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1、Renzo Piano伦佐皮亚诺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实验室，维斯玛Padre Pio Churc
2、h ,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 PianoRenzo 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 Polytechnic. As a student, he wa
3、s 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 time he met Jean Prouve thei
4、r friendship would have a deep influence on his professional life. In 1971, he founded the piano & Rogers agency with Richard Rogers, his partner on the Centre Pompidou project in Paris. In 1977, he founded the Atelier Piano & Rice along with the engineer Peter Rice, a professional personality who w
5、ould work with him on many projects, until his death in 1993. He then founded Renzo Piano Building Workshop, with offices in Paris and Genoa. 简介伦佐皮亚诺1937年9月14日生于热那亚一个建筑商的家庭。1964年毕业于米兰理工大学建筑学院。在学习过程中，设计上受到弗朗克阿尔比内的教导，同时也照料父亲工地上的事务，在此期间获得了宝贵的实践经验。1965-1970年，他先后在费城为路易斯康，在伦敦为Z. S.马克渥斯基工作。这个时期，他遇到吉恩普鲁维，它们
6、之间的友谊对他日后的工作产生了深刻的影响。他与理查德罗杰斯的合作开始于1971年（皮亚诺-罗杰斯公司），从1977年起与彼得赖斯合作（皮亚诺-赖斯工作室）。他们的合作一直到1993年赖斯去世。此后皮亚诺建立了伦佐皮亚诺建筑工作室，在巴黎和热那亚都有办公机构。 Renzo Piano伦佐皮亚诺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Punta Nave houses工作室皮亚诺的理念是：“透明就是复杂”Punta Nave houses工作室Laboratory实验室Sloping ele
7、vator斜向电梯Hedge of cypresses柏树篱Vegetal barrier of deciduous trees落叶树屏障Orchard果园Garden花园Meadow of spontaneous vegetation野生植物场The sea The road公路Punta Nave houses工作室建筑剖面图轴测图Punta Nave houses工作室Note: The space has an ethereal quality, characterized by transparency, vibrations of light and a constant chan
8、ge of scale in even the most intricate detailsPhotographer: Michel DenancPunta Nave houses工作室the zenithal light that pervades every aspect of life here has rapidly become their natural clock. Punta Nave houses工作室Punta Nave houses工作室梁架构造细部Punta Nave houses工作室The play of light, emphasized by the slats
9、 and drapesPhotographer: Shunji IshidaPunta Nave houses工作室View by nightPunta Nave houses工作室透明的斜向索道电梯联系上下交通Punta Nave houses工作室索道立面及自动调整不同坡度的转向架Punta Nave houses工作室Note: Experimental structures in bamboo, studies of new applications of natural materialsPhotographer: Fregoso & BasaltoPunta Nave houses
10、工作室Punta Nave houses工作室Punta Nave For Piano the studio represents a place where he could build his moral position about architecture :machines should not destroy nature but help us to live ; 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
11、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工作室the site has been purposely isolated like a desert island. It invites calm, silence, concentration and creativity. View of the site before constructionPunta Nave houses工作室 It is not, however, a hermitage: people of all different nationa
12、lities work there, and the door is always open to colleagues. 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 politi
13、cal leader, Jean-Marie Tjibaou, who was assassinated in 1989. Jean Marie Tjibaou Cultural Center让马利奇巴欧文化中心The site before constructionThe 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
14、 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, nor should it involve imposing a totally foreign model. Jean Marie Tjibaou Cultural Center让马利奇巴欧
15、文化中心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. Jean Marie Tjibaou Cultural Center让马利奇巴欧文化中心Jean Marie Tjibaou Cultural
16、 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1000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
17、 the ocean shore. Each is interconnected 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StructureJean 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 we
18、ll as respecting and drawing on 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
19、 possible to remain as faithful 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
20、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 to
21、ward the western edge of 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 har
22、mony with its surroundings. 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
23、 give to the sea.The workshop 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 h
24、as rapidly become our natural 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 researc
25、h center. 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 1989.The major challenge behind this project was the task
26、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 technology and expertise at the service of the traditions and expectations of the Kanak. By no means should it be a parody or imitation
27、of this culture, nor 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
28、 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 faithful as possible to the peoples traditions.Concretely, that meant using traditional materials and building method
29、s as well as respecting and drawing on certain natural elements, such as wind, light and vegetation.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
30、 height, at the center of a nature reserve along the ocean shore. Each is interconnected by a footpath.These huts serve various functions or evoke certain themes. Part of the site is devoted to permanent or temporary exhibitions and contains an auditorium and an amphitheater. Housed in a second series of huts are, aside from the administrative departments, research areas, a conference room and a library. The last series of huts contains studios for traditional activities, such as music, dance, painting and sculpture.Thank You
