Editing I. M. Pei (section)

== Education and formative years ==
As Pei neared the end of his secondary education, he decided to attend university. He was accepted by a number of schools, but enrolled at the [[University of Pennsylvania]].<ref>Wiseman, pp. 33–34.</ref> Pei's choice had two roots. While studying in Shanghai, he had closely examined the catalogs for various institutions of higher learning around the world. The architectural program at the University of Pennsylvania stood out to him.<ref>Wiseman, p. 34.</ref> The other major factor was Hollywood. Pei was fascinated by the representations of college life in the films of [[Bing Crosby]], which differed tremendously from the academic atmosphere in China. "College life in the U.S. seemed to me to be mostly fun and games", he said in 2000. "Since I was too young to be serious, I wanted to be part of it&nbsp;... You could get a feeling for it in Bing Crosby's movies. College life in America seemed very exciting to me. It's not real, we know that. Nevertheless, at that time it was very attractive to me."<ref>Boehm, p. 34.</ref> Pei added that "Crosby's films in particular had a tremendous influence on my choosing the United States instead of England to pursue my education."<ref>Boehm, pp. 33–34.</ref>

In 1935, Pei boarded a boat and sailed to [[San Francisco]], then traveled by train to [[Philadelphia]]. What he found once he arrived differed vastly from his expectations. Professors at the University of Pennsylvania based their teaching in the [[Beaux-Arts architecture|Beaux-Arts style]], rooted in the classical traditions of [[ancient Greece]] and [[ancient Rome|Rome]]. Pei was more intrigued by [[modern architecture]], and also felt intimidated by the high level of [[architectural drawing|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.<ref>Wiseman, p. 35.</ref>

MIT's architecture faculty was also focused on the Beaux-Arts school, and Pei found himself uninspired by the work. In the library he found three books by the Swiss-French architect [[Le Corbusier]]. Pei was inspired by the innovative designs of the new [[International Style (architecture)|International Style]], characterized by simplified form and the use of glass and steel materials. Le Corbusier visited MIT in {{Nowrap|November 1935}}, an occasion which powerfully affected Pei: "The two days with Le Corbusier, or 'Corbu' as we used to call him, were probably the most important days in my architectural education."<ref name="vb36">Boehm, p. 36.</ref> Pei was also influenced by the work of U.S. architect [[Frank Lloyd Wright]]. In 1938 he drove to [[Spring Green, Wisconsin]]<!-- DO NOT LINK SEPARATELY, see [[MOS:GEOLINK]] for further guidance -->, to visit Wright's famous [[Taliesin (studio)|Taliesin]] building. After waiting for two hours, however, he left without meeting Wright.<ref name="wright">Boehm, p. 36; Wiseman, p. 36.</ref>

Although he disliked the Beaux-Arts emphasis, Pei excelled in his studies. "I certainly don't regret the time at MIT", he said later. "There I learned the science and technique of building, which is just as essential to architecture."<ref name="vb40">Boehm, p. 40.</ref> Pei received his [[Bachelor of Architecture|BArch]] degree in 1940; his thesis was titled "Standardized Propaganda Units for War Time and Peace Time China".<ref>Boehm, pp. 40–41. Pei believed the term "propaganda" to be value-neutral; his advisers disapproved.</ref><ref name=":1">{{Cite web|url=https://news.mit.edu/2019/renowned-architect-mit-alumnus-im-pei-dies-0517|title=Renowned architect I.M. Pei '40 dies at 102|website=MIT News|date=May 17, 2019 |access-date=May 17, 2019}}</ref><ref>{{Cite thesis|title=Standardized propaganda units for war time and peace time China|publisher=Massachusetts Institute of Technology|year=1940|degree=BArch|first=I. M.|last=Pei|hdl=1721.1/29220}}</ref>

While visiting New York City in the late 1930s, Pei met a [[Wellesley College]] student named Eileen Loo. They began dating and married in the spring of 1942. She enrolled in the [[landscape architecture]] program at [[Harvard University]], and Pei was thus introduced to members of the faculty at Harvard's [[Harvard Graduate School of Design|Graduate School of Design]] (GSD). He was excited by the lively atmosphere and joined the GSD in {{Nowrap|December 1942}}.<ref>Wiseman, p. 39; Boehm, pp. 36–37.</ref>

Less than a month later, Pei suspended his work at Harvard to join the [[National Defense Research Committee]], which coordinated scientific research into U.S. weapons technology during [[World War&nbsp;II]]. Pei's background in architecture was seen as a considerable asset; one member of the committee told him: "If you know how to build you should also know how to destroy."<ref>Quoted in von Boehm, p. 42; a slightly different wording appears in Wiseman, p. 39: "If you know how to build a building, you know how to destroy it."</ref> The fight against Germany was ending, so he focused on the [[Pacific War]]. The U.S. realized that its bombs used against the stone buildings of Europe would be ineffective against Japanese cities, mostly constructed from wood and paper; Pei was assigned to work on [[incendiary device|incendiary bombs]]. Pei spent two and a half years with the NDRC, but revealed few details of his work.<ref>Boehm, p. 42.</ref>

In 1945, Eileen gave birth to a son, T'ing Chung, and she withdrew from the landscape architecture program in order to care for him. Pei returned to Harvard in the autumn of 1945, and received a position as assistant professor of design. The GSD was developing into a hub of resistance to the Beaux-Arts orthodoxy. At the center were members of the [[Bauhaus]], a European architectural movement that had advanced the cause of modernist design. The [[Nazi regime]] had condemned the Bauhaus school, and its leaders left Germany. Two of them, [[Walter Gropius]] and [[Marcel Breuer]], took positions at the Harvard GSD. Their iconoclastic focus on modern architecture appealed to Pei, and he worked closely with both men.<ref>Wiseman, pp. 41–43; Boehm, pp. 37–40.</ref>

One of Pei's design projects at the GSD was a plan for an art museum in Shanghai. He wanted to create a mood of Chinese authenticity in the architecture without using traditional materials or styles.<ref name="qw44">Quoted in Wiseman, p., 44.</ref> The design was based on straight modernist structures, organized around a central courtyard garden, with other similar natural settings arranged nearby. It was very well received, with Gropius calling it "the best thing done in [my] master class."<ref name="qw44" /> Pei received his [[Master of Architecture|MArch]] degree in 1946, and taught at Harvard for another two years.<ref name="Pei Cobb Freed & Partner" /><ref>Wiseman, p. 45.</ref>