Renzo Piano’s Nasher Sculpture Center was designed with natural sunlight in mind. A roof covered by pierced aluminum screens allows dappled light to enter its art galleries in subtle warmth. The outdoor sculpture garden is open to the elements and a specifically-planted landscape by Peter Walker reaps the benefits of the Texan sun.
Since its construction in 2005, the museum has become an icon of the Dallas Arts District. In 2011, a 42-story condominium building went up across the street, banking on the popularity of Piano’s art haven. While the glazed curved glass facade of “Museum Tower” offers million dollar views of the museum below, it burns the artworks and plants with a directed glare.
Now, a pair of New York–based architects might have a solution.
You might know Renzo Piano as the architect behind many of the world’s leading museums, but get ready to meet Renzo Piano, wind-turbine expert. Testing has commenced on Renzo Piano’s small-scale wind-turbine blade at the Molinetto Test Field near Pisa, Italy. Piano’s turbine blade resembles a dragonfly’s wing and incorporates elements from the insect that promote stability in flight in order to allow the turbine to tolerate gale-force winds.
The San Francisco Academy of Sciences has okayed a small new dining pavilion designed by Mark Cavagnero, to sit adjacent to its Renzo Piano-design museum, reports the San Francisco Chronicle‘s John King. The 12-foot-tall, 1,450 square foot space will be located in a corner of the museum’s west garden, replacing an unused aviary.
The project is still in conceptual stages, but so far it looks as though it would be rectilinear, lightweight, and glassy, with a large cantilevered flat roof providing shade. Museum guests can bring food out to the pavilion, or just use the space for relaxation. The rather minimal construction should make a good counterpoint to Piano’s dynamic, undulating one. “When cultural facilities hire star architects to attract attention and set a new tone, the follow-through is as important as the first-year buzz,” pointed out King.
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.
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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.”