Taking place June 27 – August 2, Gagosian Gallery, in collaboration with Renzo Piano Foundation and generously supported by the Stavros Niarchos Foundation, ‘Fragments’ is an exhibition of more than thirty years of architectural projects by the Renzo Piano Building Workshop. Equal parts library reading room, school classroom, and natural history gallery, the exhibition consists of twenty-four tabletop displays of scale models, drawings, photographs, and video. Each tells the involved, inspiring story of the design process of a single building, from museums, libraries, and airports to private residences. More information on the exhibition after the break.
Thanks to the courtesy of our friends from Beka & Partners, we are giving you the chance to win one of the five DVD-Books of the Living Architectures collection.
“Living Architectures” is a series of films that seeks to develop a way of looking at architecture which turns away from the current trend of idealizing the representation of our architectural heritage.
The five DVD-Books are: ‘Inside Piano‘, ‘Gehry’s Vertigo‘, ‘Pomerol, Herzog & de Meuron‘, ‘Koolhaas Houselife‘ and ‘Xmas Meier‘. We will have five winners, each of one will receive one randomly. All you have to do to participate is become a registered user (if you’re not one already) and answer the following question in our comments:
“Which architect would you like to see next in the Living Architectures series and why?”
You have until June 24 to submit your answer. Winners will be announced and contacted during the same day.
For more information about the DVD-Books you can check the trailers after the break, or go to www.living-architectures.com for more details. Good luck!
Fifth project of the Living Architectures series, Inside Piano is composed of three films on three symbolic buildings of Renzo Piano’s career. A visit throughout the prototype-building of the Centre Pompidou. An immersion in the soundproof world of a submarine floating in the depths of the Parisian underground. A journey aboard a luminous magic carpet of a highly sophisticated architectural machine. A humorous, caustic and quirky point of view.
It’s surprising to think that Los Angeles - the home of the U.S film industry – doesn’t have a museum solely dedicated to its homegrown artform. However, all that is about to change should the Academy of Motion Pictures have their way.
Last Thursday, plans were unveiled for the long-touted Academy Museum of Motion Pictures, a new museum designed by Renzo Piano and native Los Angeleno architect Zoltan Pali, which will be located in the streamline-moderne Wiltshire May Company building at Wilshire Boulevard and Fairfax Avenue, on the campus of the Los Angeles County Museum of Art (LACMA). Although the designs are at an early stage, the released drawings propose to convert the historic building into a museum, while marrying it with a 140-foot-diameter glass dome.
Read more about the project after the break…
The Architectural League of New York announced early this month the award of its 2013 President’s Medal to Renzo Piano of the Renzo Piano Building Workshop.The President’s Medal is the Architectural League’s highest honor and is bestowed, at the discretion of the League’s President and Board of Directors, on individuals to recognize an extraordinary body of work in architecture, urbanism, or design. This award also exemplifies the Architectural League’s 130-year history of encouraging and honoring excellence in architecture, urbanism, and design. The medal was presented to Renzo Piano, one of the world’s most admired architects, by Architectural League President Annabelle Selldorf on April 9th at a dinner with over 350 guests in Manhattan. For more information, please visit here.
Peter Rice has been described as both one of the best engineers and architects of the twentieth century. Unhappy with the role that engineers play in designing buildings, Rice dedicated his life to championing brave innovation and poetry through structure in a way that helped bridge the gap between engineering and architecture. His desire to work in tandem with architects, towards a shared vision, made him one of the most in-demand engineers of the twentieth century.
Read more about this amazing man and check out the video after the break…
In April 2009, the central Italian city of L’Aquila was devastated by a crippling earthquake, claiming lives and causing extensive damage to thousands of buildings, including the leveling of the city’s main auditorium venue. Nearing the fourth anniversary of this tragic disaster, the Italian city of Trento has donated a Renzo Piano-designed auditorium, which was inaugurated in October, in an effort to aid the reconstruction of this medieval city.
Creating an illusion of instability, the auditorium is formed by three interconnected cubes made entirely of wood (1.165 cubic meters in total) that ironically appears as they had “haphazardly tumbled down” and came to rest upon each other. The entire structure was prefabricated and then assembled onsite by Log Engineering, who pieced it together with 800,000 nails, 100,000 screws and 10,000 brackets.
BBC’s Sarah Montague interviews Renzo Piano, the mastermind behind London’s most controversial and newest skyscraper: ‘The Shard’. Prior to the interview, Montague spotted Piano blending into the crowd during the opening of the 310-meter skyscraper “spying” on the onlookers. When asked about this moment, Piano revealed the great advice he received from the prominent Italian film director Roberto Rossellini upon the completion of the Pompidou Center in Paris: “You do not look at the building, you look at the people looking at the building.” It was during this moment that Piano observed “surprise” and “wonder, but not fear” amongst the onlookers – a reaction he seemed to be content with.
Despite Piano’s attempt to refrain from controversy, it is hard to avoid when your design intends to celebrate a “shift in society” as does the ‘Shard’. Change tends to stir mixed emotions and spark debate. However, being part of this “human adventure” as an architect is what Piano finds most rewarding. He states: “You don’t change the world as an architect, but you celebrate the change of the world.”
The Menil Collection Houston, designed by architect Renzo Piano, has been selected for the 2013 AIA Twenty-five Year Award. Recognizing architectural design of enduring significance, the Twenty-five Year Award is conferred on a building that has stood the test of time for 25 to 35 years as an embodiment of architectural excellence. Projects must demonstrate excellence in function, in the distinguished execution of its original program, and in the creative aspects of its statement by today’s standards. The award will be presented this June at the AIA National Convention in Denver.
More on The Menil Collection after the break.
While the Eiffel Tower was negatively received at first for its utilitarian appearance, it soon became a major attraction for Paris, France in the late 19th century. It represented structural ingenuity and innovation and soon became a major feat, rising to 300 meters of7,500 tons of steel and iron. Just three years after its unveiling, London sponsored a competition for its own version of the tower in 1890. The Tower Company, Limited collected 68 designs, all variations of the design of the Eiffel Tower. Proposals were submitted from the United States, Canada, Germany, Sweden, Italy, Austria, Turkey and Australia. Many of the designs are bizarre interpretations of utilitarian structures, following the aesthetics of the Eiffel Tower, only bigger and taller.
Join us after the break for more on the story of the Tower of London.
As an update to the article we posted several months ago regarding the disputed ‘hot spot’ in Dallas between Renzo Piano‘s Nasher Sculpture Center and the adjacent residential tower, the controversy is still a hot issue. The reflection caused by the sculpture center is still something they have not been able to solve. Any solution will be costly and difficult. The Nasher people have recommended louvers covering the tower’s south face. The tower people say that this will require a computer-generated engine for every window, about two years to study, even more time to install. And it may not work. More information after the break.
Well, according to the UK’s Architects Registration Board (ARB) he isn’t.
Last week, BDOnline received an email from the ARB asking them to refrain from calling Renzo Piano and Daniel Libeskind an architect, since “they are not registered with the ARB they are not entitled to be described as such”.
The statement said: “BD referred to two eminent individuals as architects – neither of whom are on the UK register. This is one of a number of peripheral areas, and architects often contact us when they are concerned about the use of the title ‘architect’ in the press although no breach of the legislation in fact occurs.”
We continue with the second part of our exclusive interview with Renzo Piano.
Since first achieving international fame in 1978 with the Centre George Pompidou in Paris, Renzo Piano has become known as a prolific, Italian architect capable of achieving a masterful balance between art, architecture and engineering. His intellectual curiosity and problem-solving techniques have led him to develop a wide-ranging portfolio that successfully merges high technology with humane and comfortable environments.
Sophisticated, refined and elegant, the presence of Renzo Piano’s work is internationally celebrated. Originally born into a family of Italian builders, the Pritzker Prize-winning architect now leads a staff of 150 at his practice, Renzo Piano Building Workshop, from three locations – Genoa, Paris and New York.
Watch Part III.
Since first achieving international fame in 1978 with the Centre George Pompidou in Paris, Renzo Piano has become known as a prolific, Italian architect capable of achieving a masterful balance between art, architecture and engineering. His intellectual curiosity and problem-solving techniques have led him to develop a wide-ranging portfolio that successfully merges high technology with humane and comfortable environments. Sophisticated, refined and elegant, the presence of Renzo Piano’s work is internationally celebrated. Originally born into a family of Italian builders, the Pritzker Prize-winning architect now leads a staff of 150 at his practice, Renzo Piano Building Workshop, from three locations – Genoa, Paris and New York. Architecture critic Nicolai Ouroussoff of The New York Times described Piano’s work the best when he stated: “The serenity of his best buildings can almost make you believe that we live in a civilized world.” The next part of the interview will air on Monday Sept, 17th. Renzo Piano completed works featured on ArchDaily:
- AD Classics: Centre Georges Pompidou / Renzo Piano + Richard Rogers
- The Shard’s Opening Celebration
- California Academy of Sciences / Renzo Piano
- Isabella Stewart Gardner Museum Opens New Wing Today / Renzo Piano Building Workshop
- AD Classics: Menil Collection / Renzo Piano
- AD Classics: Rothko Chapel / Philip Johnson, Howard Barnstone, Eugene Aubry and Mark Rothko
- Central St. Giles Court / Renzo Piano & Fletcher Priest Architects
- Volcano Buono / RPBW
- MUSE Museum of Science / Renzo Piano
- Botín Center / Renzo Piano
- The Stavros Niarchos Foundation Cultural Center / Renzo Piano
- Satellite Whitney Museum / Renzo Piano
When the Twin Towers came down 11 years ago (almost to the day), the world was struck numb. Even New Yorkers, who felt the trauma rumble through their veins, couldn’t get past the initial disbelief: how can this be happening? How can something so big, so invincible, actually be so vulnerable?
Hundreds of comments have been hurled at Renzo Piano’s “Shard,” the massive, reflective skyscraper that hulks over the London skyline – it’s big, no, huge; it’s out of the context of its Victorian neighborhood; its exclusive price tag could only be footed by Qatar royalty (as it is) – but few, beyond writing off the tower as a symbol of arrogance or hubris, have stopped to consider its impetus.
For that, we must look at the Shard in the context of 9/11. Only then can the Shard be understood for what it is: the amplification and perfection of the glass tower Piano began in post-9/11 New York, a utopian vision that stands defiantly in defense of the city itself.
In honor of Renzo Piano’s 75th (gasp!) birthday, we offer an update on his latest projects. The septuagenarian has several large-scale works in various stages of construction scattered across the world, and has celebrated the opening of others within this past year. While we have been continuously following the conceptualization, construction and completion of the Shard, Renzo’s talent is sweeping across major cities both in the States and Europe, including: a satellite museum in New York; a cultural hub for Athens; an urban cultural catalyst for Santander, Spain; an interior renovation for Los Angeles; a recently completed museum wing for Boston; plus, a redeveloped brownfield site turned science center for Trento, Italy. No matter the project location, scale, or program, Piano’s ability to craft an architecture with a sense of lightness, strong attention to detail and overall aesthetic elegance sets him in a very particular category of the profession.
So, here’s to a happy 75th and 75 more years of great architecture, Renzo!
More after the break.
The disappointment generated by the Shard’s opening laser light show is not so surprising for a project that has been grounded in controversy for over a decade. Since 2000, when Piano sketched his initial vision upon meeting developer Irvine Sellar, the project has consistently met obstacles such as English Heritage and the financial crash of 2007. But, the biggest opposition of the tower has been its height. English Heritage claimed that the tower, formerly known as London Bridge Tower, would “tear through historic London like a shard of glass” (ironically, coining the new name of the tower), and Piano counters that, “The best architecture takes time to be understood…I would prefer people to judge it not now. Judge it in 10 years’ time.”
Leading us to wonder…does the Shard simply need time to be fully appreciated?