传世之作留家乡

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一块是苏州“圣地”，一位是以“苏州人”而自豪的世界建筑大师，这就珠联璧合地造就了一座传世之作：苏州博物馆新馆。

2006年中秋佳节，天高气爽，当“最钟爱的小女儿”在世界遗产拙政园和全国重点文保单位忠王府西侧揭开神秘面纱的时候，90高龄的贝聿铭笑了，笑得那么畅怀。翘首期盼的苏州人也永远记住了这一天：2006年10月6日。

大师以一贯的严谨作风说：“对一座建筑的评价需要时间。”然而，大师对留给家乡的这件作品，用的是“非常满意”作自我评价。苏州博物馆新馆开馆两个月来，游人如织，为的是目睹大师这件“中而新，苏而新”的完美之作。

“中而新，苏而新”

新馆占地1万多平方米，建筑面积近2万平方米，采用地下一层、地面一层为主的结构方式。新馆建筑群坐北朝南，中央部分为入口、中央大厅和主庭院；西部为主展区；东部为次展区和行政办公区。这种以中轴线对称的东、中、西三路布局，与东侧的老馆忠王府格局相互映衬，十分和谐。新馆建筑群中还设有影视厅、多功能厅、商场等。

“中而新，苏而新”是贝聿铭最早就确定、也是得到国内众多建设大师赞同的设计理念，这一理念在新馆建筑上得到了充分体现。熟知贝老设计的美国大都会博物馆东方部主任屈志仁和贝氏建筑事务所的林兵等先生解释说，“苏”主要体现在与苏州古城风貌和人文内涵的融合；“新”主要体现在用材上。大师用他的智慧和独特的设计风格，使“新”充满了“苏味”，变成了创新的“苏”和创新的“中”。

贝聿铭酷爱三角几何造型。三角形作为新馆突出的造型元素和结构特征，表现在建筑的各个细节之中。新馆建筑群现代几何形坡顶体现了错落有致的江南斜坡辟顶建筑特色，它与周边建筑的融合，使贝老十分高兴。新馆保持了传统的粉墙黛瓦色调，而屋顶采用加工成菱形的“中国黑”花岗石片，黑中带灰的“中国黑”，淋了雨是黑的，太阳一照变成深灰色。深灰色石材的屋面和墙体边饰与白墙相配，为粉墙黛瓦的江南建筑符号增加了新的诠释内涵。

“宋画斋”是新馆中唯一一处以传统手法营造的展厅。宋代木结构的古建筑，现存不多，只能从古人留下的画作和资料中去找，这也是“宋画斋”一名的由来。“调素琴，阅金经”的宋代民居陋室，是贝聿铭与东南大学建筑系教授朱光亚结成的共识，他要让这间屋子本身成为展品，展示中国传统的建筑艺术。

在新馆设计中，贝聿铭充分考虑了苏州的人文内涵，借鉴了苏州古典园林的风格。庭园中的竹和树，姿态优美，线条柔和，在与建筑刚柔相济的对比中，产生了和谐之美。紫藤园西南方的那棵紫藤，是贝聿铭亲自在光福苗圃园里选中的，还嫁接着从文徵明当年手植的紫藤上修剪下来的枝蔓，以示延续苏州文化的血脉。贝聿铭十分得意于自己这一创意：“当人们坐在紫藤架下喝茶时，我们可以说，这棵紫藤有文徵明手植紫藤的基因，你是坐在文徵明手植紫藤的子孙藤下喝茶呢！这不又是一景了吗？”

通过内庭院将内外空间串连，使自然融于建筑，是贝聿铭建筑设计的一个特色。最让大师煞费苦心的是位于中央大厅北部的主庭院的设置。这座在古典园林元素上精心打造出的创意山水园，“以壁为纸，以石为绘”，高低错落排砌的片石假山，在朦胧的江南烟雨笼罩中，营造出了米芾水墨山水画的意境。当问及为何不采用传统的太湖石时，贝聿铭曾说过，传统假山艺术已无法超过。一辈子创新的大师，不愿步前人的后尘。

浓浓家乡情

有着2500年历史的苏州，是座举世闻名的历史文化名城。贝氏家族移居苏州有300年历史，美丽的家乡给青少年的贝聿铭留下温馨而难忘的记忆。

与故乡再度牵手是贝聿铭赴美求学60余年后的1996年4月16日，家乡的父老乡亲在贝氏故居狮子林内为贝老先生举办了八十寿诞大庆。在亲朋好友济济一堂的欢乐气氛中，贝聿铭愉快地接受了苏州市城市规划顾问的聘请。

当新博物馆在2000年被提上议事日程，苏州的领导立即想到了擅长设计博物馆的大师贝聿铭，他们多么想让贝老能为家乡留下一个传世之作啊！可是贝老已是耄耋之年，且路途遥远，他能答应么？果然，贝聿铭婉言相告：自己年事已高，他让三公子贝礼中任董事长的贝氏事务所承接这个项目。但是后来当贝老得知新馆馆址定于世界遗产拙政园、狮子林以及全国重点文物保护单位太平天国忠王府相邻之处时，不禁脱口而出：这可是块“圣地”啊，这个事情我的儿子是做不出来的，因为他不了解苏州。贝老这一说，让苏州乡亲看到了“一丝希望”。

2002年农历大年初七，苏州政府代表团一行5人来到纽约，受到贝老热情接待，洗尘的午宴竟吃谈了两个多小时。尔后代表团来到贝老办公室时，意外地看到四周墙上挂满了苏州博物馆新馆的资料，桌子上竟然还有一座新馆地块的模型，这使代表团惊喜不已，深感贝老对苏州新馆已经有所思考了！在代表团要求下，贝聿铭终于答应邀请赴苏州参加签约仪式。

2002年4月贝聿铭再次回到故乡苏州。他仔细察看了新馆址的四周古建筑及民居历时两个多小时，他虚心倾听了建筑、园林和文物专家参加的两个“专家晤谈会”，在倾听了张开济、吴良镛、周干峙、齐康、罗哲文、陈薇等大师们的发言后，贝聿铭动了真情，他说：“我退休12年了，今天对我来讲，这是一个很大的挑战。苏州是我的故乡，我接受这个挑战，这是我最后的挑战，也是最难的挑战。”并提出晚上他要亲自签约。他从顾问变为亲自操刀，这令苏州的领导喜出望外！事后记者曾问过贝丰铭，是否因为家乡才接受这个挑战，贝老说：“那当然！”

贝先生回美国后，整整半年闭门谢客，连事务所的人也不让进。他还一会儿一个电话给事务所，要这样那样的资料，甚至唐诗宋词和昆曲曲谱、剧本演出光盘等吴文化资料。在美国找不到，他就请苏州寄快递，他还要求苏州方面将博物馆3万余件馆藏文物分类介绍的材料寄给他，以便“量体裁衣”。他有时晚上睡觉时突然来了灵感，竟深更半夜翻身下床伏案工作直至凌晨。事务所的林兵、司徒佐先生告诉我，这些是他们从来没见到过的。

11月上旬，贝聿铭终于完成了他的概念性方案和初步设计，并制成了1∶300的模型。他通知苏州方前往“验收”，并将图纸及方案分别寄给参加“晤谈会”的诸位国内大师，亲笔修书敬请他们“不吝赐教”。

贝先生的设计理念让苏州代表团由衷的佩服和震撼，并深得国内设计大师的赞许和肯定，除了与贝先生进行个别细部的探讨外，他们一致认为这确实是一件不可多得的珍品，完美地达到了“晤谈会”上众多专家提出的希冀和要求。他们认为，若干年后，这将是苏州又一座“世界文化遗产”。

苏州博物馆新馆倾注了贝聿铭近5年的心血。2003年12月参加奠基仪式后，大师又先后3次亲临指导，每天都要在工地上待6个小时，这种认真态度被建筑工人昵称为“贝馆长”。开馆前，贝聿铭提前半个月到苏州，抵达的第2天就在工地上从上午10时工作到晚上11时半。

畅谈“新”理念

大师“故乡赴新约”，笔者与大师有过接触与交谈，这是谢绝媒体采访的大师对《文汇报》和我这位家乡人的厚爱。“中而新，苏而新”是新苏博的设计理念，其实也是大师一贯的设计理念。大师说建筑设计要因地制宜，他在各个地方做的都不相同。大师正是以他独到的设计理念、独特的设计风格和作品的无穷魅力享誉全球，受到世人敬仰。

大师说，他的根在中国，在苏州。他希望中国的现代建筑能保留中国的特色，多次表达了他的“个人意见”。他说，中国建筑如何把传统与现代结合好，要走的路还很长。要努力理解中国传统建筑的内涵，而不是只利用传统建筑的一些符号。他还说，中国的建筑在发展，引进了很多新的东西，也请了很多国际建筑大师来做，问题在于这些国际建筑大师是否真正了解中国的历史文化。

也许，大师希望中国的现代建筑是“中而新”，大师深感满意的苏博新馆，对中国的建筑界是否也有一些启迪呢？

（本文摄影 郑红）

Architect and Museum in His Hometown

By Zhu Jinlong

On October 6, 2006, the 90-year-old Chinese-American architect Ieoh Ming Pei attended the unveiling ceremony of Suzhou Museum, which he designed for his second hometown. The new museum is located in an old section of Suzhou, an ancient city near Shanghai.The renowned architect lovingly named the museum his “most beloved, youngest daughter”. Although Master Pei insists that only time can correctly evaluate an architectural work the residents of Suzhou think differently. Since its opening to public, they have kept coming to admire the masterpiece.

The local people love it for a reason. The Pei family has been in Suzhou for more than 300 years, though such a short family history in Suzhou sounds nothing if compared with the 2,500-year history of the ancient city. When the idea of building a new museum in the old city first came up, the local people had reasons to expect that I. M. Pei would probably like to design the new museum for his hometown, who had been an advisor to the city government for the urban planning since 1996.

In 2000, the local government approached the master to consider creating a legacy for Suzhou. The master hesitated that he was probably too old to do the job and suggested that the New York-based Pei Partnership Architects, helmed by his sons, could best do the job. But after learning that the new museum would be built in the old section of the city adjoining a complex of 19th-century historical structures and two gardens, “Humble Administrator’s Garden” and “Lion Grove”, listed as UNESCO World Heritage sites, the master commented that as it was a “hallowed ground” for such a museum, his sons probably could not be up to such a challenge because they did not know very much about Suzhou. This remark gave the local government some hope that the master would go out of retirement and get into action again.

Seven days after the Spring Festival in 2002, a delegation of five people sent by the Suzhou government arrived in New York to meet with I.M. Pei. They came to the master’s office, where beyond all expectations, the visitors saw references, drawings on the walls and a site model on a table and they immediately recognized that all this was about the new museum. They were overjoyed that the master had been thinking about it. The master agreed to attend the signing ceremony to be held in Suzhou.

In April, 2002, I. M. Pei came to Suzhou. He did a field study around the new site for two hours and then listened to local master architects carefully at two professional seminars on the museum project. Excited, Pei decided to come out of retirement and meet the challenge. He wanted to be the designer. He confessed, “I have been retired for 12 years, but today I want to rise to the challenge. Suzhou is my hometown and I accept this challenge. The last challenge will be the toughest one.”

Back in New York, the master shut himself up in his office. He did not even admit his colleagues from the architect firm into his office. He called the firm frequently for reference materials, including poetries of the Tang (6108-960) and Song (960-1279) dynasties, and compact discs of Kunqu Opera plays. If information on some subjects about Suzhou was not available in USA, he would get it from the Suzhou Government by express delivery. He asked Suzhou Museum for complete information on categories of more than 30,000 exhibits in the museum’s collections. The master dedicated himself enthusiastically for six months. Sometimes he would get up at midnight to jot down his inspiration. His assistants commented that they had never seen the master working like this.

In the early November 2002, Master Pei completed a conceptual design and a preliminary design. A 1:300 model was made. He sent drawings and documents to all those masters who had attended the two forums in April for their comments and suggestions. He asked the Suzhou Government to send a delegation again to New York to inspect the preliminary work.

The experts involved unanimously agreed that it was a perfect design and well embodied all the considerations that had come up at the forums, though a few tiny details needed to be further discussed.All of them were of the same opinion that this new museum would be another world cultural heritage in the future.

In an interview, Master Pei mentioned several times the Chinese elements in architectural designs. With his roots in China and in Suzhou, the master wished that the modern Chinese architecture could maintain Chinese essence. The principle embodied in the design of the new Suzhou Museum was it should be Chinese, it should be Suzhou and it should be original.

Ieoh Ming Pei put his heart and soul into the new museum in Suzhou. He not only arrived for the groundbreaking ceremony in December 2003, but also came to the construction site three times for inspection during the building period. And every time he spent more than 6 hours a day at the site. Half a month before the museum was scheduled to open to the public, the master arrived in Suzhou and worked for more than 12 hours at the museum the next day.

The museum is something the Suzhou residents have never seen before but feel quite familiar with. Pei, who loves geometrical forms, applied his geometrical ideas to the new museum which blends well with the surrounding delicate gardens and low-rise brick residences. The museum highlights the traditional white-wall black-roof motif that typifies the architectural style of the southern Yangtze River delta. The gardens fully highlight the finest elements of Suzhou which is renowned for its style of exquisite gardens. The 15,000-square-meter museum has exhibition galleries, an auditorium, a museum shop, administrative and curatorial offices, a research library & study center and extensive art storage facilities and several gardens.

(Translated by David)