这篇文章中的照片是2016年由罗马摄影师陈兴美拍摄的。休息后阅读整篇文章。

Images in this article were captured in 2016 by Rome-based photographer, Chenxing Mi. Read the full article after the break.

 © Chenxing Mi

(陈兴美)

虽然博物馆继承了贝设计的许多几何和视觉元素-方形、长方形和金字塔-但该设计借鉴了苏州传统建筑的设计手法，采用了粉刷的灰泥墙、深灰色的粘土瓦屋顶和复杂的花园建筑。[1]几何图形的起伏褶皱，再加上苏州地区熟悉的调色板，成为一个独特的混合体，代表了建筑师在当代背景下重新设想苏州和中国方言的雄心。

While the museum carries over many of the geometric and visual elements that characterize Pei’s design – squares, rectangles, and pyramids – the design takes cues from traditional Suzhou architecture with its use of whitewashed plaster walls, dark gray clay tile roofs and intricate garden architecture. [1] The undulating folds of geometries, coupled with a palette familiar to the Suzhou region, becomes a unique hybrid that represents the architect’s ambition to re-envision the Suzhou and Chinese vernacular in a contemporary context.

 © Chenxing Mi

(陈兴美)

对称、几何学和对线条的关注等元素在中国和现代主义传统中都是共有的。外墙被强调和突出的灰色线，确定了建筑物的形象，很像传统书法。它要求一种“综合成一种新的语言和秩序，一种当代和前瞻性的设计，希望是中国现代建筑未来的一个可能的方向”[1]。

Elements such as symmetry, geometry, and focus on lines are shared in both Chinese and modernist traditions. The exterior walls are accented and highlighted with the gray lines that define the figure of the building, much like traditional calligraphy. It calls for a design that is “synthesized into a new language and order, one that is contemporary and forward looking and hopefully one that is a possible direction for the future of Chinese modern architecture.” [1]

 © Chenxing Mi

(陈兴美)

 © Chenxing Mi

(陈兴美)

综合设计也反映在整体的场地设计中，该规划采用矩形布局，围绕着中央水庭，中间有露台，由中轴对称组织而成。与贝的许多其他标志性项目的鲜明特征不同，苏州博物馆选择了谦逊的态度，融入了这座城市的环境中。此外，博物馆建筑群保持相当卑微的建筑高度，符合和承认历史环境。正如贝在接受“纽约时报”采访时所说：“在中国，建筑和花园是一体的。西方建筑就是建筑，花园就是花园。他们在精神上是有血缘关系的。但他们在中国是其中之一。“

The synthesis is also reflected in the overall site design, where the plan features a rectangular layout that wraps around a central water court that features a gazebo in the middle, organized by a central axis of symmetry. Unlike the pronounced and distinct characteristic of Pei’s many other landmark projects, the Suzhou Museum chose to be humble and blends itself within the context of the city. In addition, the museum complex maintains rather humble building heights, in accordance and acknowledgement to the historic surroundings. As Pei put it in an interview with New York Times, “In China, architecture and the garden are one. A Western building is a building, and a garden is a garden. They’re related in spirit. But they are one in China.” [2]

 1st floor plan

一楼图则

 © Chenxing Mi

(陈兴美)

中央大厅的平面图有一系列动态的几何褶皱，从八角形开始，逐渐上升到屋顶的顶峰，中间由三角形、菱形和矩形调制，与传统建筑中折叠的屋顶相呼应，同时在建筑中引入充足的自然光。

The plan of the central hall features a dynamic series of geometric folds that begins with an octagonal figure and gradually ascends into the peak of the roof, modulated by triangles, diamonds, and rectangles in between, echoing the folded roofs in traditional architecture while introducing ample amount of natural light into the building.

 © Chenxing Mi

(陈兴美)

 2nd floor plan

二层平面图

和传统的苏州建筑一样，艺术博物馆的设计是围绕着一系列的花园和庭院来组织的，这些花园和庭院是建筑与周围环境之间的中介。[1]水法庭在与扩展的城市结构相结合时，形成了一个完整的数字，完成了组成。展厅是围绕着一个封闭的网络，建立一个封闭的网络，为内部庭院创造隐私和亲密，同时调整观点。它们暗示了宋代山水画中的“变换视角”手法，旨在促使游客积极探索园林。[3]水庭由一组砖石桥组成，围绕着中央的露台，就像中国传统花园里的情况一样。

As with traditional Suzhou architecture, the design of the Art Museum is organized around a series of gardens and courts that mediates between the building and its surrounding environment. [1] The water court, when put in context with the extended urban fabric, forms a complete figure that completes the composition. Exhibition halls are organized around a network of cloisters to form an enclosed network that creates privacy and intimacy for the internal courtyard while modulating views. They allude to the “shifting perspective” technique in Song Dynasty landscape paintings and are intended to compel visitors to actively explore through the gardens. [3] The water court is organized and connected by a set of masonry bridges that surround a gazebo at the center, much like the case within a traditional Chinese garden.

 © Chenxing Mi

(陈兴美)

中央水庭还提供了当代花园岩石的表演，与隔壁的“谦逊管理员花园”中的同龄人相呼应。这些岩石的层次性形成了一套细致入微的阴影和轮廓，背对着白色的背墙，让人联想到中国传统水墨画的形象化和隐喻性，即抽象的山峰与一张白纸重叠在一起。

The central water court also features a contemporary rendition of garden rocks, echoing its counterparts in Garden of the Humble Administrator next door. The layered nature of these rocks forms a set of nuanced shadows and silhouettes against the white back wall, reminiscent and metaphorical of traditional Chinese ink painting, where abstract mountain peaks overlap against a white piece of paper.

 © Chenxing Mi

(陈兴美)

苏州博物馆是继北京香山酒店(1982)和中国银行总部(2001)之后，贝在中国大陆的第三个项目。该博物馆的多年设计和建造过程在2010年PBS的美国大师系列纪录片中出现在一个名为“I.M.Pei：Building China现代派”的插曲中。

Suzhou Museum is Pei’s third project in Mainland China, after the Fragrant Hills Hotel (1982) and Bank of China Headquarters in Beijing (2001). The multi-year design and construction process for the museum was featured on PBS’s American Masters documentary series in 2010 in an episode called “I.M. Pei: Building China Modern.” [4]

 © Chenxing Mi

(陈兴美)

[1]“苏州博物馆”。贝合伙建筑师。http：/www.peipartnership.com/Projects/type/人文/苏州-博物馆/。[2]Barboza，David。“贝在中国，重温根”“纽约时报”。2006年10月9日。2018年4月8日访问。https：/www.nytimes.com/2006/10/09/Art/Design/09pei.html。[3]殷、约书亚、贾惠翁、闵俊昂、曼春霞、魏新堂、纪英泰。乡土元素在江苏苏州博物馆庭院中的应用。报告。泰勒大学建筑系。21.[4]“I.M.Pei：建设中国现代”。PBS。2015年9月14日。http：/www.pbs.org/wnet/americanmaster/i-m-pe-building-China-现代/1542/。

[1] "SUZHOU MUSEUM." Pei Partnership Architects. http://www.peipartnership.com/projects/type/cultural/suzhou-museum/. [2] Barboza, David. "I. M. Pei in China, Revisiting Roots." The New York Times. October 09, 2006. Accessed April 08, 2018. https://www.nytimes.com/2006/10/09/arts/design/09pei.html. [3] Yin, Joshua, Jia Hui Ong, Min Junn Ong, Sonia Mancxia, Wei Xin Tang, and Jit Ying Tay. The Application of Vernacular Elements in the Courtyard of Suzhou Museum in Jiangsu, China. Report. Department of Architecture, Taylor's University. 21. [4] "I.M. Pei: Building China Modern." PBS. September 14, 2015. http://www.pbs.org/wnet/americanmasters/i-m-pei-building-china-modern/1542/.

建筑师贝，贝合伙建筑师地址江苏苏州市古素区东北街204号，中国建筑工程师莱拉咨询结构工程师15000.0平方米2006年项目年度遗产

Architects I.M. Pei, Pei Partnership Architects Location 204 Dongbei St, Gusu Qu, Suzhou Shi, Jiangsu Sheng, China Structural Engineer LERA Consulting Structural Engineers Area 15000.0 m2 Project Year 2006 Category Heritage