Architects: Ieoh Ming Pei
Year: 1989
The Louvre Pyramid, a striking glass and metal structure, stands prominently in the Cour Napoléon at the Louvre Palace in Paris. Completed in 1989 as part of the Grand Louvre project, this architectural masterpiece by Chinese-American architect Ieoh Ming Pei has become a symbol of the Louvre Museum itself.
The Louvre Pyramid, transformed the entrance to the Louvre Museum, significantly improving visitor flow and museum experience since its completion in 1989. The glass and metal structure, standing at 21.6 meters (71 feet), offers a striking contrast to the historic Louvre Palace, merging modernity with classical architecture. The pyramid acts as a focal point, guiding visitors into the underground lobby, thereby reducing congestion at the museum’s entrance.
The history of the Louvre spans more than eight centuries. Originally constructed as a fortress in the late 12th century under the orders of King Philippe Augustus, its purpose was to protect Paris from potential invasions, particularly from the English and Normans. The original Louvre was a robust and imposing structure designed to withstand sieges and protect the western part of Paris along the River Seine.
In the 16th century, the fortress was transformed into a royal palace by King Francis I. He commissioned architect Pierre Lescot to redesign the building, marking the beginning of its evolution into a Renaissance palace. Over the next several centuries, successive monarchs expanded and enhanced the Louvre, adding various wings and sections. King Louis XIV, the “Sun King,” played a significant role in the 17th century by commissioning the completion of the Cour Carrée and the construction of the Colonnade on the eastern façade.
Despite its grandeur, the Louvre ceased to be a royal residence when Louis XIV moved his court to Versailles in 1682. The vacant palace began to serve as a repository for royal art collections and, during the French Revolution, it was officially designated as a public museum in 1793. The Louvre Museum opened its doors to the public, showcasing an extensive collection of art and artefacts, many acquired through royal patronage and Napoleonic conquests.
By the late 20th century, the Louvre faced significant challenges in terms of infrastructure and visitor capacity. The existing entrance spaces were inadequate for the growing number of visitors, and the museum’s facilities were outdated and the Cour Napoléon was a bureaucratic parking lot. In 1981, French President François Mitterrand initiated the Grand Louvre project, a comprehensive plan to modernize and expand the museum.
The Grand Louvre project was ambitious, aiming to double the museum’s exhibition space and create a more welcoming and efficient visitor experience. The project involved several key components:
- Central Underground Lobby: A new underground entrance and central lobby were designed to streamline visitor access and circulation. This lobby would connect the museum’s three wings—Denon, Richelieu, and Sully—facilitating easier movement within the vast complex.
- Reclaiming the Richelieu Wing: At the time, the Richelieu Wing was occupied by the Ministry of Finance. The project included relocating the ministry to free up space for new exhibition galleries and visitor amenities.
- Modern Visitor Facilities: The project also aimed to improve visitor facilities, including ticket offices, auditoriums, cafés, bookstores, and even an underground shopping centre that connected with the nearby metro station.
In 1983, Ieoh Ming Pei, a renowned Chinese-American architect, was chosen to lead the project. Pei’s selection was controversial, as many had expected a French architect to oversee such a significant national project. Nonetheless, Pei brought a fresh and innovative perspective to the task.
Pei’s vision for the Louvre included a central underground lobby that would provide direct access to the museum’s three wings, transforming visitor circulation. He designed a monumental glass pyramid to serve as the entrance, integrating modern architecture with the historical palace. Pei respected the main lines and perspectives of the palace, creating a structure that was transparent, light, and luminous. His design echoed the geometric shapes of squares and triangles found throughout the courtyard and surrounding pools.
The pyramid shape was chosen for its simplicity and symmetry, which complemented the classical architecture of the Louvre. Pei explained that the pyramid, converging to a single point, would be the least intrusive shape, dissolving into the sky and minimizing visual impact on the historic surroundings. This choice also resonated with the museum’s extensive collection of Egyptian antiquities, creating a symbolic connection between ancient and modern.
Michael D. Flynn, one of I.M. Pei’s collaborators on the project, noted that the initial task was determining its size. I.M. wanted the pyramid to blend harmoniously with the surrounding buildings, avoiding excessive height or prominence above the rooftops. A study was conducted on how the pyramid’s height would relate to the existing structures. The pyramid’s dimensions were then shaped by two factors: the most architecturally desirable angles and the footprint size permitted by the courtyard’s constraints and its effect on the circulation spaces below. The program guided the pyramid’s size.
Pei emphasized a delicate structure with high transparency. Initially, lightly reflective glass was considered, but after reviewing models, Pei opted for the clearest possible glass to avoid any color that might alter the perception of the surrounding buildings. When the project began, the buildings were covered in soot from coal, and once cleaned, the decision for super-clear glass proved crucial.
The architect also specified that the metal framework should be present but not overly prominent, matching the roofs of the surrounding buildings. The team discovered 11 different shades of grey and deliberated on the most suitable one.
A Paris journal article recounted how Napoleon built a full-scale mock-up of the Arc de Triomphe for public viewing, concluding, “Mr. Mitterrand, that’s the least you can do.” suggesting that French President at that time, François Mitterrand, should follow Napoleon’s example by creating a full-scale mock-up of the Louvre Pyramid for public viewing.
The Pyramid’s construction was a technical feat, requiring two years of research to develop the extra-clear glass that Pei insisted upon. This glass, manufactured by the historic Saint-Gobain glass factory, allows the Louvre Palace’s historical facades to be admired from both inside and outside the Pyramid. The structure consists of 673 glass panes, supported by 6,000 metal bars and girders, weighing 95 tonnes for the steel structure and 105 tonnes for the glazed aluminium frame.
The framework uses a technique known as structural glazing, where glass segments are anchored to a metal mesh, creating a transparent and durable exterior. This method allows more natural light to enter the structure, enhancing visual comfort and aesthetics. The glass used, known as Diamant glass, has a lower iron content, reducing the greenish tint typical of standard glass. This ensures that the view of the museum remains unobstructed.
In addition to the main Pyramid, Pei designed two smaller pyramids in the Cour Napoléon, providing light to the entrances of the museum’s three wings. There is also an inverted pyramid inside the underground Carrousel shopping centre, another technical feat that further integrates Pei’s modern vision with the historical context of the Louvre.
Aligning the Pyramid with the historical landscape of the Louvre and its surroundings posed a challenge. Because of the bend in the Seine, the Louvre and the Tuileries Garden are not perfectly aligned. Pei addressed this by placing a statue of Louis XIV within the alignment, creating a visual axis that extends through the Tuileries Garden, across the Place de la Concorde, up the Champs-Elysées, and to the Grande Arche de la Défense.
The Pyramid’s introduction was met with considerable controversy. Critics argued that its modernist style was inconsistent with the classical French Renaissance architecture of the Louvre. Some even saw the pyramid as an unsuitable symbol of death from ancient Egypt, drawing connections to its form. Others criticized the appointment of Pei, a Chinese-American architect, over a French one, viewing it as a snub to national pride and architectural heritage.
When Pei unveiled the design, the backlash was immediate and intense. Dubbed the “Battle of the Pyramid,” the international response included accusations that the structure was an “architectural joke,” an “eyesore,” and an “anachronistic intrusion” in the heart of Paris. Critics lamented the juxtaposition of a modern glass pyramid against the backdrop of a historic palace, fearing it would desecrate the Louvre’s revered aesthetic.
Despite the fierce opposition, Pei and his team persevered. Pei emphasized the design’s respect for the historical lines and perspectives of the palace, arguing that the pyramid’s transparency and geometric purity would harmonize with the existing architecture rather than overshadow it. Over time, as the project progressed and the public saw the Pyramid completed, the controversy began to subside.
The Louvre Pyramid has become a vital part of Paris’ cityscape, comparable to the Eiffel Tower and the Arc de Triomphe. It serves as the main entrance to the world’s most visited museum, facilitating the flow of millions of visitors annually. Pei’s design, which initially faced fierce criticism, is now lauded for its innovative approach to integrating modern architecture with historical preservation.
The Louvre Pyramid stands as a testament to Ieoh Ming Pei’s architectural genius and his ability to blend modern design with historical context. It has not only transformed the Louvre Museum but also left a lasting mark on the architectural heritage of Paris. The Pyramid, once controversial, is now a beloved icon, embodying the harmonious coexistence of tradition and innovation.
Project Location
Address: 75001 Paris, France
Location is for general reference and may represent a city or country, not necessarily a precise address.
