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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.
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Pei's and architecture
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 ".
Pei's Green, Dreyfus, Landau, and Wiesner buildings represent high forms of post-war modernist architecture.
Pei's and was
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 ".
Pei's associate Araldo A. Cossutta was the lead architect for the plaza's North Building ( 955 L ' Enfant Plaza SW ), South Building ( 490 L ' Enfant Plaza SW ), and Center Building ( 475 L ' Enfant Plaza SW ; now the United States Postal Service headquarters ).
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.
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?
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 ".
Pei's tunnel through a mountain leading to the Miho Museum was partly inspired by a story from fourth-century Chinese poet Tao Yuanming.
Pei's associate Araldo A. Cossutta was the lead architect for the North Building ( 955 L ' Enfant Plaza SW ) and South Building ( 950 L ' Enfant Plaza SW ).
L ' Enfant Plaza Corp. was a syndicate led by former United States Air Force Lieutenant General Elwood R. Quesada, and included Chase Manhattan Bank president David Rockefeller, D. C. businessman David A. Garrett, investment banker André Meyer, and the real estate investment firm of Gerry Brothers & Co. Quesada said that if the Redevelopment Land Agency approved the sale, his company would begin immediate construction of the promenade, the parking garage beneath it, and the plaza using Pei's 10-year-old plans.
The issue was raised repeatedly, including by chancellors Wei Mo, Pei Xiu, and Cui Shenyou, but he rebuffed all of them, leading to Pei's resignation and Cui's removal.
Emperor Muzong was displeased with Pei's accusations, but as Pei was a prominent statesman, placated Pei by demoting Wei to be the director of the imperial armory and Yuan to be the deputy minister of public works ( 工部侍郎, Gongbu Shilang ), relieving Yuan of his position as imperial scholar.
The imperial scholar Pei Zong ( 裴總 ) believed that that was inappropriate, pointing out that Du came out of the period of mourning to take an office and thus, in Pei's opinion, could not be considered sufficiently filially pious.
That year, Emperor Xuanzong offered sacrifices to heaven and earth at Mount Tai, and as he went through the various prefectures, the prefectural prefects were rushing to offer him tributes — but Emperor Xuanzong was impressed by three prefects — Wang Qiu ( 王丘 ), Cui Mian ( 崔沔 ), and Pei, who offered no luxury items — and in Pei's case, what he offered was several hundred suggestions, all of which were aiming toward correcting Emperor Xuanzong's behavior.
Pursuant to Pei's proposal, a shipping station was built at the point where the Yellow River and the Bian River joined, with two large food storages — Heyin Storage ( 河陰倉 ) to the east and Boyai Storage ( 柏崖倉 ) to the west.
Pei's and ;
The project differed from Pei's earlier urban work ; it would rest in an open area in the foothills of the Rocky Mountains.
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.
LOF countersued Hancock for defamation, accusing Pei's firm of poor use of their materials ; I. M. Pei & Partners sued LOF in return.
The project became a badge of shame for Pei's firm ; he refused to discuss it for many years, and the architects began looking overseas to find commissions.
Pei's and one
From 1958 to 1963 Pei and Ray Affleck developed a key downton 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 ).
Like most of Pei's work, the, three story building is a series of geometric forms: consisting of two curved wings, one mainly of glass and one mainly of masonry, set around a central atrium with a skylight that rises to become a low, conical glass tower.
Pei's and member
A member of Pei's staff returned for a visit several years later and confirmed that it had become dilapidated, which he and Pei attributed to the country's general unfamiliarity with deluxe buildings.
Pei's and him
Pei's father urged him to remain in the United States, and he worked for two years at the Boston engineering firm of Stone & Webster.
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.
Indeed, hearing about Pei's tour, Eastern Tujue and Shiwei forces launched a raid against him, but by the time that they arrived, Pei had already returned to Tang territory.
Pei's and also
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 in 1952.
One block away, Pei's team also redesigned Denver's Courthouse Square, which combined office spaces, commercial venues, and hotels.
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.
Pei's and .
Pei's ancestry traces back to the Ming Dynasty, when his family moved from Anhui province to Suzhou.
Its unusual rock formations, stone bridges, and waterfalls remained etched in Pei's memory for decades.
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 tower's smooth aluminum and glass surface and crisp unadorned geometric form demonstrate Pei's adherence to the mainstream of 20th-century modern design.
" Pei's dissatisfaction reached its peak at a time when financial problems began plaguing Zeckendorf's firm.
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.
Pei's architectural team added more fill to cover the pipe and developed an elaborate ventilation system to conquer the odor.