贝聿铭建筑美学思想探析  

I.M. Pei’s Aesthetics of Architecture

作　　者：王靖涵 肖志高[2] Wang Jinghan;Xiao Zhigao

机构地区：[1]湖南师范大学美术学院,湖南长沙410012 [2]长沙理工大学设计艺术学院,湖南长沙410114

出　　处：《家具与室内装饰》2021年第2期101-103,共3页Furniture & Interior Design

基　　金：湖南省社科基金课题“乡村振兴背景下湘中地区传统村落适应性保护策略研究”(19YBA021)。

摘　　要：作为现代主义建筑的最后大师,置身于建筑事业的70余年,他在东方、西方世界都留下了优秀建筑痕迹,其前卫建筑理念、设计手法为现代建筑景观设计提供了很好的参考价值。从贝聿铭求学背景,风格形成,华盛顿美术馆的几何空间展示到巴黎卢浮宫金字塔的光线利用,以及置身于山林的美秀美术馆的情景共融,再到苏州博物馆的园林空间打造,几个典型作品进行剖析。贝聿铭在建筑设计上擅用三角形、圆形方形等简单几何形作为建筑元素,以此打造现代感十足的建筑,拒绝国际风格,通常以环境和本土文化打造建筑风格特色,在设计过程中充分思考建筑和地理地貌及人文历史之间千丝万缕的联系。As the last master of modernist architecture, I.M. Pei has been in the architectural career for more than 70 years. He has left outstanding architectural traces in the East and the West. His avant-garde architectural concepts and design techniques provide a good reference for modern architectural landscape design. From the background of Pei’s study and the formation of his style, the geometric space display of the Washington Museum of Art, the use of light from the Louvre Pyramid in Paris, and the blending of scenes at the Miho Art Museum in the mountains and forests, to the creation of the gardens of the Suzhou Museum, all of these, as his typical works, have been under our analysis. Pei’s architectural design uses simple geometric shapes such as triangles and round squares as architectural elements to create modern buildings, rejecting international styles, and usually creating architectural style features based on the environment and local culture. In the design process, he fully considers the inextricable links between architecture and geography, and human history.

关 键 词：博物馆 地域文化 造型设计 地域色彩 

分 类 号：TU238.2[建筑科学—建筑设计及理论]