The AvantGarde Architecture Of IM Pei Essay — страница 2

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into an asymmetrical but rhythmical balance? (Gardner 1996, p. 1029). The ?new conception of equilibrium? can be considered as the fusion of the Louvre?s old Baroque style and Pei?s new renovations. At first glance, this fusion may seem ?asymmetrical,? but from Pei?s artistic point of view, a ?rhythmical balance? is ultimately achieved. Another of Pei?s buildings that stirred up local controversy is the Bank of China Building in Hong Kong. While the geometrically beautiful building stands out as the tallest in the area at 70 stories, its design has been criticized by many citizens of Hong Kong: ?The building?s four right-angled triangular prisms, placed together to form a long, thin square column topped by twin antennas, have been condemned by many of the territory?s

superstitious residents? (United Press International, 1990). Though the citizens of Hong Kong may inhabit one of the highest-tech corners of the planet, they ?set great store by feng shui, the ancient art, part mysticism, part architecture, of arranging buildings and other objects so that they are in harmony with nature and dictate luck? (Bremner, 1990). Local residents fear that many spirits have been offended by the skyscraper?s notoriously bad feng shui. It is ironic that I.M. Pei is of Chinese origin yet chose as his motif the triangle, which transforms the building as a whole into the very form that brings bad feng shui. This shows that Pei is an artist who is not willing to sacrifice his innovative vision in order to conform to society?s or a culture?s traditions. This is

one of the main characteristics that make him an avant-garde artist. What is of great interest in I.M. Pei?s work is the fact that his firm ?has been a temple of modernism, an architectural office in which ornament has been scarce, sleekness has remained sacrosanct, and buildings have been seen as isolated, abstract objects? (Goldberger, 1989). Because of their cutting-edge uniqueness, the firm?s projects exhibit qualities of the avant-garde: ?I.M. Pei & Partners? distance from the architectural trends of the late 1970?s and early 1980?s made the firm . . . something of a rallying point for critics who disliked post-modernism? (Goldberger, 1989). Pei?s masterful implementation of basic geometric form into the design of his buildings is another point of interest that

contributes to his originality. Some critics think that the design of many of Pei?s buildings are impractical because they either do not seem to meet or even may exceed the spatial needs of the people who visit and work in them. In particular, critics have noticed incredible ?wasted? space in lobbies that grossly exceed human proportion in addition to inflexible arrangement of rooms. I personally think that when one scrutinizes Pei?s creations, one should not consider them as merely buildings, but as aesthetically beautiful works of art. Another point of debate among critics, which can be essentially pared down to individual taste, is Pei?s prolific use of geometric shapes. Some feel that he has ?an inhumane devotion to geometry. Others have felt that he has diluted his art

through service to the rich and powerful. . . . but there is no question that Pei has emerged as the most durably creative of American architects working at the grand scale? (Wiseman 1990, p. 12). Since creativity is one of the main components of the avant-garde, it is evident that Pei?s work questions what architecture truly is. Upon examining Pei?s pyramidal entrance to the Louvre and design for the Bank of China building, some may argue that his work can be interpreted as fodder for controversy. Perhaps this was Pei?s intention. Many artists throughout the ages have shown that one of the greatest ways to achieve recognition is to stir up a controversy. However, it seems unlikely that Pei?s plans for his future designs were greatly affected by public reaction to his completed

structures. As one of the foremost and successful architectural geniuses of the Twentieth Century, I.M. Pei has pushed the envelope of what architecture is: a uniquely personal vision of art physically manifested in a building.