本紋徽由代表防禦性的五角碉堡構成，對應於美國國防部的五角大廈，外圍由五隻飛禽作為紋徽中的支持者（Supporter）：美國老鷹，象徵1945後的每台關係；台灣帝雉，1906年由英國鳥類採集家Walter Goodfellow發現，並由William Robert Ogilvie-Grant命名為Calophasis mikado，Mikado在日語中，漢字寫作「帝」或「御門」，為天皇的尊稱，在2000年成為新台幣千元鈔票上的圖像，在政黨更替後取代先前的蔣公頭像；環頸雉，因為和其他區域的環頸雉有辨識上的爭議，因此無緣成為國鳥；台灣鄉村的白鵝，過去用其糞劃界防禦蛇類進入，因蛇腹會因支潰爛，象徵維護各種社會階級；台灣公雞，象徵農業立國的報時基準和社會精神。
在五角碉堡內圍，包含五種建築模式，成為紋徽的盾牌：現代化前的竹屋，象徵植被和居住者的關係；日本皇民化時期，以太陽光輝為紋飾的帝國式建築，同時也象徵台灣的現代化經驗；由蔣介石的御用建築師楊卓成，及和睦建築師事務所建造的中正紀念堂，形式參照廣州和南京的中山紀念堂，而建築的規劃並不依照日治時代的都市設計，直接面對中國大陸，顏色則是使用藍色和白色為主的青天白日標準色；1980年代大量使用的烤漆板，取代先前容易鏽蝕的波浪鐵皮浪板，因造價便宜施工容易加上建築法規鬆散，故和鐵窗成為當今主要的居住景觀；2004年後 為觀光而產生和開發的新型烤漆板，仿製日治時期的屋瓦和木屋；中間則是無星辰的黑色星空，代表不能想像的未來。 Corresponding to the United State’s Pentagon structure, this coat of arms represents a defensive pentagonal bunker. The five birds surrounding it are its supporters. The American eagle symbolizes post-1945 US-Taiwan relations. The Taiwan mikado was discovered in 1906 by British zoological collector, Walter Goodfellow, and it was named “Calophasis mikado” by William Robert Ogilvie-Grant. In Japanese the character for mikado is written as “emperor” or “the imperial household” in honor of the emperor. In 2000, its image became imprinted on the one thousand New Taiwan Dollar bill. This occurred after a change in the ruling political party and replaced Chiang Kai-Shek’s image. Due to identification disputes across regions, the ring-necked pheasant did not have the chance to become the national bird. The feces of goose found in Taiwanese villages was used to deter snakes because of their ability to rot the bottom of snake bellies. As a result, the goose symbolizes the maintenance of various levels of society. The Taiwanese rooster symbolizes the timeliness and community spirit of a country founded on agricultural roots. Within the pentagon, there are five types of buildings which become the emblem’s shield. The pre-modern bamboo house symbolizes the relationship between vegetation and inhabitants. The imperial-style building with the shining sun reminiscent of the Japanese colonial period symbolizes Taiwan’s modern experience. The National Theater constructed by Chiang Kai-Shek’s master architect, Yang Zhuocheng, and Hemu Architectural Firm uses the Sun Yat-Sen Memorial Halls in Guangzhou and Nanking as references for its form. The architectural planning is not in accordance with Japanese colonial era urban design. Instead, it is derived from mainland China. The color scheme makes use of the standard blue and white colors of the R.O.C. flag. Galvanized plates were used on a large scale during the 1980s and replaced easily corrodible wave, iron plates. Due to low costs and loosened building codes, iron barred windows became a main part of Taiwan’s urban landscape. After 2004, more modern galvanized plates were produced and installed to beautify the city in an attempt to attract tourists. These modern panels mimicked the color and texture of the roof tiles and wooden rooms common during the Japanese colonial era. In the middle, there is a black sky without stars, which represents an unpredictable and unimaginable future.
