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Renzo piano POMPIDOU CENTRE PARIS


"Architecture is an artistic craft, but at the same time it is also a scientific profession, it is precisely its distinctiveness"

"Architecture is a service."


"When style gets to become a brand, a personal seal, this becomes a cage"


"The architect is first and foremost a builder, but also should be a poet, and above all a humanist''

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Renzo piano POMPIDOU CENTRE PARIS

  1. 1. HIGH TECH ARCHITECTURE
  2. 2. MOHD TANZEEL FARAZ 3PD12AT025 PDACE BY:
  3. 3. BORN: 14SEPTEMBER 1937 GENOA,ITALY NATIONALITY: ITALIAN GRADUATION:IN 1964 FROM POLYTICINEODI MILANO, ITALY AWARDS :PRITZKERARCHITECTUREPRIZE RIBAGOLDMEDAL SONNINGPRIZE AIA GOLDMEDAL KYOTO PRIZE BUILDINGS:PARCO DELLAMUSICA SHARDLONDONBRIDGE THENEW YORKTIMES BUILDING "PIANOHAS NOSIGNATURESTYLE. INSTEAD,HIS WORKIS CHARACTERIZEDBY A GENIUS FOR BALANCE AND CONTEXT“-PAUL GOLDBERGER,
  4. 4.  I WANTED TO BE A MUSICIAN, BUT I WASN'T GOOD ENOUGH SO I BECAME AN ARCHITECT...IT'S REALLY QUITE THERATICAL. MUSIC IS ABOUT ORDER AND MATHEMATICS. ORDER AND DISORDER, AS WELL AS, DISCIPLINE AND FREEDOM ARE PART OF THIS ARTISTIC STRUGGLE. ARCHITECTURE, LIKE MUSIC, DEPENDS A LOT ON DISCIPLINE AND ORDER, AND THEN YOU PLAY THAT ORDER,WHICH I INTERPRET AS SETTING UP FRAMEWORKS TO WORK WITHIN. BUT SOMETIMES, YOU MUST BECOME DISOBEDIENT TO THAT DISCIPLINE, AND YOU BREAK THE ORDER  "IT IS MY BELIEF THAT EXCITING THINGS HAPPEN WHEN A VARIETY OF OVERLAPPING ACTIVITIES DESIGNED FOR ALL PEOPLE—THE OLD AND THE YOUNG, THE BLUE AND WHITE COLLAR, THE LOCAL INHABITANT AND THE VISITOR, DIFFERENT ACTIVITIES FOR DIFFERENT OCCASIONS—MEET IN A FLEXIBLE ENVIRONMENT, OPENING UP THE POSSIBILITY OF INTERACTION OUTSIDE THE CONFINES OF INSTITUTIONAL LIMITS. WHEN THIS TAKES PLACE, DEPRIVED AREAS WELCOME DYNAMIC PLACES FOR THOSE WHO LIVE, WORK AND VISIT; PLACES WHERE ALL CAN PARTICIPATE, RATHER THAN LESS OR MORE BEAUTIFUL GHETTOS."
  5. 5. "Architecture is anartistic craft,butat thesametimeit is also ascientific profession, it isprecisely its distinctiveness" "Architecture is aservice." "Whenstylegets tobecomeabrand,a personal seal,this becomes acage" "Thearchitect is first andforemost a builder, but alsoshould be apoet, and aboveall ahumanist'' IDEOLOGIES AND QUOTES
  6. 6. His architecture is defined assolid constructionmadebyexcellent materials . CHARACTERIZED BY : Architecture is about exploring. Culturally, historically, psychologically, anthropologically, and topographically, everyjobis different. So the real risk is that as an architect you endup imposing your stamp before you understand what is the reality of a place. Itis not necessarily to integrate with the context. Sometimes architecture should not integrate, butshould make a contribution to the context.,
  7. 7. RENZO PIANO: ECOLOGICALINNOVATOR Forthe great Italian architect RenzoPiano, the protectionof the environment,is far from being a limitation, it has also becomea "source of inspiration" for the development of major projects being undertaken in many countries.
  8. 8. Is thereaRenzoPianostyleatthis point?Is therea signaturethatif someone came upona building, didn'tknowit wasyours,would theylookatit andsaythatlookslike aPiano? RP:I thinkso,butyouknow,let's putitthis way.I don'tlike the idea thatthe firstpreparation,when youstartto design, yourbuilding hastoputyourstamp.Forexample,I loveworkingwith verylight elements,transparency,and naturallight.Sowhen thebuilding's finished,yourecognizethoseelements in someway.ButI thinkimposing your stylemaybeactuallyvery limiting, becauseyoumayend bysimply imposing yourstyle,insteadof understanding the need ofpeople. Everyscheme is a newadventureeven if youmakeanotherbuilding...thatis thereasonwhyyou havetobecarefulnottobecome self referential.insteadoflistening to thenew placeandthenew voices youkeep promotingyourownkindof ego.I don'twanttobe moralist,butwhen thishappensit is notjustbadforarchitects, it's badforeverybody...Sothe realrisk isthatasan architectyouend upimposing yourstampbeforeyou understandwhatis therealityof aplace.I never takea new jobwithoutvisiting the place, withouttryingto understand,withouttryingtoget abasic,fundamentalemotion...thattruthis thereal sourceofinspirationandif youcloseyourselfin yourlittle gold cage youend up becoming repetitive.
  9. 9. RICHARD ROGERSRENZO PIANO AFTERWORKINGWITH LOUISKAHN FOR ACOUPLEOF YEARS,PIANOJOINEDFORCESWITH BRITISHARCHITECTRICHARDROGERS IN1971ANDDESIGNEDWHAT WASTO BEA CAREER- DEFININGPROJECTFORBOTH OF THEM,THE CENTREGEORGESPOMPIDOUINPARIS.THE PROJECTWASVIGOROUSLYDISCUSSEDATTHE TIMEOF ITSCONSTRUCTIONDUETO ITS RADICALDESIGNSTRATEGYOF EXPOSINGALL TECHNICALFUNCTIONSON THE OUTSIDE.THE PUBLICOPINIONHASSHIFTEDSINCETHEN, HOWEVER,ANDTODAYITISCELEBRATEDFOR ITS BOLDNESSANDWIDELYREGARDEDASONEOF THE CITY'SMOST PREEMINENT CONTEMPORARYLANDMARKS.
  10. 10.  IN 1970 an internationalarchitecturalcompetitionwas launchedbased on a program to build aculturaland arts complex inthe centre of historicParis set out by French President Georges Pompidou.  CONCEPT:
  11. 11.  Type- CultureandLeisure  Architectural style - Postmodern/High-Tech  Structuralsystem- Steelsuperstructurewithreinforcedconcretefloors  Location - Paris,France  Time- 1971 –1977 POMPIDOUCENTRE
  12. 12.  Ithouses, Avastpubliclibrary,  TheMuseeNational d'ArtModerne whichisthelargestmuseumfor modernartinEurope.  IRCAM,acentreformusicandacoustic research.  ItisnamedafterGeorgesPompidou, thePresidentofFrance.  Thesuperstructurehas7levelsand risesuptoaheightof45m.  Theflat opensiteuponwhichitis located isaconstantexteriorstagefor urbanevents. THEPOMPIDUO:
  13. 13. 1 Fórum 2 General Information 3 Venta de pases 4 Reception groups Educative tellers 5 Children’s gallery 6 Box office 7 Wardrobe 8 Cafe 9 Library-book centre
  14. 14. 1 Fórum,level -1 2 Salón de descanso-Hall of rest 3 Taquilla-Box office 4 Cine 2-Theatre 5 Sala Pequeñ-Small room 6 Sala Grand-Big room
  15. 15. 1 Fondo General-General fund 2 Espacio de Autoformación- Self education space 3 Televisiones del Mundo-World of television 4 Sala de prensa-Press room 5 Cafetería de la Biblioteca- Cafeteria for library 1 Espacio audio-video:Audio video space 2 Fondo general-Generel fund 3 Biblioteca Kandinsky-Main Library 3,acceso reservado-Reserved cabin
  16. 16. 1Colecciones de arte moderno desde 1905 hasta 1960-Modern Art collections from 1905 upto 1960 2 Terraza esculturas-Terrace scuptures Calder, Takis- 3 Terraza esculturas-Terrace scuptures Richier, Miró 4 Terraza esculturas-Terrace scuptures Laurens 1 Colecciones de arte contemporáneo desde 1960 hasta la actualidad- Contemporary Art collections from 1960’s upto today 2 Espacio de nuevos medios-New media space 3 Salón del Museo-living room(museum) 4 Galería del Museo-Museum gallery 5 Galería de artegráphico-Antigraphic gallery 6 Audioguía-Audio guide 7 Librería-Library
  17. 17. 1 Gallery 1 2 Gallery 2 3 Gallery 3 4 Restaurant 5 Library
  18. 18. .
  19. 19. PLAN DRAWING ELEVATIONAL DRAWING
  20. 20. ELEVATIONS:
  21. 21. SECTIONAL ELEVATION - NORTH
  22. 22. Architecture is more than just putting things together. It's about the organic, about illusions, a sense of memory, and a textural approach. I must admit, though, that I still love the idea of putting parts together. I love the idea that you go from the general to the detail and then from the detail to the general. It's a double process. You cannot think about the presence of the building in the city without thinking about materiality. And when you think about materiality, you start to think about detail
  23. 23. 4. 6.5. 3. 2.1.
  24. 24. COLOUR CODES: BLUE FOR AIR GREEN FOR FLUIDS (PLUMBINGANDFIRE CONTROL) YELLOW FOR ELECTRICITY CABLES RED FORMOVEMENTAND FLOW (ELEVATORS, STAIR AND FIRE EXTINGUISHERS)
  25. 25. STAIRS AND ELEVATORS ARE PAINTED IN GREY THE STRUCTURE AND LARGEST VENTILATION COMPONENTS WERE PAINTED WHITE.
  26. 26. USE OF ESCALATORS IS NOT ONLY THE ASTHETIC ADVANTAGE BUT IT ALSO HIGHLIGHTS THE POST MODERN ERA.
  27. 27.  THESTEELSKELETON OFTHEFLOORSAREDOMINANTLYVISIBLE FROMTHEOUTSIDE. INSIDE OUT:
  28. 28.  A TUBE THAT ZIGZAGS UP TO THE TOP OF THE BUILDING PROVIDING VISITORS WITH AN ASTONISHING VIEW OF THE CITY OF PARIS.
  29. 29.  1977:centre pompidou, paris (with richard rogers)  1990:san nicola stadium, bari, italy  1990:ircam extension, institute for acoustic research, paris  1991:renzo piano buildingworkshop, genoa, italy  1992:columbus international exposition, genoa, italy  1994:lingotto factory conversion, turin, italy  1994:kansai airport terminal,osaka, japan  1995:menil collectionmuseum, houston, texas  1996:congress center and offices, lyon, france  1997:reconstruction of the atelier brancusi, paris  1998:tjibaou cultural centre, nouméa, new caledonia  2007:new york times building  2008:californiaacademy of sciences  2012:the shard, london, united kingdom
  30. 30.  In 1989, Piano was the recipient of the Royal Gold Medal  In 1990, Piano was the recipient of the Kyoto Prize.  In 1995, Piano was the recipient of the Praemium Imperiale  In 1998, Piano was the recipient of the Pritzker Architecture Prize.  In 2008, Piano was the recipient of the AIAGold Medal.  In 2008, Piano was the recipient of the Sonning Prize.  In 2002, Piano was the recipient of the UIA Gold Medal.
  31. 31. THANK YOU  ARCHITECTUREIS NOT JUSTCREATING BUILDINGS ,ITIS A TASK OF SERVINGHUMANITY.

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