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Paul Clemence

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Le Corbusier's Final Building Reopens in Zurich

09:00 - 29 May, 2019
Le Corbusier's Final Building Reopens in Zurich, © Paul Clemence
© Paul Clemence

The Centre Le Corbusier, the final project of renowned architect Le Corbusier, has reopened to the public in Zurich following an extensive renovation. Completed in 1967, the scheme is only of the only Le Corbusier buildings to be constructed almost entirely from glass and steel: realizing his concept of the synthesis of architecture, life, and art in real life.

© Paul Clemence © Paul Clemence © Paul Clemence © Paul Clemence + 35

SHoP Architects' 111 West 57th Street Celebrates Topping Out near Central Park

11:00 - 24 April, 2019
SHoP Architects' 111 West 57th Street Celebrates Topping Out near Central Park, © Hayes Davidson
© Hayes Davidson

The SHoP Architects-designed 111 West 57th Street has witnessed a major milestone with the topping out of its reinforced concrete superstructure, as reported by New York YIMBY. The supertall scheme, measuring 1428-feet-tall, will be the second-tallest building in New York City by roof height, and the most slender tall building in the world.

New Images of SHoP Architects' Ultra-Thin 111 W 57 Tower Show Facade Progress

04:00 - 26 January, 2019
New Images of SHoP Architects' Ultra-Thin 111 W 57 Tower Show Facade Progress, © Paul Clemence
© Paul Clemence

The ‘Super Tall and Skinny’ NYC Tower 111 W 57 by SHoP Architects is forging ahead as seen in this photographic construction update by Paul Clemence from Archi-Photo. In the photos, the glass and terracotta facade seems largely complete, casting beams of light into New York's notoriously valley-like streets. SHoP's ultra-thin residential tower, which is set for completion this year, will rise above the Empire State Building and even One World Trade Center, taking a bird's eye view over the entirety of the city skyline.

© Paul Clemence © Paul Clemence © Paul Clemence © Paul Clemence + 8

Bjarke Ingels Group's XI / The Eleventh Takes Shape in New York City

14:15 - 18 January, 2019
© Paul Clemence
© Paul Clemence

New photographs by Paul Clemence from Archi-Photo show BIG -Bjarke Ingels Group’s “The Eleventh” taking shape as construction continues in Chelsea, Manhattan. Having topped out in August 2018, the scheme’s twisting geometries are taking their place within the “Pritzker District” with neighbors including Frank Gehry’s IAC Building, Jean Nouvel’s 100 11th Avenue and Foster + Partners’ 551 West 21st Street.

The development’s larger 35-story, 400-foot-tall structure will twist alongside a second 300-foot-tall sister tower, both clad with bronze and travertine, sharing a connected podium and skybridge.

© Paul Clemence © Paul Clemence © Paul Clemence © Paul Clemence + 27

Spotlight: Paulo Mendes da Rocha

13:30 - 25 October, 2018
Spotlight: Paulo Mendes da Rocha, Museu Brasileiro de Escultura (MuBE). Image © Paul Clemence
Museu Brasileiro de Escultura (MuBE). Image © Paul Clemence

All space must be attached to a value, to a public dimension. There is no private space. The only private space that you can imagine is the human mind.
Paulo Mendes da Rocha, May 26, 2004

Paulo Mendes da Rocha is one of Brazil's greatest architects and urbanists. Born in Vitória, Espírito Santo in 1928, Mendes da Rocha won the 2006 Pritzker Prize, and is one of the most representative architects of the Brazilian Paulista School, also known as "Paulista Brutalism" that utilizes more geometric lines, rougher finishes and bulkier massing than other Brazilian Modernists such as Oscar Niemeyer.

Museu Brasileiro de Escultura (MuBE). Image © Paul Clemence New Leme Gallery. Image © Leonardo Finotti Cais das Artes. Image Courtesy of Paulo Mendes da Rocha Museu dos Coches. Image © Fernando Guerra |  FG+SG + 13

Spotlight: Jean Nouvel

11:00 - 12 August, 2018
Spotlight: Jean Nouvel , © Iwan Baan
© Iwan Baan

The winner of the Wolf Prize in 2005 and the Pritzker of 2008, French architect Jean Nouvel has attempted to design each of his projects without any preconceived notions. The result is a variety of projects that, while strikingly different, always demonstrate a delicate play with light and shadow as well as a harmonious balance with their surroundings. It was this diverse approach that led the Pritzker Prize Jury in their citation to characterize Nouvel as primarily "courageous" in his "pursuit of new ideas and his challenge of accepted norms in order to stretch the boundaries of the field."

Institut du Monde Arabe. Image © Georges Fessy One Central Park. Image © Murray Fredericks Doha Office Tower, Qatar. Image © Nelson Garrido Police Headquearters & Charleroi Danses / Ateliers Jean Nouvel + MDW Architecture. Image © Filip Dujardin + 15

Inside The Chandigarh Home of Le Corbusier's Cousin and Collaborator Pierre Jeanneret

16:00 - 17 July, 2018
Inside The Chandigarh Home of Le Corbusier's Cousin and Collaborator Pierre Jeanneret, © Paul Clemence
© Paul Clemence

Paul Clemence of Archi-Photo shares rare images of the house of Pierre Jeanneret in Chandigarh. The photographer described the experience in an article published in Modern Magazine, which is republished below with permission.

Chandigarh, India’s modern planned city, is most commonly associated with the pioneering modernist master Le Corbusier, who conceived the radical urban plan and most of its important civic buildings. But credit is also due to the architect’s younger cousin and long-time collaborator, Pierre Jeanneret, who turned Le Corbusier’s sweeping vision into a reality. The cousins had worked extensively together, sharing a common, forward-thinking design sensibility. Appointed to senior architect, the Swiss-born Jeanneret oversaw the ambitious project on the ground and proved himself particularly skilled at connecting with the professionals and local community alike. “Effectively, he is respected like a father, liked as a brother by the fifty or so young men who have applied to work in the Architect’s Office,” wrote Corbusier in praise of his cousin.

Photo Set by Paul Clemence Captures the Intriguing Details of Herzog & de Meuron's 56 Leonard St.

08:00 - 21 October, 2016
Photo Set by Paul Clemence Captures the Intriguing Details of Herzog & de Meuron's 56 Leonard St. , © Paul Clemence
© Paul Clemence

Photographer Paul Clemence of ARCHI-PHOTO has shared images of 56 Leonard Street by Herzog & de Meuron. Nearing completion, the 60-story residential tower will be the tallest structure in Tribeca when it opens later this year. The concept of 56 Leonard Street is to disrupt the monotony of typical high-rise city buildings with a more varied articulation achieved by stacking recognizable individual houses. Shifted floor slabs create differentiated corners, cantilever, and balcony conditions that provide apartments with their own unique characters. Developed from the inside out, the pixelated rooms are arranged such that the base of the tower reacts to the street conditions and ripples upward to merge with the sky.

Read on for the full photo set.

© Paul Clemence © Paul Clemence © Paul Clemence © Paul Clemence + 46

Critical Round-Up: The National Museum of African American History and Culture

09:30 - 21 September, 2016
Critical Round-Up: The National Museum of African American History and Culture, © Darren Bradley
© Darren Bradley

A century since the founding of the National Memorial Association and the start of a campaign by African-American war veterans for a monument of African American culture, the National Museum of African American History and Culture will finally be opened on September 24th. The Museum took $540 million and four years to build, resulting in a striking, and refreshingly unorthodox, architectural construction on Washington DC’s National Mall. The Freelon Adjaye Bond/SmithGroup JJR team, led by Ghanaian-British architect David Adjaye, defiantly broke the white-marble-Corinthian-column convention, opting instead for a bronze-coated aluminum façade bound to provoke a reaction from the critics.

© Paul Clemence © Paul Clemence © Darren Bradley © Darren Bradley + 19

The Consultant Behind the Guggenheim Bilbao on What Makes Good Architecture

09:30 - 10 September, 2016
The Consultant Behind the Guggenheim Bilbao on What Makes Good Architecture, Grace Farms, Connecticut, by  SANAA. One of the projects managed by Andy Klemmer's Paratus Group. Image © Paul Clemence
Grace Farms, Connecticut, by SANAA. One of the projects managed by Andy Klemmer's Paratus Group. Image © Paul Clemence

This article was originally published on Metropolis Magazine as "The Connector."

Andy Klemmer has had a front-seat view of the making of some of the most important pieces of architecture of our time. The president and founder of the consulting firm Paratus Group, Klemmer was an essential part of the team that helped develop the iconic Guggenheim Bilbao. Since then, he’s gone on to consult on the California Academy of Science, the Perez Art Museum Miami, the Kimbell Art Museum expansion, working with architects like Renzo Piano, Herzog & de Meuron, and SANAA (to name a few). By liaising between institutions and their chosen architects, he has unique insight into architecture, its practice, and that essential part of the architecture puzzle: the client.

Morgan Library, New York, by Renzo Piano Building Workshop. One of the projects managed by Andy Klemmer's Paratus Group. Featured in the windows here is the installation "A Certain Slant of Light" by Spencer Finch, which was on display at the library from 2014-2015. Image © Paul Clemence Grace Farms, Connecticut, by  SANAA. One of the projects managed by Andy Klemmer's Paratus Group. Image © Paul Clemence Kimbell Art Museum Expansion, Fort Worth, by Renzo Piano Building Workshop. One of the projects managed by Andy Klemmer's Paratus Group. Image © Paul Clemence Kimbell Art Museum Expansion, Fort Worth, by Renzo Piano Building Workshop. One of the projects managed by Andy Klemmer's Paratus Group. Image © Paul Clemence + 8

Gallery: David Adjaye's National Museum of African American History and Culture Photographed by Paul Clemence

14:00 - 11 August, 2016
Gallery: David Adjaye's National Museum of African American History and Culture Photographed by Paul Clemence, © Paul Clemence
© Paul Clemence

Photographer Paul Clemence of ARCHI-PHOTO has shared with us images of Adjaye Associates' nearly-completed Smithsonian National Museum of African American History and Culture. The building draws inspiration from the nearby Washington Monument, mirroring the 17-degree angle of its capstone in the museum’s tiered corona. Adjaye has described the building’s ornamental bronze lattice as “a historical reference to African American craftsmanship.” The skin can also be modulated to control the transparency and amount of sunlight reaching the interior spaces. The building will open to the public on September 24, 2016.

Continue on for Clemence’s full photoset.

© Paul Clemence © Paul Clemence © Paul Clemence © Paul Clemence + 34

The Power of Photography: How Images Continue to Shape the Built Environment

09:30 - 12 October, 2015
The Power of Photography: How Images Continue to Shape the Built Environment, © Iwan Baan for New York Magazine
© Iwan Baan for New York Magazine

In a culture dominated by smartphones and Instagram, with estimates that over one trillion photographs will be taken this year alone, it might seem impossible for photographs to make and shape issues in the ways they once did. Despite this, images still steer debates with shocking resiliency and, with luck, become iconic in their own right. As architecture is synonymous with placemaking and cultural memory, it is only logical that images of the built environment can have lasting effects on the issues of architecture and urbanism. It's never been easier for photographs to gain exposure than they can today, and with social media and civilian journalism, debates have never started more quickly.

Renzo Piano Designs New Handbag Inspired by the Whitney Museum

13:30 - 12 May, 2015
Renzo Piano Designs New Handbag Inspired by the Whitney Museum, © Max Mara
© Max Mara

Renzo Piano has designed a limited-edition handbag for the Italian fashion brand Max Mara to match his newly completed Whitney Museum of American Art in New York. The leather, top-handle bag, inspired by the "pure design and sophisticated materials" of the Whitney, features distinct ribbing inspired by the museum's facade.

"Our aim was to apply one of the most characteristic elements of the museum project - the facade - to the bag: hence the idea of the modular strips enveloping the exterior," said Piano in an interview with Max Mara. "We tried to maintain a simple, pure design, working only on the details by applying a creative use of technology and placing the accent on respect for the materials."

Renzo Piano's First US Residential Tower to Rise in New York

15:19 - 8 May, 2015
Renzo Piano's First US Residential Tower to Rise in New York , Renzo Piano's recently completed Whitney Museum in New York City. Image © Paul Clemence
Renzo Piano's recently completed Whitney Museum in New York City. Image © Paul Clemence

According to the New York Post, Renzo Piano has been commissioned by Michael Shvo and Bizzi & Partners to design his first US residential tower. Planned to rise in the southern Manhattan district of Soho at 100 Varick Street, the Piano-designed tower will include up to 280,000 square-feet of housing and reach nearly 300 feet. Featured amenities include a "gated private driveway" and "automated parking." Stay tuned for more details.

Critical Round-Up: Renzo Piano's Whitney Museum

09:30 - 22 April, 2015
Critical Round-Up: Renzo Piano's Whitney Museum, © Paul Clemence
© Paul Clemence

Depending on how you measure it, Renzo Piano's new building for the Whitney Museum of American Art in New York (designed in collaboration with New York practice Cooper Robertson) could be the most long-awaited museum of the 21st century. At just a fraction under seven years since the first designs of the building were released, the incubation period has been long enough on its own - but in fact the project has its roots in a scrapped 1981 design by Michael Graves, when the Whitney was instead planning an extension to their previous home in Marcel Breuer's 1966 masterpiece on Madison Avenue. With such a highly anticipated building, the Whitney could hardly have a better man for the job; Piano is one of the most prodigious museum builders of our time. Yet despite this, since construction began in 2011 the design has been beset by criticism for its ungainly external appearance.

Ahead of the Whitney's grand opening on May 1st, this past Sunday saw a slew of reviews from New York's many reputable art and architecture critics, who attempted to make sense of the institution's long-overdue move from their idiosyncratic but endearing former home. We've rounded up some of the best of them, after the break.

© Flickr CC user Payton Chung © Flickr CC user Steven Severinghaus © Flickr CC user Steven Severinghaus © Flickr CC user Bill Benzon + 6

Renzo Piano Explains How To Design the Perfect Museum

01:00 - 5 August, 2014
Renzo Piano Explains How To Design the Perfect Museum, The new Whitney Museum building, seen from the West Side Highway in July. Image © Paul Clemence
The new Whitney Museum building, seen from the West Side Highway in July. Image © Paul Clemence

In the following article, originally published on Metropolis Magazine as "Q&A: Renzo Piano", Paul Clemence talks with the Italian master of museum design about the design process and philosophies that have brought him such tremendous success in the field - from sketching, to behaving with civility, to buildings that 'fly', Piano explains what makes the perfect museum.

There's a reason why Renzo Piano is known as the master of museum design. The architect has designed 25 of them, 14 in the US alone. Few architects understand as well as Piano—along with his practice, the Renzo Piano Building Workshop (RPBW)—what board directors, curators, and even the visiting public needs and wants in a cultural institution like a museum. When I spoke with Donna de Salvo, chief curator of the Whitney Museum of American Art, whose new downtown digs were authored by RPBW she remarked on the how the curators' input was often incorporated into the final building design. “Our curators and the architects had an ongoing dialogue throughout the design of this building," de Salvo says. "The physical needs of the art were a priority for Renzo and his team, down to the most seemingly minute detail. Our curatorial voice was central to the discussion and has given us a terrifically dynamic building, a uniquely responsive array of spaces for art.”

But what often goes unmentioned is how well Piano's buildings, particularly his museums, connect to their surroundings. The buildings not only perform well, but they integrate themselves into the life of the city, as if they have always been there. From Beaubourg to The New York Times Building, they fully embrace the space and energy of their urban contexts. Now, as two of his newest and very high-profile museum projects near completion—the renovation and expansion of the Harvard Art Museums (due to open this Fall) and the Whitney Museum of Art (expected to be in use by Spring 2015)—I had a chance to meet with Piano at his Meatpacking District office to talk about the creative process, criticisms, contemporary architecture, and “flying” buildings.

Non-Stick PAMM

00:00 - 22 March, 2014
Non-Stick PAMM, Perez Art Museum Miami / Herzog and de Meuron. Image © Paul Clemence
Perez Art Museum Miami / Herzog and de Meuron. Image © Paul Clemence

Rio de Janeiro-based writer Robert Landon has shared with us his experience exploring Herzog and de Meuron's Perez Art Museum Miami.

I am standing with Christine Binswanger, senior partner of Herzog & de Meuron, a few hours before the Perez Art Museum Miami opens it doors to the public for the first time. All around us, construction workers are making last minute adjustments, while troublesome clusters of VIPs take their first peak into the museum's airy, austere galleries. The excitement is palpable.

And yet I can't unpeel my eyes from the huge, hurricane-proof window before us. They offer enormous views of resplendent Biscayne Bay and the six-lane, 5.6km Macarthur Causeway that crosses it. Throbbing with traffic, the causeway is the kind of thing that, I imagine, people come to museums to forget. So I ask Binswanger, the museum's project architect, how her team approached this design problem.

"Problem? What problem?" says Binswanger. "That is what Miami is about. Anyway, I find it beautiful. Don't you?"

Suddenly I do. Or at least I find beautiful the building's wide-open embrace of Miami, causeways and all. And I suspect that this visual (and programmatic) permeability to the city's realities—natural and manmade—will define PAMM's institutional success.

Norman Foster on Meeting Niemeyer

00:00 - 13 January, 2014
Norman Foster on Meeting Niemeyer, Oscar Niemeyer and Lord Norman Foster in 2011. "He was in wonderful spirits—charming and, notwithstanding his 104 years, his youthful energy and creativity were inspirational.". Image © Foster + Partners
Oscar Niemeyer and Lord Norman Foster in 2011. "He was in wonderful spirits—charming and, notwithstanding his 104 years, his youthful energy and creativity were inspirational.". Image © Foster + Partners

In this interview, originally published by Metropolis Magazine as "Q&A: Norman Foster on Niemeyer, Nature and Cities", Paul Clemence talks with Lord Foster about his respect for Niemeyer, their meeting shortly before the great master's death, and how Niemeyer's work has influenced his own.

Last December, in the midst of a hectic schedule of events that have come to define Art Basel/Design Miami, I found myself attending a luncheon presentation of the plans for the Norton Museum of Art in Palm Beach, by Foster + Partners. While chatting with Lord Foster, I mentioned my Brazilian background and quickly the conversation turned to Oscar Niemeyer. Foster mentioned the talk he and Niemeyer had shortly before the Brazilian’s passing (coincidentally that same week in December marked the first anniversary of Niemeyer’s death). Curious to know more about the meeting and their chat, I asked Foster about that legendary encounter and some of the guiding ideas behind his design for the Norton.

Read on for the interview