资源描述
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Inheritance and Innovation of Culture in Suzhou Museum Design I think an excellent building is always regarded as a monument of traditional culture and aesthetic achievement. A city or a nation will not have status without its own representative buildings. In such a environment of globalization, many Chinese contemporary buildings have been being influenced by the Western architectural styles. The architectural style of most contemporary buildings is showing a tendency to Western architectural style such as some skyscrapers. As a consequence, people cannot point out any element or factor of Chinese contemporary architectural styles have local cultural characteristic. From my point of view, buildings are always playing crucial role in the environment of a whole city, and one of the most important principles is to consider the relation between local historical culture and surrounding environment. However a building not only has to reflect traditional culture but also supported by new technologies. Italian structural engineer architect Pier Luigi Nervis thesis is that a good architecture is a synthesis of technology and art. Pier Luigi Nervi, Aesthetics and Technology in Building The city buildings should have the attribute of technology and culture. The development of science and technology is achieved by discovery or invention, that is to say, new technologies are updated all the time, people can abandon outdated technologies without thinking. However, the progress of culture and art should depend on the accumulation, it is a gradual change. And the most significant is to balance inheritance and innovation.Therefore, facing the challenge of Western culture, how can a building has local traditional culture and keep step with the contemporary society of China? I think the new Suzhou Museum is a good example to answer the question. Suzhou is renowned as a center of art and culture in China. It is an ancient city has 2700-year history. Many graceful epithets have been applied to Suzhou-Venice of China (Fig.1), city of garden (Fig.2)-for its bridges and gardens were as renowned as its pagodas and temples. During the Ming dynasty (13681644) the city was a gathering place for the nations leading poets and painters, which may account for the number of outstandingly beautiful gardens which brought the city fame. More than a hundred such gardens in and around Suzhou, were recorded in the citys history. Johnston, Scholar Gardens of China, 94 Fig. 2 Traditional gardenFig.1 Riverside city All the Suzhou traditional gardens are private gardens. The existing private gardens were built as retreats by gentlemen scholars, the rich and ranked class of feudal society. Most of the private gardens were built adjacent to their residences, as an extension of the formal courtyard houses to provide a refuge from the tension of the hierarchical society. Some gardens were constructed as resorts intended only for occasional visits, when the house gardens were considered too familiar to lend enchantment. The original motive for building private gardens seems to have been an admiration for wilderness hampered by unwillingness to forsake the convenience of city life. Efforts were made to create miniature worlds of wilderness in city areas. Frances Ya-sing Tsu, Landscape Design in Chinese Gardens, 10 Private gardens were intended to offer ideal environments for scholastic activities such as studying, painting, composing verses, cultivating plants, fish, and birds, and garden making itself. Nowadays, Suzhou changed greatly. Increasing number of modern buildings which are influenced by Western culture have appeared in this peaceful city (Fig.3). Nothing can impress you except the shape, hi-tech or materials. I.M.Pei, who designed the new Suzhou Museum, is a famous modernism architect in the world. He said, Chinese architecture really doesnt have a sense of direction. Since ming dynasty, there really hasnt been anything that one can say, none. An interruption of 500 years - thats serious. I.M.Pei: Building China Modern, American Master, March 31, 2010, Fig. 3 The photo of contemporary Suzhou I.M.Pei also said, suzhou is surrounded by water. Water is everywhere. Its a very poetic place. But most important, I think when you look at suzhou you have to think of Suzhou as a city that is 2,500 years old. Built of wood and built of tile and brick. So this is a small-scale city. It is a human-scale city. And it is a city for life, for people living there. And as such, I think the museum has to reflect this tradition and at the same time we have to think about change . Suzhou cannot remain like this forever. It has to have a chance to renew itself - to become modern. I.M.Pei: Building China Modern, American Master, March 31, 2010, .Ibid Suzhou is entering into a modern world, It needs a new symbol, and this symbol should harmonize the traditional culture and modern consciousness. On the one hand, it needs inheritance, one the other hand, it needs innovation. The cultural inheritance of the new Suzhou Museum is accomplished by many factors like form, colors, materials and so on. It is a Three-dimensional art to design a building. I believe form concerns spirit which depends on materials, shapes and arts form. Innovation of Eastern and Western culture can only be achieved by the recombination of forms and materials. It cannot be considered as modern or national style only by simply using modern symbol pattern and new architectural materials. It is not doubt that the issue of combination of culture and form has already become a basic issue of making contemporary architecture modern and national. The new Suzhou Museum is the symbol combines Suzhou tradition style and modernism. It evokes memories of urban architectural culture. The new Suzhou Museum was established on October 6th, 2006 next to the World Cultural Heritage-Zhuo Zhengyuan Garden ( Humble Administrators Garden ). The new Suzhou Museum is the latest masterpiece of I.M.Pei for his hometown-Suzhou. I am going to compare the new Suzhou Museum with Suzhou traditional gardens from several aspects. A closer analysis follow: Layout The building complex of the Suzhou Museum is divided into three major parts. The center part includes the entrance, front court and great hall while the west wing is designed as the main exhibition area, and the east belongs to primarily the administration offices and sub-exhibition galleries. The total exhibition area covers roughly 3600 square meters, and houses 1160 cultural relics dated from the prehistoric era to Ming and Qing Dynasties as well as more recent years. The resemblance is the layout of the new Suzhou Museum and Suzhou traditional gardens. The outstanding achievement in Chinese garden designing is the unity of natural and man-made beauty, especially the layout. The ideological base for this can be traced back over two thousand five hundred years to the philosophical and aesthetic thought of Confucianism and Daoism. A major principle of these two doctrines used in creating a traditional Chinese garden is that the man-made and natural scenes should blend together. Lao zi, the founder of Taoism, believed that emptiness and calm were two aspects of the Dao of nature. For instance, although a mountain valley was empty, it was a place where waters could run together; although a room was empty, its potential stemmed precisely from its emptiness. An empty object was not understood to be void; it was brimming with endless creative possibilities, its potential uses were inexhaustible. Suzhou traditional gardens often feature an empty object in the middle; the empty object comes from Daoism and the placement at the center from the Confucian doctrine of the mean. Hu Dongchu, The Influence of Art and Philosophy on Chinese Garden Design, 9&15 The majority of Suzhou traditional gardens which were built according to this theory are empty at their core with scenic objects distributed around the sides. ( Fig. 4) Fig. 4 The central pond of Zhuo zhengyuan Garden reflects emptiness The new Suzhou Museum also has a pond in the center of the building, and plays a role of emptiness. Although the ponds shape of museum is regular which is quite different from the irregular shape of pond of Suzhou traditional gardens, the new Suzhou Museum still express the spirit of emptiness.( Fig.5 Fig.6) Fig. 5 The birds eye view of the new Suzhou Museum Fig.6 The pond in the center of the new Suzhou Museum Shapes When I.M.Pei decided to design the new Suzhou Museum, he came up with an idea not too high, not too large and not too abrupt. Zhang Xin, Suzhou Museum, 17 That means the new Suzhou Museum should well blend into the surrounding environment. The new Suzhou Museum has a geometric appearance which is a characteristic of modern architecture. The gate at the new Suzhou Museum has a double layer of glass eaves, twin side extensions, and a metal structure. (Fig.7)The new Suzhou Museum gate needs a open and inviting design which is quite different from the gate of Suzhou traditional gardens. The Suzhou traditional gardens feature the enclosed high wall and a forever closed red gate, because most owners of Suzhou traditional gardens are hermits, and they dont want to be influenced by society. The fresh style gate will definitely attract visitor to enter into the great lobby situated between the front entrance court and the rear museum garden.The roof of the museum has a indication of Suzhou traditional gardenss tile roofs. Similar, but not quite the same. From the perspective of architectural structure, the museums roof with modern geometric figure include the basic concept of Suzhou traditional roof. Triangle and square are duplicated and reconstructed continuously( Fig.8). Why did not Pei use the same roof like Suzhou traditional gardens? I.M.Pei answered the question from a group of people from Suzhou planning bureau and the museum. Pei: Should we use tile roof ? And, uh-and we are using stone roof. Man: Pei, I like your design, but I think you make a big mistake. This is a tradition. Pei: Im sorry, the reason is because tile roof is so strong a personality. It actually makes it impossible for you to make form out of it, because the roof is absolutely too dominant.(Fig.9) So to take the roof away is the remove of a tyranny which makes it possible to innovate. Charles Jencks (a architectural historian) said, I understand why pei was worried about doing tile roofs in suzhou, because, first of all,it would constrain him. It would make the roof very big and heavy as it was in the past. And he wants to turn the wall into a roof and then back into a wall and then to a roof. He wants to play a game. Its very much a pei trademark. The difficulty was that china was changing very quickly and the officials were very conscious that suzhou was the last great city. So they wanted to hold on to every bit they could and mandated in the heart of suzhou traditional construction. I.M.Pei: Building China Modern, American Master, March 31, 2010, .Ibid Fig. 9 Zhuo zhengyuan Gardens tile roofFig. 7 Suzhou Museums gateFig. 8 gray granite roof The interior ornament of the museum also has the silhouette of Suzhou traditional gardens. (Fig.10 Fig.11)
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