用戶:如沐西風/SandboxM

貝聿銘 貝聿銘
2006年攝於盧森堡
出生	(1917-04-26)1917年4月26日 中華民國廣州市（需校）
逝世	2019年5月16日(2019歲—05—16)（102歲） 美國紐約市
公民權	Republic of China United States
職業	建築師
配偶	Eileen Loo （1942年結婚—2014年喪偶）
兒女	4
獎項	Royal Gold Medal AIA Gold Medal Presidential Medal of Freedom Pritzker Prize Praemium Imperiale
事務所	I. M. Pei & Associates 1955–2019 I. M. Pei & Partners 1966–2019 Pei Cobb Freed & Partners 1989–2019 Pei Partnership Architects (consultant) 1992–2019
建築	John F. Kennedy Library, Boston National Gallery of Art East Building Louvre Pyramid, Paris Bank of China Tower, Hong Kong Museum of Islamic Art, Doha Indiana University Art Museum Herbert F. Johnson Museum of Art Rock and Roll Hall of Fame Miho Museum, The chapel of a junior and high school : Miho Institute of Aesthetics, Japan

如沐西風/SandboxM
繁體字	貝聿銘
簡化字	贝聿铭
標音 官話 （現代標準漢語） - 漢語拼音 Bèi Yùmíng - 威妥瑪拼音 Pei4 Yü4-ming2 - 國際音標 [pêɪ ŷ.mǐŋ] - 耶魯拼音 Bèi Yùmíng 粵語 - 國際音標 [pūːi jỳːt mɪ̏ŋ] - 粵拼 Bui3 Jyut6 Ming4 - 耶魯拼音 Bui Yuht Mìhng

Ieoh Ming Pei, FAIA, RIBA (26 April 1917 – 16 May 2019) was a Chinese-American architect. Born in Guangzhou and raised in Hong Kong and Shanghai, Pei drew inspiration at an early age from the gardens at Suzhou. In 1935, he moved to the United States and enrolled in the University of Pennsylvania's architecture school, but quickly transferred to the Massachusetts Institute of Technology. He was unhappy with the focus at both schools on Beaux-Arts architecture, and spent his free time researching emerging architects, especially Le Corbusier. After graduating, he joined the Harvard Graduate School of Design (GSD) and became a friend of the Bauhaus architects Walter Gropius and Marcel Breuer. In 1948, Pei was recruited by New York City real estate magnate William Zeckendorf, for whom he worked for seven years before establishing his own independent design firm I. M. Pei & Associates in 1955, which became I. M. Pei & Partners in 1966 and later in 1989 became Pei Cobb Freed & Partners. Pei retired from full-time practice in 1990. In his retirement, he worked as an architectural consultant primarily from his sons' architectural firm Pei Partnership Architects.

Pei's first major recognition came with the Mesa Laboratory at the National Center for Atmospheric Research in Colorado (designed in 1961, and completed in 1967). His new stature led to his selection as chief architect for the John F. Kennedy Library in Massachusetts. He went on to design Dallas City Hall and the East Building of the National Gallery of Art. He returned to China for the first time in 1975 to design a hotel at Fragrant Hills, and designed Bank of China Tower, Hong Kong, a skyscraper in Hong Kong for the Bank of China fifteen years later. In the early 1980s, Pei was the focus of controversy when he designed a glass-and-steel pyramid for the Musée du Louvre in Paris. He later returned to the world of the arts by designing the Morton H. Meyerson Symphony Center in Dallas, the Miho Museum in Japan, Shigaraki, near Kyoto, and the chapel of the junior and high school: MIHO Institute of Aesthetics, the Suzhou Museum in Suzhou, Museum of Islamic Art in Qatar, and the Grand Duke Jean Museum of Modern Art, abbreviated to Mudam, in Luxembourg.

Pei won a wide variety of prizes and awards in the field of architecture, including the AIA Gold Medal in 1979, the first Praemium Imperiale for Architecture in 1989, and the Lifetime Achievement Award from the Cooper-Hewitt, National Design Museum in 2003. In 1983, he won the Pritzker Prize, which is sometimes referred to as the Nobel Prize of architecture.

童年 Childhood

As a child, Pei found the Shizilin Garden in Suzhou to be "an ideal playground".

Pei's ancestry traces back to the Ming Dynasty, when his family moved from Anhui province to Suzhou. Finding wealth in the sale of medicinal herbs, the family stressed the importance of helping the less fortunate. Ieoh Ming Pei was born on 26 April 1917 to Tsuyee and Lien Kwun, and the family moved to Hong Kong one year later. The family eventually included five children. As a boy, Pei was very close to his mother, a devout Buddhist who was recognized for her skills as a flautist. She invited him (and not his brothers or sisters) to join her on meditation retreats. His relationship with his father was less intimate. Their interactions were respectful but distant.

貝聿銘的祖先在明朝時自安徽移居蘇州，以藥材生意發家。貝聿銘的父親是貝祖貽，母親為莊蓮君，貝家有五個孩子（似與中文資料不符）。1917年4月26日，貝聿銘生於廣州。一年後，貝家移居香港。（可能需補充搬家原因及具體家境情況）孩提時，貝聿銘與母親關係較近。莊蓮君篤信佛教，擅長吹笛。在五個孩子中，她僅僅讓貝聿銘同她一起禪修冥想。貝聿銘對父親雖然恭敬有禮，但二人關係並不如他和母親那樣親密。（https://web.archive.org/web/20091218073038/http://www.buildbook.com.cn/magazine/book/cszg/19/3.html 中文資料中的貝家先祖

聯合早報（[1]）：貝聿銘的祖父貝理泰（字哉安，有來源寫作履泰？）20歲成為蘇州府學貢生，因父親逝世而未能為官，專心經營家族產業。貝理泰曾為知縣吳次竹擔任錢穀師爺。清帝退位後，貝理泰參與創辦了上海銀行、中國旅行社，曾任中國旅行社蘇州分社經理。貝理泰有五個兒子，貝聿銘的父親貝祖貽（詒？）排行第三。貝祖貽畢業於東吳大學。貝聿銘的母親莊氏是清朝末任國子監祭酒的女兒。貝祖貽夫婦有三個兒子和三個女兒，貝聿銘是長子。莊氏去世後，銀行將貝祖貽派往歐洲，希望能讓他逐漸從喪妻之痛中走出。訪歐期間，貝祖貽結識了比他小19歲的蔣士英。1932年春，貝祖貽和蔣士英在巴黎舉辦了婚禮。

Pei's ancestors' success meant that the family lived in the upper echelons of society, but Pei said his father was "not cultivated in the ways of the arts". The younger Pei, drawn more to music and other cultural forms than to his father's domain of banking, explored art on his own. "I have cultivated myself," he said later.

雖然貝聿銘家境殷實，但他的父親對藝術並沒有特別的愛好。相比父親工作的金融行業，貝聿銘小時候對音樂和其他文化活動更感興趣。他後來說，他對藝術的愛好是自己培養起來的。

At the age of ten, Pei moved with his family to Shanghai after his father was promoted. Pei attended St. John's Middle School, run by Anglican missionaries. Academic discipline was rigorous; students were allowed only one half-day each month for leisure. Pei enjoyed playing billiards and watching Hollywood movies, especially those of Buster Keaton and Charlie Chaplin. He also learned rudimentary English skills by reading the Bible and novels by Charles Dickens.

十歲時，由於父親升職，貝聿銘一家搬到上海。他在聖公宗開辦的聖約翰中學讀書。學校紀律嚴格，學生每一個月內只有半天時間可供娛樂。貝聿銘喜歡打桌球、看荷里活電影。他尤其喜歡巴斯特·基頓和查理·卓別林的電影。通過閱讀聖經和查爾斯·狄更斯的小說，他掌握了基本的英語技能。

Pei describes the architecture of Shanghai's Bund waterfront area (seen here in a 2006 photo) as "very much a colonial past".譯註：Shanghai Bund 2006.JPG圖片質量不佳，更換為歷史圖片

Shanghai's many international elements gave it the name "Paris of the East". The city's global architectural flavors had a profound influence on Pei, from The Bund waterfront area to the Park Hotel, built in 1934. He was also impressed by the many gardens of Suzhou, where he spent the summers with extended family and regularly visited a nearby ancestral shrine. The Shizilin Garden, built in the 14th century by a Buddhist monk and owned by Pei's uncle Bei Runsheng, was especially influential. Its unusual rock formations, stone bridges, and waterfalls remained etched in Pei's memory for decades. He spoke later of his fondness for the garden's blending of natural and human-built structures.

上海眾多的外國元素為之贏得了「東方巴黎」的名聲。由外灘到國際飯店一帶上海國際化建築風格對貝聿銘產生了深遠的影響。貝聿銘是家中長孫，祖父貝理泰要他每年夏天到蘇州住一段時間。1918年，貝聿銘的叔祖父貝潤生（https://qd.house.ifeng.com/column/exclusive/beishi001j http://news.163.com/19/0517/06/EFC24LDC00018AOR.html 待確認，英文維基說是叔父）買下了始建於14世紀的蘇州園林獅子林。當時貝聿銘常常到此遊覽。獅子林的假山、石橋、瀑布令他難以忘懷，他很欣賞獅子林融合自然與人工的設計。

Soon after the move to Shanghai, Pei's mother developed cancer. As a pain reliever, she was prescribed opium, and assigned the task of preparing her pipe to Pei. She died shortly after his thirteenth birthday, and he was profoundly upset. The children were sent to live with extended family; their father became more consumed by his work and more physically distant. Pei said: "My father began living his own separate life pretty soon after that." His father later married a woman named Aileen, who moved to New York later in her life.

搬家到上海不久，貝聿銘的母親患上了癌症。醫生在處方中列入鴉片作為止痛劑，貝聿銘負責打理煙管。貝聿銘13歲生日之後不久，他的母親離開了人世。貝聿銘深感悲痛。貝家的子女被送去與大家族一同生活。他們的父親忙於工作，與子女們很少見面。貝聿銘的父親後來與蔣士雲結婚。蔣士雲後來移居紐約。

盧愛玲、盧艾琳、陸書華？

求學與任教（直譯似乎很難受） Education and formative years

As Pei neared the end of his secondary education, he decided to study at a university. He was accepted to a number of schools, but decided to enroll at the University of Pennsylvania. Pei's choice had two roots. While studying in Shanghai, he had closely examined the catalogs for various institutions of higher learning around the world. The architectural program at the University of Pennsylvania stood out to him. The other major factor was Hollywood. Pei was fascinated by the representations of college life in the films of Bing Crosby, which differed tremendously from the academic atmosphere in China. "College life in the U.S. seemed to me to be mostly fun and games", he said in 2000. "Since I was too young to be serious, I wanted to be part of it ... You could get a feeling for it in Bing Crosby's movies. College life in America seemed very exciting to me. It's not real, we know that. Nevertheless, at that time it was very attractive to me. I decided that was the country for me." Pei added that "Crosby's films in particular had a tremendous influence on my choosing the United States instead of England to pursue my education."

臨近中學畢業時，貝聿銘決定上大學繼續學業。很多學校都願意錄取他，但他最終選擇了賓夕法尼亞大學。這個決定主要有兩方面的考慮。當他在上海讀書時，他仔細地查閱了全球高等教育機構的目錄。在他看來，賓夕法尼亞大學的建築專業尤為優秀。另一個重要因素是荷里活。貝聿銘迷戀冰·哥羅士比電影中描述的美國大學生活，這與中國學校的氣氛大相逕庭。在2000年，貝聿銘回憶說，那時他印象的美國大學生活主要是歡樂和遊戲，年輕尚輕的他並不是一個嚴肅的人，他想要加入其中；儘管知道電影中的大學生活與現實不同，但他仍然受此影響選擇了美國。

In 1935 Pei boarded a boat and sailed to San Francisco, then traveled by train to Philadelphia. What he found once he got to those places, however, differed vastly from his expectations. Professors at the University of Pennsylvania based their teaching in the Beaux-Arts style, rooted in the classical traditions of ancient Greece and Rome. Pei was more intrigued by modern architecture, and also felt intimidated by the high level of drafting proficiency shown by other students. He decided to abandon architecture and transferred to the engineering program at Massachusetts Institute of Technology (MIT). Once he arrived, however, the dean of the architecture school commented on his eye for design and convinced Pei to return to his original major.

1935年，貝聿銘乘船前往美國三藩市，隨後乘火車來到費城。他的所見所聞與他的預期完全不同。賓夕法尼亞大學的教授們講授的課程基於學院派藝術，承襲希臘、羅馬古典藝術傳統。貝聿銘卻更喜歡現代主義建築。此外，其他同學精湛的製圖能力也挫傷了他的自信心。他決定離開建築學，到麻省理工學院學習工程。他進入麻省理工學院後，建築學院院長發現他很有設計眼光，勸說他回到了建築專業。

MIT's architecture faculty was also focused on the Beaux-Arts school, and Pei found himself uninspired by the work. In the library he found three books by the Swiss-French architect Le Corbusier. Pei was inspired by the innovative designs of the new International style, characterized by simplified form and the use of glass and steel materials. Le Corbusier visited MIT in November 1935, an occasion which powerfully affected Pei: "The two days with Le Corbusier, or 'Corbu' as we used to call him, were probably the most important days in my architectural education." Pei was also influenced by the work of U.S. architect Frank Lloyd Wright. In 1938 he drove to Spring Green, Wisconsin, to visit Wright's famous Taliesin building. After waiting for two hours, however, he left without meeting Wright.

麻省理工學院的建築學教授同樣專注學院派風格，貝聿銘對此不感興趣。學圖書館裏，他找到了三本瑞士籍法國建築師勒·柯布西耶的書。新興的國際風格建築推崇簡單的形狀、使用玻璃和鋼鐵材料，貝聿銘深受啟發。1935年11月，柯布西耶訪問麻省理工學院，這件事深刻地影響了貝聿銘。他曾提到，與柯布西耶一同度過的兩天很可能是他在建築教育中最重要的時光。貝聿銘也受到美國建築師弗蘭克·勞埃德·賴特作品的影響。1938年，他開車去威斯康辛州春綠村，拜訪著名的塔里耶森。塔里耶森是賴特為自己建造的住宅和事務所。貝聿銘等候了兩個小時也沒有見到賴特，離開了這裏。

Although he disliked the Beaux-Arts emphasis at MIT, Pei excelled in his studies. "I certainly don't regret the time at MIT", he said later. "There I learned the science and technique of building, which is just as essential to architecture." Pei received his B.Arch. degree in 1940.

麻省理工學院建築學科注重學院派風格。雖然貝聿銘不喜歡學院派，但他的成績很好。他後來回憶稱，自己並不後悔在麻省理工學院的時光。他在這裏學到了建築學中至關重要科學和技術。1940年，貝聿銘獲得建築學學士學位。

While visiting New York City in the late 1930s, Pei met a Wellesley College student named Eileen Loo. They began dating and they married in the spring of 1942. She enrolled in the landscape architecture program at Harvard University, and Pei was thus introduced to members of the faculty at Harvard's Graduate School of Design (GSD). He was excited by the lively atmosphere, and joined the GSD in December 1942.

1930年代末，貝聿銘訪問紐約時認識了正在維斯理學院求學的盧愛玲。兩人開始約會，後來在1942年春天結婚。盧愛玲畢業後進入哈佛大學學習景觀設計，貝聿銘由此認識了哈佛大學設計學院的教師們。貝聿銘喜歡哈佛設計學院的活潑氣氛，他在1942年12月加入哈佛大學設計學院。

Less than a month later, Pei suspended his work at Harvard to join the National Defense Research Committee, which coordinated scientific research into U.S. weapons technology during World War II. Pei's background in architecture was seen as a considerable asset; one member of the committee told him: "If you know how to build you should also know how to destroy." The fight against Germany was ending, so he focused on the Pacific War. The U.S. realized that its bombs used against the stone buildings of Europe would be ineffective against Japanese cities, mostly constructed from wood and paper; Pei was assigned to work on incendiary bombs. Pei spent two and a half years with the NDRC, but revealed few details of his work.

不到一個月後，貝聿銘暫時停下他在哈佛大學的工作，加入美國國防部科研委員會。在第二次世界大戰期間，國防部科研委員會協調美國武器技術的科研工作。委員會認為貝聿銘的建築學背景很有價值。一位委員曾對他說，如果你知道怎麼蓋樓，那你應該也知道怎麼毀樓。對德戰事已經臨近尾聲，貝聿銘的工作主要集中於太平洋戰爭。日本建築多以木材建成（紙張？？）而非石材，美國意識到在歐洲戰場上針對石質建築的炸彈用於轟炸日本時不再有效。貝聿銘被安排研究燃燒彈。他在美國國防部科研委員會工作了兩年半，但他很少透露他工作的細節。

In 1945 Eileen gave birth to a son, T'ing Chung; she withdrew from the landscape architecture program in order to care for him. Pei returned to Harvard in the autumn of 1945, and received a position as assistant professor of design. The GSD was developing into a hub of resistance to the Beaux-Arts orthodoxy. At the center were members of the Bauhaus, a European architectural movement that had advanced the cause of modernist design. The Nazi regime had condemned the Bauhaus school, and its leaders left Germany. Two of these, Walter Gropius and Marcel Breuer, took positions at the Harvard GSD. Their iconoclastic focus on modern architecture appealed to Pei, and he worked closely with both men.長子貝定中 次子貝建中 三子貝禮中

1945年，盧愛玲生下長子貝定中。為了照顧兒子，盧愛玲退了學。這年秋天，貝聿銘返回哈佛大學工作，並被聘為設計學助理教授。那時的哈佛大學設計學院逐漸成為反抗學院派正統的中心。推動現代主義設計的歐洲建築運動包豪斯的一些成員當時就在設計學院工作。納粹德國不容忍包豪斯存在，包豪斯的領袖因而離開德國，其中瓦爾特·格羅佩斯（中文維基現用譯名並不接近德語發音）、馬塞爾·布勞耶加盟了哈佛大學設計學院。他們打破傳統的現代建築主張吸引了貝聿銘，貝聿銘與兩人合作緊密。

One of Pei's design projects at the GSD was a plan for an art museum in Shanghai. He wanted to create a mood of Chinese authenticity in the architecture without using traditional materials or styles. The design was based on straight modernist structures, organized around a central courtyard garden, with other similar natural settings arranged nearby. It was very well received; Gropius, in fact, called it "the best thing done in [my] master class". Pei received his M.Arch. degree in 1946, and taught at Harvard for another two years.

在哈佛大學設計學院期間，貝聿銘的設計工作之一是一座位於上海的藝術博物館（中文資料稱這是貝的碩士畢業設計）。他想在不使用傳統材料、樣式的條件下呈現出原汁原味的中式趣味。這項設計使用的完全是現代主義的結構，整個建築圍繞中心的花園庭院展開，附近也設置了類似的天然景觀。這項設計受到好評。格羅皮烏斯稱讚這件作品是他的碩士班上最好的一件。1946年，貝聿銘獲得建築學碩士學位，此後又在哈佛任教兩年。

建築師生涯 Career

1948–1956: 生涯早期，韋伯納普公司 1948–1956: early career with Webb and Knapp

In the spring of 1948 Pei was recruited by New York real estate magnate William Zeckendorf to join a staff of architects for his firm of Webb and Knapp to design buildings around the country. Pei found Zeckendorf's personality the opposite of his own; his new boss was known for his loud speech and gruff demeanor. Nevertheless, they became good friends and Pei found the experience personally enriching. Zeckendorf was well connected politically, and Pei enjoyed learning about the social world of New York's city planners.

1948年春，紐約地產大亨威廉·澤肯多夫聘請貝聿銘加入他的韋伯納普公司建築團隊，為美國各地設計建築。貝聿銘發現澤肯多夫的性格與他截然相反，澤肯多夫講話聲音很大、舉止粗魯。然而，兩人成了好朋友，貝聿銘感覺這段經歷很充實。澤肯多夫在政界有很多熟人。了解紐約城市規劃者的社交圈的過程給了貝聿銘很多樂趣。

His first project for Webb and Knapp was an apartment building with funding from the Housing Act of 1949. Pei's design was based on a circular tower with concentric rings. The areas closest to the supporting pillar handled utilities and circulation; the apartments themselves were located toward the outer edge. Zeckendorf loved the design and even showed it off to Le Corbusier when they met. The cost of such an unusual design was too high, however, and the building never moved beyond the model stage.

貝聿銘為韋伯納普公司製作的第一項設計是一座公寓建築，建築受1949年住宅法資助。貝聿銘的設計方案為一個圓形的高樓和數個同心的圓環。承重柱附近的空間佈置了通道和管線（公共設施utilities是水、煤氣、電線嗎？又不能譯成公用事業），公寓房間則安排在樓的外沿。澤肯多夫很喜歡這個方案，他與勒·柯布西耶見面時甚至還把這個設計拿給柯布西耶看。然而，這一非同尋常的設計所需的建設經費過於高昂，貝聿銘的設計方案僅僅停留在模型階段。

Pei's first project (1949)
131 Ponce de Leon Avenue, Atlanta

Pei finally saw his architecture come to life in 1949, when he designed a two-story corporate building for Gulf Oil in Atlanta, Georgia. The building was demolished in February 2013 although the front facade will be retained as part of an apartment development. His use of marble for the exterior curtain wall brought praise from the journal Architectural Forum. Pei's designs echoed the work of Mies van der Rohe in the beginning of his career as also shown in his own weekend-house in Katonah, New York in 1952. Soon Pei was so inundated with projects that he asked Zeckendorf for assistants, which he chose from his associates at the GSD, including Henry N. Cobb and Ulrich Franzen. They set to work on a variety of proposals, including the Roosevelt Field Shopping Mall. The team also redesigned the Webb and Knapp office building, transforming Zeckendorf's office into a circular space with teak walls and a glass clerestory. They also installed a control panel into the desk that allowed their boss to control the lighting in his office. The project took one year and exceeded its budget, but Zeckendorf was delighted with the results.

1949年，貝聿銘的設計方案頭一次得以付諸實施。那時，他設計了位於佐治亞州亞特蘭大的海灣石油公司辦公樓。這座建築在2013年2月被拆除，但是前立面被保留了下來用於之後公寓樓的建設。這座辦公樓有兩層。《建築論壇》（Architectural Forum）雜誌稱讚了貝聿銘在建築外幕牆上對大理石的使用。貝聿銘早期的設計令人想到路德維希·密斯·凡德羅的作品，1952年他為自己設計的位於紐約州卡托納的周末度假房也體現了這樣的風格。不久，貝聿銘的項目多到了難以應付的程度，他向澤肯多夫請求僱傭助手。貝聿銘挑選哈佛大學設計學院同事作為助手，包括亨利·N·柯布、烏爾里希·弗蘭岑。他們設計了很多項目，包括羅斯福菲爾德購物中心。貝聿銘的團隊還重新設計了韋伯納普公司的辦公樓，把澤肯多夫的辦公室改造成了裝有柚木牆和玻璃高側窗的圓形空間。他們還在澤肯多夫的桌上安裝了一塊控制面板，用來控制辦公室里的照明。這項計劃耗時一年，耗費的資金超出了預算，但澤肯多夫很滿意改造結果。

Pei wanted the open spaces and buildings of L'Enfant Plaza to be "functionally and visually related" to one another.

In 1952 Pei and his team began work on a series of projects in Denver, Colorado. The first of these was the Mile High Center, which compressed the core building into less than twenty-five percent of the total site; the rest is adorned with an exhibition hall and fountain-dotted plazas. One block away, Pei's team also redesigned Denver's Courthouse Square, which combined office spaces, commercial venues, and hotels. These projects helped Pei conceptualize architecture as part of the larger urban geography. "I learned the process of development," he said later, "and about the city as a living organism." These lessons, he said, became essential for later projects.

1952年，貝聿銘與他的團隊開始為丹佛設計一系列的項目。第一個項目是一英里高中心（Mile High Center），他們把核心建築壓縮到整片區域四分之一的範圍內，其餘部分則用展廳、有噴泉的廣場妝點着。與此相距一個街區的地方，貝聿銘的團隊重新設計了丹佛的法院廣場，將辦公空間、商業場所和賓館融合在一起。這些工程使得貝聿銘形成了一種觀念，也就是把建築作為城市地理的一部分。他後來說，他學到了開發土地的過程，還學到了將城市視為一個有機體。

Pei and his team also designed a united urban area for Washington, D.C., L'Enfant Plaza (named for French-American architect Pierre Charles L'Enfant). Pei's associate Araldo Cossutta was the lead architect for the plaza's North Building (955 L'Enfant Plaza SW) and South Building (490 L'Enfant Plaza SW). Vlastimil Koubek was the architect for the East Building (L'Enfant Plaza Hotel, located at 480 L'Enfant Plaza SW), and for the Center Building (475 L'Enfant Plaza SW; now the United States Postal Service headquarters). The team set out with a broad vision that was praised by both The Washington Post and Washington Star (which rarely agreed on anything), but funding problems forced revisions and a significant reduction in scale.皮埃爾·夏爾·朗方 阿拉爾多·科蘇塔 弗拉斯季米爾·庫貝克

貝聿銘和他的團隊還為華盛頓哥倫比亞特區設計了朗方廣場建築群。廣場以美籍法裔建築師皮埃爾·夏爾·朗方命名。貝聿銘的助手阿拉爾多·科蘇塔擔任廣場北樓（朗方廣場西南955號，955 L'Enfant Plaza SW）和南樓（朗方廣場西南490號，490 L'Enfant Plaza SW）的首席建築師，弗拉斯季米爾·庫貝克則擔任東樓（朗方廣場酒店，地址為朗方廣場西南480號，480 L'Enfant Plaza SW）和中樓（後來用作美國郵政署總部，地址為朗方廣場西南475號，475 L'Enfant Plaza SW）的設計師。貝聿銘團隊的遠見（不會真是說視野開闊吧？查下原書）得到了《華盛頓郵報》和一貫挑剔的《華盛頓明星報》的稱讚。然而，由於資金問題，建築設計不得不進行修改，建築的規模也只好大幅縮水。

In 1955 Pei's group took a step toward institutional independence from Webb and Knapp by establishing a new firm called I. M. Pei & Associates. (The name changed later to I. M. Pei & Partners.) They gained the freedom to work with other companies, but continued working primarily with Zeckendorf. The new firm distinguished itself through the use of detailed architectural models. They took on the Kips Bay residential area on the east side of Manhattan, where Pei set up Kips Bay Towers, two large long towers of apartments with recessed windows (to provide shade and privacy) in a neat grid, adorned with rows of trees. Pei involved himself in the construction process at Kips Bay, even inspecting the bags of concrete to check for consistency of color.

1955年，貝聿銘的團隊成立了名叫「貝聿銘與同事們」（I. M. Pei & Associates）的公司，邁出了從韋伯納普公司獨立的一步。公司後來改名為貝聿銘與合伙人（I. M. Pei & Partners）。他們可以自由同其他公司合作，不過仍然以與澤肯多夫合作為主。他們的新公司因複雜精細的建築模型而獨樹一幟。他們承擔了曼哈頓東部的基普斯灣住宅區工程。在這裏，貝聿銘設計了基普斯灣塔，這是兩幢又大又長的公寓塔樓。外牆整齊的格子裏裝有凹窗，既能遮陽又能提供私密空間（凹窗譯法對嗎？真有這個功效嗎？）。建築區內還栽着幾列樹。貝聿銘親自參與了基普斯灣的建設工程，他甚至檢查一袋袋的混凝土以確保其顏色一致。

The company continued its urban focus with the Society Hill project in central Philadelphia. Pei designed the Society Hill Towers, a three-building residential block injecting cubist design into the 18th-century milieu of the neighborhood. As with previous projects, abundant green spaces were central to Pei's vision, which also added traditional townhouses to aid the transition from classical to modern design.

公司繼續以都市建設為中心，參與了費城中心的協會山工程（就別譯社會山了）。貝聿銘設計了協會山塔。協會山塔由三座住宅樓組成，設計上將立體派風格融入到周邊的18世紀建築中。與貝聿銘之前的工程一樣，協會山塔也有大量的綠地。為了讓從傳統設計向現代設計的過渡更為自然，他還增添了一些連排屋。

From 1958 to 1963 Pei and Ray Affleck developed a key downtown block of Montreal in a phased process that involved one of Pei's most admired structures in the Commonwealth, the cruciform tower known as the Royal Bank Plaza (Place Ville Marie). According to the Canadian Encyclopedia "its grand plaza and lower office buildings, designed by internationally famous US architect I. M. Pei, helped to set new standards for architecture in Canada in the 1960s ... The tower's smooth aluminum and glass surface and crisp unadorned geometric form demonstrate Pei's adherence to the mainstream of 20th-century modern design."

1958年至1963年間，貝聿銘同拉伊·阿弗萊克在蒙特利爾市中心分階段開發了一個重要的街區。其中包括貝聿銘在整個英聯邦里最受歡迎的建築之一皇家銀行大廈（後改名為瑪麗城廣場）。這是一座平面為十字形的大樓。《加拿大百科全書》稱，「知名美國建築師貝聿銘設計的宏偉的廣場與低處的辦公建築為1960年代的加拿大設立了建築的新標杆……大樓光滑的鋁質與玻璃質表面、清爽而無裝飾的幾何外形體現了貝聿銘對20世紀現代設計主流風格的尊崇」。

Although these projects were satisfying, Pei wanted to establish an independent name for himself. In 1959 he was approached by MIT to design a building for its Earth science program. The Green Building continued the grid design of Kips Bay and Society Hill. The pedestrian walkway at the ground floor, however, was prone to sudden gusts of wind, which embarrassed Pei. "Here I was from MIT," he said, "and I didn't know about wind-tunnel effects." At the same time, he designed the Luce Memorial Chapel in at Tunghai University in Taichung, Taiwan. The soaring structure, commissioned by the same organisation that had run his middle school in Shanghai, broke severely from the cubist grid patterns of his urban projects.

儘管這些工程已經令人滿意，但貝聿銘還希望為自己建立獨立的名聲。1959年，麻省理工大學請他為學校的地球科學項目設計一幢大樓。他為麻省理工大學設立的綠樓延續了他在基普斯灣和協會山的網格設計。然而，綠樓底層的通道卻易受狂風吹襲，使樓門在大風天裏無法開啟。（此處需補充參考資料。或許可以配圖）這讓貝聿銘非常尷尬。他說，「我是麻省理工大學畢業的，可我卻不知道風洞效應」。最終，校方拆下了綠樓的大門，將底層空間改為開放式的景框（補充來源）。大約與此同時，他為台灣臺中市東海大學設計了路思義教堂。路思義教堂與貝聿銘少時在上海就讀的聖約翰中學由同一組織開辦。這座教堂高聳的結構與貝聿銘在城市建築中的立體派網格設計大不相同。

The challenge of coordinating these projects took an artistic toll on Pei. He found himself responsible for acquiring new building contracts and supervising the plans for them. As a result, he felt disconnected from the actual creative work. "Design is something you have to put your hand to," he said. "While my people had the luxury of doing one job at a time, I had to keep track of the whole enterprise." Pei's dissatisfaction reached its peak at a time when financial problems began plaguing Zeckendorf's firm. I. M. Pei and Associates officially broke from Webb and Knapp in 1960, which benefited Pei creatively but pained him personally. He had developed a close friendship with Zeckendorf, and both men were sad to part ways.

協調這些工程的挑戰讓貝聿銘付出了藝術上的代價。他發現自己既需要想方設法為公司贏得新的建設合同，又要管理這些項目的設計。結果是，他覺得自己離開了真正創造性的工作。「設計是件必須親手做的事情」，他說道，「當我的人可以奢侈地同時只做一件事的時候，我卻得盯着整個公司」。當澤肯多夫的公司受到財務問題困擾時，貝聿銘的不滿達到了頂峰。1960年，「貝聿銘與同事們」公司正式同韋伯納普公司分家。這雖然對貝聿銘的創作有利，但是也讓他感到難過。數年來，他與澤肯多夫結下了深厚的友誼。兩人都因離別而傷心。

Pei said he wanted the Mesa Laboratory of the National Center for Atmospheric Research to look "as if it were carved out of the mountain".

國家大氣研究中心與相關工程 NCAR and related projects

Pei was able to return to hands-on design when he was approached in 1961 by Walter Orr Roberts to design the new Mesa Laboratory for the National Center for Atmospheric Research outside Boulder, Colorado. The project differed from Pei's earlier urban work; it would rest in an open area in the foothills of the Rocky Mountains. He drove with his wife around the region, visiting assorted buildings and surveying the natural environs. He was impressed by the United States Air Force Academy in Colorado Springs, but felt it was "detached from nature".

1961年，沃爾特·奧爾·羅伯茨邀請貝聿銘為國家大氣研究中心設計新建梅薩實驗室。項目地點位於科羅拉多州波德城外。貝聿銘得以重新親手從事設計。這項工程與貝聿銘此前設計的都市建築不同，梅薩實驗室建在洛磯山脈腳下的開闊空間中。貝聿銘與妻子驅車在附近考查了各種各樣的建築，也調查了附近的自然環境。位於科羅拉多斯普林斯的美國空軍學院建築給他留下了深刻的印象，但是貝聿銘覺得這座建築脫離了這裏的自然環境。

The conceptualization stages were important for Pei, presenting a need and an opportunity to break from the Bauhaus tradition. He later recalled the long periods of time he spent in the area: "I recalled the places I had seen with my mother when I was a little boy—the mountaintop Buddhist retreats. There in the Colorado mountains, I tried to listen to the silence again—just as my mother had taught me. The investigation of the place became a kind of religious experience for me."

對貝聿銘而言，概念設計是一個重要階段。一方面，這個項目有必要打破包豪斯的傳統，另一方面這也是突破包豪斯傳統的機會。後來，他回憶起在這一帶度過的漫長時光：「我想起了小時候和母親一起去過的地方——山頂的佛教禪修所。在科羅拉多山里，我試着再次聆聽靜默——就像母親以前教我的那樣。於我而言，對這個地方的調查變成了一種宗教體驗。」

Pei also drew inspiration from the Mesa Verde cliff dwellings of the Ancient Pueblo Peoples; he wanted the buildings to exist in harmony with their natural surroundings. To this end, he called for a rock-treatment process that could color the buildings to match the nearby mountains. He also set the complex back on the mesa overlooking the city, and designed the approaching road to be long, winding, and indirect.

貝聿銘也從古普埃布洛人在梅薩維德的崖居那裏獲得了靈感。他想讓這座建築與其自然環境和諧共生。為此，他增加了石材處理環節，讓建築物的顏色同附近的山岩相配。他將建築群設置在山的平頂上，俯瞰着城市。通往建築的路設計得長而迂迴。

Roberts disliked Pei's initial designs, referring to them as "just a bunch of towers". Roberts intended his comments as typical of scientific experimentation, rather than artistic critique; still, Pei was frustrated. His second attempt, however, fit Roberts' vision perfectly: a spaced-out series of clustered buildings, joined by lower structures and complemented by two underground levels. The complex uses many elements of cubist design, and the walkways are arranged to increase the probability of casual encounters among colleagues.

As with NCAR, Pei combined elements of cubism and natural harmony when designing the dormitories at New College of Florida in the mid-1960s.

Once the laboratory was built, several problems with its construction became apparent. Leaks in the roof caused difficulties for researchers, and the shifting of clay soil beneath caused cracks in the buildings which were expensive to repair. Still, both architect and project manager were pleased with the final result. Pei refers to the NCAR complex as his "breakout building", and he remained a friend of Roberts until the scientist died in March 1990.

實驗室剛剛完工，建設時的一些問題就暴露了出來。屋頂的漏洞給研究人員帶來了麻煩。建築下面粘土的滑動造成樓體裂縫，維修費用昂貴。然而，貝聿銘和項目經理都很滿意最終的結果。貝聿銘把這一建築群稱作他的突破之作。他與羅伯茨的友誼一直延續，直到後者在1990年3月離世。

The success of NCAR brought renewed attention to Pei's design acumen. He was recruited to work on a variety of projects, including the S. I. Newhouse School of Public Communications at Syracuse University, the Everson Museum of Art in Syracuse, NY, the Sundrome terminal at John F. Kennedy International Airport in New York City, and dormitories at New College of Florida.

國家大氣研究中心項目取得成功，使得貝聿銘的設計才華再次引起了關注。他受聘設計了諸多建築，包括雪城大學紐豪斯公共傳播學院、紐約州錫拉丘茲（需補充字詞轉換）的伊弗森美術館、紐約市約翰·甘迺迪國際機場6號航站樓、佛羅里達新學院宿舍樓等。

甘迺迪圖書館 Kennedy Library

After President John F. Kennedy was assassinated in November 1963, his family and friends discussed how to construct a library that would serve as a fitting memorial. A committee was formed to advise Kennedy's widow Jacqueline, who would make the final decision. The group deliberated for months and considered many famous architects. Eventually, Kennedy chose Pei to design the library, based on two considerations. First, she appreciated the variety of ideas he had used for earlier projects. "He didn't seem to have just one way to solve a problem," she said. "He seemed to approach each commission thinking only of it and then develop a way to make something beautiful." Ultimately, however, Kennedy made her choice based on her personal connection with Pei. Calling it "really an emotional decision", she explained: "He was so full of promise, like Jack; they were born in the same year. I decided it would be fun to take a great leap with him."

1963年11月，美國總統約翰·甘迺迪遇刺。為了紀念甘迺迪，他的家人朋友討論了建設一座圖書館的方案。為此，他們成立了一個委員會，為甘迺迪遺孀傑奎琳·甘迺迪擔任顧問，最終的決定權在傑奎琳手中。他們仔細考慮了好幾個月，想到了很多知名建築師。最後，傑奎琳·甘迺迪選擇了貝聿銘。這有兩方面的考慮。一方面，傑奎琳很欣賞貝聿銘之前作品裏豐富多樣的方案。傑奎琳曾說，貝聿銘解決問題並不只有一種方案，他受託設計建築時心裏只想着這一件事，然後就能想出美麗的方案（真彆扭）。然而，傑奎琳選擇貝聿銘的原因根本上是因為二人的私交。她把這稱作一個感性的決定。她解釋說，貝聿銘前途無量，就像她的丈夫一樣；貝聿銘和約翰·甘迺迪恰巧出生在同一年。她說，與貝聿銘一起向前邁出一大步會很有趣。（譯得真爛）

The project was plagued with problems from the outset. The first was scope. President Kennedy had begun considering the structure of his library soon after taking office, and he wanted to include archives from his administration, a museum of personal items, and a political science institute. After the assassination, the list expanded to include a fitting memorial tribute to the slain president. The variety of necessary inclusions complicated the design process and caused significant delays.

這項工程一開始就遇到了困難。第一個麻煩是這座建築要承擔的功能較多。甘迺迪就任總統不久就開始設想他的圖書館的結構。他希望圖書館存放他的政府的檔案，要有一個私人物品的博物館，還要有一個政治學研究所。肯雅遇刺之後，圖書館的功能又加了一條：紀念遇害的甘迺迪總統。建築囊括的內容多種多樣，使得設計過程複雜起來，嚴重延誤了進度。

Pei considered the John F. Kennedy Library "the most important commission" in his life.

Pei's first proposed design included a large glass pyramid that would fill the interior with sunlight, meant to represent the optimism and hope that Kennedy's administration had symbolized for so many in the US. Mrs. Kennedy liked the design, but resistance began in Cambridge, the first proposed site for the building, as soon as the project was announced. Many community members worried that the library would become a tourist attraction, causing particular problems with traffic congestion. Others worried that the design would clash with the architectural feel of nearby Harvard Square. By the mid-70s, Pei tried proposing a new design, but the library's opponents resisted every effort. These events pained Pei, who had sent all three of his sons to Harvard, and although he rarely discussed his frustration, it was evident to his wife. "I could tell how tired he was by the way he opened the door at the end of the day," she said. "His footsteps were dragging. It was very hard for I. M. to see that so many people didn't want the building."

貝聿銘最開始計劃為圖書館修建一座很大的玻璃金字塔，既讓太陽光照亮內部空間，又代表着樂觀與希望。對很多美國人而言，甘迺迪政府正是象徵着樂觀和希望。甘迺迪夫人喜歡這個設計。然而，這時劍橋市民開始抵製圖書館項目。甘迺迪圖書館計劃出台時，就將建設地點選在了馬薩諸塞州的劍橋市。劍橋市的很多居民擔心圖書館會成為一個旅遊景點，由此引發交通擁堵問題。還有人擔心這座建築的設計會破壞附近哈佛廣場的建築氣氛。70年代中期，貝聿銘嘗試改用新的設計方案，但是反對者們毫不讓步。貝聿銘的三個兒子都在哈佛大學讀書。這些反對意見深深地困擾着他。儘管他很少談及那段日子裏的沮喪心情，但他的妻子卻清楚地看到了他的真實心境。她說，他開門的動作充滿疲憊感，步履沉重;這麼多人不喜歡這座建築，讓他倍感艱難。

Finally the project moved to Columbia Point, near the University of Massachusetts Boston. The new site was less than ideal; it was located on an old landfill, and just over a large sewage pipe. Pei's architectural team added more fill to cover the pipe and developed an elaborate ventilation system to conquer the odor. A new design was unveiled, combining a large square glass-enclosed atrium with a triangular tower and a circular walkway.

最終，甘迺迪圖書館的地點改到麻州大學波士頓分校附近的哥倫比亞角。這並不是一個理想的地點。圖書館的位置原先是一座垃圾填埋場，圖書館正下方有一個很粗的下水管道。貝聿銘的建築團隊做了更多的填埋，以把下水管遮起來;他們還設計了複雜的通風系統，以解決臭氣問題。圖書館採用了全新的設計方案，有一個方形的中庭、三角形塔樓和環形的步道。

The John F. Kennedy Presidential Library and Museum was dedicated on 20 October 1979. Critics generally liked the finished building, but the architect himself was unsatisfied. The years of conflict and compromise had changed the nature of the design, and Pei felt that the final result lacked its original passion. "I wanted to give something very special to the memory of President Kennedy," he said in 2000. "It could and should have been a great project." Pei's work on the Kennedy project boosted his reputation as an architect of note.

1979年10月20日，甘迺迪總統圖書館暨博物館舉行了落成典禮。評論家們大體上喜歡這座建築，但是貝聿銘自己並不滿意。多年的爭執和妥協已經改變了設計的本質，貝聿銘覺得最終的結果完全失去了原來的激情。他在2000年時說道，他本想用特別的設計來紀念甘迺迪，圖書館本來可以成為一項偉大的工程，而且也應該成為一項偉大的工程。（可能還是該意譯，或者拿掉，或者用其他資料代替？）

"Pei Plan" in Oklahoma City

主條目：Pei Plan

The Pei Plan was a failed urban redevelopment initiative designed for downtown Oklahoma City, Oklahoma, in the 1960s and 1970s. It is the informal name for two related commissions by Pei – namely the Central Business District General Neighborhood Renewal Plan (design completed 1964) and the Central Business District Project I-A Development Plan (design completed 1966). It was formally adopted in 1965, and implemented in various public and private phases throughout the 1960s and 1970s.

The plan called for the demolition of hundreds of old downtown structures in favor of renewed parking, office building, and retail developments, in addition to public projects such as the Myriad Convention Center and the Myriad Botanical Gardens. It was the dominant template for downtown development in Oklahoma City from its inception through the 1970s. The plan generated mixed results and opinion, largely succeeding in re-developing office building and parking infrastructure but failing to attract its anticipated retail and residential development. Significant public resentment also developed as a result of the destruction of multiple historic structures. As a result, Oklahoma City's leadership avoided large-scale urban planning for downtown throughout the 1980s and early 1990s, until the passage of the Metropolitan Area Projects (MAPS) initiative in 1993.

Providence's Cathedral Square

Providence's Cathedral Square, modeled after the Greek Agora marketplace

Another city which turned to Pei for urban renewal during this time was Providence, Rhode Island. In the late 1960s, Providence hired Pei to redesign Cathedral Square, a once-bustling civic center which had become neglected and empty, as part of an ambitious larger plan to redesign downtown. Pei's new plaza, modeled after the Greek Agora marketplace, opened in 1972. Unfortunately, the city ran out of money before Pei's vision could be fully realized. Also, recent construction of a low-income housing complex and Interstate 95 had changed the neighborhood's character permanently. In 1974, The Providence Evening Bulletin called Pei's new plaza a "conspicuous failure." By 2016, media reports characterized the plaza as a neglected, little-visited "hidden gem".

Augusta, Georgia

The distinctive modern pyramid shaped penthouse, designed by Pei, that was added to the top of the historic Lamar Building in 1976.

In 1974, the city of Augusta, Georgia turned to Pei and his firm for downtown revitalization. From the plan, the Chamber of Commence building and Bicentennial Park, were completed. In 1976, Pei designed a distinctive modern penthouse, that was added to the roof of architect William Lee Stoddart's historic Lamar Building, designed in 1916. The penthouse is a modern take on a pyramid, predating Pei's more famous Louvre Pyramid. It has been criticized by architectural critic James Howard Kunstler as an "Eyesore of the Month" with him comparing it to Darth Vader's helmet. In 1980, he and his company designed the Augusta Civic Center, now known as the James Brown Arena.

Dallas City Hall

Pei wanted his design for Dallas City Hall to "convey an image of the people".

Kennedy's assassination led indirectly to another commission for Pei's firm. In 1964 the acting mayor, Erik Jonsson, began working to change the community's image. Dallas was known and disliked as the city where the president had been killed, but Jonsson began a program designed to initiate a community renewal. One of the goals was a new city hall, which could be a "symbol of the people". Jonsson, a co-founder of Texas Instruments, learned about Pei from his associate Cecil Howard Green, who had recruited the architect for MIT's Earth Sciences building.

Pei's approach to the new Dallas City Hall mirrored those of other projects; he surveyed the surrounding area and worked to make the building fit. In the case of Dallas, he spent days meeting with residents of the city and was impressed by their civic pride. He also found that the skyscrapers of the downtown business district dominated the skyline, and sought to create a building which could face the tall buildings and represent the importance of the public sector. He spoke of creating "a public-private dialogue with the commercial high-rises".

Working with his associate Theodore Musho, Pei developed a design centered on a building with a top much wider than the bottom; the facade leans at an angle of 34 degrees, which shades the building from the Texas sun. A plaza stretches out before the building, and a series of support columns holds it up. It was influenced by Le Corbusier's High Court building in Chandigarh, India; Pei sought to use the significant overhang to unify building and plaza. The project cost much more than initially expected, and took 11 years. Revenue was secured in part by including a subterranean parking garage. The interior of the city hall is large and spacious; windows in the ceiling above the eighth floor fill the main space with light.

The disastrous failure of windows on the Hancock Tower required replacing them with plywood; some called it "the world's tallest wood building".

The city of Dallas received the building well, and a local television news crew found unanimous approval of the new city hall when it officially opened to the public in 1978. Pei himself considered the project a success, even as he worried about the arrangement of its elements. He said: "It's perhaps stronger than I would have liked; it's got more strength than finesse." He felt that his relative lack of experience left him without the necessary design tools to refine his vision, but the community liked the city hall enough to invite him back. Over the years he went on to design five additional buildings in the Dallas area.

波士頓漢考克大廈 Hancock Tower, Boston

While Pei and Musho were coordinating the Dallas project, their associate Henry Cobb had taken the helm for a commission in Boston. John Hancock Insurance chairman Robert Slater hired I. M. Pei & Partners to design a building that could overshadow the Prudential Tower, erected by their rival.

貝聿銘與穆紹忙於協調達拉斯的工程，而他們的同事亨利·N·柯布在波士頓受託設計一個新的項目。恆康保險公司主席羅伯特·斯萊特聘請貝聿銘與合伙人設計所建造一座新的大樓，以超越競爭對手保德信的保德信大廈。（似應譯為普天壽或保德信大廈，此Prudential非彼Prudential！）

After the firm's first plan was discarded due to a need for more office space, Cobb developed a new plan around a towering parallelogram, slanted away from the Trinity Church and accented by a wedge cut into each narrow side. To minimize the visual impact, the building was covered in large reflective glass panels; Cobb said this would make the building a "background and foil" to the older structures around it. When the Hancock Tower was finished in 1976, it was the tallest building in New England.

公司設計的第一版方案由於辦公空間不足而被拋棄。柯佈設計的新方案是一座平行四邊形的高樓（看衛星圖似乎說的是平面呈平行四邊形，待查對參考資料），沿着遠離三一堂 (波士頓)波士頓三一堂的方向傾斜（莫名其妙，是說平面的平行四邊形傾斜還是說立面傾斜？），大樓較窄的兩個面各有一個楔形的槽。為了儘量減小視覺衝擊，大樓外面覆蓋着大塊的反光玻璃板。柯布說，這可以讓大樓成為附近老建築的背景和陪襯。1976年，約翰·漢考克大廈建成，成為當時新英格蘭地區最高的建築。

Herbert F. Johnson Museum of Art, Cornell University

Serious issues of execution became evident in the tower almost immediately. Many glass panels fractured in a windstorm during construction in 1973. Some detached and fell to the ground, causing no injuries but sparking concern among Boston residents. In response, the entire tower was reglazed with smaller panels. This significantly increased the cost of the project. Hancock sued the glass manufacturers, Libbey-Owens-Ford, as well as I. M. Pei & Partners, for submitting plans that were "not good and workmanlike". LOF countersued Hancock for defamation, accusing Pei's firm of poor use of their materials; I. M. Pei & Partners sued LOF in return. All three companies settled out of court in 1981.

工程剛剛開始，施工上的嚴重問題就暴露了出來。1973年，大樓建設過程遭遇風暴，很多玻璃板破裂。有些玻璃板脫落、下墜到了地面，雖然沒有造成人員傷亡，但是引發了波士頓居民的憂慮。為此，整座大樓全部改用更小的玻璃板。整個工程的造價急劇增加。恆康保險將玻璃製造商利比-歐文斯-福特、貝聿銘與合伙人設計所告上法庭。恆康保險起訴貝聿銘的公司提交「不好、技藝純熟卻無新意的方案」（不知怎麼譯）。利比-歐文斯-福特反告恆康保險誹謗，還起訴貝聿銘的設計所使用玻璃產品方法不當。貝聿銘與合伙人設計所也將利比-歐文斯-福特告上法庭。1981年，三家公司達成庭外和解。

The project became an albatross for Pei's firm. Pei himself refused to discuss it for many years. The pace of new commissions slowed and the firm's architects began looking overseas for opportunities. Cobb worked in Australia and Pei took on jobs in Singapore, Iran, and Kuwait. Although it was a difficult time for everyone involved, Pei later reflected with patience on the experience. "Going through this trial toughened us," he said. "It helped to cement us as partners; we did not give up on each other."

漢考克大廈最終成為貝聿銘與合伙人設計所的污點。貝聿銘很多年來都不願說起漢考克大廈工程。設計所接到的業務減少，公司的建築師開始到海外尋找機會。柯布在澳大利亞攬活，而貝聿銘則在新加坡、伊朗、科威特做了一些設計。後來，貝聿銘回憶起這段日子裏大家的忍耐力，他說，「這場磨鍊使得我們更加堅韌，鞏固了我們合伙人的關係，我們誰也沒有拋棄誰」。（還是不想譯直接引語）

National Gallery East Building, Washington, DC

Time magazine headlined its review of Pei's design for the East Building "Masterpiece on the Mall".

In the mid-1960s, directors of the National Gallery of Art in Washington, D.C., declared the need for a new building. Paul Mellon, a primary benefactor of the gallery and a member of its building committee, set to work with his assistant J. Carter Brown (who became gallery director in 1969) to find an architect. The new structure would be located to the east of the original building, and tasked with two functions: offer a large space for public appreciation of various popular collections; and house office space as well as archives for scholarship and research. They likened the scope of the new facility to the Library of Alexandria. After inspecting Pei's work at the Des Moines Art Center in Iowa and the Johnson Museum at Cornell University, they offered him the commission.

Pei took to the project with vigor, and set to work with two young architects he had recently recruited to the firm, William Pedersen and Yann Weymouth. Their first obstacle was the unusual shape of the building site, a trapezoid of land at the intersection of Constitution and Pennsylvania Avenues. Inspiration struck Pei in 1968, when he scrawled a rough diagram of two triangles on a scrap of paper. The larger building would be the public gallery; the smaller would house offices and archives. This triangular shape became a singular vision for the architect. As the date for groundbreaking approached, Pedersen suggested to his boss that a slightly different approach would make construction easier. Pei simply smiled and said: "No compromises."

The growing popularity of art museums presented unique challenges to the architecture. Mellon and Pei both expected large crowds of people to visit the new building, and they planned accordingly. To this end, he designed a large lobby roofed with enormous skylights. Individual galleries are located along the periphery, allowing visitors to return after viewing each exhibit to the spacious main room. A large mobile sculpture by American artist Alexander Calder was later added to the lobby. Pei hoped the lobby would be exciting to the public in the same way as the central room of the Guggenheim Museum in New York. The modern museum, he said later, "must pay greater attention to its educational responsibility, especially to the young".

Critic Richard Hennessy complained in Artforum about the East Building's "shocking fun-house atmosphere".

Materials for the building's exterior were chosen with careful precision. To match the look and texture of the original gallery's marble walls, builders re-opened the quarry in Knoxville, Tennessee, from which the first batch of stone had been harvested. The project even found and hired Malcolm Rice, a quarry supervisor who had overseen the original 1941 gallery project. The marble was cut into three-inch-thick blocks and arranged over the concrete foundation, with darker blocks at the bottom and lighter blocks on top.

The East Building was honored on 30 May 1978, two days before its public unveiling, with a black-tie party attended by celebrities, politicians, benefactors, and artists. When the building opened, popular opinion was enthusiastic. Large crowds visited the new museum, and critics generally voiced their approval. Ada Louise Huxtable wrote in The New York Times that Pei's building was "a palatial statement of the creative accommodation of contemporary art and architecture". The sharp angle of the smaller building has been a particular note of praise for the public; over the years it has become stained and worn from the hands of visitors.

Some critics disliked the unusual design, however, and criticized the reliance on triangles throughout the building. Others took issue with the large main lobby, particularly its attempt to lure casual visitors. In his review for Artforum, critic Richard Hennessy described a "shocking fun-house atmosphere" and "aura of ancient Roman patronage". One of the earliest and most vocal critics, however, came to appreciate the new gallery once he saw it in person. Allan Greenberg had scorned the design when it was first unveiled, but wrote later to J. Carter Brown: "I am forced to admit that you are right and I was wrong! The building is a masterpiece."

北京香山飯店 Fragrant Hills, China

After US President Richard Nixon made his famous 1972 visit to China, a wave of exchanges took place between the two countries. One of these was a delegation of the American Institute of Architects in 1974, which Pei joined. It was his first trip back to China since leaving in 1935. He was favorably received, returned the welcome with positive comments, and a series of lectures ensued. Pei noted in one lecture that since the 1950s Chinese architects had been content to imitate Western styles; he urged his audience in one lecture to search China's native traditions for inspiration.

1972年美國總統理查德·尼克遜訪問中國後，中美兩國展開了一系列的交流活動。活動之一是1974年美國建築師學會代表團訪問中國，貝聿銘是成員之一。這是他在1935年離開中國之後第一次踏上故土。他受到了熱烈的歡迎。（returned the welcome with positive comments 積極評價了中國的發展？？）在中國，他開展了數場講座。其中一場講座上，貝聿銘提到，1950年代起中國建築師只滿足於模仿西方風格。另一場講座上，他呼籲聽眾從中國傳統中尋找設計靈感。

Pei was surprised by public resistance to his traditional design of the hotel at Fragrant Hills in China. "Many people thought I was being reactionary," he said.

In 1978, Pei was asked to initiate a project for his home country. After surveying a number of different locations, Pei fell in love with a valley that had once served as an imperial garden and hunting preserve known as Fragrant Hills. The site housed a decrepit hotel; Pei was invited to tear it down and build a new one. As usual, he approached the project by carefully considering the context and purpose. Likewise, he considered modernist styles inappropriate for the setting. Thus, he said, it was necessary to find "a third way".

1978年，貝聿銘受邀為中國設計一項工程。在多個地點考察之後，貝聿銘看上了北京西郊的香山。香山曾是皇家園林。香山有一座破舊的賓館，貝聿銘受邀將其拆除、原址新建一座酒店。秉承了他的一貫做法，貝聿銘在設計前認真地考慮了工程的背景和目標。同樣，他也考慮到現代主義的風格與此地格格不入。他說，有必要尋找「第三條道路」。（原文似乎欠缺條理，查一下引用資料）

After visiting his ancestral home in Suzhou, Pei created a design based on some simple but nuanced techniques he admired in traditional residential Chinese buildings. Among these were abundant gardens, integration with nature, and consideration of the relationship between enclosure and opening. Pei's design included a large central atrium covered by glass panels that functioned much like the large central space in his East Building of the National Gallery. Openings of various shapes in walls invited guests to view the natural scenery beyond. Younger Chinese who had hoped the building would exhibit some of Cubist flavor for which Pei had become known were disappointed, but the new hotel found more favour with government officials and architects.

The hotel, with 325 guest rooms and a four-story central atrium, was designed to fit perfectly into its natural habitat. The trees in the area were of special concern, and particular care was taken to cut down as few as possible. He worked with an expert from Suzhou to preserve and renovate a water maze from the original hotel, one of only five in the country. Pei was also meticulous about the arrangement of items in the garden behind the hotel; he even insisted on transporting 230短噸（210公噸） of rocks from a location in southwest China to suit the natural aesthetic. An associate of Pei's said later that he never saw the architect so involved in a project.

During construction, a series of mistakes collided with the nation's lack of technology to strain relations between architects and builders. Whereas 200 or so workers might have been used for a similar building in the US, the Fragrant Hill project employed over 3,000 workers. This was mostly because the construction company lacked the sophisticated machines used in other parts of the world. The problems continued for months, until Pei had an uncharacteristically emotional moment during a meeting with Chinese officials. He later explained that his actions included "shouting and pounding the table" in frustration. The design staff noticed a difference in the manner of work among the crew after the meeting. As the opening neared, however, Pei found the hotel still needed work. He began scrubbing floors with his wife and ordered his children to make beds and vacuum floors. The project's difficulties took an emotional and physical strain on the Pei family.

Pei said of the Jacob K. Javits Convention Center: "The complications exceeded even my expectations."

The Fragrant Hill Hotel opened on 17 October 1982 but quickly fell into disrepair. A member of Pei's staff returned for a visit several years later and confirmed the dilapidated condition of the hotel. He and Pei attributed this to the country's general unfamiliarity with deluxe buildings. The Chinese architectural community at the time gave the structure little attention, as their interest at the time centered on the work of American postmodernists such as Michael Graves.

Javits Convention Center, New York

As the Fragrant Hill project neared completion, Pei began work on the Jacob K. Javits Convention Center in New York City, for which his associate James Freed served as lead designer. Hoping to create a vibrant community institution in what was then a run-down neighborhood on Manhattan's west side, Freed developed a glass-coated structure with an intricate space frame of interconnected metal rods and spheres.

The convention center was plagued from the start by budget problems and construction blunders. City regulations forbid a general contractor having final authority over the project, so architects and program manager Richard Kahan had to coordinate the wide array of builders, plumbers, electricians, and other workers. The forged steel globes to be used in the space frame came to the site with hairline cracks and other defects; 12,000 were rejected. These and other problems led to media comparisons with the disastrous Hancock Tower. One New York City official blamed Kahan for the difficulties, indicating that the building's architectural flourishes were responsible for delays and financial crises. The Javits Center opened on 3 April 1986, to a generally positive reception. During the inauguration ceremonies, however, neither Freed nor Pei was recognized for their role in the project.

Le Grand Louvre, Paris

主條目：Louvre Pyramid

Pei was acutely aware, as he said, that "the history of Paris was embedded in the stones of the Louvre."

When François Mitterrand was elected President of France in 1981, he laid out an ambitious plan for a variety of construction projects. One of these was the renovation of the Louvre Museum. Mitterrand appointed a civil servant named Émile Biasini to oversee it. After visiting museums in Europe and the United States, including the US National Gallery, he asked Pei to join the team. The architect made three secretive trips to Paris, to determine the feasibility of the project; only one museum employee knew why he was there. Pei finally agreed that a reconstruction project was not only possible, but necessary for the future of the museum. He thus became the first foreign architect to work on the Louvre.

The heart of the new design included not only a renovation of the Cour Napoléon in the midst of the buildings, but also a transformation of the interiors. Pei proposed a central entrance, not unlike the lobby of the National Gallery East Building, which would link the three major buildings. Below would be a complex of additional floors for research, storage, and maintenance purposes. At the center of the courtyard he designed a glass and steel pyramid, first proposed with the Kennedy Library, to serve as entrance and anteroom skylight. It was mirrored by another inverted pyramid underneath, to reflect sunlight into the room. These designs were partly an homage to the fastidious geometry of the famous French landscape architect André Le Nôtre (1613–1700). Pei also found the pyramid shape best suited for stable transparency, and considered it "most compatible with the architecture of the Louvre, especially with the faceted planes of its roofs".

Biasini and Mitterrand liked the plans, but the scope of the renovation displeased Louvre director André Chabaud. He resigned from his post, complaining that the project was "unfeasible" and posed "architectural risks". The public also reacted harshly to the design, mostly because of the proposed pyramid. One critic called it a "gigantic, ruinous gadget"; another charged Mitterrand with "despotism" for inflicting Paris with the "atrocity". Pei estimated that 90 percent of Parisians opposed his design. "I received many angry glances in the streets of Paris," he said. Some condemnations carried nationalistic overtones. One opponent wrote: "I am surprised that one would go looking for a Chinese architect in America to deal with the historic heart of the capital of France."

Pei decided that a pyramid was "most compatible" with the other structures at the Louvre, complementing their roofs' faceted planes.

Soon, however, Pei and his team won the support of several key cultural icons, including the conductor Pierre Boulez and Claude Pompidou, widow of former French President Georges Pompidou, after whom another controversial museum was named. In an attempt to soothe public ire, Pei took a suggestion from then-mayor of Paris Jacques Chirac and placed a full-sized cable model of the pyramid in the courtyard. During the four days of its exhibition, an estimated 60,000 people visited the site. Some critics eased their opposition after witnessing the proposed scale of the pyramid.

To minimize the impact of the structure, Pei demanded a method of glass production that resulted in clear panes. The pyramid was constructed at the same time as the subterranean levels below, which caused difficulties during the building stages. As they worked, construction teams came upon an abandoned set of rooms containing 25,000 historical items; these were incorporated into the rest of the structure to add a new exhibition zone. The new Louvre courtyard was opened to the public on 14 October 1988, and the Pyramid entrance was opened the following March. By this time, public opinion had softened on the new installation; a poll found a 56 percent approval rating for the pyramid, with 23 percent still opposed. The newspaper Le Figaro had vehemently criticized Pei's design, but later celebrated the tenth anniversary of its magazine supplement at the pyramid. Prince Charles of Britain surveyed the new site with curiosity, and declared it "marvelous, very exciting". A writer in Le Quotidien de Paris wrote: "The much-feared pyramid has become adorable." The experience was exhausting for Pei, but also rewarding. "After the Louvre," he said later, "I thought no project would be too difficult." The Louvre Pyramid has become Pei's most famous structure.

Meyerson Symphony Center, Dallas

The opening of the Louvre Pyramid coincided with four other projects on which Pei had been working, prompting architecture critic Paul Goldberger to declare 1989 "the year of Pei" in The New York Times. It was also the year in which Pei's firm changed its name to Pei Cobb Freed & Partners, to reflect the increasing stature and prominence of his associates. At the age of seventy-two, Pei had begun thinking about retirement, but continued working long hours to see his designs come to light.

Although he usually designed entirely by hand, Pei used a computer to "confirm the spaces" for the Morton H. Meyerson Symphony Center in Dallas.

One of the projects took Pei back to Dallas, Texas, to design the Morton H. Meyerson Symphony Center. The success of city's performing artists, particularly the Dallas Symphony Orchestra then being led by conductor Eduardo Mata, led to interest by city leaders in creating a modern center for musical arts that could rival the best halls in Europe. The organizing committee contacted 45 architects, but at first Pei did not respond, thinking that his work on the Dallas City Hall had left a negative impression. One of his colleagues from that project, however, insisted that he meet with the committee. He did and, although it would be his first concert hall, the committee voted unanimously to offer him the commission. As one member put it: "We were convinced that we would get the world's greatest architect putting his best foot forward."

The project presented a variety of specific challenges. Because its main purpose was the presentation of live music, the hall needed a design focused on acoustics first, then public access and exterior aesthetics. To this end, a professional sound technician was hired to design the interior. He proposed a shoebox auditorium, used in the acclaimed designs of top European symphony halls such as the Amsterdam Concertgebouw and Vienna Musikverein. Pei drew inspiration for his adjustments from the designs of the German architect Johann Balthasar Neumann, especially the Basilica of the Fourteen Holy Helpers. He also sought to incorporate some of the panache of the Paris Opéra designed by Charles Garnier.

Pei's design placed the rigid shoebox at an angle to the surrounding street grid, connected at the north end to a long rectangular office building, and cut through the middle with an assortment of circles and cones. The design attempted to reproduce with modern features the acoustic and visual functions of traditional elements like filigree. The project was risky: its goals were ambitious and any unforeseen acoustic flaws would be virtually impossible to remedy after the hall's completion. Pei admitted that he did not completely know how everything would come together. "I can imagine only 60 percent of the space in this building," he said during the early stages. "The rest will be as surprising to me as to everyone else." As the project developed, costs rose steadily and some sponsors considered withdrawing their support. Billionaire tycoon Ross Perot made a donation of US$10 million, on the condition that it be named in honor of Morton H. Meyerson, the longtime patron of the arts in Dallas.

The building opened and immediately garnered widespread praise, especially for its acoustics. After attending a week of performances in the hall, a music critic for The New York Times wrote an enthusiastic account of the experience and congratulated the architects. One of Pei's associates told him during a party before the opening that the symphony hall was "a very mature building"; he smiled and replied: "Ah, but did I have to wait this long?"

香港中銀大廈 Bank of China, Hong Kong

香港中銀大廈

A new offer had arrived for Pei from the Chinese government in 1982. With an eye toward the transfer of sovereignty of Hong Kong from the British in 1997, authorities in China sought Pei's aid on a new tower for the local branch of the Bank of China. The Chinese government was preparing for a new wave of engagement with the outside world and sought a tower to represent modernity and economic strength. Given the elder Pei's history with the bank before the Communist takeover, government officials visited the 89-year-old man in New York to gain approval for his son's involvement. Pei then spoke with his father at length about the proposal. Although the architect remained pained by his experience with Fragrant Hill, he agreed to accept the commission.

1982年，中國政府又一次向貝聿銘發出了邀請。（英文版此處關於1997年香港回歸的表述可能不恰當，1982年中英雙方尚未談妥，恐怕還沒有確定1997年主權移交一事。）政府邀請貝聿銘為中國銀行香港分行建設一座新的大樓。那時中國政府正在推動對外開放，希望用一座大樓來象徵現代化和經濟實力。考慮到貝聿銘的父親曾在1949年前在中國銀行任職，中國政府官員前往紐約拜訪了89歲的貝祖貽，請他同意讓他兒子參加設計。貝聿銘隨後與他的父親討論了這項計劃（at large譯作詳細或者最後好像都可以，查下來源吧）。儘管此前香山飯店工程讓貝聿銘很受打擊，但他還是接受了這項委託。

The proposed site in Hong Kong's Central District was less than ideal; a tangle of highways lined it on three sides. The area had also been home to a headquarters for Japanese military police during World War II, and was notorious for prisoner torture. The small parcel of land made a tall tower necessary, and Pei had usually shied away from such projects; in Hong Kong especially, the skyscrapers lacked any real architectural character. Lacking inspiration and unsure of how to approach the building, Pei took a weekend vacation to the family home in Katonah, New York. There he found himself experimenting with a bundle of sticks until he happened upon a cascading sequence.

中銀大廈位於香港中環，這並不是一個理想的建設地點，大樓三面被公路包圍。這裏在第二次世界大戰期間是日本憲兵的總部，關押在此的囚犯會受到酷刑，此地因而聲名狼藉。這片土地面積很小，因此大樓必須建得很高，而貝聿銘此前通常避開這種工程。特別地，在當時的香港，這樣的摩天大樓缺少真正的建築特點。貝聿銘找不到靈感，不知如何處理這項設計。這時，他去了紐約卡托納的房子度過周末假期。在那裏，他用一把小棍做起了實驗。偶然間，他想到了cascading sequence（？不知怎麼用中文表達）

Pei felt that his design for the Bank of China Tower needed to reflect "the aspirations of the Chinese people". The design that he developed for the skyscraper was not only unique in appearance, but also sound enough to pass the city's rigorous standards for wind-resistance. The building is composed of four triangular shafts rising up from a square base, supported by a visible truss structure that distributes stress to the four corners of the base. Using the reflective glass that had become something of a trademark for him, Pei organized the facade around diagonal bracing in a union of structure and form that reiterate the triangle motif established in the plan. At the top, he designed the roofs at sloping angles to match the rising aesthetic of the building. Some influential advocates of feng shui in Hong Kong and China criticized the design, and Pei and government officials responded with token adjustments.

貝聿銘認為，中銀大廈的設計應該反映中國人民的嚮往。他設計的這座摩天大樓不僅外觀獨樹一幟，也堅固結實，滿足了香港嚴格的防風標準。中銀大廈是四座三角形的立柱組成的。四座柱立在一個方形的底座上。四座柱由外露的桁架結構支持，桁架將應力傳遞到底座的四個角上。中銀大廈立面使用了反射玻璃，而反射玻璃近乎於貝聿銘建築設計的標誌。玻璃幕牆和交錯支撐結構共同組成了中銀大廈的立面，使得結構與形式融合，再次體現了三角形的構思。貝聿銘設計的斜坡屋頂的角度與大樓向上的美感協調。中國內地和香港的一些知名風水先生批評了中銀大廈設計。為了應付，貝聿銘和政府官員做了一些微調。

As the tower neared completion, Pei was shocked to witness the government's massacre of unarmed civilians at the Tiananmen Square protests of 1989. He wrote an opinion piece for The New York Times titled "China Won't Ever Be the Same", in which he said that the killings "tore the heart out of a generation that carries the hope for the future of the country". The massacre deeply disturbed his entire family, and he wrote that "China is besmirched."

1990–2019：博物館工程 1990–2019: museum projects

One staff member sympathized with Pei's frustrations with the lack of organization at the Rock and Roll Hall of Fame, admitting that he was "operating in a vacuum".

As the 1990s began, Pei transitioned into a role of decreased involvement with his firm. The staff had begun to shrink, and Pei wanted to dedicate himself to smaller projects allowing for more creativity. Before he made this change, however, he set to work on his last major project as active partner: the Rock and Roll Hall of Fame in Cleveland, Ohio. Considering his work on such bastions of high culture as the Louvre and US National Gallery, some critics were surprised by his association with what many considered a tribute to low culture. The sponsors of the hall, however, sought Pei for specifically this reason; they wanted the building to have an aura of respectability from the beginning. As in the past, Pei accepted the commission in part because of the unique challenge it presented.

Using a glass wall for the entrance, similar in appearance to his Louvre pyramid, Pei coated the exterior of the main building in white metal, and placed a large cylinder on a narrow perch to serve as a performance space. The combination of off-centered wraparounds and angled walls was, Pei said, designed to provide "a sense of tumultuous youthful energy, rebelling, flailing about".

The building opened in 1995, and was received with moderate praise. The New York Times called it "a fine building", but Pei was among those who felt disappointed with the results. The museum's early beginnings in New York combined with an unclear mission created a fuzzy understanding among project leaders for precisely what was needed. Although the city of Cleveland benefited greatly from the new tourist attraction, Pei was unhappy with it.

At the same time, Pei designed a new museum for Luxembourg, the Musée d'art moderne Grand-Duc Jean, commonly known as the Mudam. Drawing from the original shape of the Fort Thüngen walls where the museum was located, Pei planned to remove a portion of the original foundation. Public resistance to the historical loss forced a revision of his plan, however, and the project was nearly abandoned. The size of the building was halved, and it was set back from the original wall segments to preserve the foundation. Pei was disappointed with the alterations, but remained involved in the building process even during construction.

In 1995, Pei was hired to design an extension to the Deutsches Historisches Museum, or German Historical Museum in Berlin. Returning to the challenge of the East Building of the US National Gallery, Pei worked to combine a modernist approach with a classical main structure. He described the glass cylinder addition as a "beacon", and topped it with a glass roof to allow plentiful sunlight inside. Pei had difficulty working with German government officials on the project; their utilitarian approach clashed with his passion for aesthetics. "They thought I was nothing but trouble", he said.

1995年，貝聿銘受聘為柏林的德國歷史博物館設計擴建方案。他回到了當年設計華盛頓國家美術館東樓的挑戰上，把現代主義的方法同古典風格的主樓相結合。他把新增的玻璃圓柱建築稱作「燈塔」，其上覆蓋玻璃屋頂為室內提供陽光。貝聿銘與德國政府官員的相處不順利，官員們實用主義的方式與他對美的熱切追求相衝突。他曾說，「官員們覺得，我除了麻煩啥也不是」。

Pei also worked at this time on two projects for a new Japanese religious movement called Shinji Shumeikai. He was approached by the movement's spiritual leader, Kaishu Koyama, who impressed the architect with her sincerity and willingness to give him significant artistic freedom. One of the buildings was a bell tower, designed to resemble the bachi used when playing traditional instruments like the shamisen. Pei was unfamiliar with the movement's beliefs, but explored them in order to represent something meaningful in the tower. As he said: "It was a search for the sort of expression that is not at all technical."

Pei's tunnel through a mountain leading to the Miho Museum was partly inspired by a story from fourth-century Chinese poet Tao Yuanming.

The experience was rewarding for Pei, and he agreed immediately to work with the group again. The new project was the Miho Museum, to display Koyama's collection of tea ceremony artifacts. Pei visited the site in Shiga Prefecture, and during their conversations convinced Koyama to expand her collection. She conducted a global search and acquired more than 300 items showcasing the history of the Silk Road.

One major challenge was the approach to the museum. The Japanese team proposed a winding road up the mountain, not unlike the approach to the NCAR building in Colorado. Instead, Pei ordered a hole cut through a nearby mountain, connected to a major road via a bridge suspended from ninety-six steel cables and supported by a post set into the mountain. The museum itself was built into the mountain, with 80 percent of the building underground.

When designing the exterior, Pei borrowed from the tradition of Japanese temples, particularly those found in nearby Kyoto. He created a concise spaceframe wrapped into French limestone and covered with a glass roof. Pei also oversaw specific decorative details, including a bench in the entrance lobby, carved from a 350-year-old keyaki tree. Because of Koyama's considerable wealth, money was rarely considered an obstacle; estimates at the time of completion put the cost of the project at US$350 million.

During the first decade of the 2000s, Pei designed a variety of buildings, including the Suzhou Museum near his childhood home. He also designed the Museum of Islamic Art in Doha, Qatar at the request of the Al-Thani Family. Although it was originally planned for the corniche road along Doha Bay, Pei convinced project coordinators to build a new island to provide the needed space. He then spent six months touring the region and surveying mosques in Spain, Syria, and Tunisia. He was especially impressed with the elegant simplicity of the Mosque of Ibn Tulun in Cairo.

Once again, Pei sought to combine new design elements with the classical aesthetic most appropriate for the location of the building. The sand-colored rectangular boxes rotate evenly to create a subtle movement, with small arched windows at regular intervals into the limestone exterior. Inside, galleries are arranged around a massive atrium, lit from above. The museum's coordinators were pleased with the project; its official website describes its "true splendour unveiled in the sunlight", and speaks of "the shades of colour and the interplay of shadows paying tribute to the essence of Islamic architecture".

The Macao Science Center in Macau, designed by Pei Partnership Architects in association with I. M. Pei.

The Macao Science Center in Macau was designed by Pei Partnership Architects in association with I. M. Pei. The project to build the science center was conceived in 2001 and construction started in 2006. The center was completed in 2009 and opened by the Chinese President Hu Jintao. The main part of the building is a distinctive conical shape with a spiral walkway and large atrium inside, similar to the Solomon R. Guggenheim Museum in New York. Galleries lead off the walkway, mainly consisting of interactive exhibits aimed at science education. The building is in a prominent position by the sea and is now a landmark of Macau.

Style and method

Pei's style is described as thoroughly modernist, with significant cubist themes. He is known for combining traditional architectural principles with progressive designs based on simple geometric patterns – circles, squares, and triangles are common elements of his work in both plan and elevation. As one critic writes: "Pei has been aptly described as combining a classical sense of form with a contemporary mastery of method." In 2000, biographer Carter Wiseman called Pei "the most distinguished member of his Late-Modernist generation still in practice". At the same time, Pei himself rejects simple dichotomies of architectural trends. He once said: "The talk about modernism versus post-modernism is unimportant. It's a side issue. An individual building, the style in which it is going to be designed and built, is not that important. The important thing, really, is the community. How does it affect life?"

Pei's work is celebrated throughout the world of architecture. His colleague John Portman once told him: "Just once, I'd like to do something like the East Building." But this originality does not always bring large financial reward; as Pei replied to the successful architect: "Just once, I'd like to make the kind of money you do." His concepts, moreover, are too individualized and dependent on context to give rise to a particular school of design. Pei refers to his own "analytical approach" when explaining the lack of a "Pei School". "For me," he said, "the important distinction is between a stylistic approach to the design; and an analytical approach giving the process of due consideration to time, place, and purpose ... My analytical approach requires a full understanding of the three essential elements ... to arrive at an ideal balance among them."

Awards and honors

In the words of his biographer, Pei won "every award of any consequence in his art", including the Arnold Brunner Award from the National Institute of Arts and Letters (1963), the Gold Medal for Architecture from the American Academy of Arts and Letters (1979), the AIA Gold Medal (1979), the first Praemium Imperiale for Architecture from the Japan Art Association (1989), the Lifetime Achievement Award from the Cooper-Hewitt, National Design Museum, the 1998 Edward MacDowell Medal in the Arts, and the 2010 Royal Gold Medal from the Royal Institute of British Architects. In 1983 he was awarded the Pritzker Prize, sometimes called the Nobel Prize of architecture. In its citation, the jury said: "Ieoh Ming Pei has given this century some of its most beautiful interior spaces and exterior forms ... His versatility and skill in the use of materials approach the level of poetry." The prize was accompanied by a US$100,000 award, which Pei used to create a scholarship for Chinese students to study architecture in the US, on the condition that they return to China to work. In 1986, he was one of twelve recipients of the Medal of Liberty. In being awarded the 2003 Henry C. Turner Prize by the National Building Museum, museum board chair Carolyn Brody praised his impact on construction innovation: "His magnificent designs have challenged engineers to devise innovative structural solutions, and his exacting expectations for construction quality have encouraged contractors to achieve high standards." In December 1992, Pei was awarded the Presidential Medal of Freedom by President George H. W. Bush.

個人生活 Personal life

Pei's wife of over 70 years, Eileen Loo, died on 20 June 2014. Together they had three sons, T'ing Chung (1946–2003), Chien Chung (b. 1946) and Li Chung (b. 1949), and a daughter, Liane (b. 1960). T'ing Chung was an urban planner and alumnus of his father's alma mater MIT and Harvard. Chieng Chung and Li Chung, who are both Harvard Graduate School of Design alumni, founded and run Pei Partnership Architects. Liane is a lawyer. Pei celebrated his 100th birthday on 26 April 2017.女兒貝蓮

Pei died in the New York City borough of Manhattan on 16 May 2019, at the age of 102.

See also

• List of I. M. Pei projects

References

Notes

Bibliography

• Cobb,Henry Nichols (2018) Words and Works 1948-2018 Monacelli Press, NY,NY ISBN 978-1-58093-514-2
• Diamonstein, Barbaralee. American Architecture Now. New York: Rizzoli, 1980. ISBN 0-8478-0329-5.
• Heyer, Paul. Architects on Architecture: New Directions in America. New York: Van Nostrand Reinhold, 1993. ISBN 0-442-01751-0.
• Boehm, Gero von. Conversations with I. M. Pei: Light is the Key. Munich: Prestel, 2000. ISBN 3-7913-2176-5.
• Wiseman, Carter. I. M. Pei: A Profile in American Architecture. New York: H.N. Abrams, 2001. ISBN 0-8109-3477-9.
• Lenci, Ruggero. I. M. Pei: teoremi spaziali. Turin, Testo & Immagine, 2004. ISBN 88-8382-143-2.
• Williams, Paul Kelsey. Southwest Washington, D.C. Charleston, S.C.: Arcadia, 2005.
• Moeller, Gerard M. and Weeks, Christopher. AIA Guide to the Architecture of Washington, D.C. Baltimore: Johns Hopkins University Press, 2006.

External links

• Pei Partnership Architects
• Pei Cobb Freed & Partners
• Template:Structurae person
• I. M. Pei at the Digital Archive of American Architecture
• Pritzker Prize information and acceptance speech
• Concept sketches for The Musée d'Art Moderne
• I. M. Pei Architecture on Google Maps