在台灣當代建築的發展當中，如何呈現具「文化表徵」的建築創作—也就是所謂的「現代中國建築」，一直是個重要的議題。而李祖原建築師可說是當代在詮釋具有「文化表徵」的建築的建築師當中作品數量最豐富，而且最具企圖心的建築師。不同於其他建築師，主要著重於公共建築的文化表徵的呈現；李祖原的文化表徵詮釋同時表現在公共與私人建築上，而且在商業建築上顯現出其獨樹一格的現代中國建築發展。近年來，他的數棟「中國式超高層大樓」的詮釋，更將商業建築大樓轉換成文化宣言的媒介。在創造他的「現代中國建築」的同時，他更企圖建立個人的創作論述。然而，目前為止並無針對他的作品與論述的完整研究。
本論文嘗試針對李祖原的現代中國建築理念與設計手法進行深入的探討。現代中國建築的發展，乃建立在「西方」與「中國」的建築理念互動上，因此本研究乃建構於這樣的涵構上來討論李祖原的建築論述與實踐。論文共分六個章節。第一章：簡述研究目標，研究方法，論文發展架構，與現代中國建築發展背景。第二章：探討李祖原的家庭、教育與執業背景。第三章：探討李祖原對「傳統」的詮釋；以及解析其兩個主要建築論述（原相建築＆建築心之器）所呈現出的建築理念，並歸納其「現代中國建築」的設計手法。第四章：以他的中國式「辦公大樓」與「超高層建築」進行深入的分析。第五章：企圖以符號學的語意分析來分析「台北101大樓」的建築符號運用。第六章：總結李祖原「現代中國建築」與其他建築師不同的特殊表現：包含廣義以及多樣的「傳統」的詮釋，正式與非正式的二元化傳統空間系統的詮釋，傳統空間的垂直轉換，傾向於主觀唯心的建築詮釋以及個人語彙的發展。在「現代中國建築」的發展中，如何呈現「文化表徵」出現了如何與大眾溝通的困境。李祖原無可諱言的傾向於形式主義的手法來達到溝通的目的。

Architect C. Y. Lee, who is famous for his architectural interpretations which incorporate Chinese cultural identity, can be described as one of the most representative architects in Taiwan’s history of contemporary architecture. He is the most prolific and aggressive architect to address the issue of “Chinese identity” in architectural design. Unlike other contemporary Taiwanese architects who focus on interpretations of public projects, he interprets modern Chinese architecture in buildings in both the public and private sector with similar enthusiasm and lays particular stress on commercial buildings. His recent designs of “Chinese skyscraper” have transformed commercial buildings as media of making a cultural manifesto. He is also one of the few architects trying to build an architectural treatise for modern Chinese architectural design. However, there is no thorough discussion on his architectural presentations so far; which engenders the motive of this research.
This dissertation is an attempt to reveal Lee’s ideas and design strategies in modern Chinese architectural design. The framework of discussion is constructed on the context of the interaction between Western and Chinese architectural thoughts and on the development of modern Chinese architecture to investigate Lee’s development in both practice and architectural treatise. The dissertation is developed in six chapters. The first chapter summarizes research objects, study methods, the general outlines, and the development of modern Chinese architectural trends. The second chapter discusses C.Y. Lee’s personal background regarding family, education, and practices. The third chapter makes a thorough discussion of Lee’s development of modern Chinese architecture in both theoretical argumentation and architectural practice. The fourth chapter presents a detailed investigation on his interpretations of office buildings and skyscrapers. The fifth chapter takes the communication of cultural identity as a key issue to investigate the employment of architectural signs in Lee’s Taipei 101. The last chapter concludes Lee’s presentations of modern Chinese architecture by singling out how Lee’s particularity differs from other contemporary Chinese architects. Lee’s interpretations show distinct characteristics of transforming tradition: including the variety of employing tradition, the definition of traditional space as a dual spatial system (formal and informal), the vertical transformation of traditional spaces, and the development of idealistic interpretation and personal motifs.
There is a dilemma of communicating cultural identity with the public in modern Chinese architectural designs. Lee has chosen a formalistic way to achieve the goal.

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