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岁月如歌,春华秋实;建筑艺术,薪火相传。
浙江省建筑设计研究院的顾问、总建筑师唐葆亨先生,六十余年如一日,身体力行,孜孜以求,积极探索东方“美学建筑”的形与神,精心设计出既汲取世界建筑精华、又坚持中国特色的一个又一个“美学建筑”。
沐浴师泽
国立艺专(中国美院前身)是名师荟萃的艺术圣地。校长先后由林风眠、汪日章、潘天寿、刘开渠等担任。唐葆亨也许是唯一一个正式考入“国立艺专”,并读完全部学制课程的建筑学专业学生。艺专的美术基础课是素描,幸运的是当时的素描课老师正是赵无极。赵先生后来是享誉世界的绘画大师。在学校,唐葆亨还有幸能够观看林风眠、潘天寿等大师作画、题字,浸润在浓厚的艺术氛围之中。
吴景祥先生是建筑学主课教师,他教授了几乎全部专业课程,对专业影响极大。吴景祥是中国第一代留学归国的著名建筑师、德高望重的建筑教育家。
让唐葆亨记忆犹新的是1949年,庞薰琹、雷圭元、顾恒三位老师指导同学们设计了当时杭州市最大的一项民用建筑工程项目——杭州人民大会堂。大会堂正立面有毛泽东主席浮雕,是雕塑系曾留学于巴黎的程曼叔教授的作品。建成后的人民大会堂是当时杭州城里最引人注目的新建筑,它使用了整整半个多世纪,见证了浙江省的许多重大事件和社会发展。
才情初展
唐葆亨毕业以后对母校仍然充满感激之情,一直与母校保持着密切联系与合作。1953年,他受委托设计浙江海门的“解放一江山岛战斗纪念塔”,首先就想到了与母校雕塑系王大进老师合作,并和当时雕塑系全体学生一起创作设计,将建筑与雕塑这两类造型艺术有机结合起来。直到今天,这座纪念塔依然耸立在绿树丛中,张爱萍将军的题字依然闪闪发光。
上世纪50年代初,风景旅游城市杭州提出建设“东方日内瓦”的设想,疗养院建筑便应运而生,唐葆亨和他的团队也受命参与了一些疗养院的建筑设计。
1954年,位于三台山的浙江省总工会工人疗养院开建。唐葆亨秉承“美学建筑”的理念,运用山水建筑与自然环境协调配合的原则,为工人疗养院设计了一主两副三幢主体建筑。工人疗养院一经建成,依山面湖,造型美观,色彩丰富,成为了当时杭州西湖一道美丽的建筑风景线。
几乎与此同时,唐葆亨还受命领衔主持了九溪民航杭州疗养院的设计工作。他坚守不破坏山体和植被的生态原则,依山取势,巧妙地安排了小体量、低密度的两层疗养楼的空间,与山林浑然一体,站在院外几乎看不到建筑的存在。这些疗养院建筑的成功设计,正是唐葆亨的才情初展。
业绩斐然
继疗养院建筑后,年富力强的唐葆亨又投入南屏山下的“5695工程”,俗称南屏游泳池或南屏招待所建筑的设计之中。这是一处花木掩映之中的室内游泳池及建筑,背山面湖,甚是幽静,建筑设计低调而不奢华。
紧接着,唐葆亨又接到了改建谢家花园和柳莺宾馆的任务。唐葆亨和合作者便因地制宜,因材施工,合理布局空间,巧妙安排宅园,既不破坏花园旧墅的原有文脉,湖岸水系;又提升园宅的利用功能和接待档次,古今交融,中西合璧。在绿荫掩映下的这一建筑,不仅得到了下榻的外国领袖的一致赞扬,而且还留下了毛泽东主席亲赴柳莺宾馆陪同越南胡志明主席林间散步、亲切交谈的珍贵历史时刻。
留在唐葆亨记忆中印象最深刻的建筑作品,恐怕要属代号“5801工程”的汪庄西子宾馆了。
汪庄为民国初年湖上别墅结构最新颖者,周围名园环绕,环境幽美。
一号楼建成后,沉稳低调,端庄大方,宽敞明亮。自1960年以后,毛泽东主席来杭州,基本上住在汪庄一号楼,或附近的南屏游泳池,前后达29次之多,可见毛主席对此两处园宅的喜爱程度。
唐葆亨在重大建筑的设计实践中,逐渐悟出了“强调地域特色,引进现代主义”的道理,并一以贯之,体现在以后的设计工作之中。
杭州体育馆原名浙江体育馆,于1965年设计,1966年施工,1969年竣工。
A view of Hangzhou Sports Stadium, designed in 1965 and con-structed in 1969.
唐葆亨后来设计最多的还是公共建筑,如浙江省人民政府办公楼一号楼、杭州饭店小礼堂、浙江体育馆、笕桥机场候机楼、杭州剧院……
杭州饭店小礼堂为杭州饭店的组成部分,建于1959年,在著名建筑学家赵深的指导下,在时任浙江省委第一书记江华的亲自过问下,唐葆亨等仅以3个月的时间就完成设计、施工。
小礼堂建成后,在此多次召开了中央、省、市的重要会议,受到了广泛好评。小礼堂主要特点是把“环境、空间、建筑”三者关系作为建筑创作的精髓,结合特定的地形环境,并密切与杭州饭店原来的建筑形式协调 —既具有江南传统建筑风格,又富有现代气息,国内外同行很是赞赏。
被载入了《中国现代建筑史》的杭州体育馆,原名浙江体育馆。它于1965年设计,1966年施工,1969年竣工。唐葆亨尽力做到适用、经济和美观,形式和内容充分统一。体育馆建筑面积12600平方米。整个建筑由椭圆形比赛大厅、矩形平面练习房和附属用房组成。该体育馆的屋盖结构采用马鞍形悬索屋盖,呈双曲线抛物面形状,达到了满意的视觉效果。这项设计于1993年11月被中国建筑学会评为1953年 ~1988年“中国建筑学会优秀建筑创作奖”,体育馆被评为“杭州首届十佳建筑”。
唐葆亨的另一得意之作是杭州剧院。1971年,周恩来总理在北京人民大会堂观看朝鲜歌剧《血海》。后来,朝鲜艺术家们谈到杭州,说那里风景很美,遗憾的是剧场不够大,他们没能为杭州人民演出。周总理当即表示:下次你们到杭州去,就能在那里演出了。次年,周恩来总理在《关于浙江省要求在杭州新建一座剧院的意见》上作了批示,一锤定音。
杭州剧院位于杭州武林广场西侧,是一座以演出大型歌舞、戏剧为主,兼作电影放映的多功能剧场。观众厅放映室放在池座后墙,效果良好。该项设计于1993年11月被中国建筑学会评为1953年 ~1988年“中国建筑学会优秀建筑创作奖”,杭州剧院列入“杭州首届十佳建筑”。 1980年,周总理的诺言实现了,朝鲜万寿山艺术剧团在杭州剧院成功演出了《卖花姑娘》。
研究民居
设计工作之余,唐葆亨对“中国传统民居建筑”进行了深入的研究。
改革开放后的上世纪80年代,唐葆亨亲自主持开展了对浙江全省范围的传统民居的调查研究,包括平原水乡 —绍兴民居、丘陵盆地 —东阳兰溪民居、浙东南山区 —天台民居三种类型,并总结出浙江民居特点:充分考虑气候条件,结合环境,利用地形,就地取材。他对传统民居的调查研究,一方面是为了发掘和保存这些珍贵建筑文物,更重要的是继承其优点特色,从而创新发展新建筑。如绍兴新建步行街和绍兴饭店的扩建工程等设计,就是对浙江民居研究并作继承与创新的实例。唐葆亨发表在《建筑学报》上的《浙江地域的传统和建筑形式》《义乌传统建筑文化初议》《浙江水乡 —
典雅的西湖汪庄一号楼,毛泽东主席来杭州,基本上下榻于此。
This villa at the West Lake State Guesthouse in Hangzhou was Mao Zedong’s favorite.
绍兴民居》等论文,正是在这方面的研究成果。
后来,唐葆亨又进一步调研了华东民居的状况,撰写了华东传统民居建筑概述文章,进一步阐述了民居建筑同自然环境融为一体的优点,概括了鲁、苏、浙、皖、赣、闽六省的自然、经济、文化特点,在此基础上论析了华东民居的概貌与特征。这篇收录于《中国传统民居建筑》一书的重要文章表明他研究传统民居已扩大了视野、拓宽了研究思路,还十分重视民居群体组合的村镇整体布局。
一位工作极其繁忙的设计师,忙里偷闲专注于对传统民居的研究,充分体现了唐葆亨浓重的美学情怀和乡土情结。
唐葆亨善画,他虽门出中国美院,只因倾心建筑设计,未能全身心投入心爱之美术。正因如此,他那些清淳质朴、雅俗共赏,一如马背吟诗般的画作弥足珍贵。唐葆亨一直坚持着他的建筑钢笔画,一直在为“消失的风景”存照,一册《唐葆亨钢笔画》(2012年8月中国林业出版社出版)留下民居建筑在这个世界最后的影像。
当然,唐葆亨为建筑设计而画的透视图和线描图,也丰富多彩,与他的钢笔画相得益彰。□
Beauty of Vicissitudes in Architecture
By Zhong Xiangping
Time is like a song. If spring is a eulogy to fauna and floral splen-dor, autumn is more substantial and is the time for a good harvest. For Tang Baoheng, chief advisor to the Zhejiang Architecture and Design Institute, the harvesting season has come after six decades of commitment and enthusiasm in the pursuit of what he calls the ‘architectural spirit of the Orient’. What the man has achieved over the past 60 years proves his supreme mastery of beauty through a combination of the east and the west.
In his time, Tang Baoheng was very probably the only stu-dent of architecture that entered the National Art School (today’s Hangzhou-based China Academy of Arts) by passing the official en-trance examination of the school,completed all compulsory courses and graduated with a degree. Regarded as a ‘holy land’ for artistic pursuits, the school was headed by such virtuosos as Lin Fengmian and Pan Tianshou. In those years, the young Tang Baoheng was im-mersed in a highly cultured milieu that was also contributed by his sketch teacher Zhao Wuji, who later became a member of the coun-try’s most prestigious ‘art hall of fame’.
Tang owes his architectural attainment largely to the influences
from Wu Jingxiang, a renowned educator with an architectural spe-
cialization representing the first generation of the Chinese architects
with study experiences abroad.
Tang still remembers the year 1949 just like it was yesterday. As a student majoring in architecture in the school, he got the chance to witness and actually take part in the making of the blueprint for the Hangzhou Great Hall of the People, the largest civil architectural undertaking in Hangzhou in his time. The project was supervised by three of his teachers, whose specialization and hard work forged the most eye-catching landmark in the city. Over the decades since graduation, Tang has been keeping in close touch with his alma mater, making the best of every opportu-nity that comes his way to carry forward the legacy of the school in every project he has laid his hands on. In 1953, he worked with a team led by Wang Dajin, from the Department of Sculpture of the school, on a memorial design project for Haimen.
Tang is the designer behind the Santaishan Sanatorium for the Zhejiang Federation of Labor Unions, seated in the scenic San-taishan area in Hangzhou and unveiled in 1954. Overlooking the tranquil lake and set against the floral backdrop of the lakeside hills, the sanatorium is an exquisite, colorful compound that echoes the undulating skyline of the lakeshores, adding a refreshing touch to the lakeside vista of Hangzhou.
The architect’s charismatic architectural style is also brought into full swing in his design for the Hangzhou Sanatorium of China Civil Aviation. The layout and structure of the two-storey lovely complex blends perfectly into the natural topography and vegeta-tion, creating a magical, ‘all-in-one’ eco-space for rejuvenation.
All these sanatorium projects offered Tang an ideal outlet to voice his aesthetic thoughts based on a solid foundation laid by the years at the Hangzhou Art School.
Over the years, Tang Baoheng has contributed his talent to the design and construction of many other beautiful places in Hangzhou, highlighted by such masterpieces as the renovation project for the Xie’s Garden Villa and the Oriole Hotel.
The best of the best, as the architect would feel justified to call it, is a project numbered ‘5801’. The ingenious conceptualization behind the project that is known by today’s Hangzhou people as the Wang’s Villa or the West Lake State Guesthouse makes this ‘float-ing villa compound’ an architectural novelty and a piece of art in the real sense of the word. Chairman Mao Zedong loved the place so much that he stayed in the guest house 29 times from 1960 on-ward, almost making the villa a summer house for his sojourns in Hangzhou.
Every architectural creation by Tang Baoheng displays his per-fect understanding of the characteristics of the time and the clime. Many of the major projects headed by the architect, such as the No.1 building of the Administration Headquarters of the Zhejiang Provincial People’s Government, Zhejiang Sports Stadium and Hangzhou Theatre, fall into the public architecture category. Un-veiled in 1959, the auditorium of the Hangzhou Hotel is a genius piece of art crafted by Zhao Shen and Tang Baoheng. The audito-rium took only three months to complete, demonstrating a striking fusion of the quaint ‘Jiangnan’ flavors with a bold modern touch.
Architectural focus apart, Tang Baoheng spends a lot of time on the research of various styles of traditional folk houses in China, in order to draw inspiration from the infinite connotations of the wis-dom of ancient Chinese architects and artisans.
浙江省建筑设计研究院的顾问、总建筑师唐葆亨先生,六十余年如一日,身体力行,孜孜以求,积极探索东方“美学建筑”的形与神,精心设计出既汲取世界建筑精华、又坚持中国特色的一个又一个“美学建筑”。
沐浴师泽
国立艺专(中国美院前身)是名师荟萃的艺术圣地。校长先后由林风眠、汪日章、潘天寿、刘开渠等担任。唐葆亨也许是唯一一个正式考入“国立艺专”,并读完全部学制课程的建筑学专业学生。艺专的美术基础课是素描,幸运的是当时的素描课老师正是赵无极。赵先生后来是享誉世界的绘画大师。在学校,唐葆亨还有幸能够观看林风眠、潘天寿等大师作画、题字,浸润在浓厚的艺术氛围之中。
吴景祥先生是建筑学主课教师,他教授了几乎全部专业课程,对专业影响极大。吴景祥是中国第一代留学归国的著名建筑师、德高望重的建筑教育家。
让唐葆亨记忆犹新的是1949年,庞薰琹、雷圭元、顾恒三位老师指导同学们设计了当时杭州市最大的一项民用建筑工程项目——杭州人民大会堂。大会堂正立面有毛泽东主席浮雕,是雕塑系曾留学于巴黎的程曼叔教授的作品。建成后的人民大会堂是当时杭州城里最引人注目的新建筑,它使用了整整半个多世纪,见证了浙江省的许多重大事件和社会发展。
才情初展
唐葆亨毕业以后对母校仍然充满感激之情,一直与母校保持着密切联系与合作。1953年,他受委托设计浙江海门的“解放一江山岛战斗纪念塔”,首先就想到了与母校雕塑系王大进老师合作,并和当时雕塑系全体学生一起创作设计,将建筑与雕塑这两类造型艺术有机结合起来。直到今天,这座纪念塔依然耸立在绿树丛中,张爱萍将军的题字依然闪闪发光。
上世纪50年代初,风景旅游城市杭州提出建设“东方日内瓦”的设想,疗养院建筑便应运而生,唐葆亨和他的团队也受命参与了一些疗养院的建筑设计。
1954年,位于三台山的浙江省总工会工人疗养院开建。唐葆亨秉承“美学建筑”的理念,运用山水建筑与自然环境协调配合的原则,为工人疗养院设计了一主两副三幢主体建筑。工人疗养院一经建成,依山面湖,造型美观,色彩丰富,成为了当时杭州西湖一道美丽的建筑风景线。
几乎与此同时,唐葆亨还受命领衔主持了九溪民航杭州疗养院的设计工作。他坚守不破坏山体和植被的生态原则,依山取势,巧妙地安排了小体量、低密度的两层疗养楼的空间,与山林浑然一体,站在院外几乎看不到建筑的存在。这些疗养院建筑的成功设计,正是唐葆亨的才情初展。
业绩斐然
继疗养院建筑后,年富力强的唐葆亨又投入南屏山下的“5695工程”,俗称南屏游泳池或南屏招待所建筑的设计之中。这是一处花木掩映之中的室内游泳池及建筑,背山面湖,甚是幽静,建筑设计低调而不奢华。
紧接着,唐葆亨又接到了改建谢家花园和柳莺宾馆的任务。唐葆亨和合作者便因地制宜,因材施工,合理布局空间,巧妙安排宅园,既不破坏花园旧墅的原有文脉,湖岸水系;又提升园宅的利用功能和接待档次,古今交融,中西合璧。在绿荫掩映下的这一建筑,不仅得到了下榻的外国领袖的一致赞扬,而且还留下了毛泽东主席亲赴柳莺宾馆陪同越南胡志明主席林间散步、亲切交谈的珍贵历史时刻。
留在唐葆亨记忆中印象最深刻的建筑作品,恐怕要属代号“5801工程”的汪庄西子宾馆了。
汪庄为民国初年湖上别墅结构最新颖者,周围名园环绕,环境幽美。
一号楼建成后,沉稳低调,端庄大方,宽敞明亮。自1960年以后,毛泽东主席来杭州,基本上住在汪庄一号楼,或附近的南屏游泳池,前后达29次之多,可见毛主席对此两处园宅的喜爱程度。
唐葆亨在重大建筑的设计实践中,逐渐悟出了“强调地域特色,引进现代主义”的道理,并一以贯之,体现在以后的设计工作之中。
杭州体育馆原名浙江体育馆,于1965年设计,1966年施工,1969年竣工。
A view of Hangzhou Sports Stadium, designed in 1965 and con-structed in 1969.
唐葆亨后来设计最多的还是公共建筑,如浙江省人民政府办公楼一号楼、杭州饭店小礼堂、浙江体育馆、笕桥机场候机楼、杭州剧院……
杭州饭店小礼堂为杭州饭店的组成部分,建于1959年,在著名建筑学家赵深的指导下,在时任浙江省委第一书记江华的亲自过问下,唐葆亨等仅以3个月的时间就完成设计、施工。
小礼堂建成后,在此多次召开了中央、省、市的重要会议,受到了广泛好评。小礼堂主要特点是把“环境、空间、建筑”三者关系作为建筑创作的精髓,结合特定的地形环境,并密切与杭州饭店原来的建筑形式协调 —既具有江南传统建筑风格,又富有现代气息,国内外同行很是赞赏。
被载入了《中国现代建筑史》的杭州体育馆,原名浙江体育馆。它于1965年设计,1966年施工,1969年竣工。唐葆亨尽力做到适用、经济和美观,形式和内容充分统一。体育馆建筑面积12600平方米。整个建筑由椭圆形比赛大厅、矩形平面练习房和附属用房组成。该体育馆的屋盖结构采用马鞍形悬索屋盖,呈双曲线抛物面形状,达到了满意的视觉效果。这项设计于1993年11月被中国建筑学会评为1953年 ~1988年“中国建筑学会优秀建筑创作奖”,体育馆被评为“杭州首届十佳建筑”。
唐葆亨的另一得意之作是杭州剧院。1971年,周恩来总理在北京人民大会堂观看朝鲜歌剧《血海》。后来,朝鲜艺术家们谈到杭州,说那里风景很美,遗憾的是剧场不够大,他们没能为杭州人民演出。周总理当即表示:下次你们到杭州去,就能在那里演出了。次年,周恩来总理在《关于浙江省要求在杭州新建一座剧院的意见》上作了批示,一锤定音。
杭州剧院位于杭州武林广场西侧,是一座以演出大型歌舞、戏剧为主,兼作电影放映的多功能剧场。观众厅放映室放在池座后墙,效果良好。该项设计于1993年11月被中国建筑学会评为1953年 ~1988年“中国建筑学会优秀建筑创作奖”,杭州剧院列入“杭州首届十佳建筑”。 1980年,周总理的诺言实现了,朝鲜万寿山艺术剧团在杭州剧院成功演出了《卖花姑娘》。
研究民居
设计工作之余,唐葆亨对“中国传统民居建筑”进行了深入的研究。
改革开放后的上世纪80年代,唐葆亨亲自主持开展了对浙江全省范围的传统民居的调查研究,包括平原水乡 —绍兴民居、丘陵盆地 —东阳兰溪民居、浙东南山区 —天台民居三种类型,并总结出浙江民居特点:充分考虑气候条件,结合环境,利用地形,就地取材。他对传统民居的调查研究,一方面是为了发掘和保存这些珍贵建筑文物,更重要的是继承其优点特色,从而创新发展新建筑。如绍兴新建步行街和绍兴饭店的扩建工程等设计,就是对浙江民居研究并作继承与创新的实例。唐葆亨发表在《建筑学报》上的《浙江地域的传统和建筑形式》《义乌传统建筑文化初议》《浙江水乡 —
典雅的西湖汪庄一号楼,毛泽东主席来杭州,基本上下榻于此。
This villa at the West Lake State Guesthouse in Hangzhou was Mao Zedong’s favorite.
绍兴民居》等论文,正是在这方面的研究成果。
后来,唐葆亨又进一步调研了华东民居的状况,撰写了华东传统民居建筑概述文章,进一步阐述了民居建筑同自然环境融为一体的优点,概括了鲁、苏、浙、皖、赣、闽六省的自然、经济、文化特点,在此基础上论析了华东民居的概貌与特征。这篇收录于《中国传统民居建筑》一书的重要文章表明他研究传统民居已扩大了视野、拓宽了研究思路,还十分重视民居群体组合的村镇整体布局。
一位工作极其繁忙的设计师,忙里偷闲专注于对传统民居的研究,充分体现了唐葆亨浓重的美学情怀和乡土情结。
唐葆亨善画,他虽门出中国美院,只因倾心建筑设计,未能全身心投入心爱之美术。正因如此,他那些清淳质朴、雅俗共赏,一如马背吟诗般的画作弥足珍贵。唐葆亨一直坚持着他的建筑钢笔画,一直在为“消失的风景”存照,一册《唐葆亨钢笔画》(2012年8月中国林业出版社出版)留下民居建筑在这个世界最后的影像。
当然,唐葆亨为建筑设计而画的透视图和线描图,也丰富多彩,与他的钢笔画相得益彰。□
Beauty of Vicissitudes in Architecture
By Zhong Xiangping
Time is like a song. If spring is a eulogy to fauna and floral splen-dor, autumn is more substantial and is the time for a good harvest. For Tang Baoheng, chief advisor to the Zhejiang Architecture and Design Institute, the harvesting season has come after six decades of commitment and enthusiasm in the pursuit of what he calls the ‘architectural spirit of the Orient’. What the man has achieved over the past 60 years proves his supreme mastery of beauty through a combination of the east and the west.
In his time, Tang Baoheng was very probably the only stu-dent of architecture that entered the National Art School (today’s Hangzhou-based China Academy of Arts) by passing the official en-trance examination of the school,completed all compulsory courses and graduated with a degree. Regarded as a ‘holy land’ for artistic pursuits, the school was headed by such virtuosos as Lin Fengmian and Pan Tianshou. In those years, the young Tang Baoheng was im-mersed in a highly cultured milieu that was also contributed by his sketch teacher Zhao Wuji, who later became a member of the coun-try’s most prestigious ‘art hall of fame’.
Tang owes his architectural attainment largely to the influences
from Wu Jingxiang, a renowned educator with an architectural spe-
cialization representing the first generation of the Chinese architects
with study experiences abroad.
Tang still remembers the year 1949 just like it was yesterday. As a student majoring in architecture in the school, he got the chance to witness and actually take part in the making of the blueprint for the Hangzhou Great Hall of the People, the largest civil architectural undertaking in Hangzhou in his time. The project was supervised by three of his teachers, whose specialization and hard work forged the most eye-catching landmark in the city. Over the decades since graduation, Tang has been keeping in close touch with his alma mater, making the best of every opportu-nity that comes his way to carry forward the legacy of the school in every project he has laid his hands on. In 1953, he worked with a team led by Wang Dajin, from the Department of Sculpture of the school, on a memorial design project for Haimen.
Tang is the designer behind the Santaishan Sanatorium for the Zhejiang Federation of Labor Unions, seated in the scenic San-taishan area in Hangzhou and unveiled in 1954. Overlooking the tranquil lake and set against the floral backdrop of the lakeside hills, the sanatorium is an exquisite, colorful compound that echoes the undulating skyline of the lakeshores, adding a refreshing touch to the lakeside vista of Hangzhou.
The architect’s charismatic architectural style is also brought into full swing in his design for the Hangzhou Sanatorium of China Civil Aviation. The layout and structure of the two-storey lovely complex blends perfectly into the natural topography and vegeta-tion, creating a magical, ‘all-in-one’ eco-space for rejuvenation.
All these sanatorium projects offered Tang an ideal outlet to voice his aesthetic thoughts based on a solid foundation laid by the years at the Hangzhou Art School.
Over the years, Tang Baoheng has contributed his talent to the design and construction of many other beautiful places in Hangzhou, highlighted by such masterpieces as the renovation project for the Xie’s Garden Villa and the Oriole Hotel.
The best of the best, as the architect would feel justified to call it, is a project numbered ‘5801’. The ingenious conceptualization behind the project that is known by today’s Hangzhou people as the Wang’s Villa or the West Lake State Guesthouse makes this ‘float-ing villa compound’ an architectural novelty and a piece of art in the real sense of the word. Chairman Mao Zedong loved the place so much that he stayed in the guest house 29 times from 1960 on-ward, almost making the villa a summer house for his sojourns in Hangzhou.
Every architectural creation by Tang Baoheng displays his per-fect understanding of the characteristics of the time and the clime. Many of the major projects headed by the architect, such as the No.1 building of the Administration Headquarters of the Zhejiang Provincial People’s Government, Zhejiang Sports Stadium and Hangzhou Theatre, fall into the public architecture category. Un-veiled in 1959, the auditorium of the Hangzhou Hotel is a genius piece of art crafted by Zhao Shen and Tang Baoheng. The audito-rium took only three months to complete, demonstrating a striking fusion of the quaint ‘Jiangnan’ flavors with a bold modern touch.
Architectural focus apart, Tang Baoheng spends a lot of time on the research of various styles of traditional folk houses in China, in order to draw inspiration from the infinite connotations of the wis-dom of ancient Chinese architects and artisans.