Pei 19 17 was born in Guangzhou on April 26th, 2007. His ancestors were prominent families in Suzhou. When he was a child, he spent some time in the family lion forest in Suzhou Garden. In the mid-1930s, I.M. Pei failed to study architecture in America. During his decades of architectural career, he has designed many large public buildings such as museums, colleges, commercial centers and skyscrapers in the United States and Canada, France, Germany, Australia, Japan, Luxemburg, Qatar, Singapore, Iran and China, and won more than 70 architectural works and more than 50 awards all over the world. From 65438 to 0983, I.M. Pei won the Plic Prize, which is called the Nobel Prize in architecture. The persistent pursuit of dreams and the continuous transcendence of self have made many immortal classics of Bayesian architecture.
1In the summer of 999, in order to adapt to the rapid development of Suzhou economy and the cultural needs of the general public for leisure and intelligence, Suzhou decided to build a new Suzhou Museum. After several stages, such as project site selection, scheme design, demolition preparation, building construction and exhibition, the new Suzhou Museum designed by Master Pei took on a brand-new look in the autumn of 2006. The new museum inherits the architectural style of historical Suzhou, deduces the design concept of "tradition, diversity and innovation", and perfectly blends with the surrounding garden attractions.
The color tone of the new museum takes the traditional powder wall and tile as the element, which adds a new interpretation connotation to the architectural symbols in Jiangnan. In terms of architectural structure, the design of roof form breaks through the shackles of traditional Chinese architecture "big roof" in lighting, and glass and open steel structure can let indoor rooms borrow a big skylight. The landscape design of the new museum extracts the essence of classical gardens. The creative landscape garden composed of ponds, rockeries, bridges, pavilions and bamboo forests is organically combined with traditional gardens, creatively integrating museums, ancient buildings and gardens.
With its meaningful and accurate site selection, the design concept of "Chinese but new, Soviet but new" and the design principle of "not high, not big and not prominent", the new Suzhou Museum has become a "Shuang Mianxiu" work of art that harmoniously combines tradition and modernity. It is not only a landmark public building in Suzhou today, but also a bridge for China's architectural culture from tradition to the future, which opens a new page for the inheritance and innovation of Suzhou Museum.
Interpreting classic architecture with innovative ideas
I.M. Pei has an innovative overall design concept and a deep understanding of the regional culture where the building is located. The design of the new building fully considers the unique historical features formed in Suzhou for more than 2,500 years, absorbs the charm of traditional folk houses and draws lessons from the style of classical gardens, so that the whole building adapts to the style of the ancient city and blends into the urban texture of Suzhou. I.M. Pei said: Architecture should take a new road and change, otherwise it will not develop. How to be innovative and integrated with tradition? That is to use modern materials to achieve harmony with tradition, and the integrity of the body is very important. The new Suzhou Museum brings forth the old and brings forth the new, which makes people fully feel the modernity of Suzhou in the tradition and taste the inside information of Suzhou in the modernity.
The ups and downs and patchwork of the architectural landscape are a major feature of the ancient city of Suzhou, and the white wall tile is also a symbolic symbol with great architectural characteristics in the south of the Yangtze River. The keynote of the new museum is based on traditional architectural elements and practiced in a new way of expression. I.M. Pei believes that the use of black-gray granite stone is convenient for maintenance and is in harmony with Suzhou's architectural style. Therefore, in high and low-level new buildings, dark gray stone with uniform color is used as the edge decoration of roof and wall, which is fresh and elegant and intriguing when matched with white wall.
"China black" slope top and introduction of natural light
In the structure of the new building, the glass fiber reinforced plastic structure allows modern people to borrow large-area skylights indoors, and the open steel structure replaces the wooden materials of traditional buildings. The design of roof modeling has broken through the constraints of traditional building "big roof" in China in lighting. The top of the slope composed of geometric figures can be reminiscent of the sloping roofs of ancient buildings in Suzhou, but its complex integral connection is more innovative. First of all, the glass skylight with three-dimensional geometric shape above the roof is interesting and ingenious. I.M. Pei learned from the practice of tiger skylights in traditional buildings in China and improved it. The skylight opens in the middle of the roof, which makes the three-dimensional geometric skylight of the roof form an angle with the sloping roof below it, presenting a beautiful three-dimensional modeling effect, which not only solves the practical problems of traditional architecture in lighting, but also enriches and develops the roof modeling style of China architecture. Secondly, the use of stone around the roof and the white wall below unify the overall style of the building. As far as the roof is concerned, if the traditional small blue tile is used, it is fragile and easy to leak, and it needs frequent maintenance. It is difficult to meet the requirements of new buildings in firmness, workmanship and flatness. In order to coordinate materials and forms, I.M. Pei used dark gray granite instead of traditional gray tiles. This kind of granite, called "China Black", is dark in color with gray inside. When it gets wet by rain, its color changes from pale to dark gray. Stone chips are processed into diamonds and laid flat on the roof in turn, which has a strong three-dimensional effect.
Let light do the design
The glass roof and the stone roof set each other off, which is not only pleasing to the eye in visual modeling, but also ingenious in use function, allowing natural light to enter the activity area and exhibition area of the museum through the light and shadow interwoven by metal shading strips covered with wood. Through the adjustment and filtering of light by soft shading strips, the hierarchical changes and the contrast between light and shade in different spaces seem to make the surrounding lines flow, which is fascinating and wonderful. Large and bright hexagonal windows or large floor-to-ceiling windows are much simpler than Suzhou classical decorative flower windows, which is more conducive to obtaining visual experience. The perfect introduction of natural light has overcome a series of disadvantages brought by artificial lighting in museums.
I.M. Pei loves triangles and light. "Let light do the design" is a famous saying of Bayes. The combination of light and space creates the change of light and shadow through simple geometric lines, which makes the space changeable, makes the scenery change with the pace, perspective and mood, and makes people have different horizons and feelings with the help of the flicker of light. This "light magician" is sensitive to form and light, which makes his architectural works unique and highlights aesthetic value.
Landscape interest
The works designed by I.M. Pei have one thing in common: the inner courtyard connects the inner and outer spaces in series, so that nature can be integrated into the building. New architecture and innovative gardening are interdependent. I.M. Pei designed a main courtyard and several small inner courtyards with exquisite layout. The main courtyard in the north of the central hall is the most painstaking place for Pei. For example, I don't need the traditional Taihu stone or the limestone I used in Xiangshan. I hope to find the inspiration of garden design from China ancient landscape paintings and calligraphy, and cooperate with local craftsmen in Suzhou to create a new Suzhou garden. The main courtyard is surrounded by new buildings on the east, south and west, and adjacent to Humble Administrator's Garden on the north, accounting for about one-fifth of the area of the new building. This is a creative landscape garden carefully built on the basis of classical garden elements. It consists of cobblestone ponds, cobblestone rockeries, straight curved bridges, octagonal pavilions and bamboo forests. It is different from the traditional gardens in Suzhou, and it is inseparable from the humanistic atmosphere and charm of China. A number of doorways leading to the landscape garden allow the audience to see the modern version of the Jiangnan garden waterscape from all angles. The landscape garden is directly connected with the affiliated garden of Humble Administrator's Garden through the north wall, and the waterscape starts from the northwest corner of the north wall. Under the north wall is a creative flaky rockery. Mr. Bei has always had a special liking for Shi Tao's Pianshan House, which is one of the Eight Eccentrics in Yangzhou, and intends to "take the wall as paper and the stone as painting" in Suzhou Museum, focusing on the stone. This unique landscape presents a clear outline and silhouette effect, which makes people seem to be connected with the Humble Administrator's Garden next to it, and the old and new garden landscapes are out of touch and ingeniously integrated. Placing flaky in the rockery in the landscape garden means slicing thick big stones and then placing them alternately, creating the artistic conception of Mi Fei ink landscape painting. I.M. Pei devoted a lot of effort to this rockery from composition to the choice of each stone. The color of the stone slices is from deep to light, and they are layered in the misty rain in the south of the Yangtze River. Yamashita, following the fragrance of a osmanthus tree in the south of the garden into the landscape garden, you can see that the pool in the garden is full of moonlight and the fish are shallow. Under the dim landscape lights, the distant mountains are hazy, the bamboo forests are swaying, the cool halls by the water are slim and graceful, and the curved bridges cross the lake, like a three-dimensional ink landscape, with a quiet and ethereal artistic conception.
Wisteria stretch
Enter the east auxiliary exhibition area through the skylight corridor on the east side of the central hall, and there is a rest teahouse and wisteria garden at the end of the corridor. A wisteria was planted in the southwest and northeast of Wisteria Garden, with two vines hovering, branches butting in the air, and wisteria flowers swaying in the wind. The wisteria tree in the southwest was personally selected by I.M. Pei in Guangfu Nursery, and the branches and vines trimmed from the wisteria planted in that year were grafted to show the continuation of Suzhou culture. I.M. Pei is very proud of this idea: "When people sit under the wisteria frame and drink tea, we can say,' This wisteria has the gene of Wen Zhiming's hand-planted wisteria, and you sit under the vine of Wen Zhiming's hand-planted wisteria and drink tea!'" "Isn't this another scene? "。
Noble pine trees, rich osmanthus, spiritual bamboo and gorgeous maple trees.
For the trees in the garden, I.M. Pei requires graceful posture and soft lines, because the building itself is rigid, and both rigidity and softness can complement each other. In addition to the bamboo garden, flat-topped pine, welcoming pine and apricot trees are planted on the east side of the main garden. In order to protect the natural form, try not to trim it when transplanting. A osmanthus tree in the south of the main garden is flourishing. According to I.M. Pei's proposal, osmanthus trees were first transplanted into the garden. He hoped that when the museum opened in June+10 in 5438, all the guests present could smell the fragrance of osmanthus.
Taiping Heavenly Kingdom Loyalty Palace
Zhongyi Palace is the palace of Li Xiucheng, the loyal king during the Taiping Heavenly Kingdom, with an area of 10650 square meters and a building area of 7500 square meters. The whole building is magnificent, tortuous and spacious, and it is the most complete historical building complex of Taiping Heavenly Kingdom in China, which integrates office, residence and garden.
The original site of Zhongwangfu has been the residence of celebrities since the Three Kingdoms period. It was rebuilt into Dahong Temple in Yuan Dynasty. In the fourth year of Ming Dynasty (1509), the Imperial King abandoned his official position and retired, so he built a villa with the abandoned foundation of Dahong Temple and named it "Humble Administrator's Garden". Then I counted the owners. After three years of Qianlong (1738), the Humble Administrator's Garden was divided into two parts: Jiang Yongxian, a magistrate in the east, rebuilt and renamed Fuyuan; The west is owned by Ye Shikuan, and another bookstore is built. In April (1June, 860), Li Xiucheng, a loyal monarch of the Taiping Heavenly Kingdom, led the Taiping Army to conquer Suzhou and establish Sufu Province. In August, Li Xiucheng merged the original Humble Administrator's Garden and the East and West Houses into "Loyal Wang Fu" and renovated it according to the specifications of Wang Fu. When Li Xiucheng was building the Loyalty Palace, there were two Gulou pavilions and east-west Yuanmen outside, and a watchtower was erected above each Yuanmen. There are also several watchtowers in the house.
In the second year of Tongzhi in Qing Dynasty (1863), Li Hongzhang led the troops to capture Suzhou, and Zhong became the governor of Li Hongzhang in Jiangsu. According to the regulations of the Qing government, the gate of Zhong was rebuilt, all the East and West Gates and the Drum Tower Pavilion were demolished, and dazzling lacquer beams were painted on the gate, so that the two sides of the ridge truss between the main halls were preserved. Five years of Tongzhi in Qing Dynasty (1866), the governor's yamen moved out. During the ten years of Tongzhi in Qing Dynasty (187 1), Nanpi Zhang of Hebei Province (Guangxu University) lived in Dongfu when he was the governor of Jiangsu. Later, he negotiated with Xi 'an, the right political envoy, and Tang Deshou, Liang Chu and Dao Yingpu, who managed Suzhou weaving, to set up the guild hall. In the eleventh year of Tongzhi (1872), the central garden and the east and west houses were changed to the Eight Banners Feng Zhi Guild Hall, and the garden was restored to the old name of Humble Administrator's Garden. In the fifth year of Guangxu in Qing Dynasty (1879), the West Garden was transferred to Zhang and another Garden was built. After the Revolution of 1911 (19 1 1), the Eight Banners Fengzhi Club was renamed as Fengzhi Club.
The former site of Zhongwangfu not only preserves rich and quaint dragon and phoenix decorative windows, lifelike stone lions and other precious cultural relics of the Taiping Heavenly Kingdom, but also preserves more than 400 exquisite and elegant Soviet-style Liang Fang paintings and 9 fresh and beautiful painted murals of the Taiping Heavenly Kingdom, which are rare in the whole country in terms of quantity and artistic level. The existing paintings and murals in Zhongwangfu can be said to have further developed on the basis of the "Soviet-style painting" technology in Ming Dynasty and become the representative of the "Soviet-style painting" in Qing Dynasty. In addition, there are famous woody plants such as wisteria planted by hand in Wen Zhiming in Ming Dynasty and the largest indoor ancient stage in Jiangnan. 196 1 was announced by the State Council as the first batch of national key cultural relics protection units. In 2006, as a part of the new Suzhou Museum, the newly renovated Zhongyi Palace is welcoming visitors from all directions with a brand-new look and has become a unique cultural landscape in Suzhou.
The pattern of Zhongyi Palace is divided into three roads: middle, east and west. The East Road after maintenance is mainly to restore the original appearance of the Eight Banners Feng Zhitang in the late Qing Dynasty, and to hold an exhibition of cultural relics donated by Mr. Zhang Zongxian in Hong Kong in a special form by using the Four Sides Hall to commemorate and commend Mr. Zhang Zongxian's support for the protection of cultural heritage in his hometown. The west road is mainly to restore the original appearance of some buildings in Zhangfu and its affiliated gardens during Guangxu period of Qing Dynasty, and the Miss Building in the north is used as the collection building of the museum. The middle road displays the former site of the Loyalty Palace of the Taiping Heavenly Kingdom, and the main hall restores the scene of Li Xiucheng, the loyal king, presiding over the military meeting.