Pioneering Paulines

I.M. Pei studied at St. Paul’s College until 1927. A Chinese-American architect, Pei’s works include the Louvre Pyramid (Paris, 1983–89), the JFK Library (Boston, 1976–79), the National Gallery of Art’s East Building (Washington, DC, 1968–78), the Bank of China Tower (Hong Kong, 1982–90), and the Fragrant Hills Hotel (Beijing, 1982). He is known for his striking blend of modernist sensibilities with geometric motifs and use of natural light, while paying close attention to the unique context of each project. He won the Pritzker Prize in 1983.

Raised in Hong Kong, Pei’s family moved to Shanghai when he was ten, and he also spent time in his native Suzhou. Later, he credited his Chinese upbringing as key inspiration: Hong Kong gave him his literary foundation, Shanghai’s internationalism influenced his decision to travel to the United States in 1935, Suzhou’s gardens inspired his emphasis on nature, and Chinese culture informed his human-centric approach.

Pei first gained recognition for his 1961 design of the National Center for Atmospheric Research’s Mesa Laboratory. In 1983, Pei was approached by French President François Mitterand to plan the Louvre’s renovation. Despite initial controversy over the proposed glass pyramid, it garnered praise upon completion in 1989. Later works include Suzhou Museum’s new building and as a consultant for the Macau Science Center.

While Pei’s output is difficult to categorise, there are shared characteristics. Human interactions are encouraged, be it via the Mesa Laboratory’s maze-like atmosphere or the large atriums of the East Building, the Louvre, and the Fragrant Hills Hotel. Form follows context: the East Building’s modernism stems from its service as a modern art gallery; the Louvre Pyramid complements the palace’s grandeur, and the Fragrant Hills Hotel was decidedly traditional, so as not to overshadow the former imperial garden.

貝聿銘於聖保羅書院就讀至一九二七年，爲美藉華裔建築師，著作有一九八〇年代法國巴黎羅浮宮金字塔、一九七〇年代美國波士頓甘迺迪總統圖書館、美國華盛頓國家藝廊東館、一九八〇年代香港中銀大廈【註】、一九八二年北京香山飯店等，以結合現代主義根底、幾何圖案、天然採光、迎合項目本身場景爲特色。一九八三年，貝氏贏得普立兹克獎。

貝氏於十歲時離開香港，一家遷居上海，暑假時則回蘇州祖家。貝氏曾言一生作品受其少時在中國的經驗而啓發：香港賦予他認識文藝的根基，上海的國際氣氛釀成他赴美的決定，與自然融和的設計來自蘇州的園林，而華夏文化使他設計時不忘以人爲本。

一九三五年，貝氏赴美，在一九五五年創辦自身建築事務所。貝氏以一九六一年設計的美國國家大氣硏究中心科羅拉多州梅薩實驗室成名。一九八三年，貝氏受時任法國總統米特朗委託，任羅浮宮博物館翻新工程建築師。起初公佈廣場將築起玻璃金字塔時引起譁然，但隨時日過去設計漸得接受，在一九八九年落成後廣受褒揚。後期多數以設計博物館爲主，包括蘇州博物館新館，及於澳門科學館擔任設計顧問。

雖然貝氏作品沒有單一風格，但亦可見共通之處。一如梅薩實驗室設計具迷宮式氛圍，又如華盛頓東館、羅浮宮、香山飯店均設大型中庭，可見作品着重人與人之間的互動。後三者又用玻璃天窗引入天然光，開放設計有助疏導訪客。同時，各建築亦反映本身功能：東館富現代主義色彩，反映館內展覽以現代藝術爲主；羅浮宮金字塔襯托宮庭固有宏偉；而香山飯店爲貝氏較保守的設計，不致蓋過附近香山景色。

【註】　中銀大廈指一九九〇年落成之摩天大廈，並非指滙豐總行旁，一九五〇年落成之中國銀行大廈。