大师们的格律诗

大师们的格律诗

出乎意料，西方建筑一直与古律诗的韵律有某种相似，就像各自DNA里带着同样的格式化的艺术。建筑要符合力学规范，古诗要嵌套声律格式，来不得半点逾越。

Someone once said, architecture is a solid form of music; Another said, music is a fl uid form of poetry. Thus, when western architecture meets Chinese classic poetry, what kind of miracle is there to be seen?

A

Surprisingly, western architecture has always held a certain similarity with the rhythms in ancient poetry, just like the exact same art of formatting in their own DNA. Architecture needs to fu lfi l the mechanical rules, while ancient poetry has to accord with phonetic layouts. Both of them bear without breaking at all.

Moreover, analysed with the ancestry of the ancient poetry, strict schools and different groups of masters in architecture would be class ifi ed and divided.

Maybe the origins will be imprinted in an architects' DNA. Louis Kahn, who was born in freezing cold Estonia, created the boundless style, which is similar to the vibes of traditional frontier poetry. The works of Louis Kahn are vigorous and fi rm, in which the lines are always straight, without a bit implicit or tender, and geometry is perfectly applied. The triangle of Yale Art Gallery, the orbicular shape of the Bangladesh National Parliament, standing in front of Kahn's architectures, we are feeling a sense of“the opening of chaos”. Especially the Biology Laboratory in Salk, located by the seashore in the desert of San Diego, submerges into the sunset. If photographers have a great view, the tall and slender drainage ditch of the plaza stands right in the middle of the picture, and this spectacular scene is just imagery of a frontier poem: “smoke in the desert straight down the long river of the yen”.

Belonging to the aristocrats, Leoh Ming Pei prefers a graceful fashion. He uses a lot of glass and steel as materials to produce peaceful and tranquil atmospheres. He wants the architecture to be quiet and thorough. For instance, through the glass of the Kennedy Centre, people can see the large-scale American national fl ag; over the glass of the Louvre there will be the shining in the underground space at night, and looking up through the glass of the Bank of China Tower there fl ow the clouds in the sky and down below is the charm of the Middle Ring of Hong Kong. The Museum of Suzhou designed by Pei is the extremity of Jiangnan architecture with whitewashed walls and grey tiles. On a rainy day in Jiangnan, this museum standing on the rocks in the elegant mountain reminds me of the lines in a poem, “spring of Jiangnan passed, departs to desperate; Ting sands full of apple fl owers, yet no one returns”.

Frank Gehry may just stand out of bold school or graceful school and forms his own unique mode, like Li He in Tang Dynasty. He enjoys curving the surfaces of the buildings into steel fl owers, in his amazing skills, such as the Solomon Guggenheim Museum, Walt Disney Concert Hall and Hotel Marqus de Riscal. They look like fl ags fl ying over the fi erce and violent battles from far away. Besides, he also likes to design the buildings with slopes, which makes some outsiders feel that they just experienced an earthquake.

有人说，建筑是凝固的音乐，也有人说，音乐是流动的诗歌。

于是， 用中国古诗的谱系去分析建筑大师，会发现宗师林立，门派森严。风格的分类与诗歌流派的分类，有着异曲同工之处。

比如诞生于苦寒之地爱沙尼亚的路易斯·康（Louis Kahn），创造了苍茫大气的作风，很像边塞诗人的风格。也许是出生地会影响建筑师的创作基因，他的作品雄浑粗犷，线条直接凌厉，不矫揉，不造作，将基本的几何图形用到极致。耶鲁美术馆的三角形，孟加拉国民议会大厦的正圆形，站在康的建筑面前，有混沌初开之感。其中，索尔克生物研究所“边塞诗”感觉最强烈。在圣地亚哥的沙漠海边，沐浴着落日的余晖，如果摄影师取景巧妙，广场中央的细直排水沟树立在图中，非常契合“大漠孤烟直，长河落日圆”的意境。

苏州望族之后的贝聿铭更擅走婉约路线。他更多地使用玻璃和钢作为建筑材料，塑造一种通透静谧的氛围，让建筑宁静又剔透。比如透过肯尼迪中心的玻璃，看见里面巨幅的美国国旗；透过卢浮宫玻璃金字塔，看见夜色中地下空间的一片璀璨；透过香港中银大厦玻璃幕墙掩映的蓝天白云，感受中环的魅力。他设计的苏州博物馆，更是将白墙黛瓦的江南风走向极致，伫立在江南雨中的苏博，站在用片石堆叠的瘦山水中，心里默念的是：“江南春尽离肠断，萍满汀洲人未归。”

弗兰克·盖里则像豪放与婉约之外的奇绝一派，例如唐朝的李贺。他喜欢把建筑立面做成各种曲度的钢铁刨花，风格奇绝，例如古根海姆博物馆、迪斯尼音乐厅、瑞格尔侯爵酒店，远远看去，就像是旗帜在风中猎猎作响的战场。除此之外，他还喜欢把房子设计得歪歪斜斜，不明就里的人还以为刚刚有地震发生。

CHINESE POETRY ARCHITECTURE

Text by Bai Xiaoci
Translations by Bian Jiajin Photos by Bai Xiaoci&CFP