CHIN3031 History of Chinese Art S1 2020
I.M. Pei is a renowned Chinese architect who took on a project to build a museum in Suzhou city at the age of 85. The architect, considered as one of the few remaining modernists, faced the most significant challenge in providing an architectural design that would bring together the Suzhou vernacular and his modernistic sensibilities(Siyu, 2011). Located close to two of Suzhou’s traditional garden homes, the Lion Forest Garden and the Humble Administrator’s Garden, it lies among the most famous landmarks in the city. In terms of designing a modern museum that would present a perfect harmony between the classical and old buildings around it, Mr. Pei faced one of the most significant challenges in his career(Hui, 2011).
According to Mo (2013), I.M. Pei’s designs can be found in various parts of the world. Some of his works include the Grand Pyramid in Paris, the Bank of China Tower, and the East Wing of the National Gallery. Most of his architectural designs are inspired by traditional Chinese architecture. He is considered to be a master in combining conventional Chinese architectural designs with modern ones. The Fragrant Hill Hotel, located in Beijing, China, is regarded as a masterpiece in integrating contemporary art with classic Chinese style.
The intricate garden, whitewashed plaster walls and dark gray roofs made of clay construction symbolizes the Suzhou traditional architecture. It consists of pyramids, squares, rectangles, and other geometric designs that characterize the work of Mr. Pei. The architect’s ambition to visualize the Chinese and Suzhou vernacular in a contemporary context is represented in a hybrid fashion by the palette accustomed to the Suzhou area, and the undulating folds of geometries(Siyu, 2011). The Chinese and modern tradition share elements such as the focus on lines, symmetry, and geometry. Gray lines accent and highlight the exterior walls of the building, therefore, defining its figure. The outlines are similar to traditional calligraphy. The design is considered to be the foundation stone of future Chinese architecture due to a new language and order that it synthesizes(Mo, 2013).
The overall site design also reflects the synthesis. Organized by a central axis of symmetry, a gazebo is featured in the middle of a central water court wrapped around by a rectangular layout. Since the Suzhou museum blends itself withing Suzhou’s city context, it is considered to be modest compared to the rest of Pei’s architectural designs. In harmony and acknowledgment of the city’s historical surroundings, the museum has maintained a rather humble building height(Mo, 2013). A dynamic series of geometric folds is featured in the design of the central hall. The structure progressively ascends to the peak of the roof from an octagonal shape at the bottom. Diamonds, rectangles, and triangles are used in the design’s modulation while the folded roofs resonate with the traditional architecture. An ample amount of light is therefore introduced into the building.
There are a series of gardens and courts that not only mediate between the building but also its surrounding environment, which is in line with the Suzhou architectural culture(Hui, 2011). The configuration figure is completed with the composition of the extended urban fabric and the water court. The internal courtyard experiences privacy and intimacy as a result of the network of cloister arrangement of the exhibition halls. Therefore, visitors are compelled to explore through the gardens enthusiastically. This composition is created by the shifting perspectives of the landscape paintings in the Song Dynasty technique(Mo, 2013). Similar to the case of the traditional Chinese garden, a set of masonry bridges surrounding the centered gazebo, connects the well-organized water court. A modern-day rendition of garden rocks is featured in the central water court. This characteristic is also observed in the adjacent Garden of the Humble Administrator. A set of nuance shadows and silhouettes are therefore formed against the black wall due to the layered nature of these rocks. This feature is of considerable significance to the traditional Chinese ink painting that displays a range of mountain peaks overlapping against a white background(ZHAO & SHI, 2013).
The massive piece of Suzhou architectural design not only engages but also understands the Suzhou’s traditional aesthetics(Hui, 2011). Therefore, the construction and design of the museum impress many since it goes beyond its obvious merit of being a modern piece of architecture. The traditional Jiangnan style of every building surrounding the museum has been mimicked by the black and white palette. A classical garden landscaping is evident by the measured use of plants, stones, and water. The structure of the design seeks to provide visitors with a peaceful and contemplating environment for people within the hustle and bustle of contemporary China. The incorporation of Pei’s awe-inspiring concepts of geometric forms and purposeful designs and the extraordinary traditional garden of Suzhou city creates a harmonious unity among the traditional and contemporary Chinese individuals(ZHAO & SHI, 2013).
In conclusion, it does not require a sudden and intense change in the traditional context to form a new architectural design in a particular area. To be in contrast to the traditional architectural structures, contemporary designs do not always have to stand on their own. Instead, understanding the natural elements of the local area, modern designs can be combined with the site contextually to produce a masterpiece design fulfilling the desires of both the inherent and futuristic sensibilities. With excellent experience in the architectural field, Pei is considered as the master of modern architect due to his ability to integrate a modern-day design philosophy into a conventional Chinese garden grammar. By showcasing his indigenous synthesis of form and light, he has achieved a milestone that modern Chinese architects will always look upon.
References
Hui, Z. Q. Z. (2011). “ New” and” old” Interpretation: Interpretation of the Aesthetic Value of Suzhou Museum. Huazhong Architecture, 3.
Mo, L. U. (2013). Native Design: A Comparison of Space and Artistic Conception Between New Suzhou Museum and Suzhou Garden. Journal of Human Settlements in West China, 4.
Siyu, Y. (2011). Suzhou museum: the Interpretation of Chinese Traditional Symbols in Modern Architecture. Furniture & Interior Design, 5.
ZHAO, S., & SHI, M. (2013). Using cultural integration theory to analyze cultural characteristics of the New Suzhou Museum. Overseas English, 13.