lecture 13 notes

8/10/2019 Lecture 13 Notes

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Modernism and postmodernism

Deconstructivism in contemporary architectureis opposed to the ordered rationality of Modernismand Postmodernism. Though postmodernist and nascent deconstructivist architects both publishedin the journal Oppositions(between 1973 and 1984), that journal's contents mark a decisive breakbetween the two movements. Deconstructivism took a confrontational stanceto architectural

history, wanting to "disassemble" architecture.[2]While postmodernism returned to embrace thehistorical references that modernism had shunned, possibly ironically, deconstructivism rejected thepostmodern acceptance of such references, as well as the idea of ornament as an after-thought ordecoration.[citation needed]

In addition to Oppositions, a defining text for both deconstructivism and postmodernismwas RobertVenturi's Complexity and Contradiction in architecture(1966). It argues against the purity, clarityand simplicity of modernism. With its publication, functionalismand rationalism, the two mainbranches of modernism, were overturned as paradigms. The reading of the postmodernist Venturiwas that ornament and historical allusion added a richness to architecture that modernism hadforegone. Some Postmodern architects endeavored to reapplyornament even to economical andminimal buildings, described by Venturi as "the decorated shed." Rationalism of design wasdismissed but the functionalism of the building was still somewhat intact. Thisis close to the thesisof Venturi's next major work,[3]that signsand ornament can be applied to a pragmatic architecture,and instill the philosophic complexities of semiology.[citation needed]

The deconstructivist reading of Complexity and Contradictionis quite different. The basic buildingwas the subject of problematics and intricacies in deconstructivism, with no detachment forornament. Rather than separating ornament and function, like postmodernists such as Venturi, thefunctional aspects of buildings were called into question. Geometry was to deconstructivists whatornament was to postmodernists, the subject of complication, and this complication of geometry

was in turn, applied to the functional, structural, and spatial aspects of deconstructivist buildings.One example of deconstructivist complexity is Frank Gehry's Vitra Design Museumin Weil-am-Rhein, which takes the typical unadorned white cube of modernist art galleriesand deconstructs it,using geometries reminiscent of cubism and abstract expressionism. This subverts the functionalaspects of modernist simplicity while taking modernism, particularly the international style, ofwhich its white stucco skin isreminiscent, as a starting point. Another example of thedeconstructivist reading of Complexity and Contradictionis Peter Eisenman's Wexner Center forthe Arts. The Wexner Center takes the archetypal form of the castle, which it then imbues withcomplexity in a series of cuts and fragmentations. A three-dimensional grid, runs somewhatarbitrarily through the building. The grid, as a reference to modernism, of which it is anaccoutrement, collides with the medieval antiquity of a castle. Some of the grid's columns

intentionally don't reach the ground, hovering overstairways creatinga sense of neurotic uneaseand contradicting the structural purpose of the column. The Wexner Center deconstructs thearchetype of the castle and renders its spaces and structure with conflict and difference. [citationneeded]

Deconstructivist philosophy

Some Deconstructivist architects were influenced by the French philosopher Jacques Derrida.Eisenman was a friend of Derrida, but even so his approach to architectural design was developedlongbefore he became a Deconstructivist. For him Deconstructivism should be considered an

extension of his interest in radical formalism. Some practitioners of deconstructivism were alsoinfluenced by the formal experimentation and geometric imbalances of Russian constructivism.There are additional references in deconstructivism to 20th-century movements: the modernism/
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postmodernisminterplay, expressionism, cubism, minimalismand contemporary art.Deconstructivism attempts to move away from the supposedly constricting 'rules' of modernismsuchas "form follows function," "purity of form," and "truth to materials."[citation needed]

The main channel from deconstructivist philosophy to architectural theorywas through thephilosopher Jacques Derrida's influence with Peter Eisenman. Eisenman drew some philosophical

bases from the literary movement Deconstruction, and collaborated directly with Derrida onprojects including an entry for the Parc de la Villettecompetition, documented in Chora l Works.Both Derrida and Eisenman, as well as Daniel Libeskind[4]were concerned with the "metaphysicsof presence," and this is the main subject of deconstructivist philosophy in architecturetheory. Thepresupposition is that architectureis a language capable of communicating meaning and ofreceiving treatments by methods of linguistic philosophy.[5]The dialectic of presence and absence,or solid and void occurs in much of Eisenman's projects, both built and unbuilt. Both Derrida andEisenman believe that the locus, or place of presence, is architecture, and the same dialectic ofpresence and absence is found in construction and deconstructivism.[6]

According to Derrida, readings of texts are best carried out when working with classical narrative

structures. Any architectural deconstructivism requires the existence of a particular archetypalconstruction, a strongly-established conventional expectation to play flexibly against.[7]The designof Frank Gehrys own SantaMonicaresidence, (from 1978), has been cited as a prototypicaldeconstructivist building. His starting point was a prototypical suburban house embodied with atypical set of intended social meanings. Gehry altered its massing, spatial envelopes, planes andother expectations in a playful subversion, an act of "de"construction"[8]

In addition to Derrida's concepts of the metaphysics of presence and deconstructivism, his notionsof trace and erasure, embodied in his philosophy of writing and arche-writing[9]found their wayinto deconstructivist memorials. Daniel Libeskind envisioned many of his early projects as a formof writing or discourse on writing and often works with a form of concrete poetry. He made

architectural sculptures out of books and often coated the models in texts, openly making hisarchitecture refer to writing. The notions of trace and erasure were takenup by Libeskind in essaysand in his project for the Jewish Museum Berlin. The museum is conceived as a trace of the erasureof the Holocaust, intended to make its subject legible and poignant. Memorials such as Maya Lin'sVietnam Veterans Memorialand Peter Eisenman's Memorial to the Murdered Jews of Europearealso said to reflect themes of trace and erasure.

Constructivism and Russian Futurism

Another major current in deconstructivist architecture takes inspirationfrom the Russian

Constructivistand Futuristmovements of the early twentieth century, both in their graphics and intheir visionary architecture, little of which was actually constructed.

Artists Naum Gabo, El Lissitzky, Kazimir Malevich, and Alexander Rodchenko, have influencedthe graphic sense of geometric forms of deconstructivist architects such as Zaha Hadidand CoopHimmelb(l)au. Both Deconstructivism and Constructivism have been concerned with the tectonicsof making an abstract assemblage.Both were concerned with the radical simplicity of geometricforms as the primary artistic content, expressed ingraphics, sculpture and architecture. TheConstructivist tendency toward purism, though, is absent in Deconstructivism: form is oftendeformed when construction is deconstructed. Also lessened or absent is the advocacy of socialistand collectivistcauses.

The primary graphic motifs of constructivism were the rectangular bar and the triangular wedge,others were themore basic geometries of the square and the circle.In his series Prouns, El
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Lizzitzky assembled collections of geometries at various angles floating free in space. They evokebasic structural unitssuch as bars of steel or sawn lumber loosely attached, piled, or scattered. Theywere also often draftedand share aspects with technical drawingand engineering drawing. Similarin composition is the deconstructivist seriesMicromegasby Daniel Libeskind.

Computer-aided design

Computer aided designis now an essential tool in most aspects of contemporary architecture, butthe particular nature of deconstructivismmakes the use of computers especially pertinent. Three-dimensional modelling and animation (virtual and physical) assists in the conception of ver ycomplicated spaces,while the ability to link computer models to manufacturing jigs (CAM -Computer-aidedmanufacturing) allows the mass production of subtly different modular elements tobe achieved at affordable costs. In retrospect many early deconstructivist works appear to have beenconceived with the aid of a computer, but were not; Zaha Hadid's sketches for instance. Also, Gehryis noted forproducing many physical models as well as computer models as part of his designprocess. Though the computer has made the designing of complex shapes much easier, noteverything that looks odd is "deconstructivist."

Critical responses

Since the publication of Kenneth Frampton'sModern Architecture: A Critical History(first edition1980) there has been a keen consciousness of the role of criticism within architectural theory.Whilst referencing Derrida as a philosophical influence, deconstructivism can also be seen ashaving as much a basis in critical theoryas the other major offshoot of postmodernism, criticalregionalism. The two aspects of critical theory, urgency and analysis, are found in deconstructivism.There is a tendency to re-examine and critique other works or precedents in deconstructivism, andalso a tendency to set aesthetic issues in the foreground. An example of this is the Wexner Center.Critical Theory, however, had at its core a critique of capitalism and its excess, and from thatrespect many of the works of the Deconstructivists would fail in that regard if only they are madefor an elite and are, as objects, highly expensive, despite whatever critique they may claim to imparton the conventions of design.

The difference between criticality in deconstructivism and criticality in critical regionalism, is thatcritical regionalism reducesthe overall level of complexity involved and maintains a cleareranalysis while attempting to reconcile modernist architecture with local differences. In effect, thisleads to a modernist "vernacular." Critical regionalism displays a lack of self-criticism and autopianismof place. Deconstructivism, meanwhile, maintains a level of self-criticism, as well as

external criticism and tends towards maintaining a level of complexity. Some architects identifiedwith the movement, notably Frank Gehry, have actively rejected the classification of their work asdeconstructivist.[11]

Critics of deconstructivism see it as a purely formal exercise with little social significance. KennethFramptonfinds it "elitist and detached".[12]Nikos Salingaroscalls deconstructivism a "viralexpression" that invades design thinking in order to build destroyed forms; while curiously similarto both Derrida's and Philip Johnson's descriptions, this is meant as a harsh condemnation of theentire movement.[13]Other criticisms are similar to those of deconstructivist philosophythat sincethe act of deconstructivism is not an empirical process, it can result in whatever an architect wishes,and it thus suffers from a lack of consistency. Today there is a sense that the philosophical

underpinnings of the beginning of the movement have been lost,and all that is left is the aestheticof deconstructivism.[14]Other criticisms reject the premise that architecture is a language capableof being the subject of linguistic philosophy, or, if it was a language in the past, critics claim it is no
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longer.[5]Others question the wisdom and impact on future generations of an architecture thatrejects the past and presents no clear values as replacements and which often pursues strategies thatare intentionally aggressive to human senses.[5]
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Peter Zumthor(born 26 April 1943) is a Swissarchitectand winner of the 2009 Pritzker Prize.

Zumthor was born in Basel, the son of a cabinet-maker. He apprenticed to a carpenter in 1958 andstudied at the Kunstgewerbeschulein his native city starting in 1963.

In 1966, Zumthor studied industrial design and architecture as an exchange student at Pratt Institute

in New York. In 1968, he became conservationist architect for the Department for the Preservationof Monuments of the cantonof Graubnden. This work on historic restoration projects gave him afurther understanding of construction and the qualities of different rustic building materials. As hispractice developed, Zumthor was able to incorporate his knowledge of materials into Modernistconstruction and detailing. His buildings explore the tactile and sensory qualities of spaces andmaterials while retaining a minimalistfeel.

Zumthor founded his own firm in 1979. His practice grew quickly and he accepted moreinternational projects.

Zumthor has taught at Southern California Institute of Architecture in Los Angeles(1988), the

Technical University of Munich(1989), Tulane University(1992), and the Harvard GraduateSchool of Design(1999). Since 1996,he is professor at the Accademia di Architettura di Mendrisio

His best known projects are the Kunsthaus Bregenz(1997), a shimmering glass and concrete cubethat overlooks Lake Constance (Bodensee) in Austria; the cave-like thermal baths in Vals,Switzerland (1999); the Swiss Pavilion for Expo 2000in Hannover, an all-timber structure intendedto be recycled after the event; the Kolumba Diocesan Museum(2007), in Cologne; and the BruderKlaus Field Chapel, on a farm near Wachendorf.

In 1993 Zumthor won the competition for a museum and documentation center on the horrors ofNazism to be built on the site of Gestapo headquarters in Berlin. Mr. Zumthors submission called

for an extended three-story building with a framework consisting of concrete rods. The project,called the Topography of Terror, was partly built and then abandoned when the government decidednot to go ahead for financial reasons. The unfinished building was demolished in 2004.[1]In 1999,Zumthor was selected as the only foreign architect to participate in Norways National TouristRoutes Project, with two projects, the Memorial in Memory of the Victims of the Witch Trials inVaranger, a collaboration with Louise Bourgeois(completed in 2010), and a rest area/museum onthe site of an abandoned zinc mine.[2]

For the Dia Art Foundationin Beacon, New York, Zumthor designed a gallery thatwas to house the360 I Ching sculpture by Walter de Maria; though the project was never completed. Zumthor isthe only foreign architect to participate, with two projects, the Memorial in Memory of the Victims

of the Witch Trials in Varanger, a collaboration with Louise Bourgeois (to be completed in June),and a rest area/museum on the site of an abandoned zinc mine (completion date 2011). InNovember 2009, it was revealed that Zumthor is working on a major redesign for the campus of theLos Angeles County Museum of Art.[3]Recently, he turned down an opportunity to consider a newlibrary for Magdalen College, Oxford. He was selected to design the Serpentine Gallery's annualsummer pavilion with designer Piet Oudolf in 2011.[4]

Currently, Zumthor works out of his small studio with around 30 employees, in Haldenstein, nearthe city of Chur, in Switzerland.[5]

Recognition
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In 1994, he was elected to the Akademie der Knstein Berlin. In 1996, he was made an honorarymember of the Bund Deutscher Architekten(BDA). In 1998, Zumthor received the CarlsbergArchitecture Prizefor his designs of the Kunsthaus Bregenzin Bregenz, Austria and the ThermalBaths at Vals, Switzerland (see below). He won the Mies van der Rohe Award for EuropeanArchitecturein 1999. Recently, he was awarded Praemium Imperialein (2008) and the PritzkerArchitecture Prize(2009).

Zumthor and Heidegger

The Vals spafamed among architects for its evocative sequence of spaces and exquisiteconstruction detailspresents intriguing correspondences between Heideggers writing andZumthors architecture. Writing in his architectural manifesto, Thinking Architecture, Zumthormirrors Heideggers celebration of experience and emotion as measuring tools. A chapter entitledA way of looking at things begins by describing a door handle:

I used to take hold of it when I went into my aunts garden. That door handle still seems to me

like a special sign of entry into a world of different moods and smells. I remember the soundof gravel under my feet, the soft gleam of waxed oak staircase. I can hear the heavy front

door closing behind me as I walk along the dark corridor and enter the kitchen[...]. (1998:9)

Zumthor always emphasises the sensory aspects of the architectural experience. To him, thephysicality of materials can involve an individual with the world, evoking experiences and texturinghorizons of place through memory. He recalls places he once measured out at his aunts housethrough their sensual qualities. Zumthors Vals spa recounts the thinking he describes in his essay,making appeals to all the senses. The architect choreographs materials according to their evocativequalities. Flamed and polished stone, chrome, brass, leather and velvet were deployed with care toenhance the inhabitants sense of embodiment when clothed and naked. The touch, smell, and

perhaps even taste of these materials were orchestrated obsessively. The theatricality of steamingand bubbling water was enhanced by natural and artificial light, with murky darkness composed asintensely as light. Materials were crafted and joined to enhance or suppress their apparent mass.Their sensory potential was relentlessly exploited with these tactics, through which Zumthor aimedto celebrate the liturgy of bathing by evoking emotions.

Literature

Zumthor's work is largely unpublished in part because of his philosophicalbelief that architecturemust be experienced first hand.[7]His published written work is mostly narrativeand

phenomenological.

Thinking Architecture

In Thinking ArchitecturePeter Zumthor expresses his motivation in designing buildings that speakto our feelings and understanding in so many ways and that possess a powerful and unmistakablepresence and personality. It is illustrated throughout with color photographs by Laura Padgett ofZumthor's new home and studio in Haldenstein.

To me, buildings can have a beautiful silence that I associate with attributes such as composure,self-evidence, durability, presence, and integrity, and with warmth and sensuousness as well;a

building that is being itself, being a building, not representing anything, just being. The sense that Itry to instil intomaterials is beyond all rulesof composition, and their tangibility, smell, andacoustic qualities are merely elements of the language we are obliged to use. Sense emerges when I
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succeed in bringing out the specific meanings of certain materials in my buildings, meanings thatcan only be perceived in just this way in this one building. When I concentrate on a specific site orplace for which I am going to design a building, when I try to plumb its depths, its form, its history,and its sensuous qualities, images of other places start to invade this process of precise observation:images of places I know and that once impressed me, images of ordinary or special places placesthat I carry with me as inner visions of specific moods and qualities; images of architectural

situations, which emanate from the world of art, or films, theater or literature.

Atmospheres

Atmospheresis a poetics of architecture and a window into Zumthor's personal sources ofinspiration. In nine short, illustrated chapters framed as a process of self-observation, Zumthordescribes what he has on his mind as he sets about creating the atmosphere of his houses: Images ofspaces and buildings that affect him are every bit as important as particular pieces of music orbooks that inspire him.

From the composition and presence of the materials to the handling of proportions and the effect

of light, this poetics of architecture enables the reader to recapitulate what really matters in theprocess of house design. In conclusion, Peter Zumthor has described what really constitutes anarchitectural atmosphere as "this singular density and mood, this feeling of presence, well-being,harmony, beauty...under whose spell I experience what I otherwise would not experience inprecisely this way."

Peter Zumthor Therme Vals

Therme Valsis the only book-length study of this singular building, features the architects originalsketches and plans for its design as well as Hlne Binets striking photographs of the structure.Architectural scholar Sigrid Hauser contributes an essay on such topics as Artemis/Diana,Baptism, Mikvah, and Springdrawing out the connections between the elemental nature ofthe spa and mythology, bathing, and purity.

Annotations by Peter Zumthor on his design concept and the building process elucidate thestructures symbiotic relationship to its natural surroundings, revealing, for example, why heinsisted on using locally quarried stone. Therme Valss scenic design elements, and Zumthorscontributions to this book, reflect the architects commitment to the essential and his disdain forneedless architectural flourishes.[8]

Seeing Zumthor

Seeing Zumthorrepresents a unique collaboration between Zumthor and Swiss photographer HansDanuser, containing Danusers images of buildings created by Zumthor. More than twenty yearsago, in a milestone event of twentieth-century architectural photography, Danuser photographed, atZumthors invitation, two buildings: the protective structure built for archaeological excavations inChur and St. Benedicts Chapel in Sumvitg. When first shown in exhibition, those photos ignited alively debate that has been revived with a recent exhibition of Danusers photographs of Zumthorsmost famous work, the spa at Therme Vals. Seeing Zumthorcollects these three important series ofDanusers pictures and includes essays by leading art historians exploring the relationship betweenthe two seemingly different disciplines or architecture and photography.[9]
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Frank Owen Gehry(born Frank Owen Goldberg; February 28, 1929)

His buildings, including his private residence, have become tourist attractions. His works are citedas being among the most important works of contemporary architecturein the 2010 WorldArchitecture Survey, which led Vanity Fairto label him as "the most important architect of ourage".[2]

Gehry's best-known works include the titanium-covered Guggenheim Museumin Bilbao, Spain;MITRay and Maria Stata Centerin Cambridge, Massachusetts; Walt Disney Concert Hallindowntown Los Angeles; Experience Music Projectin Seattle; Weisman Art MuseuminMinneapolis; Dancing Housein Prague; the Vitra Design Museumand MARTaMuseuminGermany; the Art Gallery of Ontarioin Toronto; the Cinmathque franaisein Paris; and 8 SpruceStreetin New York City. But it was his private residencein Santa Monica, California, which jump-started his career, lifting it from the status of "paper architecture"a phenomenon that manyfamous architects have experienced in their formative decades through experimentation almostexclusively on paper before receiving their first major commission in later years. Gehryis also thedesigner of the futureDwight D. Eisenhower Memorial.[3]

Much of Gehry's work falls within the style of Deconstructivism, which is often referred to as post-structuralistin nature for its ability to go beyond current modalities of structural definition. Inarchitecture, its application tends to depart from modernismin its inherent criticism of culturallyinherited givens such as societal goals and functional necessity. Because of this, unlike earlymodernist structures, Deconstructivist structures are not required to reflect specific social oruniversal ideas, such as speed or universality of form, and they do not reflect a belief that formfollows function. Gehry's own Santa Monica residence is a commonly cited example ofdeconstructivist architecture, as it was so drastically divorced from its original context, and in sucha manner as to subvert its original spatial intention.

The Guggenheim Museumin Bilbao, SpainGehry is sometimes associated with what is known as the "Los Angeles School" or the "SantaMonica School" of architecture. The appropriateness of this designation and the existence of such aschool, however, remains controversial due to the lack of a unifying philosophy or theory. Thisdesignation stems from the Los Angeles area's producing a groupof the most influential postmodernarchitects, including such notable Gehry contemporariesasEric Owen Mossand Pritzker Prize-winner Thom Mayneof Morphosis, as well as the famous schools of architecture at the Southern

California Institute of Architecture(co!founded by Mayne), UCLA, and USCwhere Gehry is a

member of the Board of Directors.

Gehrys style at times seems unfinished or even crude, but his work is consistent with the California"funk" art movement in the 1960s and early 1970s, which featured the use ofinexpensive foundobjects and non-traditional media such as clay to make serious art[citation needed]. Gehry has beencalled "the apostle of chain-link fencing and corrugated metalsiding".[9]However, aretrospectiveexhibit at New York's Whitney Museumin 1988 revealed that heis also a sophisticated classicalartist, who knows European art historyand contemporary sculpture and painting[citation needed].
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The Gehry Residenceis Frank Gehry's own house. It was originally an extension, designed byGehry built around an existing house. It makes use of unconventional materials, such as chain linkfencesand corrugated steel. It is sometimes considered one of the earliest deconstructivistbuildings, although Gehry himself denies thatit was deconstructivism.

The Gehry Residence is located in Santa Monica, California. In 1977, Frankand Berta Gehry

bought a pink bungalow that was originally built in1920.[

citationneeded]

Gehry wanted to explorewith the materials he was already using: metal, plywood, chain link fencing, and wood framing.[citation needed]In 1978, he chose to wrap the outside of the house with a new exterior while stillleaving the old exterior visible.[1]He hardly touched the rear and south facades and to the othersides of the house he wedged in titled glass cubes. Then, in the fall of 1991, they chose to remodeldue to the needs of their growing family including two teenage boys. [citation needed]Many of Gehry'sneighbors were not happy at the unusual building being built in their neighbourhood. It's rumouredthat one neighbor used to regularly bring his dog to defecate on Gehry's lawn, in protest

The Guggenheim Museum Bilbaois a museumof modern and contemporary art, designed byCanadian-American architect Frank Gehry, built by Ferrovial,[3]and located in Bilbao, BasqueCountry, Spain.

It is built alongside the Nervion River, which runsthrough the city of Bilbao to the Atlantic Coast.The Guggenheim is one of several museums belonging to the Solomon R. Guggenheim Foundation.The museum features permanent and visiting exhibits of works by Spanish andinternational artists.

One of the most admired works of contemporary architecture, the building has been hailed as a"signal moment in the architectural culture", because it represents "one of those rare moments whencritics, academics, and the general public were all completelyunited about something."[4]The

museum was the building most frequently named as one of the most important works completedsince 1980 in the 2010 World Architecture Surveyamong architecture experts.[4]

In 1991, the Basque government suggested to the Solomon R. Guggenheim Foundationthat itwould fund a Guggenheim museum to be built in Bilbao's decrepit port area, once the city's mainsource of income.[5][6][7]The Basque government agreed to cover the US$100 million constructioncost, to create a US$50 million acquisitions fund, topay a one-time US$20 million feeto theGuggenheim and to subsidize the museum's US$12 million annual budget. In exchange, theFoundation agreed to manage the institution, rotate parts of its permanent collection through theBilbao museum and organize temporary exhibitions.[8]

The museum was eventually built at a cost of US$89 million.[9]About 5,000 residents of Bilbaoattended a preopening extravaganza outside the museum on the night preceding the official opening,featuring an outdoor light show and concerts. On October 18, 1997, the museum was opened

The museum is clad in glass, titanium, and limestoneThe Solomon R. Guggenheim Foundation selected Frank Gehryas the architect, and its director,Thomas Krens, encouraged him to design something daring and innovative.[10]The curves on theexterior of the building were intended to appear random; the architect said that "the randomness ofthe curves are designed to catch the light".[11]The interior "is designed around a large, light-filledatriumwith views of Bilbao's estuary and the surrounding hills of the Basque country."[12]Theatrium, which Gehry nicknamed The Flowerbecause of its shape, serves as the organizing center ofthe museum.[8]
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When the Guggenheim Museum Bilbao opened to the public in 1997, it was immediately hailed asone of the world's most spectacular buildings in the style of Deconstructivism(although Gehry doesnot associate himself with that architectural movement),[13]a masterpiece of the 20th century.[14]Architect Philip Johnsondescribed it as "the greatest building of our time",[15]while critic CalvinTomkins, in The New Yorker, characterized it as "a fantastic dream ship of undulating form in acloak of titanium," its brilliantly reflective panels also reminiscent of fish scales.[14]Herbert

Muschamppraised its "mercurial brilliance" in The New York Times Magazine.[16]The Independentcalls the museum "an astonishing architectural feat".[12]The building inspired other structures ofsimilar design across the globe, such as the Cerritos Millennium Libraryin Cerritos, California.[citation needed]

The museum is seamlessly integrated into the urban context, unfolding its interconnecting shapes ofstone, glass and titanium on a 32,500-square-meter site along the NervinRiver in the old industrialheart of the city; while modest from street level, it is most impressive when viewed from the river.[5][16]With a total 256,000 square feet, it had more exhibition space than the three Guggenheimcollections in New York and Venice combined at that time.[7]Eleven thousand square meters ofexhibition space are distributed over nineteen galleries, ten of which follow a classic orthogonal

plan that can be identified from the exterior by their stone finishes. The remaining nine galleries areirregularly shaped and can be identified from the outside by their swirling organic forms andtitanium cladding. The largest gallery, measures 30 meters wide and 130 meters long. [6][16]In 2005,it housed Richard Serra's monumental installation "The Matter of Time",[17]which Robert Hughesdubbed "courageous and sublime".[18]

The building was constructed on time and budget, which is rare for architecture ofthis type. In aninterview inHarvard Design Magazine, Gehry explained how he did it. First, he ensured that whathe calls the "organization of the artist" prevailed during construction, to prevent political andbusiness interests from interfering with the design. Second, he made sure he had a detailed andrealistic costestimate before proceeding. Third, he used computer visualizations and collaboratedclosely with the individual building trades to control costs during construction.[19]Computersimulationsof the building's structure made it feasible to build shapes that architects of earlier eraswould have found nearly impossible toconstruct.[
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Renzo Piano, Ufficiale OMRI(Italian:["r#ntso "pjano]; born 14 September 1937 in Genoa) is an ItalianPritzker Prize-winning architect. Architecture critic Nicolai Ouroussoffsaid of Piano's works thatthe "...serenity of his best buildings can almost make you believe that we live in a civilizedworld."[1]

In 2006, Piano was selected by TIMEas one of the 100 most influential people in the world.[2]He

was selected as the 10th most influential person in the "Arts and Entertainment" category of the2006 Time 100.

Piano was born in Genoa, Italy, in 1937 into a family of builders. He was educated andsubsequently taught at the Politecnico di Milano. He graduated from the University in 1964 andbegan working with experimental lightweight structures and basic shelters.[3]From 1965 to 1970 heworked with Louis Kahnand Z.S. Makowsky. He worked together with Richard Rogersfrom 1971to 1977; their most famous joint project, together with the Italian architect Gianfranco Franchini(it)is the Centre Georges Pompidouin Paris(1971). He also had a long collaboration with the engineerPeter Rice, with whom he shared a practice (L'Atelier Piano and Rice) between 1977 and 1981.

In 1981, Piano founded the Renzo Piano Building Workshop, which today employs 150 people andmaintains offices in Paris, Genoa, andNew York City.[4]

In 1994, Renzo Piano won the international competition for the new Auditorium in Rome. TheAuditorium Parco della Musica, a large multi-functional public music complex situated in the northof city, was inaugurated in 2002.

In 1999, Piano designed a watchentitled "Jelly Piano (GZ159)" for the SwatchSummer Collection.The watchdesign is clear and the exposed inner workings were influenced by his Centre GeorgesPompidoudesign.[5]

On 18 March 2008, he became an honorary citizenof Sarajevo, Bosnia and Herzegovina.[6]

Piano's recent expansion of the Art Institute of Chicagoincludes a 264,000-square-foot (24,500m2)wing with 60,000 square feet (5,600m2) of gallery space[7]called the Modern Wing, which openedon 16 May 2009.[1][8]It includes a "flying carpet", a sunscreen that hovers above the roofand a620-foot (190m) steel bridge connecting MillenniumPark to a sculpture terrace that leads into arestaurant on the wings third floor.[9]

His current projects include the The Shard, Europe's tallest skyscraperwhich was opened on July 6,2012, and the Centro de Arte Botn. The Botin Foundation,[10]the largest private foundation inSpain, will invest over US $150 million for the construction and programming of a new Botn

Center that will become an international reference in culture and educationfor the development ofcreativity through art.[
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06_Time_100http://en.wikipedia.org/wiki/2006_Time_100http://en.wikipedia.org/wiki/Renzo_Piano#cite_note-2http://en.wikipedia.org/wiki/Renzo_Piano#cite_note-2http://en.wikipedia.org/wiki/Time_%28magazine%29http://en.wikipedia.org/wiki/Time_%28magazine%29http://en.wikipedia.org/wiki/Renzo_Piano#cite_note-Ouroussof-1http://en.wikipedia.org/wiki/Renzo_Piano#cite_note-Ouroussof-1http://en.wikipedia.org/wiki/Nicolai_Ouroussoffhttp://en.wikipedia.org/wiki/Nicolai_Ouroussoffhttp://en.wikipedia.org/wiki/Architecthttp://en.wikipedia.org/wiki/Architecthttp://en.wikipedia.org/wiki/Pritzker_Architecture_Prizehttp://en.wikipedia.org/wiki/Pritzker_Architecture_Prizehttp://en.wikipedia.org/wiki/Italyhttp://en.wikipedia.org/wiki/Italyhttp://en.wikipedia.org/wiki/Genoahttp://en.wikipedia.org/wiki/Genoahttp://en.wikipedia.org/wiki/Wikipedia:IPA_for_Italianhttp://en.wikipedia.org/wiki/Wikipedia:IPA_for_Italianhttp://en.wikipedia.org/wiki/Order_of_Merit_of_the_Italian_Republichttp://en.wikipedia.org/wiki/Order_of_Merit_of_the_Italian_Republic


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Yoshio Taniguchi(, Taniguchi Yoshio; born 1937)

Biography

Taniguchi is the son of architect Yoshir"Taniguchi(1904-1979). He studied engineering at KeioUniversity, graduating in 1960, and studied architecture at Harvard University's Graduate School ofDesign, graduating in 1964. He worked briefly for architect Walter Gropius, who became animportant influence.

From 1964 to 1972, Taniguchi worked for the studio of architect Kenzo Tange, who was perhapsthe most important Japanese modernist architect, at Tokyo University. While in the Tange office,Taniguchi also worked on projects in Skopje, Yugoslavia and San Francisco, California (YerbaBuena), living on Telegraph Avenue in Berkeley while involved in the latter project. Important latercollaborators include Isamu Noguchi, American landscape architect Peter Walker, and artistGenichiro Inokuma. Taniguchi is best known for designing a number of Japanese museums,including the Nagano Prefectural Museum, the Marugame Genichiro Inokuma Museum of

Contemporary Art, the Toyota Municipal Museum of Art, and the Gallery of the H"ry#-jiTreasuresat the Tokyo National Museum.

Taniguchi won a competition in 1997 to redesign the Museum of Modern Art, beating out ten otherinternationally renowned architects, including Rem Koolhaas, Bernard Tschumi, and JacquesHerzog and Pierre de Meuron. The MoMA commission was Taniguchi's first work outside Japan.

Taniguchi has since won a commission to design the Asia House for the Texas branch of the AsiaSociety. This $40 million project will be located in Houston's museum district and will beTaniguchi's first free-standing new building in the United States.
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Steven Holl(born December 9, 1947) is an American architectand watercolorist, perhaps bestknown for the 1998Kiasma Contemporary Art Museumin Helsinki, Finland, the 2003 SimmonsHallat MITin Cambridge, Massachusetts, the celebrated 2007 Bloch Building addition to theNelson-Atkins Museum of Artin Kansas City, Missouri,[1]and the praised 2009 Linked Hybridmixed-usecomplex in Beijing, China.[1]

Early works

Kiasma, Helsinki, 1993-1998Holl won first prize in the Amerika-GedenkbibliothekInternational Library Design Competition in1988, an expansion and renovation of the American Memorial Libraryin Berlin. In February, 1989Holl's work was exhibited in a solo show at the Museum of Modern Art(MoMA) in New York City.MoMA later purchased twenty-five works by Holl for the museum's permanent collection. In the1992 competition for a new contemporary arts museum in Helsinki, Finland, Holl's entry, entitled

"Chiasma," won first prize out of more than five hundred international entries. The museum openedto the public in 1998, having permanently adopted the name "Kiasma," the Finnish translation of"chiasma."

Career

Holl graduated from the University of Washingtonand pursued architecture studiesin Romein1970. In 1976, he attended graduate school at the Architectural Association School of Architecturein London and established his offices New York City. Holl has taught at Columbia Universitysince1981.

Holl's architecture has undergone a shift in emphasis, from his earlier concern with typologyto hiscurrent concern with a phenomenologicalapproach; that is, with a concern for man's existentialist,bodily engagement with his surroundings. The shift came about partly due to his interest in thewritings of philosopher Maurice Merleau-Pontyand architect-theorist Juhani Pallasmaa.

Recognition and awards

In 1998, Holl was awarded the prestigious Alvar Aalto Medal. In 2000, Hollwas elected to theAmerican Academy of Arts and Letters. In July 2001, Timenamed Holl Americas Best Architect,for "buildings that satisfy the spirit as well as the eye." Other awards and distinctions include the

New York American Institute of ArchitectsMedal of Honor (1997), the French Grande MdailledOr (2001), the Smithsonian Institutions Cooper-HewittNational Design Award in Architecture(2002), Honorary Fellow of the Royal Institute of British Architects(2003), the Arnold W. BrunnerPrize in Architecture from the American Academy of Arts and Letters, and the 2008 BBVAFoundation Frontiers of Knowledge Award in the Arts category.[2]In 2007, Steven Holl Architectsreceived the AIA Institute Honor Award and the AIA New York Chapter Architecture Merit Awardfor Art Building West for the School of Art and Art History(University of Iowa, Iowa City). TheHiggins Hall Insertion at Pratt Institute(Brooklyn, New York) and the New Residence at the SwissEmbassy both receivedthe AIA New York Chapter Architecture Honor Award in 2007. In 2010,Herning Museum of Contemporary Art (Herning, Denmark) was awarded the RIBA InternationalAward. The Horizontal Skyscraper-Vanke Center received the 2011 AIA InstituteNational HonorAward,as wellas the AIA NY Honor Award. In 2011, he was named a Senior Fellow of the DesignFutures Council.,[3]and Holl was named the 2012 AIA Gold Medalwinner.
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