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The Avant-garde Architecture O

analytical Essay
1290 words
1290 words
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The Chinese-American architect Ieoh Ming Pei (I.M) is known as one of the greatest architects of the Twentieth Century. His long, brilliant career was highlighted by several internationally famous structures. While many of Pei’s buildings were generally accepted by the public, some of them precipitated fair amounts of controversy. The most notable of these controversial structures is his Glass Pyramid at the entrance of the Louvre in Paris. For these reasons, I.M. Pei seems to be an architect who exhibits interest in the avant-garde through both the creative design and aestheticism of his architecture.
Pei was born in China in 1917 and immigrated to the United States in 1935. He originally attended the University of Pennsylvania but grew unconfident in his drawing skills so he dropped out and pursued engineering at MIT. After Pei decided to return to architecture, he earned degrees from both MIT and Harvard. In 1956, after he had taught at Harvard for three years, he established I.M. Pei & Partners, an architectural firm that has been known as Pei Cobb Freed & Partners since 1989. This firm is famous for its successful and rational solutions to a variety of design problems. They are responsible for many of the largest pubic and private construction projects in the second half of this century. Some of these projects include the East Building of the National Gallery of Art in Washington D.C., the John F. Kennedy Memorial Library in Boston, and the Rock and Roll Hall of Fame in Cleveland.
When French President Francois Mitterand “personally selected Mr. Pei in 1983 to design the Grand Louvre to give air, space, and light to one of the world’s most congested museums,” (Markham, 1989) there were many critics. The press “lambasted the idea of shattering the harmony of the Louvre’s courtyard with a glass iceberg” (Markham, 1989). But Pei proceeded as planned, taking a major risk in creating a glass pyramid structure at the entrance. He did not focus on what the critics would say about his plans, but hoped that the world would see, upon completion, that his vision of a contemporary, functional entrance would not clash with the Baroque style of the Louvre itself.
When the pyramid was completed in 1989, Pei’s expression of avant-garde art was not entirely accepted. Many critics praised the aspiration with which the architect designed it, but ridiculed many aspects of its functionality: “The practical problem is that the Pyramid, once you get inside, is noisy, hot, and disorienting” (Campbell, 1989).

In this essay, the author

  • Explains that the chinese-american architect ieoh ming pei (i.m) is known as one of the greatest architects in the twentieth century.
  • Explains that pei was born in china in 1917 and immigrated to the united states in 1935. he was unconfident in his drawing skills so he dropped out and pursued engineering at mit.
  • Explains that when francois mitterand selected mr. pei to design the grand louvre in 1983, there were many critics, but he proceeded as planned, creating a glass pyramid structure at the entrance.
  • Analyzes how pei's expression of avant-garde art was not accepted when the pyramid was completed in 1989. many critics praised the aspiration of the architect, but ridiculed many aspects of its functionality.
  • Opines that critics and the majority of the parisian public were more positive about the 70-foot transparent pyramid after its completion.
  • Analyzes how pei's glass pyramid was influenced by gropius' vision of "total architecture" that he set forth in the bauhaus.
  • Explains that the bank of china building in hong kong has been criticized for its geometrically beautiful design, which has four right-angled triangular prisms and twin antennas.
  • Explains that i.m. pei is of chinese origin, but chose as his motif the triangle, which transforms the building as a whole into the very form that brings bad feng shui
  • Analyzes i.m. pei's work as a temple of modernism, an architectural office in which ornament was scarce, sleekness remained sacrosanct, and buildings were seen as isolated, abstract objects.
  • Opines that pei's masterful implementation of basic geometric form into the design of his buildings is another point of interest that contributes to his originality.
  • Argues that pei's prolific use of geometric shapes is a point of debate among critics, which can be essentially pared down to individual taste.
  • Argues that pei's pyramidal entrance to the louvre and design for the bank of china building can be interpreted as fodder for controversy.
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