IEOH MING PEI

his BIOGRAPHY

The son of a wealthy and prominent banker - economist, Ieoh Ming Pei lived in Shanghai and Hong Kong, as well as his native Canton, in the years following his birth in 1917. After attending St. John's Middle School in Shanghai, Ieoh Ming Pei came to the United States to study in 1935.

As many of his father's business associates were westerners- from the UK and northern Europe-it was expected that young Ieoh Ming Pei would go abroad for his studies. Originally, Ieoh Ming Pei planned to attend the University of Pennsylvania to study architecture, but his own uncertainty about his drawing skills and the highly drawing-oriented program of the beaux-arts influenced program at Pennsylvania shunted Pets interest elsewhere. Ieoh Ming Pei matriculated instead at MIT where Ieoh Ming Pei majored in architectural engineering. William Emerson, the dean at MIT, was influential in shifting Ieoh Ming Pei 's interests from engineering to architecture. On graduation in 1940, it was clear that his original intention, to return to his native China to practice, was not to be. World War II and the postwar revolution in China prevented his return, and on the advice of his father Ieoh Ming Pei remained in the United States and became a citizen.

Louvre, Paris _ Ieoh Ming Pei

From MIT, Ieoh Ming Pei moved to Harvard, where in 1942 Ieoh Ming Pei studied with Gropius and Breuer for six months. At that point, Ieoh Ming Pei volunteered for and served two years with the National Defense Research Committee in Princeton, New Jersey. In 1944, Ieoh Ming Pei returned to the Graduate School of Design (GSD) at Harvard to complete his Master's program, receiving his degree in 1946. As with others of his generation, notably Philip Johnson, Edward Larrabee Bames, Eliot Noyes, and Paul Rudolph, Ieoh Ming Pei was heavily influenced by both Gropius and Breuer. Clean, flat surfaces became a trademark of the era. These and other Bauhaus ideas and ideals were most distressing to Dean Emerson, Ieoh Ming Pei 's early mentor at MIT. Such notions were highly suspect in the beaux-arts atmosphere that permeated most schools of architecture in the 1940s. Despite these concerns, Ieoh Ming Pei matured and flourished under the tutelage of the Graduate School of Design's Dean Hudnut, as well as Gropius and Breuer.

Ieoh Ming Pei remained in Cambridge, serving as a faculty member at the GSD until 1948 when Ieoh Ming Pei was plucked from academe to serve as architect for developer William Zeckendorf. Known as Webb and Knapp, Zeckendorfs real estate firm was one of the most aggressive builders in the postwar period. Unlike most young architects who find their early and formative work in residences and other small scale projects, Ieoh Ming Pei was thrust immediately into the world of big buildings and big business. Among the projects undertaken by Zeckendorf, and supervised by his Director of Architecture, were the Mile High Center in Denver, Place Ville Marie in Montreal, and Kips Bay Plaza in New York City. These large-scale works all involved the kind of rigorous planning and appreciation of urban focus for which the Ieoh Ming Pei organization would be acclaimed. Not only did the years with Webb and Knapp offer Ieoh Ming Pei an extraordinary immersion into the world of corporate architecture, it also introduced him to the men who would soon become his partners, in one of the most successful U.S. architectural practices. Working with him were Henry N. Cobb, Eason H. Leonard, and later James Ingo Freed. With Cobb and Leonard as the original partners, Ieoh Ming Pei formally established his own firm, Ieoh Ming Pei and Associates (later Ieoh Ming Pei and Partners), in 1960. The end of the Zeckendorf era came amicably, something of a graduation, Ieoh Ming Pei having already begun to accept projects outside the Webb and Knapp aegis in the late 1950s. With Eason Leonard as managing partner and Henry Cobb as design partner, the firm set out to continue its large-scale planning and building efforts. In these two men Ieoh Ming Pei had two very different partners. Leonard's background included an architectural education in his native Oklahoma at Oklahoma State University in Stillwater, followed by four years in the Army Corps of Engineers. Before joining Webb and Knapp, Ieoh Ming Pei worked for William Lescaze, an all too often overlooked practice where the principles of modernism were first introduced to corporate America.

Cobb, by contrast, came out of a patrician Boston background with studies at Philips Exeter, Harvard College, and the Graduate School of Design at Harvard. After service in the naval reserve and a brief tenure at Hugh Stubbins's office, Cobb joined Webb and Knapp in 1950. Harry (as he is known to his associates) Cobb could certainly have had a thriving practice of his own, but Ieoh Ming Pei chose to be part of the firm and assume a somewhat less visible public role. At 36 Ieoh Ming Pei was largely responsible for the Place Ville Marie project in Montreal, an enormous undertaking in the modernist vernacular. This brainchild of Bill Zeckendorf�s would largely transform the Canadian city. In the years since Webb and Knapp, Cobb has devoted part of his time to teaching, culminating in his appointment as Chairman of the Graduate School of Design at Harvard. Ieoh Ming Pei served in this role for five years (1980-1985) and remains on the faculty. During his tenure, Harvard's role in architectural education was given new luster and direction as Cobb sought to invigorate a somewhat stagnant program with the vitality of issues focused on urbanism and quality environment. As a sensitive observer of the city, Cobb has always imbued his work with the sense that buildings cannot stand alone, but must be a part of, and vital addition to, an urban fabric. This is exemplified in some of Cobb's best design work, notably, the John Hancock Tower in Boston (1976), the Portland (Maine) Museum of Art (1983), and Fountain Place, a mixed-use development in Dallas (1986). In each of these projects, a relatively large building or buildings has been used as the focus of an urban space and as generator of urban activity. At both Fountain Place and John Hancock a reflective glass curtain wall high-rise has been used as foil for new and established urban spaces, respectively. Hancock, sitting adjacent to H. H. Richardon's Trinity Church and McKim, Mead and White's Public Library, may be the most effective use of reflective glass in the United States.

The Bank of China Tower, 1990

The Portland Museum uses a much smaller project to enhance a fading downtown and establish closure and presence in an urban setting. The museum is vaguely Renaissance in feeling on the exterior with direct references to the work of Sir John Soane (Dulwich Picture Gallery) on the interior. All three projects clearly illustrate a motif in the firm's work. In almost every major project by the Ieoh Ming Pei office, an ambitious planning agenda is given life with the simple, bold geometry of a single building. In that building, a clear statement invariably renders eloquent an often complex program of disparate functions. This kind of architectural boldness is certainly within the U.S. stream of Richardson and Sullivan with whom the firm is rarely associated because the stylistic issues, at least in the early years, are so obviously drawn from the Germanic influences Ieoh Ming Pei and Cobb assimilated at the GSD, and the Miesian background of Jim Freed. While much of the firm's work may have Bauhaus aesthetic ancestry, the clarity and strength of solution is largely out of Richardson, Sullivan, and Wright. The Bauhaus never had corporate clients as did Richardson and Sullivan, and while the Ieoh Ming Pei office (like the Bauhaus) has a social agenda as evidenced by its work at Society Hill in Philadelphia, Bedford-Stuyvesant in Brooklyn, or the Denver Mall, its major efforts have been in the creation of elegant and powerful corporate and institutional icons.

After Hancock, it seemed unlikely that Ieoh Ming Pei and Partners would ever complete these corporate and institutional projects. With the glass of the Hancock Building littering the streets ofCopley Square, its well-documented facade riddled with plywood, Hancock seemed like a cruel denunciation of modem architecture-buildings as sculpture, technology run amok. While most of their clients retained faith in the firm's professionalism and integrity, they were reluctant to hire Ieoh Ming Pei for fear that the firm would soon fall under the legal and financial burdens of the Hancock disaster and the incumbent lawsuits.

This came at a time when the firm seemed to be embarking on its most creative and prolific period. Having completed two of the most important poured concrete buildings in the world-the Everson Museum of Art in Syracuse (1968) (Fig. 2) and the National Center for Atmospheric Research in Boulder (1967) (Fig. 3)-the 1970s looked like the Ieoh Ming Pei decade. In both projects, the vocabulary of powerful forms of enduring beauty belied the notion that modernism meant banality. From the collaborative efforts of Ieoh Ming Pei 's firm came tangible evidence that there was still a good deal of life in the modem movement. Seeing the elegant possibilities of poured concrete, the firm became the recognized expert in the postbrutalist era of architecture as almost anthropomorphic concrete art. With Hancock, the same expertise seemed to be evident in the sleek, reflective, knife-edged curtain wall. With many of its 60 stories of windows falling onto the streets of Boston, the future of Ieoh Ming Pei and Partners was very much in doubt. At first, not knowing the cause of the problem and suspecting everything, the client and architect called in a series of structural consultants to ascertain the reasons for the spectacular failure of the glass. Eventually, it was the glass itself that was recognized as the culprit; its two annealed layers were replaced by a single layer to eliminate undue movement and stress. All of the investigations and legal work took time. Many firms would have collapsed under the pressures of legal and investigative cost, and bad press. Yet, by the end of the 1970s, Ieoh Ming Pei and Partners was touted as the best architectural firm in the world. Comparisons to Louis Kahn and McKim, Mead and White were not uncommon. The Hancock fiasco was stemmed largely because owner and architect never lost faith in each other. John Hancock and Ieoh Ming Pei and Partners worked as a unit to confront the problems. When the glass issue was finally resolved, Ieoh Ming Pei 's East Wing of the National Gallery of Art was nearing completion and with it, the next era of the firm was taking shape.

The East Wing represents the apogee of the concrete and masonry phase of the firm's work. The building contains all of the expertise the organization acquired in the first two decades of its operation. With the East Wing, all of the precision and boldness of past work is brought into focus. From Kips Bay Plaza through the Des Moines Art Center Addition (1968); the Everson Museum; the Mellon Center for the Arts at Choate School in Wallingford, Connecticut (1972); the Atmospheric Research Center; the Christian Science Center in Boston (1973) (designed under the direction of Araldo Cossutta, who served as fourth partner from 196^-1973); the Johnson Museum of Art at Comell University (1973); and the Oversea-Chinese Banking Corporation Centre in Singapore (1976), Ieoh Ming Pei and Partners created a series of reinforced concrete buildings of consummate clarity and power. At the East Wing, the combination of careful site design; form work produced to the tolerance of the cabinetmaker; extraordinary integration of structural, mechanical, and electrical services; and a delicacy of all elements from geometry to color represent the quintessential collaborative effort of the Ieoh Ming Pei organization. The Miesian notion of God being in the details was never more apparent than at the East Wing. The Tennessee quarry that supplied the stone for the neoclassical John Russell Pope National Gallery was reopened so that Ieoh Ming Pei could avail himself of the same material for his addition. That same stone was ground up as aggregate for the concrete of the East Wing so that the building would radiate the same pink glow of the original. Here, as with Hancock, the collaboration extends to the relationship between client and architect. As an art patron himself, Ieoh Ming Pei speaks the language of the connoisseur, a quality not lost on Paul Mellon, who financed the project, or Carter Brown, the museum's director.

In this body of reinforced concrete architecture, only the Dallas City Hall (1966-1977) stands out as an inelegant, rather ungainly sculptural form set on an arid plaza. With that noted exception, the work of this 10-year period is an incredible outpouring of sustained high quality endeavor.

In retrospect, the buildings hold up very well. While much of the architectural production of the 1960s and 1970s seems dated, this group of buildings by Ieoh Ming Pei and Partners has the same power and clarity it had when it was new. This is particularly true of the museum work and the regal set of buildings at the Christian Science Center in Boston. Ieoh Ming Pei remained in Cambridge, serving as a faculty member at the GSD until 1948 when Ieoh Ming Pei was plucked from academe to serve as architect for developer William Zeckendorf.

Known as Webb and Knapp, Zeckendorfs real estate firm was one of the most aggressive builders in the postwar period. Unlike most young architects who find their early and formative work in residences and other small scale projects, Ieoh Ming Pei was thrust immediately into the world of big buildings and big business. Among the projects undertaken by Zeckendorf, and supervised by his Director of Architecture, were the Mile High Center in Denver, Place Ville Marie in Montreal, and Kips Bay Plaza in New York City. These large-scale works all involved the kind of rigorous planning and appreciation of urban focus for which the Ieoh Ming Pei organization would be acclaimed.

Not only did the years with Webb and Knapp offer Ieoh Ming Pei an extraordinary immersion into the world of corporate architecture, it also introduced him to the men who would soon become his partners, in one of the most successful U.S. architectural practices. Working with him were Henry N. Cobb, Eason H. Leonard, and later James Ingo Freed. With Cobb and Leonard as the original partners, Ieoh Ming Pei formally established his own firm, I. M. Pei and Associates (later I. M. Pei and Partners), in 1960. The end of the Zeckendorf era came amicably, something of a graduation, Ieoh Ming Pei having already begun to accept projects outside the Webb and Knapp aegis in the late 1950s. With Eason Leonard as managing partner and Henry Cobb as design partner, the firm set out to continue its large-scale planning and building efforts. In these two men Ieoh Ming Pei had two very different partners. Leonard's background included an architectural education in his native Oklahoma at Oklahoma State University in Stillwater, followed by four years in the Army Corps of Engineers. Before joining Webb and Knapp, Ieoh Ming Pei worked for William Lescaze, an all too often overlooked practice where the principles of modernism were first introduced to corporate America.

In 1980, Freed, Leonard Jacobsen, and Werner Wandelmaier became partners, bringing that number to six. Freed had joined Ieoh Ming Pei 's office in 1956. Bom in Essen, Germany, in 1930 Ieoh Ming Pei received his Bachelor's of Architecture from the Illinois Institute of Technology. After a time with the Army Corps of Engineers Ieoh Ming Pei moved to New York to work with his former teacher, Ludwig Mies van der Rohe. That Miesian influence is clearer in the work of Freed (Kips Bay Plaza, 1962, and the New York University (NYU) Towers, 1967) than in any other of the firm's work. Both projects are marked by the rigid grid translated from Miesian steel to reinforced concrete. At NYU Freed achieved an extraordinary power, playing the deeply recessed concrete grid against the blank walls of the towers. Here, and at the aluminum-clad 88 Pine Street Tower (1973) in lower Manhattan, Ieoh Ming Pei made his two finest contributions to that early era of the firm's development. Sitting well within the strictures of the modern movement, the work of Freed at 88 Pine Street remains pure and seductive years after its completion, another testament to the potetially enduring qualities of well-wrought modernism. The financial district of lower Manhattan experienced unparalleled growth in the 1970s and 1980s, yet 88 Pine has lost none of its power as its strength is, like so much of the firm's work, bom of elegance.

Freed, like Cobb, could well be on his own. The two have remained with the firm over the decades, in part for the opportunity to work on projects of often enormous scale and almost always of great cultural significance. In addition, the resources of Ieoh Ming Pei and Partners's broad and deep expertise in such areas as high strength concrete and curtain wall construction afford designers access to ideas and solutions that would be impossible in a smaller, less prestigious organization. Like Cobb, Freed has devoted much of his energies to architectural education. From 1975 to 1978, Ieoh Ming Pei served as the Dean of the College of Architecture at his alma mater, the Illinois Institute of Technology.

The firm's successes, whether in the crisp concrete of the Atmospheric Research Center or the crystalline minimalism of Fountain Place, rely on the power of simple geometries that do not venture far from the original and singular ideas that Ieoh Ming Pei and his partners conceived. That raw power is tempered by careful detailing, close attention to choice of materials, and a thorough understanding of, and sensitivity to, site. The difficult site is exploited for its potential; the rich materials and details are never pretentious or precious; the geometries always make the complex look simple. When projects fail, it is usually because one of these elements has been ignored or not given its due. At the Dallas City Hall the building's sculptural qualities take precedence over site to the detriment of both. Sometimes the delay of a project results in an idea of the 1960s being drawn in the 1970s and built in the 1980s. Such was the case with Raffles City, an enormous hotel, office, convention, and shopping center in Singapore. The marvelous clarity of the nine-square grid is almost completely overwhelmed by the multiple geometries of the tower forms. The result is one of Ieoh Ming Pei 's less than elegant solutions to a complex program. Such is not the case with the Louvre in Paris.

After more than two decades of successful museum building, the firm became the architects of choice of most of the world's museum directors. It was not surprising that French President Mitterrand turned to Ieoh Ming Pei to undertake the rehabilitation and addition to the Louvre, for many, the most symbolically important museum in western culture. Here, Ieoh Ming Pei has developed a most controversial scheme of adding space under the great courtyard, with access to that space via a glass space frame of pyramidal form (Fig. 4). Once again, the clarity of vision and seeming simplicity of execution of that vision mark the work. Undoubtedly, the critical French public will come to cherish Ieoh Ming Pei 's pyramid in the same way that they grew to love Eiffel's tower.

Despite the string of triumphs, in the aftermath of John Hancock many corporate clients stayed away. Important commissions of the late 1970s went elsewhere-AT & T to Philip Johnson and John Burgee, IBM to Edward Larrabee Bames, General Foods and Proctor and Gamble to Kohn, Pederson, Fox. By the 1980s, much of the work at Ieoh Ming Pei and Partners was overseas. While never moving headlong into the burgeoning market of the oil-rich Middle East, Pel's office did make a less than successful foray into the Shah's Iran and also experienced difficulties with projects in financially embattled Mexico. For the most part, however, the firm has concentrated on foreign markets that are stable, economically viable, and politically compatible to U.S. ideals. Thus, Ieoh Ming Pei has had an extensive presence in Singapore, helping that small nation temper its economic miracle with sound planning principles. In Hong Kong, Ieoh Ming Pei was called on by the Chinese government to design the Bank of China. This commission is particularly significant as Ieoh Ming Pei 's father had, in the pre-Revolutionary era, served as the bank's president.

Many of the bank's officers had learned their skills from the senior Pei. In addition, and more important in the political arena, the Bank of China is Beijing's most visible presence in a place that will, in 1997, become part of the mainland. The achievement of the tallest building in Asia has been considerably overshadowed by Norman Foster's high-tech Hong Kong-Shanghai Bank building a few blocks away. Ieoh Ming Pei 's tower is a highly abstracted geometrical construct of rotated and receding triangular solids, sheathed in reflective glass and cross-braced against the powerful wind loads of typhoon-prone Hong Kong. The spirahng form, despite its slendemess and height, lacks the sustaining interest and understated elegance of Hancock or 88 Pine, nor does it possess the solidarity of the Texas Commerce Bank Tower in Houston (1982). The Bank of China comes across as thin stuff more in the vein of Helmut Jahn than Ieoh Ming Pei and Partners. The project does bring to mind two other Ieoh Ming Pei buildings. Because of its highly articulated triangular structural system one is reminded of the Jacob K. Javits Convention Center in New York (1986) while its client, the Bank of China, makes comparisons to Ieoh Ming Pei 's other, and first, commission for the Chinese government, the Fragrant Hill Hotel (1982), 40 km outside Beijing.

At Fragrant Hill, a 300-room hotel in a park district near the Chinese capital, Ieoh Ming Pei has attempted to bring to his native China his often-quoted "third way of making buildings. Avoiding both an outright copying of traditional Chinese motifs (particularly the cliched pagoda roof) as well as the modernism of the West, Ieoh Ming Pei seeks to point the way in which a third world nation may grow. By using the devices of scale, simple geometries, and close ties to the landscape, Ieoh Ming Pei has managed, at Fragrant Hill, to make one of his most eloquent statements.

Ieoh Ming Pei 's long-admired traits of modesty, charm, and diplomacy have served him and his firm well. First recognized by Zeckendorf in the late 1940s, Ieoh Ming Pei has for decades used his talent and commitment to bring out the best in his colleagues and the most laudable aspirations in his clients. In a career marked by every major architectural honor including the AlA's Gold Medal (1979) and the $100,000 Pritzker Prize (1983), Ieoh Ming Pei will likely be remembered as a bastion of modernism whose appreciation for the urbane in art, planning, and architecture led him to the design of many of the world's most thoughtful projects.

his CURRICULUM VITAE

Education

Doctor of Fine Arts Honorary Degree:
Harvard University, New York University, University of Pennsylvania, Rensselaer Polytechnic Institute, Carnegie Mellon University, Northeastern University, University of Massachusetts, University of Rochester, Brown University, Dartmouth College

Doctor of Laws Honorary Degree:
Chinese University of Hong Kong, Pace University

Doctor of Humane Letters Honorary Degree:
Columbia University, University of Colorado, University of Hong Kong, American University of Paris

Laurea Honoris Causa Architecture:
University of Rome

Wheelwright Traveling Fellowship
Harvard Graduate School of Design  1951

Master of Architecture
Harvard Graduate School of Design  1946

Bachelor of Architecture
Massachusetts Institute of Technology  1940

Alpha Rho Chi Medal
Massachusetts Institute of Technology  1940

Traveling Fellowship
Massachusetts Institute of Technology  1940

AIA Medal
Massachusetts Institute of Technology  1940
 

Professional Experience

Pei Cobb Freed & Partners  1989–1990
I. M. Pei & Partners  1966–1989
I. M. Pei & Associates  1955–1966
Founding Partner

Webb & Knapp, Inc.,
Director of Architecture  1948–1955

Harvard Graduate School of Design
Assistant Professor  1945–1948

National Defense Research Committee
1943–1945
 

Affiliations

L'Académie d'Architecture de France
Member, elected 1997

Chinese Academy of Engineering
Foreign Member, elected June 1996

Royal Academy of Arts, London
Honorary Academician, elected 1993

Museum of Fine Arts, Boston
Board of Overseers, Honorary, elected 1986

New York City Partnership, Inc.
Board of Directors, elected 1986

National Council on the Arts
1981–1984

The Corporation of the Massachusetts Institute of Technology  1972–1977, 1978–1983

Institut de France
Foreign Associate, elected 1983

American Academy and Institute of Arts and Letters
elected to Academy 1975, elected to Institute  1963 (Chancellorship  1978–1980)

AIA Task Force on the West Front of the U.S. Capitol  1978–1980

Royal Institute of British Architects
Corporate Member, elected  1975

AIA National Urban Policy Task Force
1970–1974

Urban Design Council of the City of New York
1967–1972

American Society of Interior Designers
Honorary Fellow, elected  1970

National Council on the Humanities
1966–1970

American Academy of Arts and Sciences
elected 1967

National Academy of Design
Academician, elected 1965

American Institute of Architects
Fellow, elected  1964
 

Awards

Erwin Wickert Foundation
Orient und Okzident Preis  2006

National Building MuseumHenry C. Turner Prize
for Innovation in Construction Technology  2003

Cooper-Hewitt, National Design Museum, Smithsonian Institution
National Design Award: Lifetime Achievement Award  2003

The American Philosophical SocietyThe Thomas Jefferson Medal for distinguished achievement in the arts, humanities, or social sciences  2001

Historic Landmarks Preservation Center, New York
Cultural Laureate  1999

The MacDowell Colony
Edward MacDowell Medal  1998

Brown University
Independent Award  1997

Municipal Art Society, New York City
Jacqueline Kennedy Onassis Medal
February  1996

Premio Internazionale Novecento La Rosa d'Oro
1996

New York State Governor's Arts Award  1994

National Endowment for the Arts
Medal of Arts/Ambassador for the Arts Award  1994

Architectural Society of China (Beijing)
Gold Medal for Outstanding Achievement in Architecture  1994

The Bezalel Academy of Arts and Design of Jerusalem
Jerusalem Prize for Arts and Letters  1994

Medal of Freedom  1993

Officier de La Légion d'Honneur (France)  1993

Colbert Foundation
First Award for Excellence  1991

Excellence 2000 Award  1991

University of California at Los Angeles
UCLA Gold Medal  1990

Praemium Imperiale for lifetime achievement in architecture (Japan)  1989

National Medal of Art  1988

The Medal of Liberty  1986

l'Académie des Beaux-Arts
Associé Etranger, Institut de France  1984

The Pritzker Architecture Prize  1983

National Arts Club
Gold Medal of Honor  1981

City of New York
Mayor's Award of Honor for Art and Culture  1981

L'Académie d'Architecture
La Grande Médaille d'Or (France)  1981

Rhode Island School of Design
President's Fellow  1979

American Academy of Arts and Letters
Gold Medal for Architecture  1979

The American Institute of Architects
The Gold Medal  1979

American Society of Interior Designers
Elsie de Wolfe Award  1978

The Thomas Jefferson Memorial Medal for Architecture  1976

The City Club of New York
For New York Award  1973

International Institute of Boston
Golden Door Award  1970

New York Chapter of the American Institute of Architects
Medal of Honor  1963

National Institute of Arts and Letters
Arnold Brunner Award  1961

 his PROJECT

Mr. Pei is the design principal for the following projects executed by the firm:
Musée d'Art Moderne
Kitchberg, Luxembourg
Completed 2006
Buck Institute for Age Research
Marin County, California
Completed 1999
Republic of Korea Permanent Mission to the United Nations
New York, New York
Completed 1999
La Caixa Bank HeadquartersBarcelona (Sant Cugat), Spain
Design completed 1998
Rock and Roll Hall of Fame and Museum
Cleveland, Ohio
Completed 1995
Four Seasons Hotel
New York, New York
Completed 1993
Grand Louvre
Paris, France
Phase I completed 1989
Phase II completed 1993
Guggenheim Pavilion,
The Mount Sinai Medical Center Expansion & Modernization
New York, New York
Completed 1992
The Kirklin Clinic, University of Alabama Health Services Foundation
Birmingham, Alabama
Completed 1992
Gateway TowersSingapore
Completed 1990
Bank of China Tower
Hong Kong
Completed 1989
Choate Rosemary Hall Science Center
Wallingford, Connecticut
Completed 1989
Creative Artists Agency
Beverly Hills, California
Completed 1989
IBM Office Building Complex
Somers, New York
Completed 1989
The Morton H. Meyerson Symphony Center
Dallas, Texas
Completed 1989
Museum of Fine Arts —
West Wing and Renovation
Boston, Massachusetts
Phase I completed 1981
Phase II completed 1986
Raffles City
Singapore
Completed 1986
IBM Corporate Office Building [now MasterCard International Global Headquarters]
Purchase, New York
Completed 1984
Wiesner Building / Center for Arts & Media Technology, Massachusetts Institute of Technology
Cambridge, Massachusetts
Completed 1984
Fragrant Hill Hotel
Beijing, China
Completed 1982
Sunning PlazaHong Kong
Completed 1982
Texas Commerce Tower
United Energy Plaza
Houston, Texas
Completed 1982
John Fitzgerald Kennedy Library
Boston, Massachusetts
Completed 1979
Extension completed 1991
National Gallery of Art, East Building
Washington, D.C.
Completed 1978
Dallas City Hall
Dallas, Texas
Completed 1977
Ralph Landau Chemical Engineering Building, Massachusetts Institute of TechnologyCambridge, Massachusetts
Completed 1976
Oversea-Chinese Banking Corporation Centre
Singapore
Completed 1976
Canadian Imperial Bank of Commerce,
Commerce Court
Toronto, Canada
Completed 1973
Herbert F. Johnson Museum of Art,
Cornell University
Ithaca, New York
Completed 1973
Paul Mellon Center for the Arts,
The Choate School
Wallingford, Connecticut
Completed 1973Tête de la Défense
Paris, France
Design completed 1971
American Life Insurance Company Building
(renamed Wilmington Tower)Wilmington, Delaware
Completed 1971
National Airlines Terminal
(renamed TWA Terminal Annex)
JFK International Airport, New York, New York
Completed 1970
Bedford-Stuyvesant Superblock
Brooklyn, New York
Completed 1969
Cleo Rogers Memorial County Library
Columbus, Indiana
Completed 1969
Columbia University Comprehensive Master PlanNew York, New York
Planning completed 1969
Des Moines Art Center Addition
Des Moines, Iowa
Completed 1968
Everson Museum of Art
Syracuse, New York
Completed 1968
National Center for Atmospheric Research
Boulder, Colorado
Completed 1967
New College — Dormitories, Student Union and Academic CenterSarasota, Florida
Completed 1967
University Plaza, New York University
(with James Ingo Freed)
New York, New York
Completed 1967
Central Business District Project I-A Development PlanOklahoma City, Oklahoma
Planning completed 1966
FAA Air Traffic Control Towers (50)
(with James Ingo Freed)
Various cities, United States and abroad
Completed 1965
Cecil and Ida Green Center for Earth Sciences,
Massachusetts Institute of Technology
Cambridge, Massachusetts
Completed 1964
School of Journalism — S. I. Newhouse Communications CenterSyracuse, New York
Phase I completed 1964
Society Hill
Philadelphia, Pennsylvania
Completed 1964
Central Business District General Neighborhood Renewal PlanOklahoma City, Oklahoma
Planning completed 1964
Luce Memorial Chapel
Taichung, Taiwan
Completed 1963
Kips Bay Plaza
(with James Ingo Freed)
New York, New York
Completed 1963
Southwest Washington Urban Renewal PlanWashington, D.C.
Planning completed 1962
Government Center Urban Renewal Plan
Boston, Massachusetts
Planning completed 1961Court House Square
Denver, Colorado
Completed 1960
Washington Square East Urban Renewal PlanPhiladelphia, Pennsylvania
Planning completed 1959
Mile High Center
Denver, Colorado
Completed 1956
Hyperboloid New York, New York
Design completed 1956
Gulf Oil BuildingAtlanta, Georgia
Completed 1949HelixNew York, New York
Design completed 1949