An interview about The Glass Pyramid: A Story of the Louvre Museum and Architect I.M. Pei by Jeanne Walker Harvey, presented by The Children’s Book Review.
Today, we sit down with Jeanne Walker Harvey, the author of The Glass Pyramid: A Story of the Louvre Museum and Architect I.M. Pei, a beautifully told and visually stunning picture book that shines a light on one of the world’s most iconic architectural transformations!
As a passionate admirer of modern architecture and a dedicated researcher, Jeanne Walker Harvey brings I.M. Pei’s bold vision for the Louvre pyramid to life with clarity and heart.
The Glass Pyramid isn’t just an architectural tale—it’s a story of perseverance, cultural identity, and creative problem-solving. By highlighting Pei’s challenges as an outsider and his unwavering dedication to his vision, Jeanne offers young readers an inspiring lens on resilience and artistic integrity.
In our conversation, Jeanne shares how her personal connection to Pei’s work shaped the story, the intentional balance of art and engineering in the book, and how illustrator Khoa Le’s powerful visuals deepen young readers’ understanding of inclusion, resistance, and triumph. Read on!
What inspired you to tell I. M. Pei’s story specifically through the lens of the Louvre pyramid project rather than his entire architectural career?
Jeanne Walker Harvey (JWH): I’ve always been a huge admirer of modern minimalist architecture and I.M. Pei’s work, specifically. I lived in D.C. for a summer and frequented the East Building which he designed. I always felt such joy entering the huge open space with the gigantic Calder mobile and interesting angles of walls and stairways. And then when I visited the Louvre, I was absolutely enthralled by his pyramid design.
I knew I wanted to write a book about I.M. Pei, but I wasn’t sure how to approach such a biography. I first began writing a book with a more global approach because I’m so impressed by all his work. I tackled the concept by writing from the first-person perspective of each of I. M. Pei’s buildings. But as soon as I began writing about the glass pyramid, I knew I just wanted to focus on that incredible redesign project for the Louvre and the challenges I.M Pei faced to build and complete the project.
The Glass Pyramid presents architecture as both an art and a practical problem-solving discipline. Was this dual perspective intentional?
JWH: I love that you see that duality in the book! I.M Pei was very aware that architecture is an art form which people inhabit. He sought to make buildings he designed in ways that not only felt welcoming (often filled with light which he valued) but also served the purpose of the building. And in the case of designing a new entranceway and additional public and storage space for the Louvre, Pei needed to address practical concerns. He wanted to create a design that complemented the beautiful Louvre façade but also embodied an aesthetic experience.
How did you research the cultural tensions and resistance Pei faced during this project, and what went into your thought process about presenting these complex issues to young readers?
JWH: Fortunately, I.M. Pei gave numerous interviews and lectures which have been recorded about his experience as the designer of the glass pyramid. I always gravitate to primary sources and hearing him speak was enormously helpful in understanding his thinking, beliefs, and challenges. I also have a huge stack of books about I.M. Pei and the Louvre, and they include a plethora of quotes by him and others who were part of the process.
I thought it was very important for children to understand that even a highly regarded person, an architect who had already designed many projects, can face challenges. The French, of course, were very protective of the Louvre which is such an important cultural and historical building. And even though President Mitterrand and his advisors chose I.M. Pei to redesign the Louvre, the public was quite frankly not welcoming. They were dismayed that an outsider, notably an Asian American, would be redesigning the Louvre and with such a modern design. Pei was surprised by the resentment and harsh words levied against him, but he stood his ground in a calm way and eventually gained support.
Khoa Le’s amazing illustrations are instrumental in presenting these issues to young readers. For example, her illustration of French citizens exclaiming, “An atrocity!” “A Grand Monster” etc. conveys this distrust of Pei. Also, the way Khoa chose to draw Pei standing apart from the other college students allows the reader to also feel like an outsider. Children will immediately understand Pei sometimes struggled as an immigrant from China. I think such visual images enable children to readily understand the resistance and discrimination he faced.
The book touches on Pei’s Chinese heritage and its influence on his work. Could you elaborate on this?
JWH: Yes, Pei’s Chinese heritage and experiences growing up in China had a huge influence on his work. As he said, “I feel that China is in my blood no matter where I live. China is my root.” He often incorporated Chinese architectural elements and cultural references into his work. When he was contemplating designing the glass pyramid, Pei recalled visiting the beautiful Suzhou rock garden as a child and its sense of light, balance and openness.
How do you feel illustrator Khoa Le’s artwork enhances the book?
JWH: I’m absolutely thrilled with Khoa Le’s illustrations. They are truly stunning! She not only captures perfectly the essence and accuracy of the grand Louvre exteriors and interiors, but also I. M. Pei’s experiences elsewhere. As she wrote, this project was a challenge with “the numerous rounds of revisions… a reflection of the project’s complexity and the editorial team’s dedication in bringing out the best in this project. I had to redo sketches many times until they were just right, from perfecting characters’ expressions to ensuring historical accuracy in the building details.”
How do you hope educators might use this book in classroom settings beyond just art education?
JWH: The book works well as a STEAM book because Pei and his team needed to tackle numerous problems and difficulties in the engineering and construction of the Louvre pyramid. The back matter of the book discusses the development of a special type of clear glass, the challenges of connecting the glass panes and cleaning the glass. In addition, the back matter explains the role of an architect. Educators could discuss the various jobs (from mayor to glass cleaners to engineers to art curators, etc.) mentioned in the book.
What surprised you most during your research about I. M. Pei or the Louvre renovation that didn’t make it into the final book?
JWH: I was surprised by how much the French despised Pei’s (now beloved) pyramid design at first. I loved these specifics which didn’t make it into the final version: On the evening of July 3, 1988, about two thousand people lined up to preview the gleaming pyramid, lit up from below. And the courtyard, once a gloomy parking lot, sparkled with seven computer-controlled fountains. That display prompted people to say the glass pyramid looked like a prism, a tiara, a diamond, a shining spiderweb, and a high-tech soufflé .
That evening Pei responded to reporters, “I’ve been waiting a long time for this.” And one of the newspapers that originally criticized Pei’s design held a party inside the pyramid and wrote a headline, “The Pyramid is Very Beautiful After All.”
What parallels, if any, do you see between the creative challenges Pei faced and those you encounter as a children’s book author?
JWH: That’s such an interesting question! He definitely faced more challenges than I ever have because he was the center of a public outcry, complete with hearings, in which harsh words were said about him and his creative ideas. But I did love learning about how Pei first faced the challenge of coming up with the pyramid design by wandering the streets of Paris and the Louvre in secret, ruminating for quite some time on his ideas. I too spend a great deal of time ruminating about how to approach a topic, especially about how to write about a creative person. Sometimes I feel I know too much about a person and I need to step aside for some time and let the ideas percolate before approaching writing.
What do you hope young readers take away from this story about approaching situations where they might feel like outsiders?
JWH: I hope children will believe in themselves and understand that being different means they have something unique to offer to others. I hope they see how Pei sought the support and connection of others by patiently explaining what he hoped to achieve. He was also known to be a good listener, so I think asking questions and listening to what others want to share can also be helpful in such a situation. As Pei said, “My experience at the Louvre was unbelievable, perhaps the most important educational experience.”
Would you like to share anything else about The Glass Pyramid, yourself, or any upcoming projects?
JWH: I just want to emphasize that a book is so much the work of a team of dedicated individuals behind the scenes of an author and illustrator. And so I want to give a big shout out to these wonderful people who worked on our book: the team at Atheneum Books for Young Readers (Simon & Schuster); my editor Kristie Choi; my agent Deborah Warren of East West Literary; the art director Michael McCartney; Barbara Fisch and Sarah Shealy of Blue Slip Media; and the readers, teachers, librarians, bloggers, parents and people such as you, Bianca at The Children’s Book Review, who support and help get out the word about books. It’s definitely a village of extraordinary people who make children’s books happen!
And I want to thank you, Bianca, for such a thoughtful interesting interview! You always ask the most carefully considered questions. It’s such a delight talking with you. And thank you for all you do for our kidlit community, including being an author yourself. Everyone should check out your Catitude book and all the Dragon series – absolutely delightful!
Jeanne, you’re the sweetest and your books are treasures! Thanks for choosing to spend time here for the TCBR readers. You are appreciated!
About the Book
Publisher’s Book Summary: In 1981, I. M. Pei was on a mission. A successful architect known for his modern designs, Pei was asked by the French president to redesign the Louvre Museum in Paris, home to the Mona Lisa and now famous for the glass pyramid at its center. At the time, the Louvre had many problems and no pyramid.
Pei faced many obstacles, including discrimination because he was Chinese American. Determined to succeed and make the Louvre a welcome place for all, Pei worked hard—and sometimes in secret. This is the story of a visionary who worked patiently and persistently to solve problems and achieve his goals: to plant and grow a glass pyramid.
Buy the Book
About the Illustrator
Khoa Le lives in Vietnam and graduated from the Ho Chi Minh City University of Fine Arts. She has dedicated most of her professional life to working in publishing, illustrating numerous books that have been published in Europe, the United States, the United Kingdom, and Vietnam. Currently, she works and lives with her cats.
Visit her online at khoaleartwork.com.
This interview—How Jeanne Walker Harvey Captures I.M. Pei’s Revolutionary Louvre Vision in ‘The Glass Pyramid’—was conducted between Jeanne Walker Harvey and Bianca Schulze.
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