位於廣闊稻田中的菁寮聖十字架天主堂，其興建計畫始於1955年，由方濟會楊森神父推動。他特別邀請遠在德國的摯友戈特弗瑞德．波姆擔任此專案的設計師。

當時，波姆正接手父親的建築事務所，並嘗試設計轉型，而這座教堂便成為他首批現代主義建築作品之一。懷抱對信仰與建築的熱忱，他無償為楊森神父繪製設計圖，並由臺灣團隊負責施工圖繪製。然而，由於當時德國與臺灣的建築技術存在落差，教堂的興建過程也面臨諸多挑戰。

在建造過程中，楊森神父與臺灣鋁業鄭逸群總工程師及楊嘉慶建築師合作。由於地理環境與營造方式差異，設計師與施工團隊不斷調整，使這座源自德國的現代教堂設計得以適應臺灣土地，並賦予其獨特的生命力。最終，工程於1957年啟動，分為兩期進行，歷經四年辛勤的努力，於1960年順利完工。

1986年，波姆成為第一位獲得建築普立茲克獎（Pritzker Architecture Prize）的德國建築師。而這座教堂是波姆首次獨立承接的海外作品，也因此備受矚目。

隨著歲月的侵蝕，這座充滿故事的教堂已亟待修復。如今一群年輕的建築師與專家們正攜手展開修復計畫，目的是找回當年波姆的設計精神，同時也考量未來的保存與發展。

Situated amidst expansive rice paddy fields, the Holy Cross Church was first proposed in 1955 by Father Erich Jansen of the Franciscan Order. He invited his longtime friend, German architect Gottfried Böhm, to design the church. At the time, Bohm inherited his family architectural firm after his father’s passing. Out of support for Father Jansen’s mission and the passion for modernist principles, Bohm generously contributed the architectural drawing without seeking compensation, while a Taiwanese team was responsible for the construction drawings. However, differences in construction skills and techniques between Germany and Taiwan at the time posed significant challenges.

During the construction process, Father Jansen collaborated with Chief Engineer Zheng Yi-Qun of Taiwan Aluminum Manufacturing Company and architect Yang Jia-Qing. Given the differences in geography, environment, and construction methods, the architect and construction team continuously adapted the design to bring this German church to life while ensuring its modernist style harmonized with Tainan landscape. Construction officially began in 1957, proceeding in two phases over four years, and was completed in 1960.

In 1986, Gottfried Böhm became the first German architect to be awarded the Pritzker Prize. The Jingliao Holy Cross Catholic Church was his first independent overseas project and garnered significant attention. However, over time, the weather has caused deterioration and erosion. Today, a group of young architects and experts has come together to lead a restoration initiative, aiming to preserve the “spirit of Böhm” while ensuring the church’s long-term conservation and sustainable development.

興建

由於經費有限，波姆設計這座教堂時並未收取費用，甚至未曾親自踏查。他完全依據楊森神父提供的照片，設計出這座對臺灣建築及菁寮居民具有重要意義的建築。

波姆大膽運用聖俗二分的概念，第一期工程先興建世俗宿舍與教室，隔兩年後才建聖堂。考量臺灣炎熱的氣候，他設計雙層鋁皮屋頂，有效提升隔熱與通風。並採用四面落地窗，使清風得以穿透室內加強空氣的流通，這在當時的教堂建築中相當罕見。而由於臺灣位處地震帶，波姆在鄭總工程師提供的氣候與地震資訊，在設計圖中增設剪力牆，以提升建築的結構穩定性。

受限於當時的施工技術，鐘塔與落地窗框改為木構造，並邀請當地社區的孩子們參與聖器的細節修飾。這座教堂的每一處設計都融合了在地材料與社區力量，展現人文關懷與地方特色。

Due to limited funding, Gottfried Böhm designed the church without receiving any compensation and never conducted an on-site survey. Relying solely on photographs provided by Father Jansen, he created a structure that holds significant architectural value in Taiwan and remains deeply meaningful to the residents of Jingliao.

Böhm boldly applied the concept of separation of sacred and secular, constructing the dormitories and classrooms during the first phase and beginning to work on the main church two years later.. To accommodate Taiwan’s hot climate, he incorporated a double-layered aluminum sheet-lined roof to improve heat insulation and ventilation. Additionally, he designed four floor-to-ceiling windows to enhance air circulation—an uncommon feature in church architecture at the time. Given that Taiwan is located in a seismic zone, and based on the climate and earthquake-related analysis provided by Chief Engineer Zheng, Böhm also integrated shear walls into the design, strengthening the building’s stability and structural integrity.

Due to the construction limitations of the time, the bell tower and the framing of the floor-to-ceiling windows were modified to be made of wood. Additionally, children from the local community were invited to contribute to the detailing and adornment of the holy vessels. Every element of the church reflects the use of local materials and community involvement, embodying a deep humanistic spirit and strong regional identity.

孩子們參與聖器的細節修飾（菁寮聖十字架天主堂提供）
Children contributing to the adornment of holy vessels. (Provided by Jingliao Holy Cross Church)

演變

波姆在設計時已針對南臺灣的炎熱多雨氣候與地理條件進行調整。但在數十年的使用過程中，建築歷經多次修繕與改動，以適應時代與氣候的挑戰。

教堂落成不到五年，祭臺後方的三扇落地格子窗因逆光影響教友參與彌撒的視線，最終以磚牆封閉。大量外露的木造落地窗，長期受雨水侵蝕變形，難以開啟，自1987年起陸續更換為鋁製門窗。

此外，聖堂祭臺上方的八角挑空區域，象徵著禱告直達天際，但因年久失修與漏水而封閉，成為這座歷史建築在環境與時間洗禮下的無奈。

Southern Taiwan's climate is characterized by high temperatures, frequent rainfall, and seismic activity. While architect Gottfried Böhm carefully considered these environmental factors in his design, the passage of time has inevitably led to natural wear and aging. Over the decades, the building has undergone numerous repairs and modifications in response to environmental challenges and the passage of time.

Within five years of the church’s completion, the three floor-to-ceiling windows behind the altar were found to create visibility issues for congregants due to backlighting and were subsequently covered with a brick wall. Continuous exposure to the elements caused the wooden window frames to deteriorate, making them difficult to open. Beginning in 1987, they were gradually replaced with aluminum frames.

Additionally, the octagonal void above the altar, symbolizing the direct connection between the prayers of the priest and congregation and the heavens, suffered deterioration and leaking over the years. Eventually, it had to be sealed, marking yet another transformation this historic building underwent as it faced the passage of time and the evolving circumstance of environment.

屋頂十字架（國立臺灣博物館提供）
Cross on the Roof (Provided by National Taiwan Museum)

早期格子窗
Original Checkered Windows

重生

歷經多年風雨，菁寮聖十字架天主堂逐漸損壞。為了延續這座現代主義精神，目前正推動第一階段的整修，目標是恢復波姆的設計理念，並考量當地神職人員與教友的需求，以及未來的永續使用。這項修復工程由長短樹鄉村研究所設計團隊負責，聚焦於祭臺八角挑空空間與座位區天花板的修復設計。

整修設計秉持三大核心原則：

• 第一，尊重原始設計，透過研究歷史圖紙與照片，忠實呈現德國建築師波姆、協助波姆的臺灣建築師楊嘉慶與楊森神父的設計概念。
• 第二，回應時代變遷，利用現代材料與技術提升空間品質，如改善通風與防水功能，同時維持聖堂原貌。
• 第三，考量未來擴建需求，調整設計，使其能與後續修建計畫銜接。

這次整修不僅是對歷史的回溯，更是為聖堂的永續使用奠基，確保這座承載信仰與文化的建築，能繼續在菁寮的土地上閃耀光芒。

Having endured years of climate damages, the Jingliao Holy Cross Church has gradually shown signs of aging. To preserve the building’s modernist spirit, the first phase of a restoration plan is now underway. This initiative aims to revive architect Böhm’s design principles while accommodating the needs of the local clergy and congregation, with a focus on long-term sustainability. Led by Studio Tngtetshiu, the project prioritizes the restoration of the octagonal void above the altar and the ceiling area above the pews.

The restoration designs will be guided by three core principles:

1. Respecting the Original Construction – Through extensive research of historical drawings and photographs, the project aims to faithfully preserve the design concepts of German architect Gottfried Böhm, Taiwanese architect Yang Jia-Qing, who assisted Böhm, and Father Jansen.
2. Adapting to Contemporary Needs – Modern materials and techniques will be employed to enhance the building’s spatial quality, including improvements in ventilation and water insulation, while maintaining the church’s original architectural form.
3. Planning for Future Sustainability – The design will consider potential future expansions, allowing for flexible modifications and ensuring a seamless transition for ongoing restoration efforts.

The goal of this restoration extends beyond preserving the past; it is also about ensuring the church’s longevity for future generations. By safeguarding this structure—one that embodies the faith and culture of its community—the project seeks to maintain its enduring presence, allowing it to continue shining brightly in the landscape of Jingliao.

聖堂祭臺區八角挑空空間模擬圖（長短樹鄉村研究所提供）
Simulation Rendering of the Octagonal Void Above the Church Altar (Provided by Studio Tngtetshiu)

聖堂空間模擬圖（長短樹鄉村研究所提供）
Church Interior Simulation Rendering (Provided by Studio Tngtetshiu)