This study aims to, through the interlaced trajectory of the East and West, rediscover the epistemological connotation of Lu's "Ming Tang Xin Kao" and Da Cheng Guan on the basis of the notion of invention of national tradition. The study reveals that Lu has co-constructed biological social imaginary and modernist mechanisms of the twentieth century in order to represent the authenticity of “Nature” with reductionism and structural rationalism; and have them transformed in the restoration diagram. The "qu shi", which implies the meaning of "the original state of shelter", has a straightforward and exposed structure like a covered plaza, showing the origin of "Free China" and the characteristics of modernist architecture. Lu based on the humanistic mechanistic view of "number" and modular system, the scale and proportions of the base and the five chambers are analyzed, showing that "Ming-Tang" is an expression of a high degree of civilization, but it also leads the restoration of tradition to the universal assimilation framework of Western modernity. Da Cheng Guan, which is designed based on the shape of well-field system to integrate Ming-Tang's five chambers and courtyard (he yuan), expresses the thinking that the nation is formed by the duplication of single-core organism and is physiocratic. Due to reference F. L. Wright's organic architecture concept, the cell core (fireplace) in Wright's works was transformed into a pillarless auditorium (tai shi). The atrium of the courtyard (he yuan) is recognized as the core of the cell, which also has the meaning of "Man-Nature", is compared to the smallest family unit, which is a metaphor of connecting the family and the state through the rule of the saints, echoing the Chinese cultural revival movement's moral politics. When this model is recreated in buildings of Chinese Culture University, it forms a vertical city. The asymmetrical composition of extended plant branches and rhythmic architectural form constructed based on the exterior architectural form defined by interior space functions, on the other hand, fail to co-exist in the appearance of architecture. In addition, Lu ignored the perception of empiricism and regional response, and was influenced by space theory regarding people stay in architecture as a moving physical existence with vision. In the end, the traditional view of "Man-Nature" is facing dissociation. Finally, the "Authenticity" of "Naturalism" becomes a shattered afterimage.
Da Cheng Guan, Ming-Tang,Nature, Chinese cultural revival movement, organic architecture,Man-Nature