仲向平

歲月如歌，春華秋實(shí)；建筑藝術(shù)，薪火相傳。

浙江省建筑設(shè)計(jì)研究院的顧問、總建筑師唐葆亨先生，六十余年如一日，身體力行，孜孜以求，積極探索東方“美學(xué)建筑”的形與神，精心設(shè)計(jì)出既汲取世界建筑精華、又堅(jiān)持中國特色的一個又一個“美學(xué)建筑”。

沐浴師澤

國立藝專（中國美院前身）是名師薈萃的藝術(shù)圣地。校長先后由林風(fēng)眠、汪日章、潘天壽、劉開渠等擔(dān)任。唐葆亨也許是唯一一個正式考入“國立藝專”，并讀完全部學(xué)制課程的建筑學(xué)專業(yè)學(xué)生。藝專的美術(shù)基礎(chǔ)課是素描，幸運(yùn)的是當(dāng)時(shí)的素描課老師正是趙無極。趙先生后來是享譽(yù)世界的繪畫大師。在學(xué)校，唐葆亨還有幸能夠觀看林風(fēng)眠、潘天壽等大師作畫、題字，浸潤在濃厚的藝術(shù)氛圍之中。

吳景祥先生是建筑學(xué)主課教師，他教授了幾乎全部專業(yè)課程，對專業(yè)影響極大。吳景祥是中國第一代留學(xué)歸國的著名建筑師、德高望重的建筑教育家。

讓唐葆亨記憶猶新的是1949年，龐薰琹、雷圭元、顧恒三位老師指導(dǎo)同學(xué)們設(shè)計(jì)了當(dāng)時(shí)杭州市最大的一項(xiàng)民用建筑工程項(xiàng)目——杭州人民大會堂。大會堂正立面有毛澤東主席浮雕，是雕塑系曾留學(xué)于巴黎的程曼叔教授的作品。建成后的人民大會堂是當(dāng)時(shí)杭州城里最引人注目的新建筑，它使用了整整半個多世紀(jì)，見證了浙江省的許多重大事件和社會發(fā)展。

才情初展

唐葆亨畢業(yè)以后對母校仍然充滿感激之情，一直與母校保持著密切聯(lián)系與合作。1953年，他受委托設(shè)計(jì)浙江海門的“解放一江山島戰(zhàn)斗紀(jì)念塔”，首先就想到了與母校雕塑系王大進(jìn)老師合作，并和當(dāng)時(shí)雕塑系全體學(xué)生一起創(chuàng)作設(shè)計(jì)，將建筑與雕塑這兩類造型藝術(shù)有機(jī)結(jié)合起來。直到今天，這座紀(jì)念塔依然聳立在綠樹叢中，張愛萍將軍的題字依然閃閃發(fā)光。

上世紀(jì)50年代初，風(fēng)景旅游城市杭州提出建設(shè)“東方日內(nèi)瓦”的設(shè)想，療養(yǎng)院建筑便應(yīng)運(yùn)而生，唐葆亨和他的團(tuán)隊(duì)也受命參與了一些療養(yǎng)院的建筑設(shè)計(jì)。

1954年，位于三臺山的浙江省總工會工人療養(yǎng)院開建。唐葆亨秉承“美學(xué)建筑”的理念，運(yùn)用山水建筑與自然環(huán)境協(xié)調(diào)配合的原則，為工人療養(yǎng)院設(shè)計(jì)了一主兩副三幢主體建筑。工人療養(yǎng)院一經(jīng)建成，依山面湖，造型美觀，色彩豐富，成為了當(dāng)時(shí)杭州西湖一道美麗的建筑風(fēng)景線。

幾乎與此同時(shí)，唐葆亨還受命領(lǐng)銜主持了九溪民航杭州療養(yǎng)院的設(shè)計(jì)工作。他堅(jiān)守不破壞山體和植被的生態(tài)原則，依山取勢，巧妙地安排了小體量、低密度的兩層療養(yǎng)樓的空間，與山林渾然一體，站在院外幾乎看不到建筑的存在。這些療養(yǎng)院建筑的成功設(shè)計(jì)，正是唐葆亨的才情初展。

業(yè)績斐然

繼療養(yǎng)院建筑后，年富力強(qiáng)的唐葆亨又投入南屏山下的“5695工程”，俗稱南屏游泳池或南屏招待所建筑的設(shè)計(jì)之中。這是一處花木掩映之中的室內(nèi)游泳池及建筑，背山面湖，甚是幽靜，建筑設(shè)計(jì)低調(diào)而不奢華。

緊接著，唐葆亨又接到了改建謝家花園和柳鶯賓館的任務(wù)。唐葆亨和合作者便因地制宜，因材施工，合理布局空間，巧妙安排宅園，既不破壞花園舊墅的原有文脈，湖岸水系；又提升園宅的利用功能和接待檔次，古今交融，中西合璧。在綠蔭掩映下的這一建筑，不僅得到了下榻的外國領(lǐng)袖的一致贊揚(yáng)，而且還留下了毛澤東主席親赴柳鶯賓館陪同越南胡志明主席林間散步、親切交談的珍貴歷史時(shí)刻。

留在唐葆亨記憶中印象最深刻的建筑作品，恐怕要屬代號“5801工程”的汪莊西子賓館了。

汪莊為民國初年湖上別墅結(jié)構(gòu)最新穎者，周圍名園環(huán)繞，環(huán)境幽美。

一號樓建成后，沉穩(wěn)低調(diào)，端莊大方，寬敞明亮。自1960年以后，毛澤東主席來杭州，基本上住在汪莊一號樓，或附近的南屏游泳池，前后達(dá)29次之多，可見毛主席對此兩處園宅的喜愛程度。

唐葆亨在重大建筑的設(shè)計(jì)實(shí)踐中，逐漸悟出了“強(qiáng)調(diào)地域特色，引進(jìn)現(xiàn)代主義”的道理，并一以貫之，體現(xiàn)在以后的設(shè)計(jì)工作之中。

杭州體育館原名浙江體育館，于1965年設(shè)計(jì)，1966年施工，1969年竣工。

A view of Hangzhou Sports Stadium， designed in 1965 and con-structed in 1969.

唐葆亨后來設(shè)計(jì)最多的還是公共建筑，如浙江省人民政府辦公樓一號樓、杭州飯店小禮堂、浙江體育館、筧橋機(jī)場候機(jī)樓、杭州劇院……

杭州飯店小禮堂為杭州飯店的組成部分，建于1959年，在著名建筑學(xué)家趙深的指導(dǎo)下，在時(shí)任浙江省委第一書記江華的親自過問下，唐葆亨等僅以3個月的時(shí)間就完成設(shè)計(jì)、施工。

小禮堂建成后，在此多次召開了中央、省、市的重要會議，受到了廣泛好評。小禮堂主要特點(diǎn)是把“環(huán)境、空間、建筑”三者關(guān)系作為建筑創(chuàng)作的精髓，結(jié)合特定的地形環(huán)境，并密切與杭州飯店原來的建筑形式協(xié)調(diào) —既具有江南傳統(tǒng)建筑風(fēng)格，又富有現(xiàn)代氣息，國內(nèi)外同行很是贊賞。

被載入了《中國現(xiàn)代建筑史》的杭州體育館，原名浙江體育館。它于1965年設(shè)計(jì)，1966年施工，1969年竣工。唐葆亨盡力做到適用、經(jīng)濟(jì)和美觀，形式和內(nèi)容充分統(tǒng)一。體育館建筑面積12600平方米。整個建筑由橢圓形比賽大廳、矩形平面練習(xí)房和附屬用房組成。該體育館的屋蓋結(jié)構(gòu)采用馬鞍形懸索屋蓋，呈雙曲線拋物面形狀，達(dá)到了滿意的視覺效果。這項(xiàng)設(shè)計(jì)于1993年11月被中國建筑學(xué)會評為1953年 ～1988年“中國建筑學(xué)會優(yōu)秀建筑創(chuàng)作獎”，體育館被評為“杭州首屆十佳建筑”。

唐葆亨的另一得意之作是杭州劇院。1971年，周恩來總理在北京人民大會堂觀看朝鮮歌劇《血?！?。后來，朝鮮藝術(shù)家們談到杭州，說那里風(fēng)景很美，遺憾的是劇場不夠大，他們沒能為杭州人民演出。周總理當(dāng)即表示：下次你們到杭州去，就能在那里演出了。次年，周恩來總理在《關(guān)于浙江省要求在杭州新建一座劇院的意見》上作了批示，一錘定音。

杭州劇院位于杭州武林廣場西側(cè)，是一座以演出大型歌舞、戲劇為主，兼作電影放映的多功能劇場。觀眾廳放映室放在池座后墻，效果良好。該項(xiàng)設(shè)計(jì)于1993年11月被中國建筑學(xué)會評為1953年 ～1988年“中國建筑學(xué)會優(yōu)秀建筑創(chuàng)作獎”，杭州劇院列入“杭州首屆十佳建筑”。

1980年，周總理的諾言實(shí)現(xiàn)了，朝鮮萬壽山藝術(shù)劇團(tuán)在杭州劇院成功演出了《賣花姑娘》。

研究民居

設(shè)計(jì)工作之余，唐葆亨對“中國傳統(tǒng)民居建筑”進(jìn)行了深入的研究。

改革開放后的上世紀(jì)80年代，唐葆亨親自主持開展了對浙江全省范圍的傳統(tǒng)民居的調(diào)查研究，包括平原水鄉(xiāng) —紹興民居、丘陵盆地 —東陽蘭溪民居、浙東南山區(qū) —天臺民居三種類型，并總結(jié)出浙江民居特點(diǎn)：充分考慮氣候條件，結(jié)合環(huán)境，利用地形，就地取材。他對傳統(tǒng)民居的調(diào)查研究，一方面是為了發(fā)掘和保存這些珍貴建筑文物，更重要的是繼承其優(yōu)點(diǎn)特色，從而創(chuàng)新發(fā)展新建筑。如紹興新建步行街和紹興飯店的擴(kuò)建工程等設(shè)計(jì)，就是對浙江民居研究并作繼承與創(chuàng)新的實(shí)例。唐葆亨發(fā)表在《建筑學(xué)報(bào)》上的《浙江地域的傳統(tǒng)和建筑形式》《義烏傳統(tǒng)建筑文化初議》《浙江水鄉(xiāng) —

典雅的西湖汪莊一號樓，毛澤東主席來杭州，基本上下榻于此。

This villa at the West Lake State Guesthouse in Hangzhou was Mao Zedongs favorite.

紹興民居》等論文，正是在這方面的研究成果。

后來，唐葆亨又進(jìn)一步調(diào)研了華東民居的狀況，撰寫了華東傳統(tǒng)民居建筑概述文章，進(jìn)一步闡述了民居建筑同自然環(huán)境融為一體的優(yōu)點(diǎn)，概括了魯、蘇、浙、皖、贛、閩六省的自然、經(jīng)濟(jì)、文化特點(diǎn)，在此基礎(chǔ)上論析了華東民居的概貌與特征。這篇收錄于《中國傳統(tǒng)民居建筑》一書的重要文章表明他研究傳統(tǒng)民居已擴(kuò)大了視野、拓寬了研究思路，還十分重視民居群體組合的村鎮(zhèn)整體布局。

一位工作極其繁忙的設(shè)計(jì)師，忙里偷閑專注于對傳統(tǒng)民居的研究，充分體現(xiàn)了唐葆亨濃重的美學(xué)情懷和鄉(xiāng)土情結(jié)。

唐葆亨善畫，他雖門出中國美院，只因傾心建筑設(shè)計(jì)，未能全身心投入心愛之美術(shù)。正因如此，他那些清淳質(zhì)樸、雅俗共賞，一如馬背吟詩般的畫作彌足珍貴。唐葆亨一直堅(jiān)持著他的建筑鋼筆畫，一直在為“消失的風(fēng)景”存照，一冊《唐葆亨鋼筆畫》（2012年8月中國林業(yè)出版社出版）留下民居建筑在這個世界最后的影像。

當(dāng)然，唐葆亨為建筑設(shè)計(jì)而畫的透視圖和線描圖，也豐富多彩，與他的鋼筆畫相得益彰。□

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 ‘a(chǎn)rchitectural 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 （todays 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-trys most prestigious ‘a(chǎn)rt 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 architects 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， ‘a(chǎn)ll-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 Xies 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 todays Hangzhou people as the Wangs 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 Peoples 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.