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- IBM Traveling Pavilion by Renzo Piano The traveling pavilion was commissioned for a traveling exhibition of IBM computers to the populace of Europe. The pavilion's design constra. Renzo Piano: The Architect as Pirate.
- Renzo Piano Building Workshop Pezzo per Pezzo ph. Enrico Cano a Padova, Palazzo della Ragione 15 marzo - 15 luglio, 2014 Comune di Padova Renzo Piano Building Workshop Pezzo per Pezzo ph. Enrico Cano a Padova, Palazzo della Ragione 15 marzo - 15 luglio, 2014 Comune di Padova Renzo Piano Building Workshop Pezzo per Pezzo ph.
Renzo Piano, a high-tech architect, was born in a family of builders in Italy, in 1937. At a very young age he got the chance to get familiar to the art of “doing” by visiting construction sites with his father. He got architectural education at the Milan Politecnico (1959-1964), where he taught until 1968 as well. After graduation he worked in his father’s construction company for some time and later on joined a few firms to gain more experience.
Renzo Piano shared his early fame with a fellow architect Richard Rogers. They both worked together from 1971 to 1977. Their most famous joint project was the Centre Georges Pompidou in Paris (1971) about which New York Times declared that it had turned the architectural world upside down.
Piano has also revitalized many urban plans. After splitting up with Rogers in 1977, Piano started working with a structural engineer, Peter Rice. During this period of time the areas addressed by Piano were lighting, climate control, integration of function with design and communications. In association with Rice, Piano set up a number of projects that included a mobile workshop established in the Otranto square (an experiment in urban reconstruction). The main aim of this workshop was to revive the craft skills of locals by supplying them a constant source of income through continuous maintenance of the town.
Throughout his career Renzo Piano has been in a constant struggle to surpass the clashes between creativity and scientific constraints. He kept on learning technological knowledge and used it to overcome architectural problems in more productive and modern way. He had a strong faith in amalgamation of craftsmanship and the latest technology. According to Piano, materials are the best tools of an architect of all times and he must identify their power to use them to a far off extent. Piano acquired the competence of controlling the technology with an extensive research. He encouraged the young lot to look at his work for its methodology rather than for its architectural forms. He has this skill with designing where every single design has its own peculiar solution only specific to it. This is the reason that each and every design of piano is different from every other design, thus leaving no space for consistency in his work.
His provided architectural world with more than 40 major projects that include:
- 1977: Centre Pompidou, Paris, France (with Richard Rogers)
- 1994: Kansai Airport Terminal, Osaka, Japan
- 2002: Parco della Musica Auditorium, Rome, Italy
- 2007: New York Times Building, New York City
- 2015: Whitney Museum of American Art, Meatpacking District, NYC
One of the latest projects of Renzo Piano is an airport in Osaka, Japan. Kansai terminal is one of the largest buildings Piano has ever designed and the structure of this terminal comprises of swinging and asymmetrical lines. It can accommodate 100,000 passengers a day. In 1995 Kansai faced a devastating earthquake but Renzo Piano reported that terminal did not suffer any damage, not even a broken glass.
Renzo Piano Ibm Pavilion
From 1978 to 2000 Renzo Piano has won about 30 awards, the most prestigious one of which is Pritzker Architecture Award, received in 1998.
Renzo Piano Buildings
Surrounded by elms and red oaks, Renzo Piano’s colonnaded pavilion stands as an expression of simplicity and lightness—glass, concrete, and wood—some sixty-five yards to the west of Louis I. Kahn’s signature cycloid-vaulted museum of 1972.
Piano’s low-slung, colonnaded pavilion with overhanging eaves graciously acknowledges Kahn’s museum building by way of its kindred height, emphasis on natural light, and use of concrete as a primary material. The positioning of the pavilion on the site focuses attention on the west facade of the Kahn Building, which Kahn considered to be the main entrance.
The pavilion is made up of two sections connected by a glass passageway. The front, or easternmost, section conveys an impression of weightlessness: a glass roof system seems to float high above wooden beams and concrete posts. Sleek, square concrete columns flank the central, recessed glass entrance and wrap around three sides of the building. The tripartite facade articulates the interior, with a spacious entrance lobby and large galleries to the north and south.
Tucked under a green roof, the Piano Pavilion’s western section contains a gallery for light-sensitive works of art, three education studios, a large library with reading areas, and an auditorium with superior acoustics for music. The latter, located below ground level, is a design centerpiece: its raked seating faces the stage and the dramatic backdrop of a light well animated by shifting patterns of natural light.
Piano Pavilion Lobby, photograph by Nic Lehoux
Piano Pavilion grand stair, photograph by Nic Lehoux
Piano Pavilion north facade, photograph by Nic Lehoux
Kahn : Piano
The Pavilion at the Kimbell Art Museum, 2013
Norman Foster
By Ultan Guilfoyle
Renzo Piano Buildings