The reason why the Louvre is a pyramid (it’s not what you think)

When you think of the Louvre, you probably think of its vast galleries, and incredible masterpieces. Such grand sculptures, paintings and structures often eclipse the facade of the Louvre. It becomes a backdrop as opposed to a main spectacle. Indeed, being constructed in the 20th century, it has nowhere near the same historical grounding as the Mona Lisa or Venus del Milo. Yet it plays a particularly important part in both Paris’ and the Louvre’s history.

For François Mitterrand, the Louvre was in need of a desperate makeover. Having been one of Paris’ key attractions for the past 200 years, it played a huge part in defining the city’s cultural landscape. However, this was not any old makeover. As the President of France, he wanted to leave part of his legacy behind, something tangible. And what better way to do it, than to present a building which would dominate his city’s skyline for decades to come?

Enter I. M. Pei. Pei was a well-known architect, who had worked on many projects in the past, designing Dallas’ city hall, the Hancock Tower, and parts of the National Gallery in Washington. His impressive portfolio immediately stood out to Mitterand’s civil servant, Émile Biasini, who had been put in charge of the Louvre’s construction. Although daunting, Pei agreed to take on this monumental task and set about coming up with plans for its design. And it took the shape of a pyramid.

Why the pyramid?

Egyptian architecture not only serves as a reminder of mankind’s history, but was particularly relevant to the Louvre as it housed many of their artifacts in its walls. Around the city, there are also many examples of Egyptian antiquities, such as the Luxor Obelisk, now in la Place de Concorde. When the pyramid was erected, some claimed that the 666 glass panes carried an diabolical message for the city. This, however, is largely urban myth, and there are no official reports to claim this was Pei’s or the government’s intention.

The controversy

While today Paris now has a lively, multicultural scene, in 1989, many felt that Pei’s work was an insult to Parisian architects, as there had been no other foreign architect in the city up until that point. As the first socialist government, Mitterrand wanted to change that. And so, despite the nationalistic outcry, he stuck to his decision and carried out the plans to their fullest extent. The Chinese influence was refreshing for a city, which had clung to its traditionalist routes. As time went on, people began to warm to the structure, and it became welcome alongside Paris’ other architectural feats, like the Eiffel Tower. A bicentury after the French revolution, Paris went forward into its own cultural revolution, one which continues on to the day…