佛教自印度傳入中國，早期寺院建築形式受印度佛寺影響，在唐朝時期即由「宮殿式」建築形式取代，是最早寺院中國化的時代，其亦對日本佛教寺院發生極大影響，目前尚存的唐代古寺（法隆寺、招提寺等），即是日本寺院中國化的體現；佛教在亞洲各地傳播，各國產生屬於地域性文化特徵的佛教形式，均視中國佛教為其起源，如：日本、韓國、海南島、越南等；臺灣亦屬於這個大東亞佛教圈。
臺灣佛教由大陸閩南移民傳入臺灣，寺院也移植閩南式樣的建築形式；到日治時期，除移植極富日本色彩的佛寺建築形式外，也開展了臺灣建築近代化的發展，故研究臺灣傳統佛教寺院發展脈絡，中國與日本的影響均不容忽視。
隨著現代化腳步往全球推展，現代建築運動的趨力伴隨著經濟與文化交流的龐大能量，在全世界擴散、累積，從現代化到全球化的發展進程，「建築現代化」課題成為每個國家、地區與文化圈中，建築專業領域關注的焦點，並以此來論述其各自的建築文化發展，以及現代化力量與本土化、地方傳統間的對話與折衝。
故本研究設定佛教寺院建築類型，藉由檢視台灣當代佛教建築發展歷史向度的變遷，以李祖原建築師創作觀為例，以其中臺禪寺與中國西安法門寺合十舍利塔兩個作品，來探討建築現代化的課題。以「現代化」議題作為理解當代佛教寺院建築，從傳統到現代轉變的核心概念，一方面，企圖探討在現代的情境氛圍條件下，包含佛光山、十方禪堂等佛教寺院如何以「在地性」（或「臺灣性」）來建構具「臺灣性」的寺院建築論述與作品，以及如何由此來解讀其建築文化形式風格的轉化，及其承載的佛教教義，以期與教徒在信仰層次的對話。另一方面，透過同一位建築師在兩岸佛寺建築設計作品的比較與對話，試圖更廣泛而深入地思考現代性力量，在不同社會歷史情境中的建築生產，所可能發生的影響與作用。

Following the development of global modernization and the flow of cultural and economic power, the trend of architectural modernization has spread worldwide and had a significant impact on the constructive culture in different regions. During the developmental shift from modernization to globalization, the topic of modernization has become the focus of the architectural field in every country, region, and cultural circle. Architectural modernization has been the basis for further exploration of original local cultures, and produced dialog and conflict alike over modernization, localization, and tradition.
This study investigates the construction of Buddhist Monasteries that were constructed with modern architectural techniques. Rather than focusing on the modern architectural trends imported into Taiwan from Japan during the colonial period and later directly from the West, this study takes localized features as the point of departure for analyzing the unique design characteristics Buddhist monasteries have taken on during the course of modernization. It is shown that the impact of cultural globalization, provincial architecture has either implicitly or explicitly been developed into the mainstream via the inspiration of “outside” cultures. With respects to monastic architecture, the Chung Tai Chan Monastery, and the Namaste Dagoba designed by architect C. Y. Lee, stands out as an outstanding alternative formation of the modernized spirit of Buddhism in both Straits. As globalization continues to gain momentum, localization is emerging as a widespread reaction to cultural homogeneity, and the expression of a unique identity is taking on increasing importance for nations, societies, and religions. This study discussed the major trends of modernization techniques on Buddhist monasteries in Taiwan, namely classical Chinese modernization, Western modernism, and Postmodernism. How these trends are manifested on these Buddhist monasteries are compared and contrasted to demonstrate how modern Buddhist architectural techniques are exemplified in today’s Taiwan. At the same time, the authors expect to refer to comparative studies works designed by architect C. Y. Lee between Straits, to obtain an in-depth understanding of the possible influence of modernization on different societies and its historical roots.

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