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贝聿铭——美籍华人建筑师
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贝聿铭(I.M.Pei),美籍华人建筑师,1983年普利兹克奖得主,被誉为“现代建筑的最后大师”。他的设计风格优美与气魄兼具,科技、人性与文化融汇,注重自然采光。作品以公共建筑、文教建筑为主,被归类为现代主义建筑,善用钢材、混凝土、玻璃与石材。
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个人简介

贝聿铭(I.M.Pei),美籍华人建筑师,1983年普利兹克奖得主,被誉为“现代建筑的最后大师”。他的设计风格优美与气魄兼具,科技、人性与文化融汇,注重自然采光。作品以公共建筑、文教建筑为主,被归类为现代主义建筑,善用钢材、混凝土、玻璃与石材,代表作品有美国华盛顿哥伦比亚特区美国国家美术馆东馆、法国巴黎卢浮宫扩建工程、中国香港中国银行大厦,中国苏州博物馆新馆,近期作品有卡塔尔多哈伊斯兰艺术博物馆。

1917年4月26日生于广州市
1918年其父贝祖贻出任中国银行香港分行总经理,贝氏在香港度过童年
1927年父亲调职,举家搬至上海,中学读于上海
1935年进入美国宾夕法尼亚州立大学攻读建筑,后转学麻省理工学院
1940年以优秀的成绩从麻省理工学院毕业
1942年至哈佛大学攻读建筑硕士学位,入学不久相应战争动员,辍学作为志愿者到国防研究委员会投入工作,主要研究摧毁德日法西斯的桥梁等设施的技术方案
1945年秋二次世界大战结束,开始他未竟的学业,因他在麻省理工学院的优秀成绩,尚未获得硕士学位就被哈佛设计院聘为讲师
1948年开始建筑生涯
1955年成立个人的了建筑事务所,开业以来几乎每有工程竣工,就受到建筑界的注目,获得荣耀

公司介绍

贝聿铭建筑事务所自1955年成立在全世界一百多个城市完成了二百多个重要的建筑设计项目,1968年美国建筑师协会授予“贝聿铭及合伙人”《杰出建筑事物所》奖,以表彰他们始终如一的出类拔萃的杰出设计。1985年公司被授予《芝加哥建筑》奖,以确认其对建筑学和城市环境设计的卓越贡献。公司设计的个体建筑有一百多个项目获得了主要设计奖项,其中包括二十四项国家荣誉。

1990年,贝聿铭宣布退休,原事务所也更名为“贝•考伯•弗里德及合伙人建筑师事务所”,英文为:“Pei Cobb Freed & Partners”。自贝聿铭宣布退休后,贝聿铭学建筑的儿子贝礼中和学物理的儿子贝建中,联合创办了“贝氏建筑事务所”,英文名为:“Pei Partnership Architects”。同时,事务所内部一部分合伙人联合贝聿铭的堂弟,美中经贸促进会会长贝聿恺成立了美国太平洋贝氏规划设计,英文名为“Pei’s P&D INC”。

作品年表

1952年,港湾石油公司办公楼,美国乔治兰州阿特兰大
1952年,齐氏威奈公司,美国纽约州纽约
1952年,贝氏私邸,美国纽约州卡托纳
1955年,丹佛美国国家办公楼(英里高中心),美国科罗拉多州丹佛
1956年,富兰克林国家银行,美国纽约州长岛明尼奥拉
1956年,罗斯福广场购物中心,美国纽约州长岛明尼奥拉
1960年,丹佛市希尔顿饭店,美国科罗拉多州丹佛
1961年,海德公园大学花园小区,美国伊利诺斯州芝加哥
1961年,波士顿市政府中心城市改造总体规划,美国马萨诸塞州波士顿
1962年,华盛顿西南区城市重建项目,美国华盛顿哥伦比亚特区
1962年,Place Ville-Marie,加拿大蒙特利尔
1962年,基普斯湾广场住宅楼,美国纽约州纽约
1963年,东海大学路思义教堂,中国台湾台中市
1963年,东西文化中心,美国夏威夷州马诺
1964年,社会山项目,美国宾夕法尼亚州费城
1964年,菲拉德菲亚居住楼群,美国宾夕法尼亚州菲拉德菲亚
1964年,华盛顿广场一期,美国宾夕法尼亚州匹茨堡市
1964年,麻省理工学院地球科学中心(绿楼),美国马萨诸塞州剑桥
1964年,雪城大学新房交际中心,美国纽约州雪城
1965年,世纪城住宅小区,美国加利福尼亚州洛杉矶
1966年,纽约大学大学广场,美国纽约州纽约
1967年,国家大气研究中心,美国科罗拉多州博尔德
1968年,艾弗森美术馆,美国纽约州雪城
1968年,得梅因艺术中心扩建项目,美国爱荷华州得梅因
1969年,克里奥•罗杰斯纪念图书馆,美国印第安纳州哥伦布
1969年,美国驻乌拉圭大使馆,乌拉圭蒙得维的亚
1969年,贝德福德—史蒂文森超级街区项目,美国纽约州纽约
1969年,潭迪私宅,美国德克萨斯州沃尔斯堡
1970年,麻省理工学院化学楼,美国马萨诸塞州剑桥
1970年,国家航空公司航站楼,美国纽约州纽约
1971年,美国人寿保险公司,美国特拉华州威尔明顿
1971年,海港大楼,美国马萨诸塞州波士顿
1972年,达拉斯市政中心(市议会厅),美国德克萨期州达拉斯
1973年,加拿大帝国商业银行,加拿大多伦多
1973年,约翰逊艺术馆/康奈尔大学,美国纽约州伊萨卡
1973年,保罗•梅隆艺术中心/乔特中学,美国康涅狄格州沃灵福德
1973年,劳拉•斯佩尔曼•洛克菲勒学生公寓/普林斯顿大学,美国新泽西州普林斯顿
1974年,基督教科学中心,美国马萨诸塞州波士顿
1975年,汉考克中心,美国伊利诺斯州芝加哥
1976年,麻省理工学院化工楼,美国马萨诸塞州剑桥
1976年,罗彻斯特大学,美国纽约州罗彻斯特
1976年,华侨银行中心(华厦),新加坡
1977年,汉考克大厦,美国马萨诸塞州波士顿
1978年,美国国家美术馆东馆,美国华盛顿哥伦比亚特区
1979年,约翰•肯尼迪图书馆,美国马萨诸塞州波士顿
1981年,JP摩根大楼,美国得克萨斯州休斯敦
1982年,印第安纳大学美术馆,美国印第安纳州伯明顿
1982年,香山饭店,中国北京
1984年,IBM办公楼,美国纽约州帕切斯
1985年,威斯纳馆/麻省理工学院媒体实验室,美国马萨诸塞州剑桥
1986年,来福士广场,新加坡
1986年,波士顿美术馆西翼及翻修项目,美国马萨诸塞州波士顿
1986年,贾维茨会展中心,美国纽约州纽约
1989年,达拉斯交响音乐厅,美国德克萨期州达拉斯
1989年,乔特罗斯玛丽科学中心大厅,美国康涅狄格州沃灵福德
1989年,创新艺人经纪公司,美国加利福尼亚州贝弗利山
1989年,卢浮宫扩建工程,法国巴黎
1990年,中国银行大厦,中国香港
1990年,“天使之乐”钟楼,日本滋贺县甲贺市
1993年,四季酒店,美国纽约州纽约
1996年,旧金山公共图书馆,美国旧金山
1997年,美秀美术馆,日本滋贺县甲贺市
1998年,摇滚音乐名人堂,美国俄亥俄州克利夫兰
2001年,中国银行总行大厦,中国北京
2002年,希腊雅典当代美术馆,希腊
2003年,德国历史博物馆,德国柏林
2003年,奥亭Oare Pavilion,英国威尔特
2004年,中欧国际工商学院
2005年,中国驻美大使馆,美国华盛顿哥伦比亚特区
2006年,齐尔堡大公让近代美术馆,卢森堡
2006年,苏州博物馆新馆,中国江苏苏州
2008年,伊斯兰艺术博物馆,卡塔尔多哈
2009年,澳门科学馆,中国澳门

相关报道
转载:贝聿铭谈贝聿铭
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转载:贝聿铭和他的MIHO美术馆
转载:贝聿铭:若有来生,我可能是园丁
转载:贝聿铭与中银大厦 建筑背后贯穿一条神秘的线
转载:贝聿铭:我和我的建筑都像竹子
转载:建筑与场地——贝聿铭的七个新作译介

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主要学术

1940年,麻省理工学院「阿尔法罗池奖章」(MIT Alpha Rho Chi Medal)
1940年,麻省理工学院游学奖学金(MIT Traveling Fellowship)
1940年,麻省理工学院「建筑师学会奖章」(MIT AIA Medal)
1951年,惠尔赖特游学奖学金(Wheelwright Traveling Fellowship)
1975年,获选为美国艺术文学院(The American Academy of Arts and Letters)终生院士
1978至80年,当选为美国艺术文学院首位建筑师背景的院长
1979年,罗德岛设计学院(Rhode Island School of Design)校长院士
1984年,成为法兰西艺术院(L’Académie des Beaux-Arts de France)外籍院士
1993年,获选为英国皇家艺术学院(the Royal Academy of Arts)名誉院士
1997年,获选为法国建筑学院(L’Académie d’Architecture de France)海外院士

主要专业

1961年,美国艺术文学院「阿诺·布鲁纳奖」(The Arnold Brunner Award)
1963年,美国建筑师学会纽约分会「荣誉奖章」(The Medal of Honor)
1970年,美国波士顿国际学院「金门奖」(Golden Door Award)
1976年,美国「汤玛斯·杰佛逊记念奖章」(The Thomas Jefferson Memorial Medal),表扬其「对建筑领域的卓越贡献」(for distinguished contribution to the field of architecture)
1978年,美国室内设计师协会「埃尔希·德·沃尔夫奖」(Elsie de Wolfe Award)
1979年,美国艺术文学院「建筑学金奖」(The Gold Medal for Architecture of the American Academy of Arts and Letters)   
1979年,美国建筑师学会金奖(AIA Gold Medal)
1981年,法国建筑学院「建筑学金奖」(La Grande Médaille d’Or)
1981年,美国纽约市「艺术文化类市长荣誉奖」(The Mayor’s Award of Honor for Art and Culture)   
1981年,美国国家艺术委员会「荣誉金奖」(Gold Medal of Honor)
1983年,「普利兹克奖」
1989年,日本高松宫殿下记念世界文化赏「建筑终身成就奖」
1990年,美国加州大学洛杉矶分校「UCLA奖」
1991年,美国柯尔贝尔基金会「卓越首奖」(First Award for Excellence)
1992年,纽约建筑师学会「终身成就奖」
1994年,以色列贝扎雷艺术与设计学院(Bezalel Academy of Art and Design)「艺术与文学类耶路撒冷奖」(Jerusalem Prize for Arts and Letters)
1994年,中国建筑学会「杰出成就金奖」(Gold Medal for Outstanding Achievement in Architecture)
1994年,美国纽约州政府「艺术奖」(New York State Governor’s Arts Award)
1996年,意大利「新世纪金玫瑰国际奖」(Premio Internazionale Novecento La Rosa d’Oro)
1996年,美国纽约市政艺术协会「贾桂琳·甘乃迪·欧纳西斯奖章」(Jacqueline Kennedy Onassis Medal)
1997年,美国布朗大学「独立奖」(Independent Award)
1998年,美国麦克杜威部落「麦克杜威奖章」(Edward MacDowell Medal)
1999年,美国纽约市历史地标保存中心「文化桂冠奖」(Cultural Laureate)
2001年,美国哲学会「汤玛斯·杰佛逊艺术、人文、社会科学卓越成就奖章」(The Thomas Jefferson Medal for Distinguished Achievement in the Arts, Humanities, and Social Sciences)
2003年,美国史密森尼学会库珀·休伊特国家设计博物馆「国家设计奖之终身成就奖」(National Design Award: Lifetime Achievement Award)
2003年,美国国家房屋博物馆「亨利·C·特纳奖」(Henry C. Turner Prize),表扬其「对建造技术创新的贡献」(for Innovation in Construction Technology)
2006年,德国埃尔文·维克特基金会「东方与西方奖」(Orient und Okzident Preis)
2009年,英国RIBA皇家金质奖章
2010年,英国皇家建筑师协会金奖

荣誉

1984年,获法国政府授予艺术及文学勋章司令勋位
1988年,获法国密特朗总统授与法国荣誉军团勋章骑士勋位
1993年,升格为军官勋位
1988年,获美国雷根总统授与美国国家艺术勋章
1993年,获美国乔治·布什总统授与美国总统自由勋章

普利兹克建筑奖——贝聿铭
获奖揭晓
Announcement

New York, May 16—Ieoh Ming Pei, architect of some of the world’s most acclaimed buildings, has been chosen the 1983 Laureate of the Pritzker Architecture Prize.

I.M. Pei’s structures have received global recognition for the past three decades, beginning with the Mile High Center in Denver, Colorado in 1955, and most recently, the Fragrant Hill Hotel in Beijing, China, the country of his birth.

Among his other renowned works in this country are the East Building of the National Gallery of Art in Washington, D.C., the West Wing of the Boston Museum of Fine Arts, the New York City Convention and Exhibition Center, the John Fitzgerald Kennedy Library in Dorchester, Massachusetts, and the Texas Commerce Tower in Houston. Abroad, two of his well-known office complexes are The Gateway and the Oversea-Chinese Banking Corporation in Singapore. Pei was recently selected to design the headquarters for the Bank of China in Hong Kong.

The international Pritzker Architecture Prize, consisting of $100,000 tax-free and a bronze sculpture by Henry Moore, was established in 1979 to reward a creative endeavor not honored by the Nobel Prizes.

Jay A. Pritzker, president of The Hyatt Foundation, which administers and funds the prize, made the presentation at The Metropolitan Museum of Art today.

Carleton Smith, chairman of the International Awards Foundation and secretary to the jury, announced the name of the Laureate, saying Pei was unanimously elected to the honor by our distinguished panel of jurors: J. Carter Brown, director of the National Gallery of Art; Arata Isozaki, noted Japanese architect; Philip Johnson, the first Pritzker Prize Laureate; J. Irwin Miller, chairman of the executive and finance committees, Cummins Engine Company; Kevin Roche, 1982 Pritzker Prize Laureate; and Thomas J. Watson, Jr., chairman emeritus, IBM Corporation.

As spokesman for the jury, Smith quoted the official citation as follows: “Ieoh Ming Pei has given this century some of its most beautiful interior spaces and exterior forms. The significance of his work goes far beyond them: for his concern has always been the surroundings in which his buildings would rise.”

Further, “I.M. Pei has refused to limit himself to a narrow range of architectural problems. His work over the past forty years includes not only palaces of industry, government and culture, but also some of the best moderate and low-income housing. Through his skill he has elevated the use of materials to an art.”

The citation concluded, “His personal qualities of diplomacy and patience have enabled him to draw together disparate people and disciplines to create an harmonious environment.”

简历
Biography

Ieoh Ming Pei’s architecture can be characterized by its faith in modernism, humanized by its subtlety, lyricism, and beauty. Pei was born in Canton China in 1917 and came to the United States in 1935 to study first at the University of Pennsylvania and then at the Massachusetts Institute of Technology (B. Arch. 1940) and the Harvard Graduate School of Design (M. Arch. 1946). In 1948, he accepted the newly created post of Director of Architecture at Webb & Knapp, Inc., the real estate development firm, and this association resulted in major architectural and planning projects in Chicago, Philadelphia, Washington, Pittsburgh and other cities. In 1955, he formed the partnership of I.M. Pei & Associates, which became I.M. Pei & Partners in 1966. The partnership received the 1968 Architectural Firm Award of The American Institute of Architects. In 1989, the firm was renamed Pei Cobb Freed and Partners.

Pei has designed over fifty projects in this country and abroad, many of which have been award winners. Two of his most prominent commissions have included the East Building of the National Gallery of Art (1978), in Washington, D.C., and the extension of the Louvre in Paris, France. The need to modernize and expand the Louvre, while respecting its history and architecture, led to the centrally located glass pyramid which forms the new main entrance and provides direct access to galleries in each of the museum’s three wings. The pyramid also serves as a skylight for a very large expansion building constructed under the courtyard which provides all public amenities and technical support for the museum.

Other outstanding examples of his work include: the Bank of China in Hong Kong (1989), the John Fitzgerald Kennedy Library (1979) near Boston, The Morton H. Meyerson Symphony Center (1989) in Dallas, Texas; the Society Hill development in Philadelphia, Pennsylvania, completed in 1964; the Overseas Chinese Banking Corporation Centre (1976), the West Wing and renovation of the Museum of Fine Arts in Boston (1981 and 1986); the Fragrant Hill Hotel (1982) near Beijing, China; Creative Artists Agency Headquarters (1989) in Beverly Hills, California; an IBM Office Complex (1989) in Somers, NY and another in Purchase, NY; the Everson Museum of Art (1968), Syracuse, New York; and the Texas Commerce Tower (1982) in Houston.

He has designed arts facilities and university buildings on the campuses of the Massachusetts Institute of Technology, the University of Rochester, Cornell University, Syracuse University, New York University and the University of Hawaii.

As a student, he was awarded the MIT Traveling Fellowship, and the Wheelwright Traveling Fellowship at Harvard. His subsequent honors include the following: the Brunner Prize in Architecture from the National institute of Art and Letters (1961); the Medal of Honor of the New York Chapter of the American Institute of Architects (1963), the Thomas Jefferson Memorial Medal for Architecture (1976), the Gold Medal for Architecture of the American Academy of Arts and Letters (1979), the Gold Medal of The American Institute of Architects (1979), and the Gold Medal of the French Académie d’Architecture (1981).

评语
Jury Citation

Ieoh Ming Pei has given this century some of its most beautiful interior spaces and exterior forms. Yet the significance of his work goes far beyond that. His concern has always been the surroundings in which his buildings rise.

He has refused to limit himself to a narrow range of architectural problems. His work over the past forty years includes not only palaces of industry, government and culture, but also moderate and low-income housing. His versatility and skill in the use of materials approach the level of poetry.

His tact and patience have enabled him to draw together peoples of disparate interests and disciplines to create a harmonious environment.

获奖感言
Ceremony Acceptance Speech

Ieoh Ming Pei

It is a great honor to be here tonight to receive the 1983 International Pritzker Architecture Prize. I take particular pleasure in thanking those who conceived the prize, those who have administered it, and the distinguished jurors who have seen fit to select me as this year’s recipient.

During the preparation of the exhibits here, it was reassuring to observe that quite a number of our projects actually led to finished buildings. Especially vivid in my mind were the many social, economic, political as well as esthetic constraints that architects have had to consider in the shaping of their work. You may be amused to know, although it was not amusing to me at the time, that a house I designed for a friend in Cambridge in the early forties was denied a mortgage because it looked modern. In this sense I belong to that generation of American architects who built upon the pioneering perceptions of the modern movement, with an unwavering conviction in its significant achievements in the fields of art, technology and design. I am keenly aware of the many banalities built in its name over the years. Nevertheless, I believe in the continuity of this tradition for it is by no means a relic of the past but a living force that animates and informs the present.

Only in this way can we develop and refine an architectural language, responsive to today’s values and allow for a variety of expressions in both style and substance. How else can we hope to build a coherent physical environment for our cities, towns and neighborhoods?

Italy’s Siena and America’s Savannah, Georgian London and Neoclassical Paris are but of few of the more conspicuous examples. I believe that architecture is a pragmatic art. To become art it must be built on a foundation of necessity. Freedom of expression, for me, consists in moving within a measured range that I assign to each of my undertakings. How instructive it is to remember Leonardo da Vinci’s counsel that “strength is born of constraint and dies in freedom.”

The chase for the new, from the singular perspective of style, has too often resulted in only the arbitrariness of whim, the disorder of caprice. It is easy to say that the art of architecture is everything, but how difficult it is to introduce the conscious intervention of an artistic imagination without straying from the context of life.

It is this fragility, this preciousness that elevates and distinguishes this art form. It is this enfolding context that challenges us to transform planning and building opportunities into the exalted realm of architecture. Architects by design investigate the play of volumes in light, explore the mysteries of movement in space, examine the measure that is scale and proportion, and above all, they search for that special quality that is the spirit of the place as no building exists alone.

The practice of architecture is a collective enterprise, with many individuals of various disciplines and talents working closely together. And from the commissioning to the completion of a project, there are also the many individuals for whom architects work, whose contribution to quality is frequently as crucial as that of the architect. So I accept this prize for all who have worked with me in this unique undertaking. Let us all be attentive to new ideas, to advancing means, to dawning needs, to impetuses of change so that we may achieve, beyond architectural originality, a harmony of spirit in the service of man.

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