Design case of Suzhou traditional exhibition hall

The name I.M. Pei seems to be an existence beyond the times. In the history of contemporary architecture, I.M. Pei is called "the last master of realism". Someone once commented that I.M. Pei is a rare model of cross-cultural communication. He has absorbed the essence from two different cultural and artistic soil layers in western countries and is handy in both worlds.

When we mention the classic works of I.M. Pei, the first thing that comes to mind is the glass pyramid in front of the Louvre in Paris. In China, Xiangshan Hotel in Beijing, Bank of China Building in China and Bank of China Limited Building in Beijing are also his representative works, but only Suzhou Museum has extraordinary practical significance for Beilao. With its most colorful feelings and work experience, it put his courage and intelligence into his hometown, leaving behind his childlike innocence complex, his innovative ideas and his extraordinary intelligence. Suzhou Museum is a work of art in itself. He gave new life to the historical time commercial street, and narrowed the long-lost time gap between him and his hometown Suzhou with the method of architectural plastic arts. He even described Suzhou Museum as his "daughter".

The original Suzhou Museum was founded in 1 960,65438+10/. Located in the loyalty palace of the Taiping Heavenly Kingdom Movement in the northeast street of Suzhou. The whole museum covers an area of about 1 1000 square meters, with a total exhibition area of about 2600 square meters. There are about 40,000 precious cultural relics in the collection, especially archaeological relics in previous years, calligraphy and painting in the Ming Dynasty, artworks, etc. With the rapid development of economy, culture and art and the continuous improvement of people's living standards, people's demands and hopes for the capital construction of history museums are getting higher and higher. In this situation, due to the limitation of venue facilities and the lack of indoor temperature control equipment, the original museum collection can not properly maintain its personal collection and show it to the masses in detail, so the capital construction of the new Suzhou museum has been put on the agenda.

At the beginning of the capital construction of the History Museum, the leaders decided that Suzhou Museum should not only have the design style characteristics of contemporary architecture, but also reflect the unique features of Suzhou as a big city. The capital construction of Suzhou Museum places the hope of Suzhou's 2500-year history. How can such a thick regional history and humanities be closely integrated with contemporary architecture? At the age of 85, I.M. Pei was reborn and accepted the design scheme of this project.

The new site of Suzhou Museum is located at the intersection of Qilu and Dongbei Street in the northeast of the ancient capital, adjacent to Zhongwangfu, a national key cultural heritage protection enterprise, and Humble Administrator's Garden, a global historical and cultural heritage, and connected with the folk museum and lion forest in the city where the Beijia ancestral hall is located (the original owner of the lion forest happens to be Bei Runsheng, the uncle of I.M. Pei, which can be described as the imperial garden of the Bayes family). According to the tradition of China, Suzhou Museum has a small scale of operation. One of the very big reasons is that it is located in the historical city and adjacent to the Humble Administrator's Garden. There are many restrictions on overall planning. In the case of designing Suzhou Museum, I.M. Pei was naturally inspired by the surrounding natural environment, especially the Suzhou garden design.

The overall design scheme of Suzhou Museum is mainly based on the sequence transformation of indoor space of different buildings, which is divided into three parts: east, middle and west. This technique originates from the architectural features of traditional Jiangnan dwellings. The exterior design scheme continues the characteristics of Suzhou traditional houses with blue bricks and tiles, and the roof structure adopts the steep slope roof common in Suzhou, which is consistent with the Xieshan roof of Humble Administrator's Garden and the surrounding traditional houses. Generally speaking, the height of the cornice outside the building is 4m, and the highest point does not exceed 16m, which is in harmony with the surrounding ancient building ecosystem.

The main color of Suzhou Museum is high-grade gray: white comes from painting the wall, and cold gray comes from the marble commonly used on the roof and the "edge" of the marble around the wall. It is grayish black after rain and dark gray after sun exposure. In addition to marble decorative design, the application of triangular geometry, glass fiber reinforced plastic materials and wooden venetian blinds also makes the whole building have its own characteristics in overall design, which is not completely consistent with the surrounding ecosystem. In addition, the entrance of Suzhou Museum faces south, adjacent to Northeast Street. The entrance hall of Suzhou Museum adopts metal frame shear wall and double-sided slope with laminated glass cornices, which not only selects the unique design technique of the entrance hall in China traditional architectural culture and art, but also combines the application of contemporary raw materials, giving the door design a brand-new and upgraded era feature. The sloping roof composed of three-dimensional figures has the basic elements of the traditional steep slope roof of Suzhou ancient buildings, but the complex overall connection is creative. Light steel frame structure and concrete wall, together with crystal clear laminated glass ceiling, present a typical sense of the times.

The exhibition area in the central and western areas of the History Museum is connected by the cloisters and pavilions in the inner courtyard. The total area of internal courtyard greening and garden waterscape accounts for 42.4% of the total area, which is divided into 1 main courtyard and 9 sub-courtyards. The main courtyard is surrounded by architectural actors, and its north wall is separated from the Humble Administrator's Garden by a wall, creating a tendency of mutual affection on the scenery, teasing the audience's mind and having a great desire to explore the end. The second courtyard is decorated with trees, bamboo and lingbi stone, which is closer to the meaning of Suzhou folk houses.

Suzhou is a hometown of landscape. In a small fief, hundreds of different generations of garden landscapes have been preserved so far. Suzhou History Museum is also a landscape architecture. The greater feature of Suzhou garden landscape is that the mountains are empty and square. There must be a stone landscape and a courtyard rockery in the courtyard of this garden-style history museum designed by I.M. Pei. However, in this quadrangle that combines tradition and independent innovation, what kind of quadrangle rockery can be built to convey its own design ideas? He remembered the landscape paintings of Mi Fei, a calligrapher in the Song Dynasty. Mi Fei's paintings of landscapes do not pursue meticulous brushwork, but are often stained with ink and pen, claiming that "writing with pen" and "meaning seems to be enough" just belong to Pei's elegant taste. Therefore, in the architectural design of the new Suzhou Museum, he initially chose to cut marble into pieces and lay it out in various ways, "taking the wall as paper and the stone as painting". First, he built a magnificent Chinese painting with stone, and then painted the wall in the courtyard.

According to the actual effect of the rhythmic stone courtyard rockery stacked on the wall, and the landscape layout, the concept of "green mountains and green waters on the first floor" in the landscape design of China garden architecture is embodied. The reasonable layout of all garden waterscapes consists of two-story building facade water curtain wall and Lotus Reservoir at the bottom. The flowing water is discharged from the mouth of gray-black granite, and flows down gradually at the turning point after the design scheme, forming colorful wall composition and vivid water features of the venue garden. On the right side of the service hall is the terrace of Wisteria Garden, which not only serves as the lighting of the East Exhibition Hall, but also serves as the outdoor area of the coffee shop. The yard is planted with wisteria flowers, which are grafted from wisteria trees planted by Wen Zhiming in Zhongyi Palace. Bright emerald green, coupled with the black, white and dark gray of the building, is quite calm, harmonious and enjoyable for literati.

As the British media often said in the report written at the opening ceremony of Suzhou Museum in 2006, "This outstanding China architect rebuilt the lost essence of his extended family and adopted his distinctive contemporary vocabulary. In Suzhou Museum, waves are rippling on the beautiful water, surrounded by white buildings, and gray roofs and balconies are whispering. Reflected in the water is the megalithic landscape arranged under the wall. A modern and simple Mao Zhai stands on the sea, dotted with stone bridges and tall bamboo sea. All the history museums are hidden in the yard where ginkgo trees and willows complement each other. " I.M. Pei's wisdom and courage made this brand-new architectural ecosystem melt into the 2500-year-old capital without trace.