Renzo Piano 伦佐 皮亚诺

1、Renzo Piano 伦佐皮亚诺,指导老师：张青萍 学生：钱靓,Renzo Piano伦佐皮亚诺,蓬皮杜艺术中心使Piano名扬天下，并给他带来源源不断的工程设计项目。Piano公司完成的一些工程让世人嘱目，但Piano为公司起的名字朴实简单Building Workshop (建筑工作室）,主要作品： La Galleria dArte Contemporanea al Centro Georges Pompidou 布兰苏西工作室，蓬皮杜艺术中心，巴黎 Punta Nave houses and UNESCO Laboratory , Vesima 伦佐皮亚诺建筑工作室暨联合国教科文组织

2、实验室，维斯玛 Padre Pio Church ,foggia 皮欧神父教堂，福贾 ean Marie Tjibaou Cultural Center 让马利奇巴欧文化中心，新喀里多尼亚 Auditorium, Rome 音乐厅 ，罗马,Biography of Renzo Piano Renzo Piano was born in Genoa (Italy) on September 14, 1937. from a builders family . He graduated in 1964 from the school of Architecture of the Milan Pol

3、ytechnic. As a student, he was working under the design guidance of Franco Albini, while also regularly attending his fathers building sites where he got a valuable practical experience. Between 1965 and 1970 he worked with Louis I. Kahn, in Philadelphia, and Z. S. Makowsky in London. It was at that

4、 time he met Jean Prouve their friendship would have a deep influence on his professional life. In 1971, he founded the piano space should not be hierarchical but give pleasure to all of those who work in it. 对皮亚诺来说，工作室成了可以表现他建筑伦理观的地方：机器不应该破坏自然，而是帮助我们生活：空间不应该等级森严，而是给所有身在其中的人带来欢乐。,Punta Nave houses 工

5、作室,the site has been purposely isolated like a desert island. It invites calm, silence, concentration and creativity.,View of the site before construction,Punta Nave houses 工作室,It is not, however, a hermitage: people of all different nationalities work there, and the door is always open to colleague

6、s.,Piano倾听每一个人的意见、想法。这听起来是个很奇怪的策略，但却是Piano要传达的最重要的经验：好的设计来自认真的倾听。,Jean Marie Tjibaou Cultural Center 让马利奇巴欧文化中心，新喀里多尼亚,At the request of New Caledonia, the French government agreed to finance the construction devoted to the memory of the political leader, Jean-Marie Tjibaou, who was assassinated in

7、1989.,Jean Marie Tjibaou Cultural Center 让马利奇巴欧文化中心,The site before construction,The major challenge behind this project was the task of paying homage to a culture while also respecting its traditions and history, past, present and future, as well as its sensitivities. This meant putting European te

8、chnology and expertise at the service of the traditions and expectations of the Kanak. By no means should it be a parody or imitation of this culture, nor should it involve imposing a totally foreign model.,Jean Marie Tjibaou Cultural Center 让马利奇巴欧文化中心,The idea was that, instead of creating a histor

9、ical reconstitution or a simple replica village, it was preferable to strive to reflect the indigenous culture and its symbols which, though age-old, were still very much alive.,Jean Marie Tjibaou Cultural Center 让马利奇巴欧文化中心,Jean Marie Tjibaou Cultural Center 让马利奇巴欧文化中心,第一村落,第二村落,第三村落,场地入口,100座位会议厅,1

10、000座位户外会议厅,The structure and above all the functionality of Caledonian huts were reproduced and adapted, architecturally as well as socially. There are ten huts in all, each measuring between 20 and 28 meters in height, at the center of a nature reserve along the ocean shore. Each is interconnected

11、by a footpath.,Jean Marie Tjibaou Cultural Center 让马利奇巴欧文化中心,Jean Marie Tjibaou Cultural Center 让马利奇巴欧文化中心,Structure,Jean Marie Tjibaou Cultural Center 让马利奇巴欧文化中心,Jean Marie Tjibaou Cultural Center 让马利奇巴欧文化中心,They using traditional materials and building methods as well as respecting and drawing on

12、certain natural elements, such as wind, light and vegetation.,Jean Marie Tjibaou Cultural Center 让马利奇巴欧文化中心,An understanding of the development of Kanak culture was a vital part of this project: becoming familiar with Kanak history, environment and beliefs would make it possible to remain as faithfu

13、l as possible to the peoples traditions.,Jean Marie Tjibaou Cultural Center 让马利奇巴欧文化中心,现代技术和原始风貌结合在一起，达到了高度的融合。这种形式产生于长时间的讨论与人类学家的讨论，与工程师的讨论，与当地卡纳克文化代表的讨论。房屋的形状也许是皮亚诺最直接意义上的构造工程：张力的框架撑起编织结构，双层直立的木构件由金属拉力杆和加强板固定，形成了半透明的具有生态功能的“壳”，能够传送微风使房间自然通风。这些奇异的圆木屋不仅是失去文化的再现，而且体现了热带透气建筑的精髓。他们充分利用当地资源，用尽可能少的外来技术支撑

14、丰富它。这种结构会在热带气流中发出微弱的哨声，给那些留神去听的人一种意想不到的愉悦。这正是有活力的、真正传声建筑的魅力所在。,Punta Nave houses and UNESCO Laboratory , Vesima 伦佐皮亚诺建筑工作室暨联合国教科文组织实验室，维斯玛,Perched on a hill surrounded by the sea, Punta Nave houses the Genoa headquarters of the Renzo Piano Building Workshop. Built in 1989 toward the western edge of

15、Genoa, the site has been purposely isolated like a desert island. It invites calm, silence, concentration and creativity. It is not, however, a hermitage: people of all different nationalities work there, and the door is always open to colleagues. Punta Nave is in perfect harmony with its surroundin

16、gs. The workshops gradually sloping terraces, which open onto the sea, are built in glass and made to be exact replicas of the traditional greenhouses found on the Ligurian coast. Lying between the mountain and the Mediterranean Sea, Punta Nave stands as a homage we wished to give to the sea. The wo

17、rkshop is an immense greenhouse overtaken inside and out by all types of plants and greenery, creating the feeling of a privileged communion with nature. In the same spirit, we sought to take maximum advantage of the zenithal light that pervades every aspect of life here and has rapidly become our n

18、atural clock. While Punta Nave is a refuge deliberately away from the center, it can nevertheless communicate in real time with the rest of the world thanks to new technology. It is therefore not really the opposite of the city; it is what we prefer to call a post-urban research center.,Jean Marie T

19、jibaou Cultural Center 让马利奇巴欧文化中心，新喀里多尼亚,At the request of New Caledonia, the French government agreed to finance the construction devoted to the memory of the political leader, Jean-Marie Tjibaou, who was assassinated in 1989. The major challenge behind this project was the task of paying homage to

20、 a culture while also respecting its traditions and history, past, present and future, as well as its sensitivities. This meant putting European technology and expertise at the service of the traditions and expectations of the Kanak. By no means should it be a parody or imitation of this culture, no

21、r should it involve imposing a totally foreign model. The idea was that, instead of creating a historical reconstitution or a simple replica village, it was preferable to strive to reflect the indigenous culture and its symbols which, though age-old, were still very much alive. An understanding of t

22、he development of Kanak culture was a vital part of this project: becoming familiar with Kanak history, environment and beliefs would make it possible to remain as faithful as possible to the peoples traditions. Concretely, that meant using traditional materials and building methods as well as respecting and drawing on certain natural elements, such as wind, light and veget