A Postmodern Traditionalist

Han Pao-teh, an architect, educator and curator (Photo by Huang Chung-hsin)

Publication Date：11/01/2007
Byline：KELLY HER

Architect, educator and curator Han Pao-teh has dedicated his life to architecture and helping Taiwanese appreciate aestheticism.

Before architect and educator Han Pao-teh sat down to write his memoirs, published in 2001, he asked himself, "Why do people need to know about me?" Such humility is characteristic of Han and helps explain why a recent retrospective exhibition of his work at Taipei's National Museum of History was entitled Mild but Tasteful--A Dialogue with Han Pao-teh (June 20 to July 22). Han's humility and easygoing nature helped define his approach to teaching almost as much as his dialectical style. His memoir is a continuation of a dialogue he has engaged in on the importance of aesthetics for most of his life.

The most objective answer to Han's question is that readers are interested in learning more about Taiwan's first architect to fuse modern principles of design with the southern Fujianese building style to create a truly Taiwanese architecture.

"Nowadays, we tend to use too many artificial flourishes in a bid to adorn and prolong our lives," the 73-year-old Han says by way of explaining the exhibition's title. "It's my belief that adopting a mild but tasteful perspective typical of naturalism is a healthier approach that can help us live better and longer lives. Also, in terms of architectural aesthetics, the best, most expressive form reveals mild but tasteful touches."

Unlike some memoirs, Han's autobiography does not read like a list of achievements over time. Instead, he stresses his impoverished childhood in China's rural Shandong province during the 1930s--a background he says motivated him to study architecture over the arts, since he anticipated the former would be more profitable. In the book's introduction, he answers his own question about why people should need to know about him: " I think the dim-wittedness that has defined decisions I've made throughout my lifetime could be useful for reference. My way of doing things may appear slow, but it also shows persistence. I'm neither talented nor quick to react. Still, when I begin something, I won't stop before it's finished. I usually set the bar high and pursue my objective with all my might. When I run into problems, I seek to resolve them patiently but I don't compromise on the designated goal."

Liberalizing Architecture Education

Han graduated from National Cheng Kung University (then called Tainan Institute of Technology) with a major in architecture in 1958. He earned a scholarship to attend Harvard University for a master's degree in architecture and then earned an MA degree at Princeton University.

 

Han Pao-teh introduced the use of cardboard models in Taiwan architecture classes to improve students' ability to conceptualize space. (Photo by Huang Chung-hsin)

After his return to Taiwan in 1967, Han took on his first job, as a lecturer in the Department of Architecture at Tunghai University in Taichung. He was eventually promoted to dean. While in the US, Han felt he benefited enormously from the critique system in place in architecture and arts programs. He was inspired to see professors and students vigorously debating aesthetic concepts--and fascinated by similar debates among professors.

"When people asked me what I'd learned at Harvard, I answered, 'an open attitude toward innovation and how to liberate my imagination,'" he says. "Therefore, when I came back to teach, I emphasized this way of thinking."

At the same time, Han encouraged students to make cardboard models to improve their conceptualization of space, which is central to architectural modernism. He also revised the curriculum by replacing engineering classes with design-based courses and introducing a five-year program.

"Architecture is not engineering. It involves culture and thus should be integrated with liberal education," he opines. "Plus, I wanted to transform a traditional teaching philosophy that equated design with drawing to one that used design to stimulate thinking." And just as thinking can sometimes be messy, Han thought design could afford to be at times. He did not always think it was necessary to draw with "neatly finished lines."

Following in Han's Footsteps

In addition to teaching, Han co-published a magazine with colleagues to explore modern architectural trends as well as the relationships among architectural design, culture and society.

Peers give Han credit for spearheading the adoption of a spirit of openness, independence and idealism at Tunghai's Department of Architecture, which he left in 1977 to head up the colleges of science and engineering at National Chung Hsing University.

Lo Shih-wei, the current dean of architecture at Tunghai University, is among those influenced by Han's teaching. "While learning architecture from Han, we were all convinced of his wisdom, logic and insights," he says. "The knowledge he passed on to us integrated his own rationality and judgment, which helped widen my horizons."

 

Han fused traditional southern Fujian and modern architectural styles in designing the Institute of Ethnology at Academia Sinica. (Courtesy of Han Pao-teh)

Lo was touched by Han's sincere concern for and criticism of society and says those sentiments have been passed on to many of his students, giving them a sense of mission to better themselves while also striving for social progress.

Kris Yao, a leading Taiwanese architect and acclaimed designer of Hsinchu Station on the island's state-of-the-art high-speed railway, is another of Han's fans.

"Most of us who learn architecture tend to favor the new and loathe the old--and to incessantly pursue breakthroughs. Many of our old heroes have gradually fallen out of favor with us--except for Han, who is always way ahead of us," says Yao, who adds he never ceases to be inspired by Han's in-depth analyses of current events and impressed by his poise and expertise in discussing diverse subjects.

Architectural Achievements

Over the years, Han has designed many structures that earned him attention and enhanced his reputation. Representative buildings include the Tiansiang Youth Activity Center, completed in 1978 near the top of Taroko Gorge in Hualien County; Changhua County's Cultural Center, completed in 1981; the Institute of Ethnology at Academia Sinica,1985; and Tainan National University of the Arts, 1996.

Many of his early projects were characterized by modernist geometric design, which earned him a place in Taiwan's architectural history. The Tiansiang Youth Activity Center, for instance, was cited as best-designed building of 1980 by Taiwan Architect magazine.

Han later began to incorporate elements of the southern Fujianese style--brought to Taiwan by early immigrants from China--into otherwise modern architectural designs. One such example was a project he completed for Academia Sinica, Taiwan's prestigious national research center. Han's design included a traditional Chinese rectangular courtyard and a front wall roofed with red tiles that gives the impression of a Taiwanese village. Further back, pagoda-like circular roofs top off the structure.

Ever the postmodernist, Han also incorporated avant-garde design techniques such as deformation, transposition and recombination. At the same time, he jettisoned the traditional Chinese design principles of equilibrium and symmetry. The result was a dynamic building comprised of a variety of spaces.

Restoration Projects

In 1971, Han was invited by the Taipei County Government to survey the Lin Family Mansion and Garden, originally built between 1888 and 1893. The report he completed recorded architectural data and presented suggestions for how best to approach restoration. This was the first report of its kind and it became the model for the nascent study of historic structures in Taiwan.

Subsequently, Han worked on the restoration of Confucius and Longshan temples in Lugang Township (in central Taiwan's Changhua County). "In restoring the temples, I sought to preserve the original building materials and decorative items whenever possible, while at the same time paying heed to structural safety," he explains. "What most needed to be preserved was the form of the traditional structure rather than traditional building techniques."

Han views restoration work on historical buildings as a social service, not a profit-making occupation. His architectural firm does turn a profit, a portion of which he uses to support his preservation efforts. "I learned about modern architecture at school, but I had a passion for old buildings. Gradually, both were integrated into my designs, helping to propel my career to its climax," he says.

Function Over Form

In Han's opinion, architecture is art, but function is still paramount. He stresses that structures are built for people to use as residences, workplaces and places of entertainment--and they must be designed with function in mind.

"A building can showcase a variety of expressive forms and idiosyncratic styles; nevertheless, fundamentally its design should be based on rational thought," Han says. "I disapprove of spending massive sums of money on formative art if the building itself fails to satisfy the needs of its users."

Wu Kuang-ting, dean of architecture at Tamkang University, describes Han as both an architect and a man of letters. Thanks to his advocacy, architecture is now a subject that elicits serious thought and discussion in Taiwan. It has thus transcended technique to become associated with art and culture. Wu says Han's achievements set a good example for the younger generation.

Wang Chun-hsiung, an associate professor of architecture at Tamkang, says influential figures like Han are a rarity in Taiwan's architectural milieu. According to Wang, Han's publications provide a basis for discussion that has invigorated and diversified contemporary architectural theory in Taiwan. "Han was the instigator of modern architecture in Taiwan," says Wang, "and he still serves as an inspiration to students and young architects."

Aesthetics for the Masses

Han thinks architecture in Taiwan has improved significantly, thanks to advances in education. The current problem he perceives is that the general public lacks the ability to appreciate or evaluate architecture. The root of the problem, according to Han, is the absence of aesthetics as a discipline in the compulsory educational system.

 

After his retirement, Han accepted the position of curator at the Museum of World Religions in Yonghe City. (Photo by Huang Chung-hsin)

"Generally speaking, Taiwanese citizens do not have an acute sense of beauty. They don't feel anything when they pass a fine piece of architecture on the street," he laments. "You can see this lack of appreciation and respect when business owners suspend ugly advertising signs on buildings that actually exhibit design sophistication."

Han hopes education authorities can address this problem by incorporating art courses into the curriculum beginning in primary school. In this way, an appreciation of aesthetics could gradually be inculcated. "Only when members of the general public have a sense of beauty and thus ask for a pleasant environment can talented architects have a chance to show what they can do and be recognized as outstanding," he says.

Han has written more than 20 books over the past two decades that not only discuss architectural design but also art, aesthetics, culture and society--and how all these dimensions are interconnected.

Knowledge and Aesthetics on Display

In addition to his endeavors to promote architecture as living art, Han has also played a key role in the field of museum management. In 1981, he was invited by the Ministry of Education to help plan the National Museum of Natural Science (NMNS), the first institution of its kind in Taiwan.

"My objective at the time was to build a natural science museum that could reach international standards in terms of academic research and display," Han says. "More importantly, the exhibitions must cater to the needs of the public and be appreciated by them. On opening day, January 1, 1986, we had thousands of visitors waiting in line. That marked a milestone for museum development in Taiwan."

Han originally agreed to a three-year stint on the museum project, but by the time he left in 1993, he had spent more than 12 years at NMNS. He then accepted another challenge--setting up the Tainan National University of the Arts.

Not long after his retirement in 2000, Han was persuaded by the Ling Jiou Mountain Buddhist Foundation to become the first curator of its Museum of World Religions.

"Education is a process of inspiring talent and potential in students. I'm pleased to be involved in educational work. Promoting architecture, science, art and life education during the respective phases of my life have correlated well to changes I underwent in the way I thought and the priorities I set at various stages of life," he says. "I'm thankful that it has all worked out so harmoniously."

Han says "life" is the most important subject that education must address in the 21st century. Once people improve their understanding of life, they are more likely to cherish it. "Everyone needs to learn about the meaning and value of life so that we can build a society infused with love and peace together," he says. "It's my belief that all religions aim to promote love and peace, albeit with reference to different doctrines."

Han says his profession is architectural design, his ideals are expressed through promotion of education and culture--and his abiding interest is art. "Over the past 40 years, I've led a meaningful, valuable life," he says, adding, "I have been pleased to have opportunities to do things for my country. Looking ahead, I hope I can continue to live life wisely and to be a positive force in society."

Write to Kelly Her at kelly@mail.gio.gov.tw