I. M. Pei

For more information on Ieoh Ming Pei, visit Britannica.com.

(b Guangzhou, 26 April 1917). American architect of Chinese birth. He was born into a wealthy family. After travels with his father, he went to the USA in 1935 to study architecture. Initially repelled by the Beaux-Arts system, he became reconciled to its strong emphasis on geometry and readable imagery under Dean William Emerson at the Massachusetts Institute of Technology, Cambridge, from which he graduated in 1940. Pei stayed in Cambridge, working for different architects, and married Eileen Loo, a landscape architecture student at Harvard University, through whom he met Walter Gropius and Marcel Breuer, who were teaching there. He continued his studies at Harvard and received a graduate degree in 1946, staying there to teach until 1948. In the same year William Zeckendorf of Webb & Knapp, Inc., one of the largest developers in the USA, hired Pei as director of architecture, thus drawing him into the world of real estate development. He remained there until 1955 and designed a number of large urban commercial developments, such as Mile High Center (completed 1959) in Denver, CO, and Place Ville-Marie (des. 1953; constructed 1958-63) in Montreal. The experience was important for Pei in giving him an awareness of the issues involved in land development, including the monetary value of land.

See the Abbreviations for further details.

Chinese-American architect, I. M. Pei (born 1917), directed for nearly 40 years one of the most successful architectural practices in the United States. Known for his dramatic use of concrete and glass, Pei counted among his most famous buildings the East Wing of the National Gallery of Art in Washington, D.C. the John Hancock Tower in Boston, and the Rock and Roll Hall of Fame Museum in Cleveland, Ohio.

Ieoh Ming Pei was born in Canton, China, on April 26, 1917. His early childhood was spent in Canton and Hong Kong, where his father worked as director of the Bank of China. In the late 1920s the Pei family moved to Shanghai, where I. M. attended St. Johns Middle School. His father, who had many British banking connections, encouraged his son to attend college in England, but I. M. decided to emigrate to the United States in order to study architecture at the University of Pennsylvania. Upon his arrival in 1935, however, he found that the University of Pennsylvania's curriculum, with its heavy emphasis on fine draftsmanship, was not well suited to his interest in structural engineering. He enrolled instead in the Massachusetts Institute of Technology.

While at M.I.T. Pei considered pursuing a degree in engineering, but was convinced by Dean William Emerson to stick with architecture. Pei graduated with a bachelor's degree in architecture in 1940, winning the American Institute of Architects Gold Medal and the Alpha Rho Chi (the fraternity of architects). He was immediately offered the prestigious Perkins Traveling Fellowship. Pei considered going to Europe or returning to China, but with both regions engulfed in war, he decided to remain in Boston and work as a research assistant at the Bemis Foundation (1940-1941).

From Professor to Architect

With America's entry into World War II, Pei obtained a position at the Boston engineering firm of Stone and Webster, where he designed structures for national defense projects (1941-1942). In this capacity he had the opportunity to work extensively with concrete, a material that he was later to use successfully in his own work.

In 1942 Pei married Eileen Loo, a Chinese student recently graduated from Wellesley College. After the wedding Pei left his job at Stone and Webster and moved to Cambridge, Massachusetts, where Eileen enrolled in Harvard's Graduate School of Landscape Architecture. Through her, Pei was introduced to the Harvard Graduate School of Design, which had recently come under the direction of Walter Gropius and Marcel Breuer. Excited by the chance to work with these two leading exponents of the modern International Style, Pei enrolled in the summer of 1942. Here, in the company of such figures as Philip Johnson, Pei was introduced to the work of Europe's most progressive architects. He absorbed their ideas about designing unornamented buildings in abstract shapes - buildings that frankly exposed their systems of support and materials of construction.

Pei's work at Harvard was interrupted in early 1943 when he was called to serve on the National Defense Research Committee in Princeton, New Jersey. He maintained his contacts in Cambridge, however, and between 1943 and 1945 formed informal partnerships with two other students of Gropius, E. H. Duhart and Frederick Roth. With these men, Pei designed several low-cost modernistic houses that were intended to be built of prefabricated plywood panels and "plug-in" room modules. Several of these designs were awarded recognition in Arts and Architecture magazine and thus served to give Pei his first national exposure.

Although he continued to work for the National Defense Research Committee until 1945, Pei returned to Harvard in 1944. The following year he obtained a lectureship on the faculty of the Graduate School of Design. In 1946, having obtained his master's degree in architecture, Pei was appointed assistant professor. While teaching, he worked in the Boston office of architect, Hugh Stubbins (1946-1948).

Pei's career as a Harvard professor ended in 1948 when, at the age of 31, he was hired to direct the architectural division of Webb and Knapp, a huge New York contracting firm owned by the real estate tycoon William Zeckendorf. A bold developer with tremendous capital, Zeckendorf specialized in buying run-down urban lots and building modern high rise apartments and offices. As architect of Webb and Knapp, Pei oversaw the design of some of the most extensive urban development schemes of the post-war era, including the Mile High Center in Denver and Hyde Park Redevelopment in Chicago (both 1954-1959). These projects gave Pei the opportunity to work on a large scale and with big budgets. Moreover, he learned how to negotiate compromises with community, business, and government agencies. In his words, he learned to consider "the big picture."

His Own Architectural Firm

By mutual agreement, Pei and his staff of some 70 designers split from Webb and Knapp in 1955 to become I. M. Pei & Associates, an independent firm, but one which still initially relied on Zeckendorf as its chief client. It was for Zeckendorf, in fact, that Pei and his partners designed some of their most ambitious works - Place Ville Marie, the commercial center of Montreal (1956-1965); Kips Bay Plaza, the Manhattan apartment complex (1959-1963); and Society Hill, a large housing development in Philadelphia (1964).

In terms of style, Pei's work at this time was strongly influenced by Mies van der Rohe. Certainly the apartment towers at Kips Bay and Society Hill owe much to Mies' earlier slab-like skyscrapers sheathed in glass grids. But unlike Mies, who supported his towers with frames of steel, Pei experimented with towers of pre-cast concrete window frames laid on one another like blocks. This system proved to be quick to construct and required no added fireproof lining or exterior sheathing, making it relatively inexpensive. The concrete frames also had the aesthetic advantage of looking "muscular" and permanent. Soon Pei acquired a reputation as a pragmatic, cost-conscious architect who understood the needs of developers and had the ability to produce solid-looking no-nonsense buildings.

During the 1960s Pei continued to build Miesian "skinand-bones" office and apartment towers (the Canadian Imperial Bank of Commerce in Toronto and 88 Pine Street in New York, were both completed in 1972), but he also began to get commissions for other types of buildings that allowed him more artistic expression. Among the first of these was the National Center for Atmospheric Research in Boulder, Colorado (1961-1967). For this project Pei borrowed ideas from the work of Le Corbusier and Louis Kahn to create a monumental structure of exposed concrete. Distinguished by a series of unusual hooded towers, and photogenically situated against the backdrop of the Rocky Mountains, the NCAR complex helped to establish Pei as a designer of serious artistic intent. Film enthusiasts remember this building as the setting for the Woody Allen film, Sleeper. In 1964 his stature increased when he was chosen to design the John F. Kennedy Library, although the building's dedication would be 15 years later, due to rigorous work and study.

Pei's reputation as artist-architect was further enhanced with his design for the Everson Museum of Art at Syracuse University in New York (1962-1968). Again Pei turned to reinforced concrete, this time molded into four monolithic gallery blocks, boldly cantilevered and arranged in a pinwheel manner around a large interior court. The design met with considerable acclaim, and Pei was soon asked to design one art museum after another: the Des Moines Art Center in Iowa (1968); the Mellon Art Center in Wallingford, Connecticut (1972); the University of Indiana Art Museum in Bloomington (1980); the west wing of the Museum of Fine Arts in Boston (1981); and the Portland Museum of Art in Maine (1983).

Triangles and Curtains of Glass

Of his many museums, Pei became best known for the East Wing of the National Gallery in Washington, D.C. (1968-1978). Located on a prominent but oddly shaped site, Pei cleverly divided the plan into two triangular sections - one containing a series of intimate gallery spaces and the other housing administrative and research areas. He connected these sections with a dramatic sky-lit central court, bridged at various levels by free-floating passageways. Technological innovation is evident on the exterior, where space-age neoprene gaskets have been inserted between the blocks of marble to prevent cracks from developing in the walls. The overall design so impressed noted critic Ada Louise Huxtable that she declared in 1974, "I. M. Pei … may very likely be America's best architect."

Unlike so many other students of Gropius and the International Style, Pei showed concern that his buildings were "contextual, " that they fit into their pre-existing architectural environments. The East Wing, for instance, was carefully related in height to the older main block of the National Gallery, and it was sheathed in similarly colored marble. For the apartments he built in Philadelphia during the 1950s Pei used brick, the city's traditional building material. And for his projects in China, such as the Luce Chapel at Taunghai University in Taiwan (1964) and the Fragrant Hill Hotel near Beijing (1983), he incorporated architectural forms and details indigenous to the Orient.

Although his reputation was slightly tarnished in the mid-1970s when plates of glass mysteriously fell out of his John Hancock Tower in Boston (1973), Pei was still considered a master of curtain glass construction in the 1980s. He demonstrated this again in the glass-sheathed Allied Bank Tower in Dallas (1985) and later worked on a well-publicized glass pyramid built in the courtyard of the Louvre Museum in Paris (1987). But his magnificent work in glass would not stop there. In September of 1995, The Rock and Roll Hall of Fame Museum was dedicated in Cleveland, Ohio. In an interview with Technology Review, Pei explained the concept. "These are the things I tried to imbue in the building's design - a sense of tremendous youthful energy, rebellion, flailing about. Part of the museum is a glass tent leaning on a column in the back. All the other forms - wings - burst out of the tent. Their thrusting out has to do with the rebellion. This, for me, is an expression of the musical form of rock and roll."

A man of gracious character and tact, Pei managed to preserve lasting associations with the other members of his firm, thereby fostering one of the most stable, quality-conscious practices in the country. Moreover, he maintained the trust and patronage of countless corporations, real estate developers, and art museums. Among his numerous awards he placed personal significance on receiving the Medal of Liberty from President Ronald Reagan at the Statue of Liberty. To him, it was a symbol of acceptance and respect from the American people.

When not designing buildings, Pei enjoyed gardening around his home in Katonah, New York. He had four children, two of whom worked as architects in his busy office on Madison Avenue.

Further Reading

There is still no monograph on Pei. The best single presentation of his work remains Peter Blake and others, "I. M. Pei and Partners, " Architecture Plus 1 (February and March 1973). For biographical information and a fine appraisal of his buildings see Paul Goldberger, "The Winning Ways of I. M. Pei, " New York Times Magazine (May 20, 1979). Also helpful are a number of recorded interviews; the two best are Andrea O. Dean, "Conversations: I. M. Pei, " Journal of the American Institute of Architects (June 1979) and Barbaralee Diamonstein, monstein, "I. M. Pei: 'The Modern Movement Is Now Wide Open', " Art News 77 (Summer 1978). See also Paul Heyer, Architects on Architecture (1966).

A chronological list of Pei's major works appears in the Macmillan Encyclopedia of Architects (1983). Articles on individual buildings can be found in either the Art Index or the Avery Index to Architectural Periodicals. Ada Louise Huxtable offers a critic's view of some of Pei's buildings in her book Kicked a Building Lately? (1976). Pei himself wrote very little, but see two articles by him: "Standardized Propaganda Units for the Chinese Government, " Task 1 (1942), and "The Sowing and Reaping of Shape, " Christian Science Monitor (March 16, 1978).

Chinese-born American architect. He studied with Gropius at Harvard before working (1948–60) for the architectural section of William Zeckendorf's contracting firm (Webb & Knapp, Inc.). Among his many large projects for Zeckendorf was the Mile High Center, Denver, CO. (1952–6): consisting of a low transportation building, with cylindrical lifts rising in the centre of a vaulted space, and an office-tower with black-faced frames and exposed services, it made Pei's name. He collaborated with Affleck on the design of the Place Ville Marie, Montréal (1953–63), an office-building that brought a new sophistication to the building type in Canada. He opened his own office (I. M. Pei & Partners, with Henry N. Cobb (1926– ), James I. Freed (1930– ), and others) in 1955, at first drawing on the work of Mies van der Rohe for many of his paradigms, but he turned to the triangle as a major motif in his designs in the 1970s, notably the extension to the National Gallery, Washington, DC (1971–8), the Bank of China Tower, Hong Kong (1982–9), the huge extension to the Musée du Louvre, Paris (1983–93—the concourse of which is illuminated by a metal-and-glass pyramid (a development of the triangle theme), the last designed in collaboration with P. R. Rice), and the Rock and Roll Hall of Fame, Cleveland, OH (1993–5). Other works include the John Hancock Tower, Boston, MA (1967–76); the Morton H. Meyerson Symphony Center, Dallas, TX (1981–9), the extension to the Museum of Fine Arts, Boston, MA (1980–1), the J. F. Kennedy International Airport Terminal, NYC (1984–95), the J. F. Kennedy Library and extension, Boston, MA (1979–90), the Museum of Art, Portland, ME (1978–83), the Fragrant Hill Resort Hotel, near Beijing, China (1979–82), and the Miho Museum, near Kyoto, Japan (1990–7).

Bibliography

• Cannell (1995)
• Kalman (1994)
• Jodidio (1993, 1996)
• U. Kretzschmar (ed.) (2003)
• Suner (1988)
• Jane Turner (1996)
• Wiseman (1990, 2001)

The full bibliography for this book is available to download as a pdf file.
Download the bibliography for A Dictionary of Architecture and Landscape Architecture (PDF: 1.2MB)

(1917- ), architect. I. M. Pei has based a successful worldwide career on the modernist dictum that abstract forms, derived from technology and function, can be used sensitively in workaday commercial buildings, large urban schemes, and monuments. The son of an important Chinese family, Pei was a student in Walter Gropius's master classes in architecture at Harvard in the mid-1940s and has never parted from the spare aesthetic vocabulary developed by Gropius at the German Bauhaus. At the same time, he has always insisted that the architect's obedience to modernism does not preclude culturally sensitive, even romantic, architectural design.

Pei's career is unusual for a high-profile architect because of its origins in commercial development. From 1948 to 1955 he headed the design staff of Webb & Knapp, the contracting division of William Zeckendorf's real-estate empire. In his large-scale redevelopment work for Zeckendorf, Pei showed a sensitivity to architectural form and urban design that made him a leader in the government-supported urban renewal schemes of the 1960s. His master plan for Boston's Government Center area (1959-1963), though perhaps too drastic in its effect on the cityscape, created a striking complex of buildings and spacious plazas in a decayed area. His 1964 commission for the John F. Kennedy Memorial Library in Boston (completed 1979) and the 1978 East Wing of the National Gallery of Art in Washington gained him an international reputation, which was capped by a commission from the French government to restore and replan the Louvre in Paris (1989- ). His design for the museum, centering around a glass pyramid in the courtyard as a new main entrance, is both his most controversial and his most prestigious creation to date.

Pei is renowned for buildings that turn abstract shapes, elegantly if monochromatically finished, into breathtaking monuments. His cultural edifices, especially the East Wing, are known for exquisite siting and romantically expansive interior spaces.

The commercial buildings designed by Pei and his partners, Henry Cobb and James Ingo Freed, are equally striking transformations of modern materials into great minimalist sculptures. The elegant prism of the John Hancock Building in Boston (chiefly by Cobb) was first reviled as inhuman for its size and materials, especially when a design miscalculation made its windows fall out into the street at random; with that problem corrected, the building has since been embraced as a city landmark.

Neither a utopian planner nor a devotee of beauty above all, which sets him apart from most of Gropius's other protégés, Pei can be faulted for a preoccupation with high-prestige, large-scale work that slights more modest visions of architecture. But within the terms set for modern architecture by Gropius and its other early masters--the building as abstract form; the architect as collaborator with partners, investors, planners, and other experts; the idea of using the same technology-oriented design means to reshape both private and public realms--I. M. Pei has been a masterful and humane demonstrator of the uses of modernism.

Bibliography:

Carter Wiseman, I. M. Pei (1990).

Author:

Miles David Samson

See also Architecture.

I.M. Pei 貝聿銘
Architect I.M. Pei in the residence of the U.S. Ambassador to Luxembourg
Personal information
Name	I.M. Pei 貝聿銘
Nationality	American
Birth date	April 26, 1917 (1917-04-26) (age 92)
Birth place	Guangzhou (Canton), China
Work
Practice name	Pei Cobb Freed & Partners
Significant buildings	Louvre Pyramid Bank of China Tower Javits Convention Center East Building, National Gallery of Art Museum of Islamic Art, Doha
Awards and prizes	AIA Gold Medal Presidential Medal of Freedom Pritzker Prize

I. M. Pei
Traditional Chinese	貝聿銘
Simplified Chinese	贝聿铭
Transliterations Mandarin - Hanyu Pinyin Bèi Yùmíng - Wade–Giles Pei4 Yü4-ming2 - Gwoyeu Romatzyh Bey Yuhming Cantonese - Jyutping bui3 jyut6 ming3

Ieoh Ming Pei (貝聿銘, Bèi Yùmíng) (born April 26, 1917), commonly known by his initials I. M. Pei, is a Pritzker Prize-winning Chinese-born American architect, known as the last master of high modernist architecture.

Contents 1 Early life and education 2 Career 3 Honors 4 Family and later life 5 Selected works 6 Project list 7 References 8 External links

Early life and education

Pei was born in Canton (pinyin: Guangzhou), China on April 26, 1917, to a prominent family from Suzhou. His father, a banker, was later the director of the Bank of China and the governor of the Central Bank of China. His family later moved to Shanghai, but resided in his native city Suzhou, a city near Shanghai. The family's residence, Lion Grove Garden, is a renowned classical garden in Suzhou, now part of the World Heritage Site listed Classical Gardens of Suzhou. The garden is famed for its collection of Tai Lake stones, the aesthetically rich shapes of which are naturally carved by the waters of the lake. Pei loved how the buildings and the nature were combined, and especially liked the way light and shadow mixed.

His first education was at St. Paul's College, Hong Kong (primary school), and then at Saint John's University, Shanghai (high school) before moving to the United States to study architecture at the age of 18 at the University of Pennsylvania. He received a Bachelor of Architecture degree from Massachusetts Institute of Technology in 1940. He is a 1940 recipient of the Alpha Rho Chi Medal, the MIT Traveling Fellowship, and the AIA Gold Medal. He then studied at the Harvard Graduate School of Design. Shortly after his studies there, he was a member of the National Defense Research Committee in Princeton, New Jersey.^[1]

In 1944, he returned to Harvard, studying under Walter Gropius, who was previously associated with the Bauhaus. He received a Master's degree in Architecture in 1946. He was a member of the Harvard faculty subsequently attaining the rank of assistant professor. He received the Wheelwright Traveling Fellowship in 1951 and became a naturalized citizen of the United States in 1954.^[2]

Career

In 1948, William Zeckendorf hired Pei to work at the real estate development corporation Webb and Knapp in a newly created post, Director of Architecture. While at Webb and Knapp, Pei worked on many large-scale architectural and planning projects across the country and designed his buildings mostly in the manner of Ludwig Mies van der Rohe.^[3]

Pei founded his own architectural firm in 1955, which was originally known as I. M. Pei and Associates and, later, I. M. Pei & Partners until 1989 when it became known as Pei Cobb Freed & Partners recognizing James Ingo Freed and Henry N. Cobb.

Honors

Ambassador Ann L. Wagner hosts a reception for American Architect I.M. Pei to celebrate the opening of his latest project, the Musee d'Art Moderne Grand-Duc Jean (MUDAM) in Luxembourg

I.M. Pei is a Fellow of the American Institute of Architects and a Corporate Member of the Royal Institute of British Architects. He has also been elected to the American Academy of Arts and Sciences, the National Academy of Design, and the American Academy and Institute of Arts and Letters. In 1975 he was elected to the American Academy, which is restricted to a lifetime membership of fifty members. In 1978, he became Chancellor of the American Academy, the first architect to hold that position. He served until 1980. Mr. Pei was inducted a "Membre de l'Institut de France" in 1984, and decorated by the French government as a Commandeur in the "Ordre des Arts et des Lettres" in 1985. On July 4, 1986, he was one of twelve naturalized American citizens to receive the Medal of Liberty from President Ronald Reagan. Two years later French president François Mitterrand inducted I. M. Pei as a Chevalier in the Légion d'Honneur. In November 1993 he was raised to Officier. Also in 1993, he was elected an Honorary Academician of the Royal Academy of Arts in London. In 1997 the Académie d'Architecture de France elected him Foreign Member.^[4] IM Pei has been named as the recipient of the 2010 RIBA Royal Gold Medal.

Family and later life

In 1990, Pei retired from his firm but still maintains an office there. He has 4 children, 2 of them architects. Two of his sons, Chien Chung (Didi) Pei and Li Chung (Sandi) Pei, after leaving their father's firm, established their own practice, Pei Partnership Architects in 1992. I. M. Pei still participates in design work with both Pei Cobb Freed and Partners and Pei Partnership Architects.^[1][5]

Selected works

1961 — National Center for Atmospheric Research, Boulder, Colorado	1963 — Luce Memorial Chapel, Tunghai University, Taiwan	1964 — Green Building, Massachusetts Institute of Technology	1972 — Paul Mellon Arts Center, Choate Rosemary Hall, Wallingford, Connecticut	1974 — The East Building of the National Gallery of Art
1978 — Indiana University Art Museum at Indiana University in Bloomington, Indiana	1989 — Bank of China Tower, Hong Kong	1995 — The Rock and Roll Hall of Fame in Cleveland, Ohio, United States; showing Lake Erie in the foreground	2006 — Musée d'Art Moderne Grand-Duc Jean, Mudam Luxembourg	2008 — The Museum of Islamic Art, Doha, Qatar

Project list

Main article: List of I.M. Pei Projects

References

1. ^ ^{a b} I M Pei Biography, Bio, Profile, pictures, photos from Netglimse.com
2. ^ Official biography from Pei Cobb Freed & Partners website
3. ^ "I.M. Pei's biography page at the web site of his firm, Pei Cobb Freed & Partners". http://www.pcf-p.com/a/f/fme/imp/b/b.html. 
4. ^ http://www.pcf-p.com/a/f/fme/imp/b/b.html
5. ^ Kimm, Yvette (February 6, 2005), "Renowned architect honored at Asian Museum gala", HeraldTribune.com: Southwest Florida's Information Leader, http://www.ppa-ny.com/download/articles/Heraldtribune_Feb2005.pdf 

• Gero von Boehm, Conversations with I.M. Pei: "Light is the Key" ISBN 3-7913-2176-5
• Michael Cannell, I.M. Pei : Mandarin of Modernism ISBN 0-517-79972-3 (Excerpt)
• Carter Wiseman, I. M. Pei: A Profile in American Architecture ISBN 0-8109-3477-9

External links

Wikimedia Commons has media related to: I. M. Pei

• Pei Cobb Freed & Partners website
• Interview with I.M. Pei (June 2004)
• New York Architecture Images- Pei, Cobb, Freed
• Pritzker Prize biography, Photo Gallery, and Acceptance Speech
• Ieoh Ming Pei information at Structurae
• Biography (World of Biography)
• Concept sketches for The Musée d'Art Moderne by I.M. Pei
• Digital archive of American architecture: I.M. Pei

v • d • e Pritzker Prize laureates Philip Johnson (1979) · Luis Barragán (1980) · James Stirling (1981) · Kevin Roche (1982) · I. M. Pei (1983) · Richard Meier (1984) · Hans Hollein (1985) · Gottfried Böhm (1986) · Kenzo Tange (1987) · Gordon Bunshaft / Oscar Niemeyer (1988) · Frank Gehry (1989) · Aldo Rossi (1990) · Robert Venturi (1991) · Álvaro Siza Vieira (1992) · Fumihiko Maki (1993) · Christian de Portzamparc (1994) · Tadao Ando (1995) · Rafael Moneo (1996) · Sverre Fehn (1997) · Renzo Piano (1998) · Norman Foster (1999) · Rem Koolhaas (2000) · Herzog & de Meuron (2001) · Glenn Murcutt (2002) · Jørn Utzon (2003) · Zaha Hadid (2004) · Thom Mayne (2005) · Paulo Mendes da Rocha (2006) · Richard Rogers (2007) · Jean Nouvel (2008) · Peter Zumthor (2009)

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