
Shu-Chang Kung Architect/ Professor, Graduate Institute of Architecture, National Yangming Jiaotong University
Winsing Art Place (No. 6, Lane 10, Lane 180, Section 6, Section 6, Minquan East Road, Neihu District, Taipei City)
$150 (Discounts on books and drinks, and free admission to the bookstore)
I.M. Pei, the internationally renowned Chinese-American architect, is hailed as “the last master of modernism.” Over his six-decade career, he masterfully blended Eastern aesthetics with Western rationality, employing light as a design element to create timeless architectural masterpieces. His works possess profound aesthetic value while embodying the spirit of their era and humanistic concerns, continuing to inspire countless architects and creative professionals to this day.
When you think of I.M. Pei, which work comes to mind? Is it the glass pyramid at the Louvre in Paris, a structure that sparks both controversy and awe? The serene and solemn Luce Memorial Chapel at Tunghai University in Taiwan? Or perhaps the Miho Museum, nestled in the mountains of Shiga Prefecture, Japan, with its ethereal beauty?
This lecture invites Shu-Chang Kung, architect and professor at the NYCU Graduate Institute of Architecture. Beginning with Pei’s and Da-Hong Wang’s graduation projects at Harvard University’s Graduate School of Design, Kung guides us in exploring the distinct responses of these two architects to modernism and cultural traditions. The lecture will delve into the intellectual trajectory of Pei’s architecture, examining how he navigated the tensions between power and commerce to seek possibilities for “publicness,” and how he progressively pursued explorations of “culturality.” Furthermore, it will guide us in contemplating how Pei employed architectural form to articulate his own cultural identity and will.
“Form follows intention.”- I. M. Pei
As an architect, I. M. Pei spoke through his buildings throughout his decades-long career. His work reveals how he shaped spaces through the acute sensibilities cultivated in multicultural environments, responding to diverse needs and cultural contexts. Yet despite his internationally acclaimed creations, public understanding of I.M. Pei the man may not match the depth of his architectural legacy. To mark the long-awaited reissue of the Chinese edition of his official monograph, I.M. Pei: Complete Works, after a twelve-year hiatus, the Winsing Arts Foundation and Cube Press invited architect Shu-Chang Kung to trace the design philosophy and will of this Chinese architectural giant. Drawing from his experience visiting the 2024 exhibition, I.M. Pei: Life Is Architecture, at Hong Kong’s M+ Museum and years of collecting and researching Pei’s materials, Kung offers readers a comprehensive perspective.
Pei’s formative years laid the foundation for his cultural hybridity: his childhood spent in the cosmopolitan cities of Hong Kong and Shanghai; his adulthood marked by journeys to the United States, where he received architectural education at both the Massachusetts Institute of Technology (MIT) and Harvard University. At MIT, he gained rigorous engineering training, while at Harvard, he was profoundly influenced by Walter Gropius’s Bauhaus philosophy. This unique background did not make him feel like an outsider. Instead, it honed his ability to navigate between languages and cultures with ease, shaping his identity and communication skills in profound ways that would significantly influence his subsequent career as an architect.
Pei is often categorized as a commercial architect, having entered real estate immediately after graduation and focusing predominantly on commercial projects after establishing his own practice. It was not until the 1970s that he began tackling cultural projects. Yet his early experiences not only provided opportunities to address social issues and realize design visions through urban architecture, but also honed his skills in mediating between clients, communities, and governments, laying the foundation for executing large-scale projects later in his career. Transitioning from commercial to cultural projects, Pei became not merely a “designer” but also a “strategist” and “negotiator.” Through agile communication skills and mature design, he created iconic works throughout his career, including the National Gallery of Art – East Building in the USA, the Pyramid at Musée du Louvre, the Miho Museum in Japan, and the Museum of Islamic Art (MIA) in Qatar.
His cross-cultural background has made Pei a builder between cultures. After years of cultural diplomacy through architecture, he completed the Suzhou Museum, which he designed, in his hometown in 2006. This journey, which began with Western architectural training and ultimately returned to building within Eastern culture, reached a significant milestone. Even in his later years, his works continued to radiate the same spirit as his earlier creations, embedding his design philosophy and unwavering will into the very forms of his architecture. Pei’s architecture is inextricably linked to his life’s journey. The exhibition, I.M. Pei: Life Is Architecture, offers a biographical guide that draws on extensive historical materials. Meanwhile, I.M. Pei: Complete Works employs rich images, texts, and a clear chronological timeline to periodically categorize his projects, presenting a comprehensive architectural chronicle of his evolution from youth to old age. We sincerely recommend it for readers seeking to deepen their understanding of this architectural master.