Ever since Renzo Piano's design for the new Whitney Museum was unveiled back in 2008, we've been obsessed with just about anything we could find about the new boat of a museum perched along the High Line on Manhattan's west side. AN alum Matt Chaban at the Observer spotted this snazzy fly-by video tracing the museum's progress from its founding in 1931 to its move into its iconic Breuer outpost and finally to its future Meatpacking District home. If you need even more of a Renzo fix, be sure to check out his recently completed addition to the Gardner Museum in Boston and his planned Opera-House-slash-Library in Greece.
Posts tagged with "Renzo Piano":
Just a stone's throw from the British Museum, Renzo Piano's Central Saint Giles complex seems to have been overshadowed by the excitement around his Shard of Glass rising in the Southwark section of London. But as the Shard pierces the skyline, the year old St. Giles has begun to find its own footing. Last month, the 500,000 square foot complex brought a bit of bossa nova to this West End outpost. Cabana, a restaurant designed by Alex Michaelis of Michaelis Boyd, plays well with Piano's citrus colored facades and brings a dash Brazilian spice to the quiet courtyard. Under pre-millenial circumstances, a candy-colored confection rising in the in the heart of the London might garner a sour comment from a certain HRH. But Piano's ceramic facades made it through the planning process just fine, thank you. The literal heart of the design is the contrasting gray courtyard, punctuated with a single red sculpture. Cafes were intended to add to the palette, but only a few have opened since the building was completed in 2010. Cabana sits within this attractively fractured space, which springs open from a series of sharply angled facades that respond to incongruity of the streets that bind the site. The restaurant sports a few socially conscious design gestures. The most noticeable is the jeans banquettes fabricated by Recicla Jeans. Recicla educates and employees more than 800 women in a rough area of Sao Paulo. In another nod to the restaurant's origins, the owners wanted to support the traditional craft of fly-postering, the ubiquitous posters found on buildings throughout Sao Paulo during Carnival. The team sourced the family-owned and operated Grafica Fidalga to create a continuous backdrop of woodcut type for the walls. Other details used throughout the space hint at the inexpensive, the innovative, and the fun--all elements one might expect to find in Brazil. But here, in the heart of one of the world's wealthiest cities, it also speaks to a level awareness--important when sharing cultures.
Superlatives swirled in every account of the 2006 opening of the expansion of the Morgan Library and Museum, designed by Renzo Piano with Beyer Blinder Belle. Nicolai Ouroussoff teed up: “dazzling,” “sublime,” “triumph,” and “mesmerizing” (New York Times, April 10, 2006). The AIANY jury feted it with its Architecture Honor Award in 2006, calling it “a masterpiece” (Oculus, Fall 2006). The critics adopted Piano’s romantic metaphor “piazza” to describe the new atrium space. Maybe I’m a traditionalist, but I think that buildings face onto piazzas, showing their fronts—not their back-sides. Don’t get me wrong—the McKim library has a very pleasant blank Tennessee marble back side, and you can barely see the hind quarters of the Annex building for all the overhead extravaganzas of shading grids, light fixtures, and flying elevator platforms. The brownstone of the former residence is also obscured behind the deep cherry paneling and new pavilion that houses offices and the loading dock on the 37th Street side. When I think piazza, I think figural space—space that has defined shape and volume. The Gilbert Court space, as it is named, is vaporous and soft—it flows between the masses of the three buildings that pin its corners. It is an indeterminate medium into which the other buildings have been embedded, incidentally, not creating its own new separate order, but rather seeping in and around tiny points of entry on the behinds of the cardinal structures. -Cynthia Kracauer/Center for Architecture
Frank Gehry is looking to sell his archive, Richard Meier opens his Queens storage room for models to visitors by appointment, and now Renzo Piano is giving back, too. On June 10, his eponymous foundation launched a new awards competition to encourage young Italian architects, a rare breed these days. To that end, the competition was open to designers under 40 with an office in Italy presenting a constructed work. The jury, composed mostly of architectural magazine editors, whittled 69 entries down to three winners who demonstrated “innovative and poetic space research.” The purse for the prize was 10,000 euros each. The top honor, handed out in June, went to Iotti+Pavarani architects based in northern Italy. Piano was particularly impressed with their recently completed Domus Technica building, a training and innovation center for a manufacturing company in Brescello, Italy. Honorable mentions were bestowed upon ARCó and carlorattiassociati. Iotti+Pavarani carlorattiassociati ARCó
Capping Santa Monica. Curbed LA got some great renderings from students at USC who where charged with imagining even more highway caps for the Pacific Coast Highway, this time from Arizona to California Avenues. Beyond freeway parks, the students proposed housing, hotels, and community centers. Breaking Whitney. With the deal signed for the Met to take over the Whitney's Breuer building on Madison, directors at the ground breaking for the new branch at the High Line had all the more reason to celebrate. DNA reminds readers that the museum is actually retuning home. Ol' Gerty got the ball rolling on 8th Street way back in 1930. Dylan Sings. Happy B-day Bobby! Bob Dylan turned 70 on Tuesday and in celebration the Infrastructurist presents Dylan's Ten Best Infrastructure Songs, including "The Levee's Gonna Break" and "Marchin' to the City." Old School. Design New Haven has the Robert A.M. Stern drawings for "street calming measures" at Yale that are part of the $600 million for renovations, including two new residential colleges. The plan includes mixed use buildings intended to encourage street life at all hours and improved access to the Farmington Canal Greenway .
Manhattanville's Piano. While tallying who is the biggest landlord in New York (it's still the church by a hair), The Observer uncovered a few new views of Renzo Piano's Jerome L. Green Science Center at Columbia's Manhattanville campus, seen here next to a train viaduct. Pedestrianizing New York. The remaking of New York's public spaces continues its forward march. Brownstoner has details on the planned pedestrian plaza on Myrtle Avenue in Brooklyn and StreetsBlog highlights DOT's plans to create a permanent block-long Plaza de las Americas in Washington Heights. Archi-babble. Witold Rybczynski talkes issue with architecture's professional jargon in Slate, including a beginner's guide to commonly used words from assemblage to gesamtkunstwerk. What's your favorite word from the language of architecture? Subway Squeeze. We're not talking about your crowded commute, but New York Governor Andrew Cuomo's proposal to trim $100 million from transit. Transportation Nation and StreetsBlog have the details and implications for getting around New York.
The Whitney Museum, set on an outpost far from Manhattan's posh Upper East Side and in the midst of the hip yet historic Meatpacking District, is forging ahead with its grand plans to make a bold architectural statement with a new building by Renzo Piano, which will sit adjacent to Gansevoort Market Historic District and the post-industrial High Line park. First they must get their approvals, including the non-governmental, but not unimportant, local community board, which is "charged with representing community interest on crucial issues of development and planning, land use, zoning and City service delivery." Yesterday officials from the Whitney presented the large, probably not shiny new museum design to the Arts & Institutions Committee of Community Board 2 with a zippy video that flies viewers through the iceberg-like structure. The big change from earlier manifestations seems to be the addition Breuer-like fenestration facing the High Line. (video courtesy of Greenwich Village Society for Historic Preservation)
Witold Rybczynski, smart writer, stupid article. Last Thursday, Slate's respected architecture critic weighed in with the dubious notion that the shorter in height, the greater the architect. This silly notion has gone viral on the web, and we felt it was our job to rebut it with some tall figures. Here they are.
On November 17, The Architect's Newspaper and Buro Happold, along with our other event partners Dow Building Solutions, Graphisoft, American Hydrotech, and Adaptive Building Initiative, celebrated GreenBuild at the Art Institute of Chicago's Modern Wing. Renzo Piano's LEED certified building proved to be a stylish venue for the hundreds of architects, engineers, designers, and other assorted revelers. Click through for pictures of some of the evening's hundreds of party-goers. It was quite the green scene!
Think Renzo Piano's still preliminary design for a new Whitney Museum of American Art is too timid? How about this alternative scheme floated by the self proclaimed "architectural provocateurs" at Axis Mundi? According to a statement, the proposal is meant to be "as bold in spirit as the original Breuer building." It's bold all right. The design calls for a structural exoskeleton, shaped by the sight lines and street grid of the city, imbedded with the circulation and mechanical systems. Column-free galleries would be suspended from the skeleton with distinctive projecting windows, reminiscent of Breuer's at the Madison Avenue Whitney. The Axis Mundi proposal mentions nothing of costs, which is one of the biggest hurdles facing the Whitney, given the museum's relatively modest endowment. Axis Mundi has chased the news before. They previously promoted an alternative to Jean Nouvel's proposed Tower Verre for MoMA, called the Vertical Neighborhood. Check out more images of their Whitney proposal after the jump.
If you're an architecture geek like us, you love playing Spot the Building while watching TV or at the movies. (The International, otherwise mediocre, is one of our favorites for this very reason.) That's why this Cadillac commercial caught us so off guard when we saw it the other day. At first, we knew we recognized the "museum" at the start, even though it wasn't actually one. In fact, it wasn't even one building. The big photos of the Caddy are on display in the 14th floor double-height cafeteria at Renzo Piano's Times building, a nice touch given the cool light effects the building's (very climbable) ceramic bars create. But then, their gallery-going complete, the happy yuppie couple step outside into... Huh? That's not Times Square but Cooper Square! Somehow, through the magic of advertising, we've been transported downtown, outside Morphosis' new Cooper Union building. As though the restrained rectilinear forms of Piano could be mistaken for the curvilinear craziness of Thom Mayne! Nice try, Madison Avenue fatcats. You can't pull a fast one on The Architect's Newspaper.
Chicago is known for the combination of its excellent architecture and tough, gritty urban life. Both aspects of the city's personality met briefly yesterday, when two graffiti crews tagged a long wall of the Renzo Piano-designed Modern Wing at the Art Institute. While we would never endorse vandalism, there is no denying the visual power of the bright colors and riotous script dashed across Piano's formal surfaces. The Art Institute, however, did not ponder the artistic merit of the tags. Cleaners from Graffiti Blaster were removing this tags within minutes. The tags, momentarily at least, renewed the debate about how graffiti functions, its artistic value, and its relationship to art institutions--no small feat for a few cans on spray paint. (Tip: Gapers Block via Fat Caps and Chrome.)