New York-based landscape architecture firm Michael Van Valkenburgh Associates (MVVA) has been selected to develop new designs for The Menil Collection’s 30-acre campus in Houston, Texas. The appointment kicks off the Menil’s “neighborhood of art” master plan, designed in 2009 by London-based David Chipperfield Architects. Chipperfield’s scheme attempts to tie together a group of six buildings spread across several blocks and interspersed with outdoor sculpture gardens and green spaces. The museum anticipates that groundwork for the initial stage of MVVA’s design will begin this September.
CTC realized Piano’s design concept by designing and fabricating a cladding system of a structural steel tube framework covered by extensive FRP panels.
For his design of the Resnick Pavilion at the Los Angeles County Museum of Art (LACMA), Renzo Piano revived an idea he first explored with Richard Rogers in their design of the Centre George Pompidou in Paris: the idea of the building as an organic breathing machine. At Pompidou, the architects turned the museum’s mechanical systems into expressive elements, color coding the pipes, ducts, gantries, and escalators and pulling them to the exterior of the structure. At the Resnick Pavilion, Piano located the mechanical rooms and air handling units prominently outside the four corners of the 45,000-square-foot building, applying cladding to the ductwork in a bright red color used in circulation corridors throughout the LACMA campus.
Piano turned to Capastrano Beach, California-based design/build firm CTC (Creative Teknologies Corporation) to realize his design concept. “We took in data from three parties,” said CTC president Eric Adickes. “Piano gave us perspective sketches of how he wanted the air handling units to look, the air conditioning contractor, Acco, gave us Revit drawings, and the general contractor, MATT Construction, gave us 2D Autocad documents of the building and concrete foundation.” From those sources, CTC developed 3D models of a cladding system for the ventilation ducts using CATIA.
It’s been a good year for breathtaking views of cities around the world so far. Today the observation deck at the top of Renzo Piano’s Shard Tower in London opened to the public after London Mayor Boris Johnson cut the ribbon on the 800-foot-high platform. To celebrate, The Guardian has launched an interactive panorama of London taken from the top of the Shard, some 1,150 feet above the city streets, complete with the wooshing sound you very well might hear if you were actually perched atop the tower. The panorama also features stories and statistics about buildings and places throughout the city as you pan and zoom for the rest of the evening.
Construction of Columbia University’s 17-acre Manhattanville campus is now underway in northern Manhattan. The Wall Street Journal reported that work has already started on the foundation of the Jerome L. Greene Science Center that will house the Mortimer B. Zuckerman Mind Brain Behavior Institute. This 450,000-square-foot glass building, designed by Renzo Piano, is the first of 15 new buildings to be built on the campus and is slated to open in 2016.
Future plans for Columbia’s expansion include new homes for the Columbia Business School and the Lenfest Center for the Arts. Developer and Boston Properties CEO Mortimer Zuckerman has pledged $200 million to the endowment of the institute. The tab for the entire campus should run up to $6.8 billion.
Renzo Piano’s new Whitney Museum and adjacent maintenance building have been quickly rising between the High Line and the Hudson River in Manhattan, topping out on December 17, 2012. Now, the Whitney has condensed the entire construction sequence from its groundbreaking in October 2011 up through January 14 into one easy-to-watch time-lapse video. And if you just can’t get enough of the Whitney under construction, you can watch live on this webcam or take a virtual fly-through of the new museum here. [Via Curbed.]
In a letter to Building Design magazine, the Architects Registration Board in London, aka ARB, has requested that BD no longer refer to Renzo Piano and Daniel Libeskind as “architects.” Apparently, neither are registered as architects with the all-knowing ARB, therefore “they are not entitled to be described as such,” states the letter. BD Editor-in-Chief Amanda Baillieu immediately called out ARB’s high-handed mandate in an online editorial, writing, “there is no other word to describe ARB’s ban on calling Renzo Piano an architect except bonkers.” The registration board’s Alison Carr later apologized for the letter, “Do I think that this was a great example to bring to BD’s attention and help raise awareness? No I don’t. We should have been more cautious so that we get the right message across at the right time, and for that I apologise.”
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.
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).
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.