TIME LINE

1917-1935 - 1917 LAHIR 26 APRIL 1917 DI KOTA SUZHOU - 1917 PINDAH KE KOTA HONGKONG - 1927 KEMBALI KE CHINA KE KOTA SHANGHAI - 1935 BERANGKAT KE AMERIKA 1935-1940 - 1935 KULIAH DI UNIV. PENNYSYLVANIA - 1935 KULIAH DI MASSACHUSETTS INSTITUTE OF TECNOLOGY (MIT) - 1940 LULUS DARI MIT - 1940 MENDAPAT MENDALI ALFA RHO CHI, BEASISWA MIT TRAVELLING, DAN MENDALI EMAS AIA 1942-1946 - 1942 KULIAH DI HARVARD SCHOOL OF DESIGN, DIBAWAH DIDIKAN WALTER GROUPHIUS, MARCEL BREUER DAN BAUHAUS - 1942-1943 MENJADI SUKARELAWAN NATIONAL DEFENSE RESEARCH COMMITTEE IN PRINCETON - 1944 KEMBALI KE HARVARD - 1945 MENJADI ASISTEN PROFESSOR DI HARVARD - 1946 MENDAPAT GELAR M.Arc 1946-1955 - 1948 BERHENTI MENJADI ASISTEN PROFESSOR DI HARVARD SCHOOL OF DESIGN - 1948 BEKERJA DI WEBB & KNAPP MILIK WILLIAM ZECKENDORF, SEBUAH PERUSAHAAN DEVELOVER - 1954 MENJADI WARGA NEGARA AMERIKA - 1955 KELUAR DARI WEBB &KNAPP 1955-1961 - 1956 BEKERJASAMAN DENGAN LUDWIG MIES VAN DE ROHE MEMBANGUN MILE HIGH CENTER DAN A METAL AND GLASS SKYCRAPER ON PEDESTERIAN PLAZA IN DENVER - 1956 MENDIRIKAN I. M. PEI & ASSOCIATES - 1960 Court House Square - 1961 Government Center Urban Renewal Plan 1961-1966 - 1963 Luce Memorial Chapel - 1964 Society Hil - 1964 Cecil and Ida Green Center for Earth Sciences, Massachusetts Institute of Technology - 1967 National Center for Atmospheric Research - 1968 Des Moines Art Center Addition - 1968 Everson Museum of Art - 1966 I.M. PEI ASSOCIATES BERUBAH MENJADI I. M. PEI & PARTNER 1963-1989 - 1970 JFK International Airport - 1973 Paul Mellon Center for the Arts - 1973 Herbert F. Johnson Museum of Art - 1973 Canadian Imperial Bank of Commerce 1973 Laura Spelman Rockefeller Halls Princeton University - 1976 Oversea-Chinese Banking Corporation Centre - 1977 Dallas City Hall - 1978 National Gallery of Art, East Building - 1979 John Fitzgerald Kennedy Library - 1981 Museum of Fine Arts University Arts Museum and Academic Building - 1982 Fragrant Hill Hotel - 1984 Wiesner Center for Arts & Media Technology - 1984 IBM Corporate Office Building - 1985 IBM Headquarters - 1986 Raffles City - 1986 CenTrust Tower - 1989 I. M. PEI & PARTNER MENJADI PEI COBB FREDD AND PARTNER JT: Let's move to a very different environment, and that was more or less I think your next major project which was the Presidential Library, the Kennedy Presidential Library in Boston, and that was a much less happy experience wasn't it, where they kept on changing their mind, they changed the sites, you had to change the designs. What really went wrong? IMP: One thing I learn - I've been in practice now for half a century or more, and the most important ingredient for an architect to do a good building is to have a good client. I think a client counts for as much as fifty per cent. I would give that much credit to my client. If I have a successful building, I say look at my client - he was the reason, he is the reason. The Kennedy Library, sadly speaking, has lost my client. I was chosen by Mrs Kennedy, and we had a wonderful relationship together, talking about it. In fact we chose our site together, which was to be at Harvard University. Then what happened of course is that she re-married, and I lost her, so somebody else took over. 1989-1990 - 1989 Bank of China Tower - 1989 Choate Rosemary Hall Science Center ( - 1989 Grand Louvre Phase I - 1989 The Morton H. Meyerson Symphony Center - 1990 PEI MEMUTUSKAN PENSIUN DAN KELUAR DARI PERUSAHAAN 1990-sekarang - 1992 The Kirklin Clinic, University of Alabama Health Services Foundation - 1992 Guggenheim Pavilion, The Mount Sinai Medical Center Expansion & Modernization - 1993 Grand Louvre Phase II - 1993 Four Seasons Hotel - 1995 Rock and Roll Hall of Fame and Museum - 1999 Buck Institute for Age Research - 2006 Muse d'Art Moderne - 2006 the Suzhou Museum - Sekarang the Art -Museum of Islamic Art, (Middle East, Qatar).

JT:... How much of the Chinese is there in your feelings about architecture? IMP: Unconsciously I would say there must be something there, but I consciously speaking I don't see any at all. .. But my seventeen years, the formative years of one's life, and I can't say that the Chineseness in me is not there. JT: Some say that there's a sense of space, a feeling of space, of how people move through buildings, of the use of gardens, that that is part of a Chinese sensibility. IMP: I have a great love for nature. That must have started somewhere down back home I think, because my family own one of the better known gardens in Soochow, so I played there and I lived there and so I must have absorbed something there. So I continue to have a great interest in nature. That may be something that will continue to influence me in my work. VB: Your roots in ancient China are very important to you know about those roots? IMP: The record of our family in Suzhou is six hundred years old. They werw first mentioned during the Ming Dynasty, which lasted from 1368 to 1644. But before that our family came from the north, probably from Anhui Province. They came south and went to Zhejiang Province. Eventually one of my ancestors moved to Suzhou. Suzhou was then an important cultural center. My family were mwerchants of medical herbs, so I was told. They prospered, and became landowners of means. In Suzhou the family is remembered for its good works; they spread themoney around and helped people who were not so well off, I must confess that my recollections of that part of my family history are rather vague, as my father left the family and went south to Canton and then to Hong Kong. I was not really exposed to the Suzhou environment until I was ten years old. It does effect my philosophy of life, relationships with people. I am more sensitive to that than if I hadnt been to Suzhou because that is an old world, an old society where people treat each other with thoughtfulness and respect. The relationships between people were much more important in ones daily life in Suzhou then. And thats what life is all about dont you thing so? I have come to appreciate the important relationship between life and architecture.

JT: Now at Harvard of course you studied with Walter Gropius. What really did he teach you? IMP: Gropius was a great teacher. I wouldn't say he was a great artistic influence in the architectural sense, but I think he taught one using discipline in thinking, and I think that was something that I feel very much sort of indebted to his method, let's say, of teaching. It's a discipline. Look for logic. There must be an answer for something - it cannot be just whimsical. Anyway I think I probably finally stepped out of that, and I find that that is probably something that one has to do after you free yourself from the so-called discipline of Gropius. JT: But that was an essential discipline which you had to learn and be taught to start with? IMP: I think one has to have that discipline, but to free oneself from it is also equally important, and I like to think that I have. JT: So do you think it was because of that relationship that your interest in making buildings where people feel at home, that that was one of the things which came from Breuer? IMP: I think Breuer started me thinking about it let's put it this way. Of course I developed my own ways afterwards. His architecture and mine are not very similar, but nevertheless we do have a common interest in that point, that is people and life. . JT: How did you emerge from the Graduate School of Architecture at Harvard? Were you by then an out and out Bauhaus person? IMP: I don't think so. Looking back at it, as I said, I learned about Bauhaus method of teaching. I had some difficulty with it from time to time.

JT: What apart from that, in the wheeling and dealing and things, what do you feel that you really learned from Zeckendorf? IMP: I learned from him about land, how to look at a piece of land and determine its value, how to develop it. For instance, when he walked around a piece of property with me - he frequently did that with me - he would say, "Now where are people coming from? - number one - and what do they do when they come to that particular corner intersection?" And this is always involving circulation, and that is something I learned. And so as a consequence of that relationship I look at a piece of land very differently from others, from other architects.

MENURUT SUMALYO; 1997 Pada awal karirnya sebagai arsitek, gaya arsitektur I. M. Pei masih dipengaruhi oleh rekannya Ludwig Mies van de Rohe, yaitu modern fungsionalisme. Hal ini terlihat pada Mile High Center (1952-1959), yang mengacu pada kesederhanaan bentuk dan fungsi, bergaris kotak-kotak dibentuk oleh jendela, kolom dan balok pada permukaan luar dari denah berbentuk segi empat.

MENURUT SUMALYO;1997 Dalam perancangan Luce Memorial Chapel (1954-1963), Pei sudah menunjukkan ciri modern sendiri, lepas dari modernism abad XX. Sistem struktur yang dipakai adalah sistem struktur ruang, di mana dinding, atap menyatu, tidak terdapat kolom atau balok. Struktur utama yang menahan gaya adalah jaringan beton bertulang disusun dalam bentuk diagonal menyilang, sehingga membentuk kotak-kotak belah ketupat. Pada ruang dalam sistem konstruksi ini di ekspose, sehingga menjadi dekorasi yang cukup indah. Sistem struktur ini dibentuk seperti tenda, agak melengkung dibagian tengahnya. Di belakang terdapat konstruksi yang sama, tetapi disusun sedikit lebih tinggi, dan celah diantaranya diberi jendela kaca. Di depan bidang tegak di antara atap sisi kiri dan kanan sepenuhnya berupa dinding kaca. Celah antara kedua sisi atap juga diberi kaca untuk memasukkan natural light. architecture is essentially geometry modeled by light (Boehm, 2006) Architects by design investigate the play of volumes in light, explore the mysteries of movement in space, examine the measure that is scale and proportion, and above all, they search for that special quality that is the spirit of the place as no building exists alone. (Pei at the Pritzkers Ceremony, www.worldofbiography.com, 20 Februari 2008) Geometry has always been the underpinning of my architecture (Pei, -----)

JT: You were seventeen when you left China to come to Harvard. How much of the Chinese is there in your feelings about architecture? IMP: Unconsciously I would say there must be something there, but I consciously speaking I don't see any at all. I came, I studied architecture in America, so my technical background's completely western.

JT: In fact it was only then a year before this extraordinary man Walter Roberts, an astronomy professor in Boulder, Colorado, asked you to build a research centre for him six thousand feet up in the Rockies. You must have known that that was a challenge of a completely different kind - just the sort of challenge you say that you're looking for. IMP: Absolutely, that's the beginning of my professional life. Without that project I don't think I would have been able to make the next jump, let's put it this way. Walter Roberts was a very exceptional man, .. Walter Roberts was also a visionary, but a scientist. .. The reason I was attracted to him, and I think to a certain extent he was attracted to me, is because of my love of nature. This site was on the foothills of the Rocky Mountains, and you have this huge mountain behind you, and you are to build a building there. A building's only this small, and the mountain's incredible. We talked about that a lot, as to how to deal with it, how to put a building on a site of that kind, and this was where my interest in nature came in to help me.

The process of architecture itself must be responsive to different clients, different cultures, different governments, the pull of economics. (Boehm, 2006)

BELUM BERPENGALAMAN

AWAL MENGENAL ARSITEKTUR

MENGENAL ARSITEKTUR MELALUI ARSITEK-ARSITEK TERNAMA

PERANCANGAN BANGUNAN DENGAN FUNGSI SEDERHANA

PERANCANGAN BANGUNAN DENGAN FUNGSI KOMPLEKS DAN GAYA MODERN FUNGSIONALISME (DIPENGARUHI MIES VAN DE ROHE)

PERANCANGAN BANGUNAN DENGAN GAYA SENDIRI

GEOMETRY NATURE,PEOPLE AND LIFE
RESPONSIVE TO CLIENTS RESPONSIVE TO CULTURES RESPONSIVE TO GOVERNMENT

NATURE PEOPLE AND LIFE

PEOPLE AND LIFE

LOOK AT A PIECE OF LAND AND DETERMINE ITS VALUE

PEIS THEORY