When you walk into the tunnel,
you won't be able to see what is at the end of it.
The moment when you walk out,
you will be enlightened by the striking light.
In Respect To The Paradigm of Architecture
I. M. Pei, (1917 -)
Miho Museum Kyoto, Japan. (1991-1997) Architect: I. M. Pei.
(Architect: Qianhe Xu) I had worked at I. M. Pei.'s office in the late 1990s.
I particularly remember him as a person who is always smiling,
having a really humble attitude like typical Chinese has.
Today's opportunity is really special,
since he is having his 100-year-old birthday soon in April (2017).
Let's talk about one of the very important architecture projects in Mr. Pei's career, the Miho Museum.
The interesting part of the project is that it has a really unique client:
Shinji Shumeikai (The Japanese new religious movement).
The movement advocates the philosophy of how people pursue beauty in life.
It is about an hour away from Kyoto, Japan.
Mr. Pei thinks, as a sophistically delicate museum,
it should have a more subtle and obscure identity.
The route for the entry way is a important part to consider.
During the design process, Mr. Pei had referred his concept to the quotes in the Jin dynasty (265–420) fable, The Peach Blossom Spring by Tao Yuanming:
"Behind the dense forest and beside the origin of the stream, there is a mountain of the idyllic haven."
"The small opening on the mountain shines as if there is light beyond."
After passing through the 200 meters long tunnel,
a bridge is presented.
The bridge is only about 120 meters long,
stressed and suspended by 96 cables.
Visually, the cables has diminished the weight of the bridge.
After passing through the bridge,
there isn't many buildings in sight.
Because of Japan's attention on issue of nature preservation,
The country does not allow too many constructions on the ground.
Most of the land use area of the project needs to be built at a level under the datum of the main entrance.
On the side of the mountain valley,
you can still see the entire phase of the architectural project.
However, it is not possible to see such view from a normal spectator's angle.
Basically, the museum is mysterious and hermetic.
The first view after entering the museum is the farther mountain valley.
The east side wall is a transparent screen.
Therefore, people are constantly engaging with the natural scenery throughout the museum.
The roof is analogous to those in traditional Japanese temple or even in traditional Japanese thatched cottage;
the project is using contemporary materials to represent traditional formal language.
The glass roof is a simple tetrahedron;
yet it has created a dynamic atmosphere as a result.
Essentially, it does not have the structure of usual glass green house,
the building uses a grille shaped coverage to prevent direct sunlight.
The lighting of the museum is constantly changing along with transition of different seasons, which has caused great theatricality within the building.
Within the Miho Museum,
It is really interesting to see how most of the art collections are illuminated by natural sunlight.
It gives the impression that art and nature have a harmonic, coexisting relationship.
The interior layout of the Miho Museum connects the north hall and the south hall with two corridors.
The corridor has a glass ceiling, leading toward the south hall.
As if you are walking in the mountain.
The corridor begins to ramp down while reaching the north hall, which creates a sense of stability and tranquility.
The entire architectural project embodies the spirit of integration: of robust and elegance, of solid and void.
Mr. Pei really emphasizes qualities of details throughout his career.
The same meticulousness also applies to the furniture in the building.
There is a long bench at the entry lobby.
It is a wood bench carved straight out from a 350-year-old beech wood log.
Miho Museum will be open for 20 years next year.
The most successful part of the museum is
how it has maintained a balanced, coherent relationship with the surrounding nature environment.
Mr. YuTong Lin had written before:
"The best architecture engulfs people, when people do not recognize the moment when nature has already ended. It is the place for Art, and it is the moment when Arts begins."