伊斯兰艺术博物馆｜贝聿铭-卓美

位于多哈的伊斯兰艺术博物馆是贝聿铭先生博物馆设计的封山之作，也是集其大成之作。如果说卢浮宫东馆的设计开拓了现代建筑的设计语言与手法，那么伊斯兰艺术博物馆的设计则更上一层，找到了现代与传统、极简与繁复等等对立面中微妙的平衡点。

延绵而上的坡地连接起城市与位于二层的建筑入口，两侧列植的棕榈树投下阴影，驱散了炙热夏季阳光带来的躁动不安。受到已历经千年风沙洗礼的开罗艾哈迈德·伊本·图伦清真寺启发，贝聿铭笔下的这座建筑仿佛一尊隽永的雕塑。但同时，又在形式、材料与建筑语言上与卡塔尔文化本源遥相呼应。在外，法国石灰岩朴素低调，而交错相切的几何体量在阳光与灯光的映照下产生了万千种变化，光与影成为了空间的主角。在内，极高的完成度与后期维护质量让空间一如最初设想般纯净、清晰、井然有序，使得建筑本身也成为了一件让人流连忘返的艺术品。建筑的平面一反现代建筑的原则，看似绝对对称；漫步其中可以看到楼梯、门洞、吊灯、天花镶板甚至玻璃扶手接缝等等各种元素的中线对齐。然而，在屋顶的下侧，作为支撑结构的三角形墙体与柱子在不同高度上相接，又轻松地打破了绝对对称，激活了空间。而诸如地板上装饰性的图案、环形吊灯的细部设计、屋顶灯光与廊桥则是伊斯兰传统元素的现代演绎。穿行在如伊斯兰艺术博物馆一般的伟大建筑中，沉浸式的空间体验似乎比参观层层防护后的展品更有冲击力，让传统文化真正深入人心。从这个角度而言，贝聿铭的设计成为了东西方文化的桥梁，超越了任务书中简单的指标，也超越了建筑师传统意义上的职责所在。

The Museum of Islamic Art in Doha is Pei’s last major museum project and in my opinion the greatest. If the Louvre and the East Wing were groundbreaking works that pushed the vocabulary of modern architecture, the MIA goes above and beyond by finding a harmonious balance between modern and tradition, between the minimal and the decorative, between there and here. Eight years after its opening, I visited the building during the stifling heat of the Qatari summer. When greeted by the esplanade of palm trees that gradually slope up to the front door, one is immediately touched by a sense of calm and respite. Inspired by the ninth century Ahmad ibn Tulun Mosque in Cairo, Pei intended the building be an object, treated as a piece of sculpture. Nonetheless, the object is comfortably contextual by virtue of its form, material, and narrative. The exterior geometric form, cladded in French limestone, is mesmerizing to observe as the desert sun and night lights activate a constant shadow play. The interior geometry is then conceived, executed, and maintained in such purity, rigor, and precision that makes wandering through the space a total pleasure itself. Appearing to be symmetrical in plan, one can see the astonishingly perfect alignments of center lines of stairs, doorways, chandeliers, all the way down to the coffered ceilings and even glass railing open joints. However, the symmetry is effortlessly broken up by the triangulated walls that support the roof as they engage the columns at different heights. The decorative flooring, chandelier details, elevator lighting, and arches articulate a modern interpretation of the Islam motif. It is probably fair to say that in a masterpiece of architecture like the MIA, one can learn more about a culture by being immersed in the spatial experience than by going through exhibits behind glass walls. In that sense, Pei has bridged the east and the west and achieved beyond his design brief, beyond an architect’s conventional responsibilities.

来自摄影师 李樾祺