定义贝聿铭建筑空间的现在完成时态

Defining the Present Perfect Tense of I. M. Pei’s Space

贝聿铭是一位杰出的现代主义建筑大师,其大量优秀作品获得了社会的普遍赞誉。然而与之不甚相衬的是,目前学界有关他对现代建筑独特贡献的研究并不充分。事实上贝聿铭独特的建筑语言不仅见诸于强烈的几何形体,也见诸于形体所包裹的流动空间。对他而言,空间不仅是一个营造建筑戏剧效果的手段,也是促进人与人、人与自然,以及人与历史交流的路径。文章探讨贝聿铭的空间设计观念与现代主义建筑和中国建筑传统的双重关联,及其在贝于东亚创作的三件作品中的独到呈现。并试图通过这一分析,定义贝聿铭对现代主义“空间-时间”概念的贡献,这就是对于“时间”概念的现在完成时态补充。现在完成时为他的设计增加了历史的维度,也增加了诗意。

I. M. Pei was a modernist master who lived an extraordinary life. Contrary to his highly acknowledged achievements, however, the uniqueness of his contribution to modern architecture remains understudied. As a matter of fact, Pei’s distinctive architectural language not only features his signature geometric forms, but also flowing space that embodies and encircles the forms. For Pei, space is both a means of generating architectural drama and, more importantly, a way of facilitating communication between humans, nature, and history. This paper focuses on Pei’s space to explore its connection with both modernist architecture, such as Le Corbusier’s promenade architecturale as well as Mies van der Rohe’s atrium house, and a Chinese architectural tradition embodied in Suzhou gardens, as well as its manifestations in his three East Asian works, namely the Fragrant Hill Hotel in Beijing, the Miho Museum in Kako, and the Suzhou Museum in Suzhou. Based on this analysis, the paper hopes to conceptualise Pei’s contribution to the modernist idea of ‘space-time’, which is expanding ‘time’ into the present perfect tense. The present perfect tense has increased the historical dimension of his space, and made it poetic.