Pei did not stop at this but went ahead to choose Jiang Nan residence primary color, white and grey, and in capturing this Pei used gray granite to replace whitewashed plaster wall dark gray clay tiles. If anyone thinks that these colors are not modern then Jodidio and Adams (2008, Inc. 311) think otherwise, they say that "The gray and white forms recall those of the region, but they remain resolutely modern."
Summary and conclusion
In any project that is undertaken by man there must be challenges and so did the design of Suzhou museum face challenges. The first challenge was on the location which was at the historic district of the city and this would necessitate the moving or destruction of some traditional houses, obviously the residents complained. Pei was lectured by government officials, despite the respect they had for him, he was instructed to make the museum modern but must conform to the Suzhou style of building, an idea no one knew how to achieve. Pei worked so hard in blending the East and the West and at the same time seeking to remain true to tradition of the Chinese courtyards and gardens but juggle around with those models. The design in his mind was neither a flat Western roof nor arched gray tile roof typical of Suzhou, ingenuity was necessary at this stage. The result was not perfect but was good, whitewashed walls without gray tile roofs, gray stone was used instead.
References
Barboza, D. "I. M. Pei in China, revisiting roots," the New York Times, 2006,
http://www.nytimes.com/2006/10/09/arts/design/09pei.html?_r=1 (Accessed May 12, 2010).
Bryant, S. "I. M. Pei and the new Suzhou museum," Hub pages, 2009,
http://hubpages.com/hub/I-M-Pei-and-the-New-Suzhou-Museum (Accessed May 12, 2010).
Jodidio, P. & Adams, S.J. "I. M. Pei Complete Works." Rizzoli International Publications, Inc.
311 (2008).
Jodidio, P. & Adams, S.J. "I. M. Pei Complete Works." Rizzoli International Publications, Inc.
312 (2008).
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