大師們的格律詩

出乎意料，西方建筑一直與古律詩的韻律有某種相似，就像各自DNA里帶著同樣的格式化的藝術(shù)。建筑要符合力學規(guī)范，古詩要嵌套聲律格式，來不得半點逾越。

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.

有人說，建筑是凝固的音樂，也有人說，音樂是流動的詩歌。

于是， 用中國古詩的譜系去分析建筑大師，會發(fā)現(xiàn)宗師林立，門派森嚴。風格的分類與詩歌流派的分類，有著異曲同工之處。

比如誕生于苦寒之地愛沙尼亞的路易斯·康（Louis Kahn），創(chuàng)造了蒼茫大氣的作風，很像邊塞詩人的風格。也許是出生地會影響建筑師的創(chuàng)作基因，他的作品雄渾粗獷，線條直接凌厲，不矯揉，不造作，將基本的幾何圖形用到極致。耶魯美術(shù)館的三角形，孟加拉國民議會大廈的正圓形，站在康的建筑面前，有混沌初開之感。其中，索爾克生物研究所“邊塞詩”感覺最強烈。在圣地亞哥的沙漠海邊，沐浴著落日的余暉，如果攝影師取景巧妙，廣場中央的細直排水溝樹立在圖中，非常契合“大漠孤煙直，長河落日圓”的意境。

蘇州望族之后的貝聿銘更擅走婉約路線。他更多地使用玻璃和鋼作為建筑材料，塑造一種通透靜謐的氛圍，讓建筑寧靜又剔透。比如透過肯尼迪中心的玻璃，看見里面巨幅的美國國旗；透過盧浮宮玻璃金字塔，看見夜色中地下空間的一片璀璨；透過香港中銀大廈玻璃幕墻掩映的藍天白云，感受中環(huán)的魅力。他設(shè)計的蘇州博物館，更是將白墻黛瓦的江南風走向極致，佇立在江南雨中的蘇博，站在用片石堆疊的瘦山水中，心里默念的是：“江南春盡離腸斷，萍滿汀洲人未歸?！?/p>

弗蘭克·蓋里則像豪放與婉約之外的奇絕一派，例如唐朝的李賀。他喜歡把建筑立面做成各種曲度的鋼鐵刨花，風格奇絕，例如古根海姆博物館、迪斯尼音樂廳、瑞格爾侯爵酒店，遠遠看去，就像是旗幟在風中獵獵作響的戰(zhàn)場。除此之外，他還喜歡把房子設(shè)計得歪歪斜斜，不明就里的人還以為剛剛有地震發(fā)生。

CHINESE POETRY ARCHITECTURE

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