I.M. Pei is a Chinese-American architect known for designing notable structures like the Louvre Pyramid in Paris. The document discusses Pei's background and education, providing details on some of his most famous works such as the Louvre Pyramid, Museum of Islamic Art in Doha, and Rock and Roll Hall of Fame in Cleveland. It also summarizes Pei's design process and how he drew influence from modernist architects while incorporating elements of different cultures and time periods into his buildings.

1. 2016
AND HIS WORKS
By-Roshni Ranjita Bhowmik
Architecture and Regional Planning
IIT Kharagpur
Introduction to Architecture

2. TOPIC
ACKNOWLEDGEMENT
BIBLIOGRAPHY OF I.M.PEI
BIRTH OF ARCHITECTI.M.PEI
PEI’S CREATION
WORKS OF PEI
LOUVREPYRAMID
MEUSIUMOF ISLAMIC ART
BANNK OF CHINA
ROCK AND ROLL HALL OF FRAME

3. MY REPORT ON I.M.PEI IS COMPLEATLYDEDICATEDTO PROFESSOR(Dr)JAYDEEP
BARMAN. HE INSPIRED US A LOTAND WAS THE PERSONTO BRING OUTTHE
ARCHITECTINUS. ITIS BECAUSE OF HIS TEACHINGS I COULD READ, UNDERSTAND
AND PRESENT THE REPORTON I.M.PEI. I ALSO THANK MYPARENTS FORINSPIRING
ME TO DO THIS REPORT.

4. IEOH MING PEI
WAS BORNON
APRIL 26, 1917, IN
CANTON,
GUANGZHOU,
CHINA. LATER ON
THEY MOVED TO
HONG KONG. AT
THE AGE OF TEN,
PEI MOVED WITH
HIS FAMILY TO
SHANGHAI AFTER
HIS FATHER WAS
PROMOTED. PEI
ATTENDED SAINT
JOHNS MIDDLE
SCHOOL, RUN BY
PROTESTANT
MISSIONARIES.
ACADEMIC DISCIPLINE WAS RIGOROUS; STUDENTS WERE ALLOWED ONLY ONE HALF-
DAY EACH MONTH FOR LEISURE. PEI ENJOYED PLAYING BILLIARDS AND WATCHING
HOLLYWOOD MOVIES, ESPECIALLY THOSE OF BUSTER KEATON AND CHARLIE CHAPLIN.
HE ALSO LEARNED RUDIMENTARY ENGLISH SKILLS BY READING THE BIBLE AND NOVELS
BY CHARLES DICKENS
WHEN HE WAS 17 YEARS OLD, HE TRAVELED TO THE UNITED STATES, INITIALLY
ATTENDING THE UNIVERSITY OF PENNSYLVANIA IN PHILADELPHIA BEFORE
TRANSFERRING TO THE MASSACHUSETTS INSTITUTE OF TECHNOLOGY, WHERE HE
EARNED A BACHELOR'S DEGREE IN ARCHITECTURE IN 1940.
PEI SOONCONTINUED HIS STUDIES AT
HARVARD UNIVERSITY'S GRADUATE SCHOOL
OF DESIGN, WHERE HE HAD THE OPPORTUNITY
TO STUDY WITH GERMAN ARCHITECT AND
FOUNDER OF THE BAUHAUS DESIGN
MOVEMENT WALTER GROPIUS. DURING WORLD
WAR II, PEI TOOK A BREAK FROM HIS
EDUCATION TO WORK FOR THE NATIONAL
DEFENSE RESEARCH COMMITTEE. IN 1944, HE
RETURNED TO HARVARD AND EARNED HIS
MASTER'S DEGREE IN ARCHITECTURE TWO
YEARS LATER. AROUND THIS TIME, PEI ALSO
WORKED AN ASSISTANT PROFESSOR AT THE UNIVERSITY.
I M PEI A CHINESE AMERICAN ARCHITECT
LOUVRE PYRAMID

5. AFTER COMPLEATING HIS SECONDARY SCHOOL PEI WENT
TO UNIVERSITY OF PENNSYLVANIA . PROFESSORS AT THE
UNIVERSITY OF PENNSYLVANIA BASED THEIR TEACHING IN
THE BEAUX-ARTS STYLE, ROOTED IN THE CLASSICAL
TRADITIONS OF GREECE AND ROME.PEI WAS MORE
INTRIGUED BY MODERN ARCHITECTURE, AND ALSO FELT
INTIMIDATED BY THE HIGH LEVEL OF DRAFTING
PROFICIENCY SHOWN BY OTHER STUDENTS. HE DECIDED
TO ABANDON ARCHITECTURE AND TRANSFERRED TO THE
ENGINEERING PROGRAM AT MASSACHUSETTS INSTITUTE
OF TECHNOLOGY (MIT). ONCE HE ARRIVED, HOWEVER, THE
DEAN OF THE ARCHITECTURE SCHOOL COMMENTED ON HIS
EYE FOR DESIGN AND CONVINCED PEI TO RETURN TO HIS
ORIGINAL MAJOR.
IN THE LIBRARY HE FOUND THREE BOOKS BY THE
SWISS-FRENCHARCHITECT CHARLES-ÉDOUARD JEANNERET-GRIS, BETTER KNOWNAS
LE CORBUSIER. PEIWAS INSPIRED BY THE INNOVATIVE DESIGNS OF THE NEW
INTERNATIONAL STYLE, CHARACTERIZED BY SIMPLIFIED FORM AND THE USE OF GLASS
AND STEEL MATERIALS. LE CORBUSIER VISITED MIT IN NOVEMBER 1935, AN OCCASION
WHICH POWERFULLYAFFECTED PEI. PEI WAS ALSO INFLUENCED BY THE WORK OF US
ARCHITECT FRANK LLOYD WRIGHT. IN 1938 HE DROVE TO SPRING GREEN, WISCONSIN,
TO VISIT WRIGHT'S FAMOUS TALIESIN BUILDING. AFTER WAITING FOR TWO HOURS,
HOWEVER, HE LEFT WITHOUT MEETING WRIGHT.
PEI RECEIVED HIS B.ARCH DEGREE ON 1940. IN THE SPRING OF 1948 PEI WAS
RECRUITED BY NEW YORK REAL
ESTATE MAGNATE WILLIAM
ZECKENDORF TO JOIN A STAFF OF
ARCHITECTS FOR HIS FIRM OF WEBB
AND KNAPP TO DESIGN BUILDINGS
AROUND THE COUNTRY. PEI FINALLY
SAW HIS ARCHITECTURE COME TO
LIFE IN 1949, WHEN HE DESIGNED A
TWO-STORYCORPORATE BUILDING
FOR GULF OIL IN ATLANTA, GEORGIA.
THE BUILDING WAS DEMOLISHED IN
FEBRUARY 2013 ALTHOUGH THE
FRONT FACADE WILL BE RETAINED AS PART OF AN APARTMENT DEVELOPMENT. HIS USE
OF MARBLE FOR THE EXTERIOR CURTAIN WALL BROUGHT PRAISE FROM THE JOURNAL
ARCHITECTURAL FORUM. IN 1955 HE LEFT THE FIRM TO START HIS OWNFIRM, I. M. PEI &
ASSOCIATES (NOW KNOWN AS PEI COBB FREED & PARTNERS).
PONCEDE LEON AVENUE
(PIE’SFIRSTWORK)

6. LOUVRE PYRAMID: COMMISSIONED BY
THE PRESIDENT OF FRANCE, FRANÇOIS
MITTERRAND, IN 1984, THE STRUCTURE,
WHICH WAS CONSTRUCTED ENTIRELY
WITH GLASS SEGMENTS, AND METAL
POLES REACHES A HEIGHT OF 21.6
METRES (71 FT). ITS SQUARE BASE HAS
SIDES OF 34 METRES (112 FT) AND A BASE
SURFACE AREA OF 1,000 SQUARE METRES
(11,000 SQ FT). IT CONSISTS OF 603
RHOMBUS-SHAPED AND 70 TRIANGULAR
GLASS SEGMENTS.
ROCK AND ROLL HALL OF FRAME:ROCK AND ROLL HALL OF FRAME LOCATED
IN CLEVELAND,IN UNITED STATES,DESIGNED BY I. M. PEI, AND STRUCTURALLY
ENGINEERED BY LESLIE E.
ROBERTSON ASSOCIATES, THE
BUILDING RISES ABOVE THE SHORES
OF LAKE ERIE. IT IS A COMBINATION
OF BOLD GEOMETRIC FORMS AND
DYNAMIC CANTILEVERED SPACES
THAT ARE ANCHORED BY A 162-FOOT
TOWER. THE TOWER SUPPORTS A
DUAL-TRIANGULAR-SHAPED GLASS
"TENT" THAT EXTENDS (AT ITS BASE)
ONTO A 65,000-SQUARE-FOOT PLAZA
THAT PROVIDES A MAIN ENTRY
FACADE
MIHO MEUSIUM:
APPROXIMATELY THREE-QUARTERS OF THE
17,400 SQUARE METER BUILDING IS SITUATED
UNDERGROUND, CARVED OUT OF A ROCKY
MOUNTAINTOP. THE ROOF IS A LARGE GLASS
AND STEEL CONSTRUCTION, WHILE THE
EXTERIOR AND INTERIOR WALLS AND FLOOR
ARE MADE OF A WARM BEIGE-COLORED
LIMESTONE FROMFRANCE – THE SAME
MATERIAL USED BY PEI IN THE RECEPTION
HALL OF THE LOUVRE.
LOUVRE PYRAMID
MIHO MEUSIUM
ROCK AND ROLL HALL OF FRAME

7. MUSEUM OF ISLAMIC ART: THE
MUSEUM DRAWS MUCH INFLUENCE
FROM ANCIENT ISLAMIC
ARCHITECTURE YET HAS A UNIQUE
DESIGN IT WAS THE FIRST OF ITS KIND
IN PERSIAN GULF AND HAS A VERY
LARGE COLLECTION OF ISLAMIC ART ,
PLUS A STUDY , A LIBRARY , AND
SEVERAL RESTAURANTS. OCCUPYING
A TOTAL AREA OF 45,000 M2, THE
MUSEUM IS LOCATED ON AN
ARTIFICIAL PENINSULA OVERLOOKING
THE SOUTH END OF DOHA BAY.
CONSTRUCTION OF THE BUILDING BY BAYTUR CONSTRUCTION CO. (TURKEY) WAS
COMPLETEDIN 2006. THE INTERIOR GALLERY SPACES WERE DESIGNED BY A TEAM LED
BY JM WILMOTTE OF WILMOTTE ASSOCIATES. THE MUSEUM WAS OFFICIALLY OPENED
ON NOVEMBER 22, 2008 BY THE EMIR OF QATAR. IT THEN OPENED TO THE GENERAL
PUBLIC ON DECEMBER 8, 2008.
BANK OF CHINA:THE TOWER IS COMPOSED OF FOUR
TOWERS OF TRIANGULAR SHAPE THAT EVOKE THE BAMBOO
LEAVES, CHINESE SYMBOL OF PROSPERITY AND
LIVELIHOOD.THE WHOLE STRUCTURE IS SUPPORTED BY FIVE
STEEL COLUMNS, FOUR IN THE CORNERS OF THE BUILDING
AND ONE IN THE CENTER, WHICH TOGETHER BEAR THE
WEIGHT AND FORCES.THE MAIN STRUCTURAL ELEMENTS
ARE THE VERTICAL AND HORIZONTAL STEEL MEMBERS.
REINFORCED CONCRETE ALSO PLAYS A ROLE.THE ENTIRE
BUILDING IS COVERED WITH SILVER-BLUE REFLECTIVE
GLASS FRAMED IN ALUMINUM. SUCH A SKIN NOT ONLY
REFLECTS THE CHANGING IMAGES OF THE SKY AND THE
CITY, BUT IT ALSO ABSORBS SUNLIGHT SO THAT ENERGY
CONSUMPTION FOR LIGHTING AND HEATING COSTS ARE
REDUCED.
FOUNTAIN PLACE:THE BUILDING IS KNOWNFOR
ITS UNIQUE ARCHITECTURE—IT WAS DESIGNED AS A
. ITS VARIOUS SLANTED SIDES CAUSE THE BUILDING
TO HAVE A COMPLETELY DIFFERENT PROFILE FROM
ALL DIRECTIONS. THE BUILDING GETS ITS NAME
FROM THE ARRAY OF 172 DANCING FOUNTAINS IN
THE PLAZA AT ITS BASE.
FOUNTAIN PLACE
BANK OF CHINA
MUSEUM OF ISLAMIC ART

8. SUZHOU MUSEUM: PROVIDES A
SPECIAL OPPORTUNITY TO THINK
CRITICALLY ABOUT PEI’S CROSS-
CULTURAL DESIGNS, PARTICULARLY
IN RELATION TO HIS BIOGRAPHY. THE
THESIS UTILIZES PRIMARY SOURCES
AND SCHOLARS’ PUBLICATIONS IN
BOTH ENGLISH AND CHINESE TO
ANALYZE I.M. PEI’S LIFE EXPERIENCES,
HIS DESIGN METHOD, AND THE SELECT
DETAILS OF THE SUZHOU MUSEUM IN
ORDER TO ARGUE THAT THE SUZHOU
MUSEUM PROJECT IS A DISTINCTIVE SELF-PORTRAIT OF ITS ARCHITECT.
LUCE MEMORIAL CHAPEL: SET ON AN IRREGULAR HEXAGONAL BASE, THE
CHAPEL OCCUPIES A SITE OF 12,000 SQUARE METERS OF THE CAMPUS, PROVIDING 477
SQUARE METERS OF FLOOR AREA, INCLUDING A NAVE WITH 500 SEATS, A CHANCEL AND
ROBING ROOMS. THE FOUR
MANIPULATED PLANES THAT
MAKE UP THE WALLS OF THE
CHURCH STRETCH 19.2M HIGH,
ESTABLISHING A CENTRAL
FOCAL LANDMARK ON THE
CAMPUS.I.M. PEI WAS CAREFUL
TO DESIGN SPECIFIC TO THE
ENVIRONMENTAL CONTEXT OF
TAIWAN, WITH WALLS MADE OF
REINFORCED CONCRETE TO
PROVIDE EARTHQUAKE
STABILITY AND DURABILITY IN
THE HUMID AND TYPHOON-PRONE ENVIRONMENT. THE EXTERIOR OF THE CHAPEL IS
COVERED IN THAT STAND OUT AGAINST THE SKY AND GREEN BACKDROP OF THE
UNIVERSITY.
LUCE MEMORIAL CHAPEL

9. LOUVRE PYRAMID
“FORMALLY, IT IS THE MOST COMPATIBLE WITHTHE ARCHITECTURE OF THE LOUVRE...,
IT IS ALSO ONE OF THE MOST STRUCTURALLY STABLE OF FORMS, WHICH ASSURES ITS
TRANSPARENCY, AS IT IS CONSTRUCTED OF
GLASS AND STEEL, IT SIGNIFIES A BREAK WITH
THE ARCHITECTURAL TRADITIONS OF THE
PAST. IT IS A WORK OF OUR TIME.” – I.M. PEI
 MADE BY- I.M.PEI
 CONSTRUCTION ELEMENT- GLASS AND
METAL
 DESIGNED ON-1984
 COMPLEATED IN-1989
 LOCATION-PARIS,FRANCE
 HEIGHT-21.6m(71 feet)
 -MODERN
AS THE DECADES HAVE PASSED AND PARIS HAS MODERNIZED PEI’S DESIGN HAS
BECOME EMBEDDED IN THE PARISIAN CULTURE. IT IS REGARDED WITH SIMILAR
SIGNIFICANCE TO THAT OF THE EIFFEL TOWER BECOMING AN ICON FOR THE PEOPLE OF
PARIS, AS WELL AS THE WORLD. PEI’S DESIGN HAS BECOME SYNONYMOUS WITH THE
IMAGE OF THE LOUVRE MARKING IT AS AN INSEPARABLE ENTITY FROM THE MUSEUM
AND OF PARIS.
FRONTSIDEVIEW

10. IN 1983 AFTER TOURING EUROPE AND
THE UNITED STATES, PRESIDENT
MITTERRAND COMMISSIONED THE
CHINESE AMERICAN ARCHITECT, I.M. PEI.
BUILDING DETAILS -IT REACHES A HEIGHT
OF 21.6 METRES (71 FT). ITS SQUARE
BASE HAS SIDES OF 34 METRES (112 FT)
AND A BASE SURFACE AREA OF 1,000
SQUARE METRES (11,000 SQ FT). IT CONSISTS OF 603 RHOMBUS-SHAPED AND 70
TRIANGULAR GLASS SEGMENTS. THE PYRAMID STRUCTURE WAS ENGINEERED BY
NICOLET CHARTRAND KNOLL LTD. OF MONTREAL
I.M. PEI’S RENOVATION
REDESIGNED COUR NAPOLEON,
THE MAIN COURT OF THE
LOUVRE, IN ORDER TO ALLEVIATE
THE CONGESTION FROM THE
THOUSANDS OF DAILY VISITORS.
A NEW GRAND ENTRANCE
PROVIDED A CONVENIENT,
CENTRAL LOBBY SPACE
SEPARATE FROM THE
GALLERIES, WHICH PROVIDED
FOCAL POINT FOR THE CYCLICAL
PROCESS OF ONE’S EXPERIENCE THROUGH THEMUSEUM. IN ADDITION TO PROVIDING
A NEW ENTRANCE TO THE LOUVRE, PEI’S DESIGN FEATURED A NEW UNDERGROUND
SYSTEM OF GALLERIES, STORAGE, AND
PRESERVATION LABORATORIES, AS WELL AS A
CONNECTION BETWEENTHE WINGS OF THE
MUSEUM. THE ADDITION AND RELOCATION OF
THE SUPPORTING SPACES OF THE MUSEUM
ALLOWED FOR THE LOUVRE TO EXPAND ITS
COLLECTION AND PLACE MORE WORK ON
EXHIBIT. THE GLASS PYRAMID PROVIDED A
SYMBOLIC ENTRY THAT HAD HISTORICAL AND
FIGURAL IMPORTANCE THAT REINFORCEDTHE
MAIN ENTRY.THE MONUMENTAL APPEARANCE
OF THE GLASS AND STEEL PYRAMID FIXED IN
THE MIDDLE OF THE COURT PROVIDES A
CENTRAL FOCAL POINT THAT COMPLIMENTS
THE SCALE AND DESIGN OF THE LOUVRE.THE
SCALE OF THE LARGE PYRAMID, IS DESIGNED TO THE SAME PROPORTIONS OF THE
FAMOUS PYRAMID OF GIZA.
ARCHITECTURAL STYLE OF THE MUSEUM CREATES A COMPLIMENTARY
EFFECT THAT ENHANCES EACH OF THE DESIGN’S DETAILS AND BEAUTY. SO MUCH SO
THAT THE SLOPING GLASS WALLS OF THE PYRAMID BEGIN TO PAY HOMAGE TO THE
MANSARD ROOFS OF THE MUSEUM, AND THE OPAQUE, HEAVY QUALITIES OF THE
LOUVRE’S FAÇADE EXAGGERATE THE TRANSPARENCY OF PEI’S DESIGN.
PLAN
VIEW FROMTOP
STEEL ANDGLASS COMBINATION

11. MUSEUM OF ISLAMIC ART
“A SEVERE ARCHITECTURETHAT COMES TO LIFE IN THE SUN, WITH ITS SHADOWS
AND SHADES OF COLOUR.”-I.M.PIE
 MADE BY- I.M.PEI
 CONSTRUCTION ELEMENT- FINE
MATERIALS,SUCH ASCREAM-COLOURED
MAGNY AND CHAMESSON LIMESTONE FROM
FRANCE,JET MIST GRANITE FROMTHE
UNITED STATES ANDSTAINLESSSTEEL FROM
GERMANY, AS WELL AS ARCHITECTURAL
CONCRETE FROMQATAR
 COMPLEATED IN—22ND
NOVEMBER,2008
 LOCATION-DOHA
 HEIGHT-21.6m(71 feet)
 STYLE-ISLAMICART
THE MUSEUM OF ISLAMIC ART IS THE
RESULT OF A JOURNEY OF DISCOVERY
CONDUCTED BY I.M. PEI, WHOSE QUEST
TO UNDERSTAND THE DIVERSITY OF
ISLAMIC ARCHITECTURE LED HIM ON A
WORLD TOUR. PEI’S FINAL DESIGN
INSPIRATION WAS THE 13TH-CENTURY
SABIL (ABLUTIONS FOUNTAIN) OF THE
MOSQUE OF AHMAD IBN TULUN IN CAIRO,
VIEW FROMTOP
PLAN

12. EGYPT (9TH CENTURY). IN THE
“AUSTERITY AND SIMPLICITY” OF
THE SABIL, THE SABIL OFFERED
“AN ALMOST CUBIST EXPRESSION
OF GEOMETRIC PROGRESSION,”
WHICH EVOKED AN ABSTRACT
VISION OF THE KEY DESIGN
ELEMENTS OF ISLAMIC
ARCHITECTURE.
DECLINING TO BUILD
THE STRUCTURE ON ANY OF THE
PROPOSED SITES ALONG THE
CORNICHE, MR. PEI SUGGESTEDASTAND-ALONE ISLAND BE CREATED TO ENSURE
FUTURE BUILDINGSWOULD NEVER ENCROACH ON THE
MUSEUM. THE BUILDING STANDS IN THE SEA SOME 195
FEET OFF DOHA’S CORNICHE.
THE MUSEUM IS COMPOSED OF A FIVE-STOREY MAIN
BUILDING AND A TWO-STOREY EDUCATIONWING,
WHICH ARE CONNECTED ACROSS ACENTRAL
COURTYARD. THE MAIN BUILDING’S ANGULAR
VOLUMES STEP BACK PROGRESSIVELY AS THEY
RISE AROUND A 164-FOOT-HIGH DOMED ATRIUM,
WHICH IS CONCEALED FROM OUTSIDE VIEW BY THE
WALLS OF A CENTRAL TOWER. AT THE TOP OF THE
ATRIUM, AN CAPTURES AND REFLECTS PATTERNED
LIGHT WITHIN THE FACETED DOME
DOME
INTERIORVIEW

13. BANK OF CHINA
 MADE BY- I.M.PEI
 CONSTRUCTION ELEMENT- STEEL FRAME,
GLASS CURTAIN WALL
 COMPLEATED IN--,17TH
MAY,1990
 LOCATION-HONGKONG
 ARCHITECTURE STYLE-HIGH-TECH
ARCHITECTURE
 HEIGHT-288m
THE BANK OF CHINA TOWER (ABBREVIATED BOC
TOWER) IS ONE OF THE MOST RECOGNISABLE
SKYSCRAPERS IN CENTRAL, HONG KONG. IT
HOUSES THE HEADQUARTERS FOR THE BANK OF
CHINA (HONG KONG) LIMITED. THE BUILDING IS
LOCATED AT 1 GARDEN ROAD, IN CENTRAL AND
WESTERNDISTRICT ON HONG KONG ISLAND. IT IS
NOW THE FOURTH TALLEST SKYSCRAPER IN
HONG KONG, AFTER INTERNATIONAL COMMERCE
CENTRE, TWO INTERNATIONAL FINANCE CENTRE
AND CENTRAL PLAZA.
WHEN COMMISSIONED TO DESIGN THE BANK OF
CHINA TOWER ONAN INTRICATE INLAND SITE, I.M.
PEI WAS REQUESTEDTO CREATE AN UNAVOIDABLY TALL
UNIQUE HEADQUARTERS IN A TYPHOON-PRONE REGION
THAT WOULD REPRESENT THE ASPIRATIONS OF THE
CHINESE PEOPLE YET ALSO SYMBOLIZE GOOD WILL
TOWARD THE BRITISH COLONY.AT THE TIME OF ITS
OPENING IN MAY 1990, IT WAS THE TALLEST BUILDING IN
ASIA AND STILL REMAINS ONE OF THE TALLEST IN HONG
KONG.
GRACEFUL, CONCISE AND STRUCTURALLY
EXPRESSIVE.ITS TRIANGULAR STRUCTURE OF GLASS AND
ALUMINUM EVOKES SHOOTS OF BAMBOO LEAVES, WHICH
REPRESENT PROSPERITYIN CHINAAND THE
SUSTENANCE OF LIFE.
BANKOF CHINA
IT WAS ONCETHE TALLEST
BUILDING IN ASIA

14. THE TOWER IS COMPOSED OF FOUR TOWERS OF
TRIANGULAR SHAPE THAT EVOKE THE BAMBOO
LEAVES, CHINESE SYMBOL OF PROSPERITY AND
LIVELIHOOD.THE WHOLE STRUCTURE IS SUPPORTED
BY FIVE STEEL COLUMNS, FOURIN THE CORNERS OF
THE BUILDING AND ONE IN THE CENTER, WHICH
TOGETHER BEAR THE WEIGHT AND FORCES.THE
TOWERS ARE LIFTED TO DIFFERENT HEIGHTS AND
THE LOADS OF THE CENTRAL COLUMN ARE DIRECTED
TO THOSE FOUNDIN THE CORNERS, FORMING A
TRIANGULAR FRAME. THIS ALLOWS THE ARCHITECT
TO DESIGN A LIGHTER STRUCTURE, BECAUSE THE
DIAGONAL ELEMENTS REQUIRED ARE LESS
IMPORTANT, WHILE THE THREE-DIMENSIONAL
INTERNAL STRUCTURE PROVIDES ACLEAR FLOOR
THAT ALLOWS FOR FUTURE CHANGES IN THE
DISPOSITION OF THEIR USE, THUS SAVING ENERGY
AND RESOURCES.
THE SLOPING TERRACES ALLOW A MORE
NATURAL LIGHTING AND THEREFORE REQUIRE
LESS ENERGY FOR ARTIFICIAL LIGHTING.THE
INTERIOR HAS PROVISIONS FOR FLEXIBLE
SPACES AND OFFICES OF THE BANK.
THE ENTIRE BUILDING IS COVERED WITH SILVER-
BLUE REFLECTIVE GLASS FRAMED IN
ALUMINUM. SUCH A SKIN NOT ONLY REFLECTS
THE CHANGING IMAGES OF THE SKY AND THE
CITY, BUT IT ALSO ABSORBS SUNLIGHT SO THAT
ENERGY CONSUMPTIONFOR LIGHTING AND
HEATING COSTS ARE REDUCED.THE BASE OF
THE FOUR TOWERS IS GRANITE.
ELEVATION
THE BUILDING HAS A
REFLECTING SURFACE

15. ROCK AND ROLL HALL OF FRAME
 MADE BY- I.M.PEI
 CONSTRUCTION ELEMENT- GLASS AND METAL
 COMPLEATED IN-1983
 LOCATION-CLEVELAND,USA
THE ROCK AND ROLL HALL
OF FAME AND MUSEUM IS A
HALL OF FAME AND
MUSEUM.
IT IS A COMBINATION OF
BOLD GEOMETRIC FORMS
AND DYNAMIC
CANTILEVERED SPACES
THAT ARE ANCHORED BY A
162-FOOT TOWER. THE
TOWER SUPPORTSADUAL-
TRIANGULAR-SHAPED
GLASS "TENT" THAT
EXTENDS (AT ITS BASE)
ONTO A65,000-SQUARE-
FOOT PLAZA THAT
PROVIDES A MAIN ENTRY FACADE.THE BUILDING HOUSES MORE THAN 55,000 SQUARE
FEET OF EXHIBITION SPACE, AS WELL AS ADMINISTRATIVE OFFICES, A STORE, AND A
CAFÉ.
THE ROCK & ROLL HALL OF FAME IS ONE OF CLEVELAND'S MOST STRIKING (AND
RECOGNIZABLE) PIECES OF ARCHITECTURE. THE 150,000-SQUARE-FOOT BUILDING HAS A
ROCK AND ROLL HALL OF FRAME
VIEW FROMTOP

16. GLASS-ENCLOSED, DOUBLE
PYRAMID ADJACENT TO A 162-FOOT
TOWER, BOTH OF WHICH SOAR
ABOVE THE SHORES OF LAKE ERIE.
UPSIDE-DOWNCARS FROM U2'S ZOO
TV TOUR GREET VISITORS IN THE
SUN-FILLED LOBBY ATRIUM, WHICH
OFTEN HOSTS CONCERTS AND
OTHER SPECIAL EVENTS, WHILE A
NOSH-WORTHY CAFÉ AND THE
MUSEUM STORE OFFER PLENTY OF
DINING AND SHOPPING OPTIONS.
THIS BUILDING WAS DESIGNED TO EXPRESS THE
DYNAMIC MUSIC IT CELEBRATES, AND
EMBLEMATIZE THE CITY THAT INTRODUCED THE
TERM "ROCK AND ROLL" IN THE MID-1950S.
SIMPLE GEOMETRIC FORMS ARE JUXTAPOSED
TO COMBINE DIVERSE FUNCTIONS WITHIN A
UNIFIED WHOLE. A THEATER CANTILEVERED
OVER LAKE ERIE ON ONE SIDE BALANCES A
CIRCULAR PERFORMANCE DRUM ON THE OTHER
WHILE A 165-FOOT-HIGH ORTHOGONAL TOWER
RISES FROM THE WATER TO ENGAGE A
TETRAHEDRAL GLASS TENT. LIKE AN EXPLOSIVE
MUSICAL CHORD, THE SCULPTURAL
COMPONENTS REVERBERATE OUT FROM
CENTER.
UPSIDE DOWN CARS
IT EXPRESSESDYNAMIC
MUSIC

17. BIBLIOGRAPHY
THE FOLLOWING INFORMATION IS TAKEN FROM:
 www.wikipedia.org
 www.arcdaily.com
 www.quora.com
 Image source- google images