When I got the opportunity to do the new wing [the Schauhaus] for the German Historical Museum, for instance, I didn't see it as an opportunity for my own ego, to do something so exciting that every architectural publication would want to put it on the cover. I accepted it because I knew it was going to be a very difficult project, and I wasn't sure I could do something exciting there.
I. M. PeiContemporary architects tend to impose modernity on something. There is a certain concern for history but itโs not very deep. I understand that time has changed, we have evolved. But I donโt want to forget the beginning. A lasting architecture has to have roots.
I. M. PeiI haven't taken any new projects in the past years - I told myself, if I cannot live long enough to finish it, I don't want it.
I. M. PeiOn a daily basis, my home life is very simple. I spend about 2 hours every morning reading the newspaper. As my two assistants will tell you, I don't come to work in the mornings, for two reasons. First, I want to be informed - that means I go through The New York Times every day, and then I watch some news on television. The second is, mornings are the best time to communicate with my clients abroad.
I. M. PeiFranรงois Mitterrand was a student of architecture, he had done a lot of research before he called me. He said, "You did something special at the National Gallery of Art in Washington - you brought the new and the old together." But John Russell Pope finished the West Building in 1941, so when the East Building opened it was only about 40 years old. But the Louvre is 800 years old! A much bigger design challenge.
I. M. Pei