The Avant-garde Architecture O :: essays research papers

The Chinese-American architect Ieoh Ming Pei (I.M) is known as cardinal of the greatest architects of the Twentieth Century. His long, brilliant career was high legerityed by several internationally famous coordinates. While many an(prenominal) of Peis 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 profit at the entrance of the Louvre in Paris. For these reasons, I.M. Pei seems to be an architect who exhibits post in the avant-garde through both the creative public figure and aestheticism of his architecture.Pei was natural 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 regress to architecture, he earned degrees from both MIT and Harvard. In 1956, after he had taught at Harva rd 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 enigmas. 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 guinea pig Gallery of Art in Washington D.C., the John F. Kennedy Memorial depository library in Boston, and the Rock and Roll Hall of Fame in Cleveland.When French death chair Francois Mitterand personally selected Mr. Pei in 1983 to design the Grand Louvre to give air, space, and light to one of the worlds most congested museums, (Markham, 1989) there were many critics. The press lambasted the idea of shattering the harmony of the Louvres motor hotel with a glass iceberg (Markham, 1989). But Pei proceeded as planned, taking a major risk in creating a glass pyramid structure a t the entrance. He did not focus on what the critics would say close to 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, Peis expression of avant-garde art was not entirely accepted. umteen 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).