I.M. Pei, Gary, Kengo Kuma ... Masters have been hiding in museums designed by themselves all their lives.

The following article is from Phoenix Space, written by Sun Wantong.

Everyone loves museums, because these historical, scientific, cultural and artistic spaces bear too much accumulation and echo of human civilization. Visiting the museum is a journey of constant discovery.

Museum architecture itself is like a work of art, which embodies the painstaking efforts and thinking of designers and builders.

(source: pixabay)

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Le Corbusier: National Museum of Western Art.

An ever-growing museum.

The National Western Art Museum in Ueno Park, Japan, is the work of the famous architect Corbusier in the 20th century, which was completed on 1959.

This building embodies Corbusier's thinking for more than 30 years and is the realization of Corbusier's early concept of "a museum that can grow". Buildings, like snail shells, can grow infinitely outward and meet the needs of expansion at any time.

At that time, Corbusier's idea was to build a complex in Ueno Park, including a theater, a temporary exhibition hall and an outdoor exhibition hall. In addition to the art museum, but due to limited budget, only the art museum was built.

National Museum of Western Art (Source: Archdaily)

As early as 1929, Corbusier put forward the idea of "world city", with the world museum as its core. The model of "Musée à croissance illimitée" first appeared in a sketch by 1939 Corbusier.

(Source: Archdaily)

The Art Museum in Yamed City and the Chandigarh Museum and Gallery designed by Corbusier have also implemented the concept of "unlimited growth", leaving room for growth in construction, hoping to continue to expand in the future.

Art Museum, Ahmad City, India (Source: Archdaily)

Later, Lloyd Wright's Guggenheim Museum adopted a similar idea, and the exhibition hall spiraled around the hall, eventually forming a "pyramid" for collecting civilization.

Guggenheim Museum, new york (Source: pixabay)

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Ludwig mies van der rohe: The New National Art Gallery in Berlin.

The Parthenon embodies the feelings of a lifetime.

Mies van der Rohe is one of the most influential modernist architects in the 20th century and the president of Bauhaus College in Germany.

196 1 year, the Berlin government of Germany issued an invitation, hoping that Miss could return to her hometown and take charge of the design of the new National Art Museum in Berlin. Smith accepted the proposal of Berlin government without hesitation, and he was determined to build an art museum that could span the new century. The planning of the art museum began at 1963, and the construction was completed before the death of 1968 Miss. This is Smith's last architectural work, where he has condensed his lifelong feelings. Some people say that this building is a modern "Parthenon" of steel and glass.

New National Museum of Art in Berlin (Source: Archdaily)

After six years of restoration, the new National Gallery of Berlin, which cost 1. 1 billion euros, reopened in 20021. It is a huge square space under the roof of a big house, with steel frame structure and oversized glass curtain wall, which brings the concept of "less is more" to the extreme. The exhibition hall on the ground is surrounded by glass curtain walls, and the joints between the pillars and the roof are pressed up.

New National Museum of Art in Berlin (Source: Archdaily)

It was a great shock when people really walked into this art gallery and saw a huge black square roof with only eight pillars hanging above everyone.

New National Museum of Art in Berlin (Source: Archdaily)

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I.M. Pei: Pyramid of Louvre Museum

An excellent solution for the echo of modernity and classicism.

In the career of China architect I.M. Pei, the Louvre is an important turning point, and I.M. Pei's previous accumulated experience is produced in this project. The urban planning I learned from real estate companies, the political struggle of Kennedy Memorial Library, the suspicious experience of the East Hall of the National Art Museum and the exploration of cultural heritage in the Xiangshan Hotel project prompted I.M. Pei to find the best plan to balance history and modernity in the renovation project of the Louvre Museum.

I.M. Pei built a glass pyramid with a height of 2 1 m and a width of 30 m at the entrance of the Louvre. The existence of the glass pyramid not only highlights the center, but also does not cover up the arrogance of the original building of the Louvre. The glass pyramids in modern style and the old buildings in Renaissance style set each other off, and they set each other off without weakening each other. Modern and classical echo each other, respecting history and full of vitality.

Glass Pyramid in Louvre Museum (Source: unsplash)

I.M. Pei creatively used an externally tensioned curtain wall system and reinforced the glass with a netted graben cable. The connection between the triangular steel frame and the hanging glass, the hanging steel column at the long arc end and the mesh steel cable all reflect the exquisite structure and the precision of construction, and the building itself has become a work of art.

The glass pyramid of the Louvre Museum (Source: Archdaily)

I.M. Pei's practice was also used for reference by many later architects. In the renovation of the British Museum, a neoclassical building in the19th century, norman foster used a very unconventional glass ceiling.

British Museum (source: unsplash)

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I.M. Pei: Suzhou Museum

Hide architects and highlight regional culture

I'm Pei said, "I don't belong to any school, and I'm not involved in any architectural movement."

I.M. Pei is a humble historian. No architect will spend so much time studying history as he does. So I.M. Pei's design method is different from that of many designers. He has no fixed style, and he doesn't use the routines he has formed around the world. The buildings he designed have different states in different areas. We can feel this strongly from the Suzhou Museum designed by him in his later years.

Suzhou Museum (Source: Archdaily)

I.M. Pei's love for his hometown, his own China origin, China culture and geometry are all integrated into this building. He said that Suzhou Museum is his autobiography. From the architectural vocabulary of Suzhou Museum, such as geometric modeling, flaky, steel structure and so on, we can see Pei's exploration of the relationship between modern architecture and historical tradition, as well as his search for local architectural language in China.

Suzhou Museum (Source: Archdaily)

In order to choose a suitable pine tree, I.M. Pei traveled over 300 kilometers painstakingly. In order to find the cutting technology suitable for stone, he went to Jinan six times; He sliced the boulder, burned it into shadows, and then arranged the stones in different colors, restoring the landscape paintings of thousands of years ago. ...

Suzhou Museum (Source: Archdaily)

I.M. Pei's "Guan Shan" work "Islamic Art Museum" is still a work of "hiding oneself and showing regional culture". I.M. Pei, 9 1 year-old, spent two years walking in the Middle East and studying Islamic culture. The final work is concise and abstract, which is not only a response to orthodox modernism, but also a response to ancient Islamic architecture.

Museum of Islamic Art (Source:/)

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Frank Gehry: guggenheim museum bilbao.

Challenge the values of harmony, unity and stability.

The Guggenheim Museum in Bilbao, designed by Frank Gehry, is considered as the most spectacular deconstruction building in the world. As one of the most important architectural styles in the 20th century, deconstruction "challenges the values of harmony, unity and stability".

This building is made up of several curved blocks. More than 30 thousand pieces of titanium metal are used in the facade of the building, which makes the museum show color changes in different weather and light. The architectural form of titanium alloy and vine pattern has changed everyone's view on the appearance of the building.

Guggenheim Museum in Bilbao (Source: pixabay)

The famous Spanish architect Rafael Monio once praised: "No human building can burn into flames like this one."

Guggenheim Museum in Bilbao (Source: pixabay)

Because of this building, a word "Bilbao effect" was born to describe the phenomenon that a building changes a city. Since then, countless buildings with strange shapes have emerged all over the world.

The Vilnius Guggenheim Museum designed by another deconstructionist, Zaha Hadid, has the same effect. Streamlined curves and dramatic forms show Zaha's views on future architecture.

Vilnius Guggenheim Museum (Source: Zaha Hadid Architects)

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Richard Rogers and Renzo Piano: Pompidou Art Center

The counterattack of the steel monster

In 1970s, richard rodgers and renzo piano completed an earth-shattering work at the Pompidou Art Center. At that time, almost every day in Paris, you could hear the voices of discussion and abuse about this work. After the controversy, it wrote an unprecedented wonderful chapter for the whole architectural history.

Pompidou Art Center is regarded as an important node in museum design, and its futuristic design has broken the elite aura of traditional art museums. Today, it has become one of the most popular landmarks in Paris, comparable to the Eiffel Tower.

Pompidou Art Center (Source: Archdaily)

Pompidou Art Center has not a single column or even a wall except for 28 supporting columns. The beams, columns, pipes, wires and heating and lighting equipment hidden in traditional buildings are all painted in different colors and displayed to the public unabashedly.

Pompidou Art Center (Source: Archdaily)

Later, buildings made of steel appeared like mushrooms after rain, which opened up a brand-new architectural aesthetics, known as the "high-tech school", highlighting the sense of power brought by science and technology.

Richard rodgers's work: Lloyd's Building (Source: Archdaily)

From renzo piano's recent work Oscar Film Museum, we can still see the shadow of "high-tech school". The new building looks like a wonderful sphere rising from the ground, creating an experience similar to a science fiction movie.

Oscar Film Museum (Source: Renzo piano Architectural Studio)

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Kengo Kuma: Suiyuan Muqiao Museum.

Buildings in 2 1 century should "disappear"

Japanese architect Kengo Kuma pursued the novelty of western architecture when he was young. As a result, his finished products received overwhelming bad reviews and were almost "expelled" from the Japanese architectural circle. /kloc-No project was received in Tokyo in 0/2. During this dormant period, Kengo Kuma returned to the countryside to reflect on contemporary architecture and formed a series of unique architectural concepts including "negative architecture", "particle architecture" and "natural architecture".

Kengo Kuma emphasized that architecture should be flexible, "obedient" to the surrounding natural environment and ecological environment, and then integrated with it. Architecture is a supporting role and environment is the protagonist. These ideas are perfectly embodied in the Suiyuan Muqiao Museum designed by him.

The museum is made up of countless wooden beams. The building seems to be suspended in the air, and all the structures are supported by a central pillar at the bottom of the building. By using traditional wooden structures, Kengo Kuma connects the buildings with the surrounding lush forests.

Suiyuan Muqiao Museum (Source: Kengo Kuma Architectural Urban Design Office)

There are two all-glass elevators at both ends of the museum. These two transparent cuboids are cleverly hidden in the plant landscape behind them, so that the main body of the all-wood structure can be fully highlighted and the environment can really become the protagonist.

Suiyuan Muqiao Museum (Source: Kengo Kuma Architectural Urban Design Office)

Since then, Kengo Kuma has continued this idea in museum design. The building base of Folk Art Museum of China Academy of Fine Arts is in the natural environment surrounded by surrounding mountains. Architecture and topography are completely integrated, as if growing out of the mountains, and the integrity of the natural environment is preserved to the maximum extent.

China Academy of Fine Arts Folk Art Museum (Source: Kengo Kuma Architectural Urban Design Office)

The newly completed Andersen Museum consists of a series of circular buildings with winding paths and hedges, forming a "fairy tale world".

New Andersen Museum (Source: Archdaily)

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Wang Shu: Ningbo Museum

Buildings should have an independent life.

Wang Shu, the winner of the Pritzker Architecture Award 20 12, has always been a "different kind" in the architectural circle. From the age of 29 to 35, in the golden age of his life, he chose to lie flat. After these blank years, Wang Shu formed his own unique architectural philosophy. He believes that it is impossible to convey the best state of that culture with an urgent mentality.

Wang Shu's "slow" mentality has created the future Ningbo Museum.

Wang Shu slowly collected the remaining bricks from the ruins of nearby villages to build local museums. Every brick here has its own story. Wang Shu hopes to build the museum into a "building with independent life". In Wang Shu's view, it was not the best state when it was first built. In five or ten years, when it is covered with moss and shrubs, it will be really charming.

Ningbo Museum (Source: Archdaily)

Ceramic tile is one of the many ways that Wang Shu tries to integrate natural and cultural heritage into new buildings. This design technique is not only a respect for the traditional way of life, but also a profound reflection on the rapid urbanization of contemporary times.

Ningbo Museum (Source: Archdaily)

Wang Shu's latest work Lin 'an Museum continues the concept of Ningbo Museum. The architectural design of the museum is based on half of the landscape structure, and it is an original ecological museum made of stone and bamboo.

Lin 'an Museum (Source: Archdaily)

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Watching every museum that embodies the efforts of architects is like reading their lives.

As Xi Murong said: "A person's life can also be like a museum."

I hope that in the near future, we will have the opportunity to experience them personally, and I hope that everything will come as scheduled.

References:

I.M. Pei's Architectural Exploration (edited by Huang Jianmin and others, published by Jiangsu Phoenix Science and Technology Publishing House)

The Complete Works of Kengo Kuma Architectural Design (written by kenneth frampton, Kengo Kuma, translated by Xiao Libin, published by Jiangsu Phoenix Science and Technology Publishing House).

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Wright and Gary designed the Guggenheim Museum not one, but a group! "(WeChat official account: Mountain Tour)