一系列的正館空間改造、故宮南院計劃、故宮晶華BOT案等，為其提供意識形態的空間支持。從認同政治言，多元主義及在地文化論述對華夏一元論支撐的國族想像進行批判。而從美學經濟角度來看，「Old is New」與「經濟複合體」概念，讓故宮的「國寶」成為具有高度經濟效益的文化資本，即資本主義商品交換邏輯中的精品。而「去中心化」的空間邏輯，則虛化了權力核心與大一統帝國軸線，使得宮殿式建築轉而成為消費空間的展演舞臺，其風貌大致依舊可卻意義相異，「中國正統」在此被穿透與解離。本文之所以歷史地討論故宮，作為一個映現著特定文化意識消亡與重組的「異質地方」，主要乃企望能提供一個迴身觀照與佐證的鏡像，以凸顯台灣戰後不同歷史時勢所鑄造的現代性經驗。

This paper tries to explore the intertwined relationship between the ＂Chinese Orthodoxy＂ discourse of the KMT government and the spatial practice strategy, in order to further understand the cultural meaning of ＂palace＂ architectural style as the ideal form of official cultural identity in post war Taiwan. First of all, the research is structured by the hypothesis of considering the National Palace Museum as a heterotopias, providing a formal presentation for a ＂Chinese Cultural Renaissance Movement＂ promoted by the KMT regime. This assumption is based on the moral legacy of Confucianism as an ontological foundation, producing both an ideology of restoration and a ritual space settlement, themselves, in the end, providing a dialogue between the physical form and the initial Confucianism spirit. The monumental gateway main inscription, ＂the whole world as one community＂ at the starting point of the axis marks the entrance of the Confucian ideal of political utopia and the architectural façade of the National Palace Museum is an analogy with the shape of Wu-Men inside the Forbidden City, both of them giving to the designer a pattern to fulfill the nostalgia of the Empire. The interior design, deeply linked with ＂Ming Tang＂, is not only regarded as a fetus of the Palace architecture type, but also as a passage into a political agora of moral sanctity, which legitimates both Chiang Kai-shek and ＂Liberal China＂ as the moral inheritors of Sun Yat-sen. At the same time, the palace contents, the so called ＂National Treasures＂, put forward the idea of a single national soul, making these artifacts seen as physical evidences of a single origin of the Hua-xia culture. In addition, the paper is extending its field of research to the last two decades where Taiwan had to face a struggle between different identities statements and the development of the economy of cultural products. Afterwards, a series of spatial restorations of the National Palace Museum since 2001, but also the planning of a National Palace Museum Southern Branch design competition, ＂the Silks Palace BOT projects＂, are providing a new ideological direction for the Museum. From a national identity perspective, the paper states that multi-identities and local issues cast doubts on a single cultural origin of Hua-Xia, and the de-centralization spatial strategy eliminates both the symbolic of Center of Power in the removal of Sun Yat-sen statue and the Grand Empire Unification discourse. From an aesthetic perspective, the paper tries to explain that the notion of ＂Old is New＂ and ＂Economy Complex＂ transforms the ＂National Treasures＂ into a highly beneficial cultural capital. Through the process, the style of the Palace architecture has already changed as a performing stage in the consumer society, deconstructing the notion of ＂Chinese Orthodoxy＂. Historical studies of National Palace Museum as a heterotopia that reflects the construction and deconstruction of cultural consciousness, is an attempt to provide a reflexive evidence of the multiple modernity experiences in post war Taiwan.