ng (Campbell, 1989). Fortunately, most critics consider it to be architecture made with passion, architecture as sculpture and as three-dimensional geometry less then user-friendly, perhaps, but impressive nonetheless (Campbell, 1989). Many critics, along with the majority of the Parisian public, had much more positive opinions of the pyramid after its completion. For tourists, the days of searching for the Louvres entrance are over. Its hard to miss the 70-foot transparent pyramid rising gracefully between the museums two main wings. Also, its functionality is appreciated for reducing the distance that visitors once had to walk from one end of the U-shaped Louvre to the other (Associated Press, 1989). Looking at the example of Peis glass pyramid it is evident that his work was influenced by Walter Gropius, one of his teachers at Harvard. In particular, Peis mastery of geometrical shapes and talent in working with steel and glass bears resemblance to Gropiuss vision of total architecture that he set forth in the Bauhaus: We want to create . . . an architecture whose function is clearly recognizable in the relation of its form. . . . At the same time the symmetrical relationship of parts of the building . . . is being replaced by a new conception of equilibrium which transmutes this dead symmetry of similar parts into an asymmetrical but rhythmical balance (Gardner 1996, p. 1029). The new conception of equilibrium can be considered as the fusion of the Louvres old Baroque style and Peis new renovations. At first glance, this fusion may seem asymmetrical, but from Peis artistic point of view, a rhythmical balance is ultimately achieved.Another of Peis buildings that stirred up local controversy is the Bank of China Building in Hong Kong. While the geometrically beautiful building stands out as the tallest in the area at 70 stories, its design has been criticized by many citizens of Hong Kong: The buildings four right-angled triangular pr...
