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Renzo Piano was born into a family of builders in Geneva, Italy in 1937.
His grandfather, his father, four uncles and brother were all contractors and Renzo Piano admits, he should have been one too, but instead chose architecture.
After his graduation in 1964 Renzo Piano worked in his father's company and during the time 1965-1970. Renzo Piano worked in offices of Louis I. Kahn in Philadelphia and ZS. Makowski in London. Other important influence Renzo Piano acknowledges, was Pier Luigi Nervi.
Renzo Piano 's first important commission was in 1969 when he design the Italian Industry Pavilion at Expo'70 in Osaka.
The Expo project attracted much favorable attention, including the attention of another young English architect named Richard
Rogers.
The two architects found that they had a great deal in common and when an engineering firm suggested they worked together and enter the international competition for the Georges Pompidou Centre in Paris; they did it and won.
It houses the Bibliothque publique d'information, a vast public library, the Muse National d'Art Moderne which is the largest museum for modern art in Europe, and IRCAM, a centre for music and acoustic research. Because of its location, the Centre is known locally as Beaubourg.
It is named after Georges Pompidou, the President of France from 1969 to 1974 who decided its creation, and was officially opened on 31 January 1977 by then-French President Valry Giscard d'Estaing.
The centre was intended to be a joyful urban machine, a creature that might have come from a Jules Verne book, or an unlikely looking ship in dry dock. It is a double provocation: a challenge to academicism, but also a parody of the technological imagery of our time. To see it as high-tech is misunderstanding. -Renzo Piano
The roof consists of a series of arches whose form and size are determined by research into the dynamic lines of air flow circulating the building
The general structure follows the movement of a wave, and its curves produce the image of a glider resting on the island
The shape of Kansai fits in perfectly with the surrounding environment of water, wind and light.
On October 7, 2008, the U.S. Green Building Council awarded the Academy a Platinum-level LEED certification.
Points for the coveted LEED certificate are awarded in five key areas: sustainable site development, water savings, energy efficiency, materials selection, and indoor environmental quality.
The U.S. Green Building Council offers four levels of LEED certificates (Certified, Silver, Gold and Platinum). They range from Certified, in which 50% of the points are achieved, to Platinum, in which 80% or more of the points are awarded.
The Academy is now the largest public Platinum-rated building in the world, and also the worlds greenest museum with a total score of 54 points.
1 Recycled materials
Part of the original structure remain in place near the new planetarium. The rest of the building was demolished and recycled. The steel used in construction is also recycled, and shredded blue jeans insulate the walls.
3 Living Roof
1.7 million native plants insulate the roof, capture rainwater, and provide a 2.5-acre habitat . And that nifty thatch is framed by 60,000 photovoltaic cells along the roof's perimeter.
4 Natural Ilumination
Computer modeling determined optimal locations for windows to maximize illumination of sunlight-hungry coral reef and tropical rain forest installations without overheating the rest of the building.
5 Water Conservation
Ocean water piped in from the Pacific cycles through natural filtration systems for aquarium tanks. Toilets flush with reclaimed water.
The building follows the grid of vegetation that surrounds it, becoming an integral part of the landscape.
Organized in groups of thematic villages, the pavilions are immersed in vegetation, thus expressing the millenary kanak relationship with nature.
The huts are made of iroko wood, combined with steel and glass, and built respecting traditional construction methods according to the most sophisticated engineering studies.
The church was designed to receive the increasing number of pilgrims visiting San Giovanni Rotondo. Though it is only 16 metres high, the church has a capacity of 6,500 people.
The structure has a spiral-shaped movement: the dome sweeps down from the Centre towards the precinct in a gesture of welcoming invitation.
The technical challenge of the project lies in the use of local stone as a structural material: the church in fact includes about twenty stone arches arranged in radial fashion holding up the vast roof.
To give the art its proper value, the choice was made to use zenithal light: a steel framed glass roof with opaque glass north lights. The many layers of the roof deflect the incidence of the sun's rays, creating a diffuse and controlled internal light.
The basic concept underlying this architecture, developed on the basis of the attempt to provide natural light for the artworks exhibited inside the building, is apparent right from the first glance.
A system of glass panels on the glass roof shades the building from direct sun.
The winter garden completing the area in front of the western faade was created without sacrificing any important vertical surfaces, and offers visitors an opportunity to relax and enjoy the lovely view of the surrounding landscape.
Surrounded by the sea, the building has the shape of a ships bow lying on the entrance of a road tunnel.
The occupiable roof of the center, with its gentle slope, acts as a public piazza.
Positioned around an open-air amphitheatre, the halls look like three enormous "music boxes.
Each concert hall differs from the other in terms of dimension and functions, but they are all characterized by an extreme flexibility and versatility of the space. The interiors are entirely made of cherry-wood, which best resolves acoustic problems.
The shapes of the building recall the curves of the surrounding landscape, thus becoming an integral part of it.
The Center is composed of three hills made of glass and steel. Each hills corresponds to one different function of the centre, and runs through the life of the artist who was a painter, a musician and poet.
Each facet is unique, differing in height, orientation, colour and relatioship to natural light. Glass, steel and ceramic are the primary elements of the skin.
The terracotta cladding and the cylindrical structures evoke the sylos typical of the region.
The site with its inner glass-covered piazza, is open to the public.
The facades of the tower are a combination of glass curtain walls and a scrim of white ceramic tubes.
This scrim, positioned 61cm from the structure acts as an energy efficient sunscreen.
OBRAS
Nemo msterdam, Pases Bajos Centro Georges Pompidou (con Richard Rogers), Pars, Francia. 1971-1977 Museo de la Coleccin Menil, Houston, EE UU. 1982-1986 Aeropuerto Internacional de Kansai, Osaka, Japn. 1988-1994
Centro Cultural Canaco J.M. Tjibaou en Noumea, Nueva Caledonia, Francia. 1991-1998
Iglesia de Peregrinaje Padre Pio, S. Giovanni Rotondo, Italia. 1991-2004 Museo de la Fundacin Beyeler, Basilea, Suiza. 1992-1997 Reforma de la antigua fbrica de Fiat en Lingotto. Reconstruccin de una seccin de la Potsdamer Platz (DaimlerBenz), Berln, Alemania. 1992-2000 Auditorio Parque de la Msica, Roma, Italia. 1994-2002 Ampliacin del High Museum of Art, Atlanta, EE UU. 1999-2005 Maison Herms, Tokio, Japn. 1998-2001 Centro Paul Klee, Berna, Suiza. 1999-2005 Futura sede de The New York Times, Nueva York, Estados Unidos. Nuevo edificio del Whitney Museum of American Art, Nueva York. En construccin. Previsto para 2012.
PREMIOS
1988 Medalla de Oro Royal Institute of British Architects (RIBA).