貝聿銘，建築師眼花繚亂的建築大師，死於102 貝聿銘於1989年在巴黎盧浮宮設計的玻璃金字塔外，是他最著名的佣金之一。“如果有一件事我知道我做錯了，那就是盧浮宮，”他說。 信用 Marc Riboud / Magnum照片 圖片 貝聿銘於1989年在巴黎盧浮宮設計的玻璃金字塔外，是他最著名的佣金之一。“如果有一件事我知道我做錯了，那就是盧浮宮，”他說。信用積分Marc Riboud / Magnum照片 由保羅·戈德伯格 2019年5月16日 122 貝聿銘於週四早些時候在曼哈頓的家中去世，他開始了為紐約一家房地產開發商設計建築物的長期職業生涯並最終成為世界上最受尊敬的建築師之一。他是102歲。 他的兒子李頌培證實了他的死，他也是一名建築師，被稱為桑迪。他說他的父親最近和家人共進晚餐慶祝了他的生日。 最著名的是設計華盛頓國家美術館的東樓和巴黎盧浮宮入口處的玻璃金字塔，裴先生是為數不多的對房地產開發商，企業領袖和藝術同樣具有吸引力的建築師之一。博物館董事會（第三組，當然，通常由前兩個成員組成）。他的所有作品 - 從他的商業摩天大樓到他的藝術博物館 - 代表了前沿和保守派之間的謹慎平衡。 裴先生加入了華盛頓的國家美術館，被稱為東樓，由大塊的田納西大理石製成，圍繞著一個三角形庭院。這是一個罕見的現代主義結構的例子，看起來如此永久和精心製作，即使是傳統建築的愛好者也被打敗了。 信用 Carol M. Highsmith / Buyenlarge，來自Getty Images
圖片 裴先生加入了華盛頓的國家美術館，被稱為東樓，由大塊的田納西大理石製成，圍繞著一個三角形庭院。這是一個罕見的現代主義結構的例子，看起來如此永久和精心製作，即使是傳統建築的愛好者也被打敗了。信用Carol M. Highsmith / Buyenlarge，來自Getty Images [ 參見貝聿銘最重要的六部作品。]
裴先生仍然是一位忠誠的現代主義者，雖然他的任何建築都不可能被稱為傳統的或傳統的，但他的特殊品牌的現代主義 - 清潔，保留，銳利和毫無歉意的使用簡單的幾何形狀和對紀念性的渴望 - 有時似乎是一種倒退，至少與最新的建築趨勢相比。
這幾乎沒有困擾他。他說，他對建築最重視的是它“經得起時間的考驗”。 他堅持認為，他不僅要解決問題，還要製造“一種思想體系結構。”他補充說，他擔心，“這些想法和專業實踐並不足夠。” 裴先生出生於中國，並於20世紀30年代移居美國，於1948年獲得威廉·澤肯多夫（William Zeckendorf）的聘用，此前不久，他獲得了哈佛大學建築學專業的研究生學位，負責監督Zeckendorf公司生產的建築設計，韋伯和克納普。
吉米卡特總統於1978年在華盛頓致力於國家美術館的東樓。他從左邊加入了畫廊總監卡特布朗。裴先生; Bunny Mellon，他的家人為這座建築物捐款; 和副總統Walter F. Mondale的妻子Joan Mondale。 信用 美聯社 圖片
吉米卡特總統於1978年在華盛頓致力於國家美術館的東樓。他從左邊加入了畫廊總監卡特布朗。裴先生; Bunny Mellon，他的家人為這座建築物捐款; 和副總統Walter F. Mondale的妻子Joan Mondale。信用美聯社 廣告
在他的大多數哈佛同學認為自己很幸運能夠設計一套一戶人家的時候，裴先生很快發現自己正在設計高層建築，他利用這種經驗作為跳板來建立他自己的公司IM Pei＆Associates於1955年與他在Webb＆Knapp組裝的團隊Henry Cobb和Eason Leonard一起成立。
在早年，IM Pei＆Associates主要為Zeckendorf執行項目，包括紐約的Kips Bay Plaza，於1963年完工; 費城社會山塔（1964年）; 和紐約的銀塔（1967年）。他們的網格混凝土外牆都很引人注目。 該公司在1960年完全獨立於Webb＆Knapp，當時裴先生是一位修養的男人，他低調的態度和輕鬆的魅力掩蓋了激烈的競爭野心，贏得了與Zeckendorf毫無關係的重大項目的佣金。其中包括1967年完成的科羅拉多州博爾德國家大氣研究中心，以及錫拉丘茲埃弗森藝術博物館和得梅因藝術中心，兩者均於1968年完工。 他們是他設計的一系列博物館中的第一個，其中包括東樓（1978）和盧浮宮金字塔（1989）以及克利夫蘭的搖滾名人堂和博物館，他為此設計了相當多的博物館。在1995年的一個巨大的玻璃帳篷。這可能是他最令人驚訝的委託。 編輯精選 Netflix首部精彩素描喜劇秀的精彩奇觀 從'Smallville'到性愛崇拜：女演員Allison Mack的墮落 為什麼阿波羅10號從月球上停止了47,000英尺
國家美術館項目幫助裴先生贏得了改造巴黎盧浮宮的委員會。這個70英尺高的玻璃金字塔震驚了保護主義者，但公眾最終對此感到溫暖。 Credit Claude Paris / Associated Press 圖片 國家美術館項目幫助裴先生贏得了改造巴黎盧浮宮的委員會。這個70英尺高的玻璃金字塔震驚了保護主義者，但公眾最終對此感到溫暖。Credit Claude Paris / Associated Press 裴先生，不是搖滾樂迷，最初拒絕了那份工作。在他改變主意後，他準備迎接挑戰，通過與Rolling Stone的出版人Jann Wenner一起參加搖滾音樂會來表達音樂的精神。
克利夫蘭項目不會是裴先生最後一次不太可能的博物館委員會：他的博物館全部作品將於2008年在卡塔爾多哈設計伊斯蘭藝術博物館，這是裴先生津津樂道的挑戰。作為西方抽象表現主義藝術的長期收藏家，他承認對伊斯蘭藝術知之甚少。 廣告
與岩石博物館一樣，裴先生認為卡塔爾委員會是一個了解他沒有理解的文化的機會。他通過閱讀先知穆罕默德的傳記開始他的研究，然後開始在世界各地參觀偉大的伊斯蘭建築。 大膽但務實 雖然Zeckendorf建築的華夫餅狀混凝土立面是他的早期標誌，但Pei先生很快就從混凝土轉向更具雕塑感但同樣現代主義的方法。在他漫長的職業生涯中，他結合了使用大膽，自信的形式與他在Zeckendorf多年時期出生的實用主義的意願，並且在設計商業項目和在其他建築領域為自己命名之間交替。
克利夫蘭搖滾名人堂，裴先生最令人驚訝的佣金之一。 Credit Mark Duncan / Associated Press 圖片 克利夫蘭搖滾名人堂，裴先生最令人驚訝的佣金之一。Credit Mark Duncan / Associated Press
除了他的許多藝術博物館外，他還設計了音樂廳，學術建築，醫院，辦公樓和市政大樓，如達拉斯市政廳，於1977年完工; 波士頓的約翰肯尼迪圖書館於1979年完成; 和紐約西奈山醫院的古根海姆館於1992年完工。 （I M Pei＆Associates最終成為I M Pei＆Partners，後來命名為Pei，Cobb和Freed。） 當裴先生被邀請設計國家美術館東樓時，他有機會展示他的信念，即現代主義能夠生產具有莊嚴感，永久感和最大傳統結構的大眾吸引力的建築物。 。當這座建築於1978年開業時，“紐約時報”的高級建築評論家阿達·路易斯·赫克斯特德稱讚它是這個時代最重要的建築，她稱裴先生，至少暗示，他是卓越的建築師。時間。 大多數其他評論家也讚揚裴先生的玻璃和大理石的棱角結構，由與約翰羅素教皇1941年的原始國家美術館大樓相同的田納西大理石建造，重新塑造成圍繞三角形庭院的清晰，棱角分明的建築。許多評論家說，裴先生已經找到了超越現代建築的休閒，時空和寒冷的方法，並創造了一個既大膽又富有吸引力，甚至令人振奮的建築。
維多利亞港的天際線由香港島沿岸的商業大廈照亮。中國銀行大樓中心由裴先生設計，看起來像一個棱角分明的竹筍，於1989年完工。 信用 Anat Givon / Associated Press 圖片 維多利亞港的天際線由香港島沿岸的商業大廈照亮。中國銀行大樓中心由裴先生設計，看起來像一個棱角分明的竹筍，於1989年完工。信用Anat Givon / Associated Press 1979年，在國家美術館建成後的第二年，裴先生獲得了美國建築師協會的最高榮譽金獎。 然而，在他在華盛頓獲得喝彩的同時，裴先生正在從他那一代的任何建築師在任何地方遇到的最具破壞性的挫折中恢復過來：他最顯眼的項目之一，即700-幾乎徹底失敗在波士頓科普利廣場的腳高約翰漢考克大廈。 由他的搭檔亨利科佈設計的薄而優雅的藍色玻璃板，它於1973年接近完工，當時玻璃板開始從其立面彈出。他們很快被膠合板取代，但在問題來源被發現之前，近三分之一的玻璃杯已經脫落，給裴先生及其公司帶來了專業的尷尬和巨大的法律責任。
專家們認為，這個錯誤並不在裴設計中，而在於玻璃本身：漢考克大廈是最早使用新型反光雙層玻璃的高層建築之一。 圖片 裴先生遠不是設計肯尼迪圖書館和博物館的明顯選擇，但是當杰奎琳·肯尼迪於1964年在他的辦公室拜訪他時，她對博學和優雅禮儀印象深刻，她當場選擇了他。在圖書館的受託人和董事會議上，裴先生與肯尼迪夫人和羅伯特肯尼迪笑了笑。信用埃迪·豪斯納/紐約時報 該建築最終贏得了無數獎項，包括美國建築師協會的25年獎。但是，在Hancock的麻煩得以休息之前，它需要花費8年的法律糾紛，數百萬美元以及在立面上更換所有10,344塊玻璃，這座建築可以被認為是20世紀末最美麗的摩天大樓之一。世紀。
這些問題推遲了三年的開放，其臨時膠合板窗口不斷提醒波士頓所有的麻煩，這使得貝聿和合夥人這麼多客戶花費裴先生幾乎不得不關閉公司。 “玻璃公司有很多錢，漢考克有很多錢，但我們沒有很多錢，”他在2007年告訴泰晤士報。 儘管華盛頓國家美術館取得了勝利，但是為了解決漢考克問題的長期鬥爭，以及危機的影響，使得20世紀70年代成為了裴先生苦苦澀的十年。 1973年6月，工人們在波士頓裴先生的約翰漢考克大廈用膠合板取代了大量的玻璃窗玻璃。儘管故障出現在玻璃而不是建築中，但這一事件對裴先生來說是一次毀滅性的挫折。 。 Credit Bill Chaplis / Associated Press 圖片 1973年6月，工人們在波士頓裴先生的約翰漢考克大廈用膠合板取代了大量的玻璃窗玻璃。儘管故障出現在玻璃而不是建築中，但這一事件對裴先生來說是一次毀滅性的挫折。 。 Credit Bill Chaplis / Associated Press 雖然他的公司缺乏他所掙扎的大公司的資金是正確的，但他並非沒有大量資源，至少對於建築師而言。 銀行家的兒子 Ieoh Ming Pei於1917年4月26日出生於廣州（現廣州），是中國領先的銀行家之一Tsuyee Pei的兒子。在他還是個嬰兒的時候，他的父親將家搬到了香港，擔任中國銀行香港分行的首席職位，而當時他是9歲時，他的父親負責上海的大分行。他記得被25層酒店的建設迷住了。 他在2007年回憶說：“我無法抗拒地看著這個洞。這就是我知道自己想建造的時候。” 廣告 他在一個充滿中國傳統的富裕家庭中長大 - 他在一個鄉村度過了夏天，他父親的家庭已經生活了500多年，學習了祖先崇拜的儀式 - 以及西方的成熟。 裴先生於1970年在曼哈頓麥迪遜大道辦公室工作。 感謝 Ernie Sisto /紐約時報 圖片 裴先生於1970年在曼哈頓麥迪遜大道辦公室工作。感謝Ernie Sisto /紐約時報 他決定在美國上大學，就讀於賓夕法尼亞大學。但當他得出結論，他不熟悉古典繪畫技術，然後在賓夕法尼亞大學任教時，他轉學到麻省理工學院，並於1940年獲得建築學學士學位。 在父親的建議下，他擔心戰爭的威脅和中國共產主義革命的可能性日益增加，他推遲了回國的計劃。相反，他就讀於哈佛大學設計研究生院，在德國現代主義建築師沃爾特·格羅皮烏斯（Walter Gropius）的指導下學習，他是包豪斯學院的創始人。 發現戰爭期間哈佛大學的人數相對較少 - “這是我，一個中國公民和女士們”，他曾回憶說 - 他決定參加戰爭，並自願為國防研究委員會工作。新澤西州普林斯頓，他成為了融合炸彈的專家。 “他們認為，如果你知道如何建造建築物，你就知道如何摧毀它們，”裴先生說。 當他在麻省理工學院時，裴先生遇到了另一位中國國民艾琳·盧，他於1938年來到美國，在馬薩諸塞州韋爾斯利學院學習藝術。像裴先生一樣，她來自一個傑出的中國家庭。這兩個人在1942年畢業後就結婚了。艾琳裴開始在哈佛大學從事園林建築研究，而她的丈夫則在1946年獲得高級建築學位。 裴先生設計了大型公共補貼項目，如Kips Bay Towers（1963），這是一個曼哈頓綜合體，其網格澆築的現澆混凝土外牆證明，混凝土是大型城市住宅的可接受材料。 信用 鮑勃玻璃/紐約時報 圖片 裴先生設計了大型公共補貼項目，如Kips Bay Towers（1963），這是一個曼哈頓綜合體，其網格澆築的現澆混凝土外牆證明，混凝土是大型城市住宅的可接受材料。信用鮑勃玻璃/紐約時報 廣告 他曾在哈佛大學任教，併計劃及時返回中國。但後來他被Zeckendorf接洽，他正在尋找一位才華橫溢的年輕建築師來領導一個新的內部設計團隊。 裴先生，精緻和上流，從表面上來說，與傲慢的澤克多夫不可能有更大的不同。但這些男人有著雄心勃勃的野心，對法國葡萄酒的熱愛以及建築可以改善城市的信念。裴先生決定搬到紐約。他和他的妻子以及兩個年幼的兒子離開了馬薩諸塞州的劍橋，並在曼哈頓比克曼廣場的一套公寓裡定居。 對於裴先生的職業生涯來說，Zeckendorf時代是一個令人興奮的開端。不久之後，他聘請了一位在哈佛大學的前學生Henry Cobb，他將與他保持60多年的關係。建築師Ulrich Franzen的職業生涯始於Webb ＆ Knapp的 Pei先生，該建築部門負責紐約，華盛頓，蒙特利爾，丹佛，波士頓和其他城市的大型項目。 然而，無論威廉·澤肯多夫對裴先生的設計多麼投入，他仍然是一名商業房地產開發商，裴先生不想將自己的整個職業生涯都花在別人身上。隨著Zeckendorf的祝福，他開始尋求一些外部佣金sic，包括台灣的Luce Memorial Chapel和麻省理工學院的綠色地球sic Green科學大樓，他逐漸開始將自己與他的讚助人分開。 裴先生最早的作品之一是紐約大學的銀塔，這是他所謂的“混凝土系列”的一部分。 信用 Ozier Muhammad /紐約時報 圖片 裴先生最早的作品之一是紐約大學的銀塔，這是他所謂的“混凝土系列”的一部分。
信用Ozier Muhammad /紐約時報 當Zeckendorf的帝國在1960年遇到嚴重的財務問題時，這成為了將IM Pei＆Associates變成一家完全獨立的公司的良好藉口。 肯尼迪的選擇 裴先生很快開始收集大型和小型建築作業，其中包括現在紐約約翰肯尼迪機場的國家航空公司航站樓，錫拉丘茲大學的紐豪斯通信學院以及哥倫布的克萊奧羅傑斯紀念圖書館。 ，印第安納州，一個以其建築而聞名的城市。 廣告 但真正將裴先生推到美國建築師前沿的委員會是建造一座建築，需要15年的時間才能建成，並且會給他帶來平等的勝利感和挫敗感：約翰肯尼迪圖書館。 他於1964年被杰奎琳·肯尼迪（後來的奧納西斯）選中，他喜歡他年輕的事實 - 他和約翰·肯尼迪相隔一個月出生 - 並且才剛剛開始進入他自己的世界。他對Louis Kahn，Philip Johnson，Gordon Bunshaft和Paul Rudolph的選擇清楚地表明，他不再被視為開發人員的建築師，而是他自己的主要人才。 裴先生和開發人員William Zeckendorf Jr.離開了1989年在曼哈頓建議的攝政酒店（現在是四季酒店）的模型。在這裡，裴先生試圖喚起浪漫，後退的形式戰前的紐約摩天大樓。 信用 sic Fred R. Conrad /紐約時報 圖片
裴先生和開發人員William Zeckendorf Jr.離開了1989年在曼哈頓建議的攝政酒店（現在是四季酒店）的模型。在這裡，裴先生試圖喚起浪漫，後退的形式戰前的紐約摩天大樓。信用Fred R. Conrad /紐約時報 但是對圖書館在劍橋的原址進行的政治反對推遲了該項目多年，到建造時，波士頓港哥倫比亞角的新網站和縮小設計都代表了重大的妥協。 在肯尼迪圖書館計劃的這些年裡，Pei公司發展迅速。還有更多的博物館，如康奈爾大學的赫伯特·約翰遜博物館，以及波士頓基督教科學中心等大型城市綜合體，以及裴先生在波士頓最大的名聲，約翰漢考克大廈的項目和博物館將給他帶來他最大的讚譽，國家美術館的東樓。
隨著他的公司規模和聲望的增長 - 最終將僱傭300名員工 - 裴先生似乎成為典型的紐約人。他和他的妻子和家人，包括三個兒子和一個女兒，搬到薩頓廣場的一個聯排別墅，面對東河，他在那裡度過餘生。他成為戰後美國藝術的狂熱收藏家，他的聯排別墅包含莫里斯路易斯，杜布菲和德庫寧的作品; 他還為他的家人在威徹斯特郡的紐約州卡托納設計了一個週末房子，在那裡他安裝了安東尼卡羅的16英尺高的雕塑。
裴先生從未放下與中國的聯繫。他的孩子們都被賦予了中國名字，當他在1983年獲得普利茲克獎時，被廣泛認為是生活建築師可以獲得的最高榮譽，他利用10萬美元的獎金為中國建築學生設立了獎學金。
裴先生於1974年首次回中國，並於20世紀80年代設計了北京郊外的香山酒店。（他說，這不是他最成功的建築之一。） 信用 劉香成劉/美聯社 圖片 裴先生於1974年首次回中國，並於20世紀80年代設計了北京郊外的香山酒店。（他說，這不是他最成功的建築之一。）信用劉香成劉/美聯社
他的長子T'ing Chung是一名城市規劃師，他於2003年去世。他的妻子艾琳於2014年去世。除了他的兒子李頌，他被稱為桑迪，他還有另一個兒子倖存下來， Chien Chung，也是一名建築師，被稱為滴滴; 他的女兒Liane; 和孫子孫女。
裴先生的小兒子於1992年與他一起組建了自己的公司Pei Partnership，此時，貝聿銘開始撇開他創立的公司，並將其職業生涯的大部分時間用於與他的兒子們一起工作。 直到1974年，他才回到中國，當時他回到美國建築師協會組織的文化交流之旅。在那裡，他毫不猶豫地批評他所看到的平庸，受蘇聯影響的建築，並且他發表了一個演講，他敦促中國人回顧他們自己的傳統，而不是“盲目追隨東歐模式”。
批評並沒有阻止中國政府邀請當時世界上最著名的中國出生建築師裴先生回來，這次是在北京市中心設計一批高層酒店。他拒絕了，說他擔心這樣的建築物會毀壞這座城市。 1992年，Pei先生開始與他的兒子Chien Chung Pei（被稱為Didi）和Li Chung Pei（被稱為Sandi）在Pei Partnership Architects工作。其中最引人注目的項目是多哈伊斯蘭藝術博物館。 感謝 Hassan Ammar / Associated Press 圖片 1992年，Pei先生開始與他的兒子Chien Chung Pei（被稱為Didi）和Li Chung Pei（被稱為Sandi）在Pei Partnership Architects工作。其中最引人注目的項目是多哈伊斯蘭藝術博物館。感謝Hassan Ammar / Associated Press
政府不願意讓他如此輕易地離開，然後向他提供了一個城外的農村地點，並要求他在那裡設計一個度假酒店。這次他說是的，並為Fragrant Hill製作了設計，這是一座龐大的建築，他試圖將其他建築的幾何現代主義與中國傳統建築的元素結合起來。 廣告 這是裴先生為了承認許多建築師在重用歷史形式方面日益增長的興趣所做的一些嘗試中的第一次。同樣，他後來在曼哈頓中城設計了一家高層酒店 - 麗晶酒店（現為四季酒店），試圖喚起戰前紐約摩天大樓的浪漫，後退形式。 香山的開幕是一項重大的國際盛事。
杰奎琳奧納西斯與裴先生的友誼在肯尼迪圖書館延遲多年之後依然保持強勢，國家美術館館長卡特布朗也出席了會議。但裴先生後來承認，他認為這座建築結構不佳，維護不善，令人失望。 1982年，裴先生在中國有一個非常不同的機會，當時他在香港的中國銀行行長，他父親曾經經營過的銀行，前往紐約與Tsuyee Pei會面。離開中國，住在曼哈頓。他們的任務是向裴先生展示中國傳統禮儀，如果他同意允許他們邀請兒子為香港銀行設計一座新的摩天大樓總部。（Tsuyee Pei強烈反對共產黨中國政府，但他並沒有妨礙他兒子接受這份工作。） 裴先生和他的妻子艾琳，以及總理讓·克勞德·容克在2006年在盧森堡舉行的頒獎典禮上。這對夫婦於1942年結婚，育有四個孩子。 信用 Harald Tittel /圖片聯盟和dpa，通過美聯社
圖片 裴先生和他的妻子艾琳，以及總理讓·克勞德·容克在2006年在盧森堡舉行的頒獎典禮上。這對夫婦於1942年結婚，育有四個孩子。信用Harald Tittel /圖片聯盟和dpa，通過美聯社
它將成為裴先生最著名的塔樓之一，由70層高的三角形和鑽石形狀組成，由玻璃和鋼製成。 金字塔作為門戶 然而，裴先生將在法國創造他最大的國際商標，但項目規模較小但爭議較大。
20世紀80年代初，國家美術館東樓的崇拜者弗朗索瓦·密特朗（FrançoisMitterand）邀請裴先生更新和擴建盧浮宮博物館，該博物館急需翻新以容納大量遊客。 裴先生提議在古老的Cour Napoleon中心建造一座玻璃金字塔，作為博物館的新主入口。他很快發現自己處於國際爭議的中心，被指責破壞了世界上最偉大的地標之一。
他認為他的玻璃金字塔只是傳統形式的更新版本，他重新設計的庭院受到法國景觀設計師Le Notre幾何作品的影響。換句話說，它是嚴格理性的，在這個意義上講是經典的法語。 裴先生於2008年在曼哈頓薩頓廣場的家中。作為一名在上海的男孩，他對25層酒店的建設著迷。“我無法抗拒地看著這個洞，”他回憶道。“這時候，我決定我想建立” 信用 托尼 Cenicola /紐約時報 圖片 裴先生於2008年在曼哈頓薩頓廣場的家中。作為一名在上海的男孩，他對25層酒店的建設著迷。“我無法抗拒地看著這個洞，”他回憶道。“這時候，我決定我想建立”
信用托尼Cenicola /紐約時報
然而，這一天帶來的不是裴先生的論點，儘管可能是真實的，但是密特朗總統的決心。金字塔在1989年春天開放，完成的建築的優雅，更不用說它的幾何精度，贏得了大多數（如果不是全部）其對手。 在幾年之內，金字塔已經成為一個被重新充滿活力的巴黎的公認和普遍讚賞的象徵。就像肯尼迪圖書館，約翰漢考克大廈和20世紀80年代另一個有爭議的Pei項目，紐約的Jacob Javits會議中心，它不僅是IM Pei的設計才能，也是他耐心和毅力的衡量標準。
在退休時，裴先生一直渴望獲得建築和藝術的新聞，直到去年，他繼續在市中心偶爾旅行，與朋友共進午餐，並消費他的紅色波爾多份額。 2017年，他的100歲生日，由他的孩子們在洛克菲勒中心頂部的彩虹廳舉行精心製作的黑色領帶晚宴，在那裡他被許多世界頂尖建築師敬酒，其中一些人已經開始了他們的職業生涯對他來說，還有一群朋友，其中包括美國華人社區的傑出成員，他們認為他是最傑出的人物。
在他最後一個重要的建築項目 - 多哈伊斯蘭藝術博物館的角形形狀中，他掏出一塊巨大蛋糕上的蠟燭，裴先生笑著說。
更正： 2019年5月16日 這篇ob告的早期版本誤認為裴先生的兒子證實了他的死亡。他是李鍾培，而不是簡鐘培。 本文的一個版本出現在印刷品上 2019年5月17日，在第一個1 紐約版的大標題是：大師的高樓眼花繚亂的世界
I.M. Pei, Master Architect Whose Buildings Dazzled the World, Dies at 102
I.M. Pei in 1989 outside the glass pyramid he designed at the Louvre in Paris, one of his most famous commissions. “If there’s one thing I know I didn’t do wrong, it’s the Louvre,” he said.CreditMarc Riboud/Magnum Photos
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I.M. Pei in 1989 outside the glass pyramid he designed at the Louvre in Paris, one of his most famous commissions. “If there’s one thing I know I didn’t do wrong, it’s the Louvre,” he said.CreditCreditMarc Riboud/Magnum PhotosBy Paul Goldberger
May 16, 2019
I. M. Pei, who began his long career designing buildings for a New York real estate developer and ended it as one of the most revered architects in the world, died early Thursday at his home in Manhattan. He was 102.
His death was confirmed by his son Li Chung Pei, who is also an architect and known as Sandi. He said his father had recently celebrated his birthday with a family dinner.
Best known for designing the East Building of the National Gallery of Art in Washington and the glass pyramid at the entrance to the Louvre in Paris, Mr. Pei was one of the few architects who were equally attractive to real estate developers, corporate chieftains and art museum boards (the third group, of course, often made up of members of the first two). And all of his work — from his commercial skyscrapers to his art museums — represented a careful balance of the cutting edge and the conservative.
Mr. Pei’s addition to the National Gallery of Art in Washington, known as the East Building, is made from massive blocks of Tennessee marble arranged around a triangular courtyard. It was a rare example of a modernist structure that appeared so permanent and well crafted that even lovers of traditional architecture were smitten.CreditCarol M. Highsmith/Buyenlarge, via Getty Images
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Mr. Pei’s addition to the National Gallery of Art in Washington, known as the East Building, is made from massive blocks of Tennessee marble arranged around a triangular courtyard. It was a rare example of a modernist structure that appeared so permanent and well crafted that even lovers of traditional architecture were smitten.CreditCarol M. Highsmith/Buyenlarge, via Getty Images[See six of I.M. Pei’s most important works.]
Mr. Pei remained a committed modernist, and while none of his buildings could ever be called old-fashioned or traditional, his particular brand of modernism — clean, reserved, sharp-edged and unapologetic in its use of simple geometries and its aspirations to monumentality — sometimes seemed to be a throwback, at least when compared with the latest architectural trends.
This hardly bothered him. What he valued most in architecture, he said, was that it “stand the test of time.”
He maintained that he wanted not just to solve problems but also to produce “an architecture of ideas.” He worried, he added, “that ideas and professional practice do not intersect enough.”
Mr. Pei, who was born in China and moved to the United States in the 1930s, was hired by William Zeckendorf in 1948, shortly after he received his graduate degree in architecture from Harvard, to oversee the design of buildings produced by Zeckendorf’s firm, Webb & Knapp.
President Jimmy Carter dedicated the East Building of the National Gallery of Art in Washington in 1978. He was joined by, from left, Carter Brown, director of the gallery; Mr. Pei; Bunny Mellon, whose family donated money for the structure; and Joan Mondale, wife of Vice President Walter F. Mondale.CreditAssociated Press
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President Jimmy Carter dedicated the East Building of the National Gallery of Art in Washington in 1978. He was joined by, from left, Carter Brown, director of the gallery; Mr. Pei; Bunny Mellon, whose family donated money for the structure; and Joan Mondale, wife of Vice President Walter F. Mondale.CreditAssociated PressAt a time when most of his Harvard classmates considered themselves fortunate to get to design a single-family house or two, Mr. Pei quickly found himself engaged in the design of high-rise buildings, and he used that experience as a springboard to establish his own firm, I. M. Pei & Associates, which he set up in 1955 with Henry Cobb and Eason Leonard, the team he had assembled at Webb & Knapp.
In its early years, I. M. Pei & Associates mainly executed projects for Zeckendorf, including Kips Bay Plaza in New York, finished in 1963; Society Hill Towers in Philadelphia (1964); and Silver Towers in New York (1967). All were notable for their gridded concrete facades.
The firm became fully independent from Webb & Knapp in 1960, by which time Mr. Pei, a cultivated man whose understated manner and easy charm masked an intense, competitive ambition, was winning commissions for major projects that had nothing to do with Zeckendorf. Among these were the National Center for Atmospheric Research in Boulder, Colo., completed in 1967, and the Everson Museum of Art in Syracuse and the Des Moines Art Center, both finished in 1968.
They were the first in a series of museums he designed that would come to include the East Building (1978) and the Louvre pyramid (1989) as well as the Rock & Roll Hall of Fame and Museum in Cleveland, for which he designed what amounted to a huge glass tent in 1995. It was perhaps his most surprising commission.
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The National Gallery project helped Mr. Pei win the commission to renovate the Louvre in Paris. The 70-foot-high glass pyramid appalled preservationists, but the public eventually warmed to it.CreditClaude Paris/Associated Press
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The National Gallery project helped Mr. Pei win the commission to renovate the Louvre in Paris. The 70-foot-high glass pyramid appalled preservationists, but the public eventually warmed to it.CreditClaude Paris/Associated PressMr. Pei, not a rock ’n’ roll fan, initially turned down that job. After he changed his mind, he prepared for the challenge of expressing the spirit of the music by traveling to rock concerts with Jann Wenner, the publisher of Rolling Stone.
The Cleveland project would not be Mr. Pei’s last unlikely museum commission: His museum oeuvre would culminate in the call to design the Museum of Islamic Art, in Doha, Qatar, in 2008, a challenge Mr. Pei accepted with relish. A longtime collector of Western Abstract Expressionist art, he admitted to knowing little about Islamic art.
As with the rock museum, Mr. Pei saw the Qatar commission as an opportunity to learn about a culture he did not claim to understand. He began his research by reading a biography of the Prophet Muhammad, and then commenced a tour of great Islamic architecture around the world.
Bold Yet Pragmatic
While the waffle-like concrete facades of the Zeckendorf buildings were an early signature of his, Mr. Pei soon moved beyond concrete to a more sculptural but equally modernist approach. Throughout his long career he combined a willingness to use bold, assertive forms with a pragmatism born in his years with Zeckendorf, and he alternated between designing commercial projects and making a name for himself in other architectural realms.
The Rock & Roll Hall of Fame in Cleveland, one of Mr. Pei’s most surprising commissions.CreditMark Duncan/Associated Press
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The Rock & Roll Hall of Fame in Cleveland, one of Mr. Pei’s most surprising commissions.CreditMark Duncan/Associated PressBesides his many art museums, he designed concert halls, academic structures, hospitals, office towers and civic buildings like the Dallas City Hall, completed in 1977; the John F. Kennedy Library in Boston, finished in 1979; and the Guggenheim Pavilion of Mount Sinai Hospital in New York, finished in 1992.
(I. M. Pei & Associates eventually became I. M. Pei & Partners and later named Pei, Cobb and Freed.)
When Mr. Pei was invited to design the East Building of the National Gallery of Art, he had the opportunity to demonstrate his belief that modernism was capable of producing buildings with the gravitas, the sense of permanence and the popular appeal of the greatest traditional structures. When the building opened in 1978, Ada Louise Huxtable, the senior architecture critic of The New York Times, hailed it as the most important building of the era, and she called Mr. Pei, at least by implication, the pre-eminent architect of the time.
Most other critics also praised Mr. Pei’s angular structure of glass and marble, constructed out of the same Tennessee marble as John Russell Pope’s original National Gallery Building of 1941, reshaped into a building of crisp, angular forms set around a triangular courtyard. Mr. Pei, many critics said, had found a way to get beyond both the casual, temporal air and the coldness of much modern architecture, and to create a building that was both boldly monumental and warmly inviting, even exhilarating.
The Victoria Harbor skyline is illuminated by commercial buildings along the waterfront of Hong Kong Island. The Bank of China building, center, designed by Mr. Pei to look like an angular bamboo shoot, was completed in 1989.CreditAnat Givon/Associated Press
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The Victoria Harbor skyline is illuminated by commercial buildings along the waterfront of Hong Kong Island. The Bank of China building, center, designed by Mr. Pei to look like an angular bamboo shoot, was completed in 1989.CreditAnat Givon/Associated PressIn 1979, the year after the National Gallery was completed, Mr. Pei received the Gold Medal of the American Institute of Architects, its highest honor.
At the same time that he was receiving plaudits in Washington, however, Mr. Pei was recovering from one of the most devastating setbacks any architect of his generation had faced anywhere: the nearly total failure of one of his most conspicuous projects, the 700-foot-tall John Hancock Tower at Copley Square in Boston.
A thin, elegant slab of bluish glass designed by his partner Henry Cobb, it was nearing completion in 1973 when sheets of glass began popping out of its facade. They were quickly replaced with plywood, but before the source of the problem could be detected, nearly a third of the glass had fallen out, creating both a professional embarrassment and an enormous legal liability for Mr. Pei and his firm.
The fault, experts believed, was not in the Pei design but in the glass itself: The Hancock Tower was one of the first high-rise buildings to use a new type of reflective, double-paned glass.
Mr. Pei was far from the obvious choice to design the Kennedy library and museum, but when Jacqueline Kennedy visited him in his office in 1964, she was so impressed by his erudition and elegant manners that she chose him on the spot. At a meeting of trustees and directors of the library, Mr. Pei shared a laugh with Mrs. Kennedy and Robert Kennedy.CreditEddie Hausner/The New York Times
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Mr. Pei was far from the obvious choice to design the Kennedy library and museum, but when Jacqueline Kennedy visited him in his office in 1964, she was so impressed by his erudition and elegant manners that she chose him on the spot. At a meeting of trustees and directors of the library, Mr. Pei shared a laugh with Mrs. Kennedy and Robert Kennedy.CreditEddie Hausner/The New York TimesThe building ultimately won numerous awards, including the American Institute of Architects’ 25-Year Award. But it took eight years of legal wrangling, millions of dollars and the replacement of all 10,344 panes of glass in the facade before the Hancock’s troubles could be put to rest and the building could be appreciated as one of the most beautiful skyscrapers of the late 20th century.
The problems delayed its opening by three years, its temporary plywood windows a constant reminder to all Boston of its troubles, which cost I. M. Pei & Partners so many clients that Mr. Pei almost had to close the firm.
“The glass company had a lot of money, and Hancock had a lot of money, but we didn’t have a lot of money,” he told The Times in 2007.
The long struggle to resolve the problems at the Hancock, and the fallout from the crisis, made the 1970s, despite the triumph of the National Gallery in Washington, a bittersweet decade for Mr. Pei.
Workmen replaced numerous panes of glass, blown out in high winds, with plywood at Mr. Pei’s John Hancock Tower in Boston in June 1973. Though the fault was in the glass, not the architecture, the episode was a devastating setback for Mr. Pei.
CreditBill Chaplis/Associated Press
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Workmen replaced numerous panes of glass, blown out in high winds, with plywood at Mr. Pei’s John Hancock Tower in Boston in June 1973. Though the fault was in the glass, not the architecture, the episode was a devastating setback for Mr. Pei.CreditBill Chaplis/Associated Press
Although he was correct that his firm lacked the funds of the huge corporations he was struggling with, he was not without substantial resources, at least for an architect.
Son of a Banker
Ieoh Ming Pei was born in Canton (now Guangzhou) on April 26, 1917, the son of Tsuyee Pei, one of China’s leading bankers. When he was an infant, his father moved the family to Hong Kong to assume the head position at the Hong Kong branch of the Bank of China, and when Ieoh Ming was 9, his father was put in charge of the larger branch in Shanghai. He remembered being fascinated by the construction of a 25-story hotel.
“I couldn’t resist looking into the hole,” he recalled in 2007. “That’s when I knew I wanted to build.”
He was brought up in a well-to-do household that was steeped in both Chinese tradition — he spent summers in a country village, where his father’s family had lived for more than 500 years, learning the rites of ancestor worship — and Western sophistication.
Mr. Pei in his Madison Avenue office in Manhattan in 1970.CreditErnie Sisto/The New York Times
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Mr. Pei in his Madison Avenue office in Manhattan in 1970.CreditErnie Sisto/The New York TimesDeciding to attend college in the United States, he enrolled at the University of Pennsylvania. But when he concluded that he was not up to the classical drawing techniques then being taught at Penn, he transferred to the Massachusetts Institute of Technology, from which he received a bachelor of architecture degree in 1940.
At the recommendation of his father, who was concerned about the threat of war and the growing possibility of a Communist revolution in China, he postponed his plan to return home. Instead he enrolled at the Graduate School of Design at Harvard, where he studied under the German modernist architect Walter Gropius, founder of the Bauhaus School.
Discovering that there were relatively few men at Harvard during the war years — “It was me, a Chinese national, and the ladies,” he once recalled — he decided to join the war effort and volunteered to work for the National Defense Research Committee in Princeton, N.J., where he became an expert on fusing bombs.
“They figured if you knew how to build buildings, you knew how to destroy them,” Mr. Pei said.
While he was at M.I.T., Mr. Pei met another Chinese national, Eileen Loo, who had come to the United States in 1938 to study art at Wellesley College in Massachusetts. Like Mr. Pei, she was from a distinguished Chinese family. The two married as soon as she graduated, in 1942. Eileen Pei began graduate work in landscape architecture at Harvard while her husband worked toward his advanced architecture degree, which he received in 1946.
Mr. Pei designed large, publicly subsidized projects like Kips Bay Towers (1963), a Manhattan complex whose gridded, poured-in-place concrete facades proved, he said, that concrete was an acceptable material for large-scale urban housing.CreditBob Glass/The New York Times
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Mr. Pei designed large, publicly subsidized projects like Kips Bay Towers (1963), a Manhattan complex whose gridded, poured-in-place concrete facades proved, he said, that concrete was an acceptable material for large-scale urban housing.CreditBob Glass/The New York TimesHe taught briefly at Harvard and planned to return to China in time. But then he was approached by Zeckendorf, who was looking for a talented young architect to head a new in-house design team.
Mr. Pei, refined and genteel, could not have been more different on the surface from the brash Zeckendorf. But the men shared a bold ambition, a love of French wine and a belief that architecture could improve cities. Mr. Pei decided to make the move to New York. He, his wife and their two young sons left Cambridge, Mass., and settled in an apartment on Beekman Place in Manhattan.
The Zeckendorf years were a heady beginning for Mr. Pei’s career. Before long he had hired one of his former students at Harvard, Henry Cobb, who would remain associated with him for more than 60 years. The architect Ulrich Franzen also began his career working under Mr. Pei at Webb & Knapp, where the architecture department had charge of large-scale projects in New York, Washington, Montreal, Denver, Boston and other cities.
No matter how committed William Zeckendorf was to Mr. Pei’s designs, however, he was still a commercial real estate developer, and Mr. Pei did not want to spend his entire career working for someone else. With Zeckendorf’s blessing he began to seek some outside commissions, including the Luce Memorial Chapel in Taiwan and the Green Earth Sciences building at M.I.T., and he gradually began to separate himself from his patron.
One of Mr. Pei’s earliest works was The Silver Towers at New York University, part of what he called his “concrete series.”CreditOzier Muhammad/The New York Times
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One of Mr. Pei’s earliest works was The Silver Towers at New York University, part of what he called his “concrete series.”CreditOzier Muhammad/The New York TimesWhen Zeckendorf’s empire ran into serious financial problems in 1960, that became a good excuse to turn I. M. Pei & Associates into a fully independent firm.
The Choice of the Kennedys
Mr. Pei quickly began to gather both large and small architectural assignments, among them the National Airlines terminal at what is now John F. Kennedy Airport in New York, the Newhouse School of Communications at Syracuse University, and the Cleo Rogers Memorial Library in Columbus, Ind., a city famous for its architecture.
But the commission that truly thrust Mr. Pei into the forefront of American architects was for a building that would take 15 years to build and would bring him a sense of triumph and frustration in equal parts: the John F. Kennedy Library.
He was chosen in 1964 by Jacqueline Kennedy (later Onassis), who liked the fact that he was young — he and John F. Kennedy were born just a month apart — and only beginning to come into his own. His selection over Louis Kahn, Philip Johnson, Gordon Bunshaft and Paul Rudolph made it clear that he was no longer viewed as a developer’s architect but as a major talent on his own.
Mr. Pei, right, and the developer William Zeckendorf Jr., left, with a model of the proposed Regent hotel (now the Four Seasons) in Manhattan in 1989. Here Mr. Pei sought to evoke the romantic, stepped-back forms of prewar New York skyscrapers.CreditFred R. Conrad/The New York Times
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Mr. Pei, right, and the developer William Zeckendorf Jr., left, with a model of the proposed Regent hotel (now the Four Seasons) in Manhattan in 1989. Here Mr. Pei sought to evoke the romantic, stepped-back forms of prewar New York skyscrapers.CreditFred R. Conrad/The New York TimesBut political objections to the library’s original site in Cambridge delayed the project for years, and by the time it was built, both the new site, at Columbia Point in Boston Harbor, and the scaled-down design represented major compromises.
During the years the Kennedy Library was being planned, the Pei firm grew rapidly. There were still more museums, like the Herbert F. Johnson Museum at Cornell University, and large urban complexes like the Christian Science Center in Boston, as well as the project that would bring Mr. Pei his greatest notoriety in Boston, the John Hancock Tower, and the museum that would bring him his greatest acclaim, the East Building of the National Gallery.
As his firm grew in size and prestige — it would eventually employ 300 people — Mr. Pei seemed to become the quintessential New Yorker. He and his wife and family, which grew to include three sons and a daughter, moved to a townhouse on Sutton Place, facing the East River, where he remained for the rest of his life. He became an avid collector of postwar American art, and his townhouse contained works by Morris Louis, Dubuffet and de Kooning; he also designed a weekend house for his family in Katonah, N.Y., in Westchester County, where he installed a 16-foot-high sculpture by Anthony Caro.
Mr. Pei never played down his connections to China. His children were all given Chinese names, and when he won the Pritzker Prize in 1983, widely viewed as the highest honor a living architect can receive, he used the $100,000 award to establish a scholarship fund for Chinese architecture students.
Mr. Pei made his first trip back to China in 1974, and in the 1980s he designed the Fragrant Hill Hotel, outside Beijing. (He said it was not one of his most successful buildings.)CreditHeung Shing Liu/Associated Press
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Mr. Pei made his first trip back to China in 1974, and in the 1980s he designed the Fragrant Hill Hotel, outside Beijing. (He said it was not one of his most successful buildings.)CreditHeung Shing Liu/Associated PressHis eldest son, T’ing Chung, an urban planner, died in 2003. His wife of 72 years, Eileen, died in 2014. In addition to his son Li Chung, who is known as Sandi, he is survived by another son, Chien Chung, also an architect, who is known as Didi; his daughter, Liane; and grandchildren and great-grandchildren.
Mr. Pei’s younger sons joined with him to form their own firm, the Pei Partnership, in 1992, at which point I. M. Pei began stepping aside from the firm he had founded and devoted most of the last years of his career to working with his sons.
He did not go back to China until 1974, when he returned as part of a cultural exchange tour organized by the American Institute of Architects. There, he did not hesitate to criticize the banal, Soviet-influenced architecture that he saw, and he gave a talk in which he urged the Chinese to look back at their own traditions rather than “slavishly following Eastern European patterns.”
The criticism did not deter the Chinese government from inviting Mr. Pei, by then the most famous Chinese-born architect in the world, back again, this time to design a group of high-rise hotels in the center of Beijing. He declined, saying that he feared such buildings would deface the city.
In 1992, Mr. Pei began working with his sons Chien Chung Pei, known as Didi, and Li Chung Pei, known as Sandi, at Pei Partnership Architects. Among their most visible projects was the Museum of Islamic Art in Doha.CreditHassan Ammar/Associated Press
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In 1992, Mr. Pei began working with his sons Chien Chung Pei, known as Didi, and Li Chung Pei, known as Sandi, at Pei Partnership Architects. Among their most visible projects was the Museum of Islamic Art in Doha.CreditHassan Ammar/Associated PressThe government, not willing to let him get away so easily, then offered him a rural site outside the city and asked him to design a resort hotel there. This time he said yes, and produced the design for Fragrant Hill, a sprawling building in which he tried to combine the geometric modernism of his other buildings with elements from traditional Chinese architecture.
It was the first of a few attempts Mr. Pei made to acknowledge the growing interest of many architects in reusing historical form; in a similar vein, he would later design a high-rise hotel in Midtown Manhattan, the Regent (now the Four Seasons), which tried to evoke the romantic, stepped-back forms of prewar New York skyscrapers.
The opening of Fragrant Hill was a major international event. Jacqueline Onassis, whose friendship with Mr. Pei remained strong throughout the years of delay over the Kennedy Library, attended, as did Carter Brown, the director of the National Gallery. But Mr. Pei later admitted that he considered the building, which was poorly constructed and not well maintained, a disappointment.
In 1982, Mr. Pei would have a very different kind of opportunity in China when the governors of the Bank of China in Hong Kong, the bank his father had once run, traveled to New York to meet with Tsuyee Pei, who had long since left China and was living in Manhattan. Their mission was to ask the senior Pei, in a demonstration of traditional Chinese etiquette, if he would agree to allow them to invite his son to design a new skyscraper headquarters for the bank in Hong Kong. (Tsuyee Pei was bitterly opposed to the Communist Chinese government, but he did not stand in the way of his son’s taking the job.)
Mr. Pei and his wife, Eileen, with Prime Minister Jean Claude Juncker at an awards ceremony in Luxembourg in 2006. The couple married in 1942 and had four children.CreditHarald Tittel/picture-alliance and dpa, via Associated Press
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Mr. Pei and his wife, Eileen, with Prime Minister Jean Claude Juncker at an awards ceremony in Luxembourg in 2006. The couple married in 1942 and had four children.CreditHarald Tittel/picture-alliance and dpa, via Associated PressIt would turn out to be one of Mr. Pei’s most notable towers, a narrow 70-story composition of triangular and diamond shapes, built of glass and steel.
A Pyramid as a Portal
Mr. Pei would make his biggest international mark, however, in France, with a smaller but far more contentious project. In the early 1980s President François Mitterand, an admirer of the East Building at the National Gallery, invited Mr. Pei to update and expand the Louvre Museum, which was sorely in need of renovation to accommodate a huge increase in visitors.
Mr. Pei proposed building a glass pyramid in the center of the ancient Cour Napoleon to serve as a new main entrance to the museum. He quickly found himself in the center of an international controversy, accused of defacing one of the world’s great landmarks.
He argued that his glass pyramid was merely an updated version of a traditional form, and that his redesigned courtyard had been influenced by the geometric work of the French landscape architect Le Notre. It was rigorously rational, in other words, and in that sense classically French.
Mr. Pei in his Sutton Place home in Manhattan in 2008. As a boy in Shanghai, he was fascinated by the construction of a 25-story hotel. “I couldn’t resist looking into the hole,” he recalled. “That’s when I decided I wanted to build.”CreditTony Cenicola/The New York Times
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Mr. Pei in his Sutton Place home in Manhattan in 2008. As a boy in Shanghai, he was fascinated by the construction of a 25-story hotel. “I couldn’t resist looking into the hole,” he recalled. “That’s when I decided I wanted to build.”CreditTony Cenicola/The New York TimesWhat carried the day, however, was not Mr. Pei’s argument, true as it may have been, but President Mitterand’s determination. The pyramid opened in the spring of 1989, and the elegance of the finished building, not to mention its geometric precision, won over most, if not all, of its opponents.
Within a few years the pyramid had become an accepted, and generally admired, symbol of a re-energized Paris. And like the Kennedy Library, the John Hancock Tower and another controversial Pei project from the 1980s, the Jacob Javits Convention Center in New York, it stood as a measure not just of I. M. Pei’s design talent but also of his patience and perseverance.
In retirement, Mr. Pei remained eager for news of both architecture and art and, until his last year, continued to make the occasional trip downtown to lunch with friends and consume his share of red Bordeaux.
His 100th birthday, in 2017, was marked with an elaborate black-tie dinner, given by his children, at the Rainbow Room atop Rockefeller Center, where he was toasted by many of the world’s leading architects, some of whom had begun their careers working for him, and a circle of friends that included prominent members of the Chinese community in the United States, who considered him among their most eminent figures.
As he blew out the candles on an enormous cake in the angular shape of the monumental Museum of Islamic Art in Doha, his last major building project, Mr. Pei beamed.
Correction: May 16, 2019
An earlier version of this obituary misidentified the son of Mr. Pei who confirmed his death. He is Li Chung Pei, not Chien Chung Pei.
A version of this article appears in print on May 17, 2019, on Page A1 of the New York edition with the headline: A Master Whose Buildings Dazzled the World. Order Reprints | Today’s Paper | Subscribe
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