摘要
1948年2月,美国《进步建筑》(Progressive Architecture)杂志刊登了1946年贝聿铭在哈佛大学设计研究生院的毕业设计—位于上海的中国艺术博物馆。虽然这只是一个设计方案,《进步建筑》对其高度认可,也刊登出指导老师格罗皮乌斯(Walter Gropius)对其作品的高度评价。围绕现代性与地域性这一对概念,本文对贝氏这一博物馆设计进行深读。文章将此作品重新置于其历史背景及城市环境之中,联系密斯(Mies van der Rohe)与董大酉的建筑设计与观念,论证贝氏作为国际化建筑师本人的经验与更为宏观的建筑历史语境及城市建设演进之间的现实关联。1946年“中国艺术博物馆”在美国和中国各自语境下回应了现代性和地域性的早期辩证,历史与建筑的时代线索进一步反映了作品的深刻内涵与价值。
In February 1948,the American magazine ProgressiveArchitecture(P/A)published I.M.PEI’s gradua-tion project at Harvard Graduate School of Design,the Museum of Chinese Art in Shanghai(1946).Although this was only a design proposal,P/A highly recognized the work,and also published remarks from Walter Gropius,under whose general direction PEI developed his project.Focusing on the pair of concepts of modernity and re-gionalism,this article provides an in-depth reading of the design of PEI’s Museum.By reconsidering the project in its historical and urban contexts,connected to the architectural design and ideas of Mies van der Rohe and DONG Dayou(Dayu Doon),this article demonstrates the practical relationship between PEI’s experience as an international architect and the broader historical context of architecture and the progress of urban construction.The 1946 Museum of Chinese Art responds to the early dialectic of modernity and regionalism in the respective contexts in America and China,the architectural and historical threads of which further reveal the profound con-notation and value of the work.
出处
《建筑师》
2025年第4期78-85,共8页
The Architect
基金
广东省哲学社会科学规划2024年度青年项目“改革开放时期粤港澳设计文化演进研究”(项目批准号:GD24YYS11)。
