19世紀隨著人文藝術的普及化，美術館的興起產生了一新興的建築類型，有別於以往只供皇室、權貴收藏和欣賞的私人展示空間，這種新的建築類型也提供給一般大眾使用，在空間設計上需要考量人流動線、展示及保存空間、空間組織的問題。工業革命後，由於玻璃、鋼等新的材料的出現，使美術館朝向另一種形式發展，強調理性及實用主義，並衍生出現代主義。其中貝聿銘以融合自然與空間的精神是現代主義美術館中創新的思維，透過分析其作品，探討貝聿銘美術館中的設計手法，從而重新思索美術館在建築設計上的新方向。
本研究透過分析9座貝聿銘所設計的美術館，通過分析7個空間議題(區位分析、基地脈絡、立面、入口、空間序列、展覽空間以及採光形式)來找出貝聿銘回應議題的關係與設計策略。這9座美術館分別是6座新建美術館：伊佛森美術館 (Everson Museum of Art, 1961-1968)、赫伯特．強生藝術館 (Herbert F. Johnson Museum of Art, 1968-1973)、美秀美術館 (Miho Museum, 1991-1997)、蘇州博物館 (Suzhou Museum, 2000-2006)、盧森堡當代美術館 (Grand Duke Jean Museum of Modern Art, 1994-2006)、卡達杜哈伊斯蘭藝術博物館 (Museum of Islamic Art, 2006-2008)，以及3座增建類型的美術館：狄莫伊藝術中心雕塑館 (Des Moines Art Center︰Sculpture Court, 1966-1968)、華府美國國家藝廊東翼 (National Gallery of Art︰East Building, 1968-1978)、德國歷史博物館新翼 (Deutsches Historisches Museum︰Pei-Bau, 1996-2002)。最後歸納出貝聿銘在設計美術館的一些新的想法與思維。
貝聿銘並沒有受到當時盛行的國際風格所影響，反而強調「場地性」，注重當地的人文脈絡、氣候、自然紋理等，在他的美術館作品中使用了很多不同的策略把自然引入室內，模糊了室內外的界線，並以引進自然光讓光線成為設計的一部分。貝聿銘也善於使用混凝土、玻璃、鋼等材料，並利用幾何圖形及線條創造出雕塑般的建築，空間上樓梯和空橋是貝聿銘創造動態空間體驗的元素之一。貝聿銘打開原本封閉的「白盒子」美術館，讓自然和建築結合，令欣賞藝術作品不再是只發生在一個全封閉的空間，創造出一種新的美術館形式。

With the rising popularity of arts and humanities in the 19th century, a public need for art museums gave rise to a new type of architecture. These were different from the private exhibition spaces used by royalty and social elites, as this new style of architecture was open to the general public and needed to accommodate a flow of people, areas to store and display art, and architectural programming. With the industrial revolution, the emergence of new materials, namely glass and steel, allowed the art museum to develop new forms based on rationality and pragmatism, the foundations of modern architecture. Lead among these new schools of thought was I.M. Pei, whose innovative thinking integrated nature and space into modern art museums. By analyzing his works, this thesis explores the design techniques of I.M. Pei’s art museums and attempts to rethink new directions of museum design.
This research analyzes nine art museums designed by I.M. Pei and analyzes seven spatial considerations – location, layout, facade, entrance, spatial sequence, exhibition space, and lighting. The 9 galleries comprise the Everson Museum of Art (1961-1968), Herbert F. Johnson Museum of Art (1968-1973), Miho Museum (1991-1997), Suzhou Museum (2000-2006), Grand Duke Jean Museum of Modern Art (1994-2006), Museum of Islamic Art (2006-2008), Des Moines Art Center: Sculpture Court (1966-1968), National Gallery of Art: East Building (1968-1978), Deutsches Historisches Museum: Pei-Bau (1996-2002). Finally, some new thoughts and conceptions about I.M. Pei’s architecture will be presented.
I.M. Pei was not especially influenced by the prevailing international style of the time. Instead, he emphasized the importance of “site”, focused on the cultural context, climate, landscape texture, and other localized concerns, and used many different strategies to introduce nature into the interiors of the museums he designed. He blurred the boundary between indoors and outdoors, and natural light was important to his designs. Pei expertly used concrete, glass and steel to form geometrical figures and and sculptural buildings, in which stairs and bridges in space create a dynamic spatial experience. This is a way to open the closed “white box” art gallery, combining nature and architecture so that the appreciation of work no longer occurs in an enclosed space, creating a new form of art museum.

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