Combination of traditional elements and architectural space

"Inheritance? Innovation? Fusion "

Inherit? Innovation? mix together

-Talking about the architecture and display design of the new Suzhou Museum.

Zhang Xin? Where's Lu thank

Source: Decoration, No.3, 2009

English title inheritance and innovation? And then what? Integration? -architecture? And then what? Exhibition? Design? Yes? New? Suzhou? museum

Author brief introduction Zhang Xin, Lu, Xie Xiaoting, Suzhou Museum,

Mr. I.M. Pei's idea of designing the new Suzhou Museum is "Chinese style is new, Soviet style is new", with the inheritance and innovation of tradition, the pursuit of harmonious scale, "not high but not outstanding", striving for perfection, making it a modern comprehensive museum with both the characteristics of Suzhou traditional garden architecture and modern architectural art, and embodying rich humanistic connotation in every detail. Based on this concept, this paper briefly analyzes the architecture and exhibition design of the new Suzhou Museum.

Close? Keys? New Suzhou Museum? Inherit? Innovation? mix together

1.？ Panorama of Suzhou Museum

Today's museums bring people a kind of spirit, a kind of history and culture, which is no longer a simple copy of historical traces, but a kind of cultural spirit inheritance. 2006? 10 year? Month? 6? On April 20th, the new Suzhou Museum was completed and officially opened to the public. Its designer, Mr. I.M. Pei, completed his dream journey in five years with the richest emotion and wisdom: "I am trying to explore a new road: to embody the essence of China national architectural art in a modern building." Indeed, in the process of inheritance and innovation, the new Suzhou Museum has completed the integration of Suzhou traditional culture and modern architectural concepts, and at the same time, this brand-new building has also integrated tailor-made display design. In 2007, the basic exhibition of the new Suzhou Museum won the Jiangsu Provincial Museum Excellent Exhibition Award. 2008? In 2006, the new Suzhou Museum won the Luban Award, the highest prize in domestic architectural engineering. 2008? Year? 7? Month? 4? On the front page, The New York Times published an article written by the famous art critic Mr. Helan DeCourte, saying that "Subo New Museum is a world-class museum. Among many China museums that are too traditional or too modern, this museum with a garden is a rare' exception' (Figure 1).

Teach and inherit

Looking at the development of museums at home and abroad, any successful museum depends on two basic factors. One of them is whether this museum is loved by most tourists who come to visit day after day because of its unique cultural connotation. Judging from the statistics of the past three years, the answer is yes. The new Suzhou Museum not only inherits the essence of Suzhou traditional culture, but also embodies the unique cultural connotation of Suzhou Museum.

1.？ Application of traditional architectural elements

The white wall brick is a symbolic symbol with Suzhou architectural characteristics, and the keynote of the new building adopts this traditional architectural element.

The triangle of the roof of the new building is taken from the proportion of the roof of the old house in Suzhou, and the vertical side is 1? The horizontal side is 2, which is the modulus of the wooden frame on the roof of Jiangnan water town. Chinese doorframes on the porch, cloisters on the left and right sides of the main shaft, open windows on the hall top and pavilions in the courtyard are all 1? A triangle with a ratio of 2. The traditional scale and scale are extracted, and the geometric figure and space are perfectly combined.

The ups and downs of architectural landscape is a major feature of the ancient city of Suzhou, and the architectural style of the new building "not high, not big, not prominent" just adapts to the overall style of Suzhou city and blends with the surrounding historical and cultural blocks and the world cultural heritage Humble Administrator's Garden.

2.？ Exploration on the Art of Classical Garden Architecture

The new building consists of a main courtyard and several small inner courtyards, and the inner and outer spaces are connected in series, so that nature can be integrated into the building. The main courtyard located in the north of the central hall perfectly draws lessons from the classical garden architecture art, and consists of cobblestone ponds, flaky rockeries, straight curved bridges, octagonal pavilions and bamboo forests. Its north is separated from the auxiliary garden of Humble Administrator's Garden by a wall, and the ingenious use of "borrowing scenery" in classical garden architecture has made the main courtyard artificial, just like nature itself. There are many doorways leading to the main courtyard, and visitors can see the modern version of Jiangnan garden waterscape from all angles. Several other small courtyards are also unique, such as the wisteria garden in the teahouse, where wisteria trees were grafted from Wen Zhiming? 400? Branches and vines trimmed from old vines planted by hand many years ago are now circling into a dragon, intertwined with branches and vines, continuing the ancient blood of Suzhou culture.

3.？ Re-promotion of Suzhou humanistic spirit

Suzhou, located in the center of Wu, can be regarded as a metropolis in the history of China, especially in the Ming and Qing Dynasties. Population, wealth, industrial and agricultural production, domestic and foreign trade, culture, education, learning, art and other major fields all jumped to the top in the country during the Ming and Qing Dynasties. China's early capitalist sprout was bred here, which made Wu culture particularly rich in connotation, more distinctive in characteristics and very strong in vitality, and spread to many countries and regions in China and even overseas. Therefore, Suzhou at that time was a place with a strong literati atmosphere, and it was also the habitat of many literati after retirement. The elegant charm pursued by literati in their bones has been well continued in the exhibition design of the new Suzhou Museum. Whether it is the preface in the exhibition room or the explanatory board of the exhibits, the written expression is both pertinent and elegant, with both the temperament of literati culture and the charm of Wu culture with Suzhou local characteristics. Gorgeous writing, concise words, quotations from classics, flying literary talent, silence and romanticism are intended to reveal the secret features of Suzhou's politics, economy and culture behind cultural relics and inspire people. Wang Luxiang, the famous host of Hong Kong Phoenix Satellite TV, also said with great emotion after visiting the new museum: "After reading the preface and the exhibition, I felt the living conditions of Suzhou literati and the profoundness of Suzhou culture."

2. New interpretation of traditional architectural elements 3. Wonderful use of light 4. Michaelis landscape map

?

reform

The new Suzhou Museum, whether from the overall planning or from the nuances; Whether from the traditional "function, technology and image" of the museum or from the perspective of innovation, Mr. I.M. Pei's unique design concept and spirit of forging ahead and challenging himself are all reflected.

1.？ Deduction of traditional architectural elements by modern architectural techniques

The spirit is inherited, but the expression is brand-new. In order to better interpret the Suzhou architectural symbol of white wall and tile, the side decoration of roof and lower wall is adopted, which is called? "China Black" granite stone is produced from Shanxi to Inner Mongolia. It is black with gray, black in the rain, and turns pale into dark gray in the sun. Its firmness, workmanship and flatness are very good. After the stone chips are processed into diamonds, they are laid flat on the roof in turn, which has a strong three-dimensional effect (Figure 2).

The traditional architecture in Suzhou is a wooden beam frame structure. I.M. Pei completely adopted the steel structure in the structural design of the new building, and then wrapped and packed the steel structure with high-quality wood. It not only retains the traditional cultural information, but also ensures that the whole building will never be deformed and moth-eaten.

2. "Let the light do the design"

I have to say that the use of light in Suzhou gardens has reached a superb level. Can this be far from Suzhou Museum? 4000? In the scene of "ancient wood meets science", I fully felt Mi's trip to stay in the garden. The skylight on the diagonal of the small cloister uses light, which can really be described as "light dancing"

"Let the light do the design" is a famous saying of Beilao. In the structure of the new building, he made full and concrete use of light and produced unimaginable artistic effects: in terms of lighting, glass and steel structures can borrow large-area skylights indoors; The design of the roof form has also broken through the constraints of the traditional building "big roof" in China on lighting; The glass roof allows natural light to enter the activity area and exhibition area of the museum through the light and shadow interwoven by metal shading strips with strong wooden texture; 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. Visually, the glass roof and the stone roof are interesting and pleasing to the eye; 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. 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. These changes are always expressed in very concise, convenient and superb architectural language (Figure 3).

3.？ The building itself is also an "exhibit"

The main courtyard of the new museum is an elaborate creative landscape garden. Below the north wall of the landscape garden is a flaky rockery created by Bei Lao. This unique landscape with walls as paper and stones as paintings presents a clear outline and silhouette effect. It seems that it is connected with the Humble Administrator's Garden next to it, and the old and new gardens are separated and skillfully integrated. Instead of using the traditional Taihu stone, the rockery sliced the thick big stone and barbecued it with a musket, so that the color of the stone slice was close to that of the old stone skin. The arrangement before and after also makes people feel that the colors are natural and orderly, especially in the misty rain in the south of the Yangtze River, creating the artistic conception of "Mi's landscape" in the Song Dynasty (Figure 4).

5.？ Song Huazhai? 6. "Yangbao" Exhibition Hall

7. "Wumen Painting and Calligraphy" Exhibition Hall? 8.？ Picturesque Suzhou Museum

Maocaoding Songzhai is a restored folk hall in Song Dynasty. This is the only permanent exhibition built entirely by traditional technology in the new museum. Most of the building materials are traditional building materials, such as bluestone, mud wall bamboo weaving, purple soil, thatch, etc., which gives people the feeling of "simple, simple and natural". Meanwhile, indoors? (? Placement? )? Some Song Dynasty furniture, imitation Song Dynasty furniture, calligraphy and painting, let the audience feel what the interior scene of the Song Dynasty studio is like. This Song Dynasty-style thatched cottage embodies the design concept of "in a modern building, it embodies the essence of China's national architectural art", and the house itself has become an "exhibit", showing the traditional architectural art of China (Figure 5).

Passing through the skylight corridor on the west side of the central hall and entering the main exhibition hall on the west side, the first thing that catches your eye is the unique indoor water curtain wall and lotus pond. Water plays an important role in Suzhou culture. It is usually a symbol of aura and literary spirit, and lotus also represents holiness. The water curtain wall of this waterfall is an indoor man-made "waterfall" cleverly designed according to the principle that air naturally decomposes water molecules. According to the principle of water tension, the water is stretched horizontally, rolled up along the black stone wall protruding horizontally or obliquely into geometric white spray, and flows into the lotus pond happily. ,? Like pearls rolling on lotus leaves. The dynamic geometric water curtain landscape brings pleasing visual enjoyment and natural timbre beauty. It can not only adjust the indoor air humidity and achieve the effect of purifying the air, but also be an important indoor ornamental landscape.

4.？ Respect visitors

In architectural design, pleasant scale is very important. I.M. Pei once emphasized: "Architecture is designed for people. It is for this reason that I prefer to design public buildings. Public buildings can be used by more people, feel the space and be influenced by it. " On the premise of considering people's use, I.M. Pei boldly tried to reduce the proportion of new buildings, so that people could concentrate on works of art without being disturbed by buildings in a quiet environment like a small private house.

"The handling of the gate is very important. Have style and feel like someone is coming in. In my memory, many so-called deep house courtyards, including the lion grove where I played when I was a child, were mostly surrounded by high walls and the doors were closed. The museum is a public building, and I want to use some new design techniques here to make the museum more open and attractive. " Bei Lao said. Therefore, he gave up the usual geometric figures and straight-line architectural style, and adopted the glass double eaves and double-sided slope metal beam frame structure.

The design of the exhibition hall is also quite clever, because it should be considered with the whole building. The designer abandoned the usual big studio, but tailored it according to the characteristics of the exhibits in the collection, cleverly divided it and made it exquisite and delicate. The display cabinet adopts 1.35? The modulus of meters brings flexibility to the exhibition hall size and different display function requirements. In this regard, I.M. Pei thinks like this: "If you put small things in a big cupboard, it looks like a friendship store. Full, wrong. Therefore, I made a small cupboard with lighting for each baby. This is new. This is not available in the United States or Europe. Their collection is different from ours and is suitable for Suzhou's own collection. " Yes, the "Duobaoge" showcase in Suzhou in the Ming and Qing Dynasties is characterized by cleverly dividing independent small storage spaces by horizontal and vertical plates according to the shapes of the displayed items. The overall shape is exquisite and patchy, and it is deeply loved by literati. It is placed in the hall and study, and the owner collects and plays with rare treasures, which is leisurely and elegant. I.M. Pei reformed and innovated on the basis of the ancients, making it more concise and modern (Figure 6). The exhibition hall of calligraphy and painting is two symmetrical octagonal spaces, which skillfully use nine squares to run through the middle. The interior of the exhibition hall is simple and transparent, with a glass ceiling at the top and metal shading strips decorated with wood, which makes the natural light dispersed and softened. The tall wall is very beneficial to express the scroll painting and calligraphy axis. "This design is for the sake of the audience. As soon as I walked in, I thought it should be like this, because this statue emphasized the habit of China's art appreciation. China's ancient paintings and calligraphy are hung in the hall or study. " (Figure 7)

In terms of content design, the display of the new museum is divorced from the traditional display mode of local general history exhibitions, or takes cultural relics as a room, or takes cultural relics as a room, or restores the scene as a room, integrating exhibits with different themes to make the best artistic aesthetic effect.

mix together

Fusion, which means the spirit of place in design, can be literally understood as two levels, namely, fusion; Harmony: Harmony. In the process of inheritance and innovation, the new Suzhou Museum perfectly integrates Suzhou traditional culture with modern architectural features, achieving a harmonious and unified effect.

1.？ Harmony and Unity of Architecture and Exhibition

A modern museum, or a successful museum, the combination of architectural modeling and internal functional requirements must be highly perfect and harmonious. Like Marcus, the German neo-expressionist master? Rueppel said: "A good museum building must have such characteristics: it contains artistic works, rather than driving away art through the performance of the building itself."

From beginning to end, the exhibition design of the new museum has been highly concerned by Beilao. He repeatedly stressed: "For museums, the display of collections and exhibits is more important than the building itself." Therefore, the exhibition design scheme is also synchronized with the architectural design of Beilao from beginning to end, even ahead of schedule, and always maintains interaction. The interior design of the new Suzhou Museum, including the exhibition, is almost designed by Mr. Pei himself to ensure the coordination of internal and external styles and functions. At the same time, he also hired exhibition experts from the Metropolitan Museum of America to build the World Trade Center? (? The Twin Towers? )? Structural engineers, experts on architectural noise in Louvre and experts on ancient buildings and cultural relics in China are its consultants? ,? They are world-class and domestic first-class experts in this industry.

In the exhibition design, the style and architecture of each exhibition hall are unified. Each exhibition hall is exquisite and concise, adapting to Suzhou gardens and new buildings. The layout is also ingenious and unique, highlighting the characteristics of Suzhou gardens such as "moving scenery", "framing" and "borrowing scenery". It has a sense of order and rhythm, and it feels like a vine, with distinct layers, patchwork and similarities.

In addition to the permanent exhibition hall, the new museum has also set up a modern art exhibition hall. Bei always thinks so: "The art of painting and calligraphy has a deep foundation in Suzhou, which allows visitors to see the past and the present, and makes people feel that the art of painting and calligraphy in Suzhou is continuous and constantly developing." From the works of Cai Guoqiang He, a master painter and modern artist at the opening ceremony to the exhibitions of Xu Beihong and Pan, each exhibition attracted many visitors.

2.？ Harmony and unity between architecture and surrounding environment

The new Suzhou Museum is located in the ancient city of Suzhou. Humble Administrator's Garden, the northern world cultural heritage, is known as "Suzhou No.1 Garden" and "World Cultural Heritage" because of its simple, spacious and elegant garden style in Ming Dynasty, and enjoys a worldwide reputation? ; To the east is Zhongwangfu, a national key cultural relic protection unit, to the south is Northeast Street, the starting point of Suzhou Cultural Corridor, and to the west is Qimen Road, the main road of the city. There are also the cultural essence of Suzhou ancient city, such as lion forest, folk museum, garden museum, arts and crafts museum, etc. The classical pattern of "parallel waterways, adjacent rivers and streets" here is very typical. The completion of the new museum will make the historical block of Northeast Street more cultural and leisure, and it will become a modern continuation of a famous garden, Humble Administrator's Garden? ,? It embodies the idea of preserving and developing the whole culture.

The new building of Suzhou Museum is next to the old building Wang Fu. Old buildings are important historical buildings and witness to history. The design of the new building not only pays attention to the combination of old and new buildings, but also puts the new building in a secondary position without any publicity. The new museum and the old one complement each other, and the design concept of "Shuang Mianxiu" integrates them into an ecological whole? , not only conducive to saving investment? ,? Is conducive to the full play of the museum's own functions? ,? It is more helpful to show the harmonious aesthetic feeling of the connection and development of cultural inheritance between history and reality. How to coordinate new and old buildings in modern urban construction, the new Suzhou Museum has made a good demonstration for future designers.

3.？ Harmony and unity of exhibition mode and cultural relics in collection

Museums serve the exhibits, so the display design should be consistent with the exhibits to improve their artistic value. What are the wonderful exhibits in the new museum? 1 160? Pieces of different sizes, with an exhibition area of about? 3600? Square meters. In the content design, we should fully consider the characteristics of Suzhou Wu culture and cultural relics in the collection, inherit and innovate traditional literati cultural thoughts, recognize the function and orientation of the topic, and make full use of strengths and avoid weaknesses in combination with reality. Permanent theme exhibitions, fully considering the characteristics of Wu culture, all start with the word "Wu". At the same time, in the process of selecting exhibits, according to the characteristics of the cultural relics in the collection, it is divided into four themes, and then summarized into four theme exhibition rooms in chronological order, so that Suzhou's long local history has been highly concentrated.

The "Wu Di Yi Zhen" exhibition hall shows the local cultural relics unearthed in Suzhou, which is a true portrayal of Suzhou's long history. The design did not use the traditional general history display, but intercepted four wonderful fragments of Suzhou history and the most representative tombs. In form, it is characterized by simplicity, solemnity, profundity and approachability. Because the unearthed cultural relics are on display, the color of the exhibition hall is not white, but khaki, which is close to the soil color, is specially used. However, the four rooms are different in color and atmosphere, each leading the way.

"Five Pagodas Bao Guo" consists of two exhibition halls, displaying the precious Buddhist relics found in Yunyan Temple Pagoda and Ruiguang Temple Pagoda in Huqiu, Suzhou. As a secret porcelain lotus bowl unearthed from Tiger Hill, the "Zhu Zhen Relic Tower" in the Ruiguang Tower and the Inner Wooden Letter with four heavenly kings are both national treasures and the treasures of the town hall of Suzhou Museum, which are placed in the center of these two exhibition halls respectively to show their sacredness and nobility. Among them, the "Zhu Zhen Ruins Mansion" in the Northern Song Dynasty also belongs to the unearthed cultural relics, so it is in the same spatial sequence as the four exhibition halls of "Wudi Yizhen", so it can be connected together and displayed independently, which is like gloating and holding the moon like a star. In the northeast exhibition hall, the lotus bowl of the five dynasties Yue kiln secret porcelain is displayed, which is consistent with the actual geographical location of the two towers. Formally, these two exhibition halls are designed as an octagonal brick-like tower structure, which echoes the octagonal plane of the tower. In this way, the priority is clear, and the audience can see at a glance from the tour route of the West Corridor. In color, it also continues Wu Dibao's yellow series, full of holy religious feelings.

On the basis of academic research, Wumen Painting and Calligraphy Exhibition Hall displays Wu Pai and Wumen calligraphers and their paintings and calligraphy works which have been popular since the middle of Ming Dynasty, which is the essence and purpose of painting and calligraphy collection. Shen Zhou, Wen Zhiming, Tang Yin and Chou Ying, the four painters and painters represented by Ming thinkers, are not only masters of art who lead a generation, but also symbolic figures who embody the spirit of Suzhou culture. They inherited the tradition of literati painting in the Song and Yuan Dynasties, established and embodied the ideas and aesthetic taste of literati in the Ming Dynasty, guided the study of later generations, and spread far and wide, with far-reaching influence.

The "Wuzhong Yazhi" exhibition hall mainly displays cultural relics of Ming and Qing Dynasties, especially Suzhou's unique craft treasures. At the end of the Ming Dynasty, Zhang Dai called it "Wuzhong stunt", and Shen Defu listed it as "the best thing to play with", which enabled the literati to enjoy leisure and live an elegant life. Because Suzhou has an irreplaceable historical and cultural position in the collective memory of Ming and Qing literati and in the impressions of many literati at that time. Therefore, this theme can be said to be the most distinctive, colorful and attractive among the cultural relics of Suzhou Museum, and it is also the most different from other museums. So according to the characteristics of these handicrafts, the theme is divided into nine exhibition halls with different sizes, with an area of 60- 100? Square meters, which aims to show the most influential and humanistic urban civilization and literati culture of Suzhou ancient city more truly and intuitively.

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How to create a trend in such a heavy historical and cultural atmosphere? 2 1? Century architecture is a worldwide problem. However, Mr. Pei did it. When the new building is completed, this modern building is full of China flavor. Grasping the spirit of China, truly understanding the traditional culture and using modern technology to convey the historical and cultural spirit of China are the foundation of the architecture and exhibition design of China Modern Museum. In the new Suzhou Museum, people, architecture, exhibition and environment are highly integrated here. Being in the museum is like being in a painting (Figure 8).

Precautions:

[ 1]? Quoted from Suzhou Daily 2008? Year? 7? Month? 1 1 day? .

[2]? According to statistics, since the opening of the new Suzhou Museum, the number of visitors has been very close. 160? Wan.

[3]? Ruan: "Harmonious Dialogue between Modern Architecture and Traditional Cities —— My Opinion on the New Suzhou Museum", Architect, February 2008.

[4]? Huang Yuqiong: Talking about Modern Architectural Design in China with I.M. Pei Suzhou Museum as an Example, Shanxi Architecture? 》,2008.9,? First one? 34 volumes? 27? Period. ?