桃花源:一个美好与无奈的握手——以贝聿铭美秀美术馆和俞孔坚相关建筑作品为例

Arcadia, a Happy and Helpless Handclasp:Taking I.M. Pei’s Miho Museum and Yu Kongjian’s Works for Examples

该文以贝聿铭美秀美术馆和俞孔坚诸多建筑作品为例,说明在现代建筑作品中也能创建美好的"桃花源"。陶渊明在他落寞无奈时写下的《桃花源记》却给后人留下了许多美好的想象空间。一千五百多年以来,"桃花源"或"世外桃源"之名已成为"纯朴理想社会"和"想象中的美好人居环境"的代名词。那么,在建筑师的心目中,桃花源能是什么样子呢?所描绘出来的"桃花源"能否与《桃花源记》的"意境"吻合呢?笔者试图从贝、俞的作品中作一些有意义的探究。

This article takes I.M. Pei＇s Miho Museum and some Yu Kongjian＇s works for examples, and points out that it is in modern architecture that we could create wonderful Arcadia. Tao Yuanming, a poet of Eastern Jin Dynasty, wrote The Notes of the Land of Peach Blossoms when he was lonely and helpless, which gave us much wonderful imaginary space. Since more than 1 500 years, ＂Arcadia＂ has been the pronoun of ＂the simple ideal society＂ and ＂imaginary wonderful human settlements＂. So, what Arcadia could be like in architects＇ eyes Could these Arcadias designed by architects be the same with that in The Notes of the Land of Peach Blossoms The author attempts to make some inquisitions from Pei＇s and Yu＇s works.