FROM  A  Lamp  To  A  City                          



I. M. Pei’s GSD Thesis - Model ProposalM+ Museum “I. M. Pei: Life is Architecture”  Exhibition
Academic work: exhibiton  proposal

Walter Gropius, ‘Chinese Art Museum in Shanghai’, Walter Gropius: The Spread of an Idea, L’architecture d’aujourd’hui 28 (February 1950): 76–77. Bibliothèque d’architecture contemporaine – Cité de l’architecture et du patrimoine
Walter Gropius published Pei’s GSD thesis in the February 1950 issue of L’Architecture d’Aujourd’hui, writing that Pei’s project “clearly illustrates that an able designer can very well hold on to basic traditional features—which he has found are still alive—without sacrificing a progressive conception of design.”

I. M. Pei
I. M. Pei’s GSD Tutor: Walter Gropius

Woman Playing the Mandolin-- Pablo Picasso
Still Life with a Bottle of Rum-- Pablo Picasso
National Center for Atmospheric Research (1956)
the Everson Museum (1964)
the East Wing of the National Gllery of Art (1978)

I. M. Pei believed that the architectural expression of a building should reflect the diverse peoples and cultures of the world, rather than relying solely on traditional Greek or Roman models. When tasked with designing a museum in Shanghai, Pei felt that typical building styles would not properly showcase Chinese artifacts and paintings, so he opted for a more Cubist-influenced approach instead.

Pei's Cubist-inspired museum design was very well-received, with renowned architect Marcel Breuer declaring it the most important project ever produced at Harvard. Pei saw Cubism as a way to understand physical movements and feelings in an entirely new manner, which he felt was essential to creating architecture that provokes strong physical responses in the human body.

According to Pei, the interplay of solids and voids, and the effects of light upon them, are fundamental to the art of architecture. He believed architecture was inseparable from painting and sculpture, a view evidenced by the Cubist influences apparent in some of his own building designs, such as the National Center for Atmospheric Research, Everson Museum, and National Gallery of Art East Wing.

Pei's fascination with Cubism led him to seek out and befriend the Cubist sculptor Jacques Lipchitz in the 1950s and 60s, as Pei sought to further understand and incorporate Cubist principles into his architectural work. (source: von Boehm_Conversation with Pei_MIT & GSD)


project site researched by Mia Minyan Feng & Stefanie Tao
exhibition item in M+ Museum, proposal from Mia Minyan Feng & Stefanie Tao
The Greater Shanghai Plan, implemented from 1927 to 1937, was a grand vision to create a new city and further build a new China. At the core of this plan was the development of a new civic center that would compete with and ultimately conquer the existing city center controlled by foreign settlements in Shanghai, as the city was still divided at the time.

Pei's museum project was sited on the location of the existing Municipal Museum designed by Dong Dayou and built in 1935. Pei's design sought to replace this "inadequate" structure, criticizing the new "modern" Chinese architecture of the time, and create something he felt would be more "befitting" for the site and its purpose.

Through this museum design, Pei's work was positioned within the broader context of the Greater Shanghai Plan's ambitions to reshape and assert Chinese control over the city's built environment, moving beyond the foreign-influenced architecture that had previously dominated.

董大酉 (Dong Dayou) (1899-1976)
SOURCE: Wikipedia
Shanghai former City Hall (Major’s Building) Dong Dayou, 1933
SOURCE: https://www.meer.com/en/63012-the-nationalist-shanghai-greater-plan
existing building on the project’s site: Municipal Museum, Dong Dayou, 1935
SOURCE: www.shanghaiartdeco.net/shanghais-lost-chinese-art-deco-city/


plan analysis

In his architectural delineation, Pei segregates the space into three voluminous compartments predicated on their respective functionalities. Commencing from the northern extremity and progressing southward, the divisions comprise the auditorium and library, followed by the teahouse, garden, and administrative quarters, culminating with the museum.


In the architectural constructs designed by Pei, despite the absence of an explicit examination of movement patterns, the flow of diverse individuals utilizing the structure can be discerned through the alterations and interconnections of the upper and lower functional strata.  The left sector is designated as the accessible zone, while the right encompasses the gallery, which is adjoined by the garden.  This configuration orchestrates the navigation of visitors via varied vertical transit pathways.
plan & elevation

From an architectural  façade, the opening sections of the façade are in dialogue with the public domains, such as the garden, tea pavilion, and floral exhibit. Distinctions are evident in the vertical façade; the impenetrable partition, adorned with traditional Chinese wall motifs, signifies the secluded internal gardens, while the high side windows denote the logistical zones.
plan & elevation

The various architectural elements of the facade are indicative of Pei’s emphasis on modernism, as well as a confluence of cultural, historical, and ethnic dimensions.

concept source: 木椟 Chinese Cabinet
reference model:  "Shifting Objectives"  from M+ Museum

It is a traditional piece of furniture commonly used in China. These cabinets are known for their elegant design and are often used to store various items such as clothing, household goods, and sometimes even important documents.

There are many different drawers, which are not just for storage; they often have a symbolic and functional significance. Traditionally, the layout and size of the drawers may reflect the hierarchical nature of the items stored within them. For example, larger drawers might be used for storing more significant or frequently used items, while smaller drawers could be for items of lesser use or importance.

galleries & courtyards

model concept

concept animation



proposed model in M+ Museum 

In the antecedent analysis, it was observed that Pei orchestrates the flow throughout the museum and the interconnection among diverse galleries via the integration of gardens, each bearing distinct features. Within this structure, the garden not only serves a functional role but also embodies Pei’s Chinese heritage thinking. The intent to delineate the unique gardens conceived by Pei necessitates a distinct approach that segregates the garden and its corresponding gallery from the main building, thereby allowing their spatial attributes to be perceived autonomously. Nonetheless, the report indicated a preference for a holistic architectural representation by M+, prompting a shift in strategy towards a comprehensive redesign.

Museum for a Small City by Mies
Section Drawing by Pei
“The Museum for a Small City should not emulate its metropolitan counterparts. The value of such a museum depends upon the quality of its works of art and the manner in which they are exhibited.”  – Mies van der Rohe

In the architectural facade conceptualized by Pei, the design extends beyond the exterior surface to encompass a multitude of exceptional spaces and functionalities within the structure’s interior. Furthermore, Pei has ingeniously incorporated numerous visual corridors within the building, facilitating a seamless visual and spatial integration between various areas, such as gardens and galleries, pavilions and exhibitions. To accentuate this robust visual interconnectivity, the proposed model’s facade has been made by transparent material, thereby transforming it into an extension of the exhibition space and integrating the external and internal displays.

exhibition arrangement proposal (1:50)

To facilitate the comprehensive viewing of the building’s four facades by visitors, it is proposed that the model be situated within the designated area in M+. This placement strategy ensures ample space is maintained on all sides. Additionally, the model is to be elevated to an adult’s eye level, with the incorporation of steps to accommodate visitors of varying ages, thereby providing an unobstructed view of the entire model.
physical model
multiperspecitve diagram

final proposed model by Stefanie Tao and Mia Minyan Feng

Bibiliography & References

Original Drawings at GSD
1. Museum of Chinese Art for Shanghai | Site Plan
2. Museum of Chinese Art for Shanghai | Elevations
3. Museum of Chinese Art for Shanghai | Lower-Floor Plan
4. Museum of Chinese Art for Shanghai | Upper-Floor Plan
5. Museum of Chinese Art for Shanghai | Sectional Perspective

Video
Rethinking Pei: A Centenary Symposium


Articles/Journals/Magazines
Hsiao (2018)_I. M. Pei’s Museum for Chinese Art
Progressive Architecture (1948-02)
von Boehm_Conversation with Pei_MIT & GSD
Walter Gropius_ L’architecture d’aujourd’hui_p76-77
Museum of Chinese Art for Shanghai (GSD Thesis)_Info Pack

M+ Museum “I. M. Pei: Life is Architecture” Exhibition Opening Ceremony
M+ Special Exhibition 'I. M. Pei: Life Is Architecture'

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