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    Rogers and Piano: After The International Style: The Late Twentieth Century 421

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    zingiberofficinale22
    The document discusses two influential architects, Renzo Piano and Richard Rogers, and their famous Centre Pompidou building in Paris from 1972-1976 which exposed its structural and mechanical systems on the exterior. It also discusses the later independent works of Piano and Rogers, as well as the works of Norman Foster.

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    Rogers and Piano: After The International Style: The Late Twentieth Century 421

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    zingiberofficinale22
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    The document discusses two influential architects, Renzo Piano and Richard Rogers, and their famous Centre Pompidou building in Paris from 1972-1976 which exposed its structural and mechanical systems on the exterior. It also discusses the later independent works of Piano and Rogers, as well as the works of Norman Foster.

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    The document discusses two influential architects, Renzo Piano and Richard Rogers, and their famous Centre Pompidou building in Paris from 1972-1976 which exposed its structural and mechanical systems on the exterior. It also discusses the later independent works of Piano and Rogers, as well as the works of Norman Foster.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    3 views1 page

    Rogers and Piano: After The International Style: The Late Twentieth Century 421

    Uploaded by

    zingiberofficinale22
    The document discusses two influential architects, Renzo Piano and Richard Rogers, and their famous Centre Pompidou building in Paris from 1972-1976 which exposed its structural and mechanical systems on the exterior. It also discusses the later independent works of Piano and Rogers, as well as the works of Norman Foster.

    Copyright:

    © All Rights Reserved
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    After the International Style: The Late Twentieth Century 421

    achieved the mass production that he had chemical plant. The spaces within are equally
    visualized. However, his development of a honest in their display of overhead duct-
    geometric concept that enabled the building of work, lighting, and piping: elements that are
    hemispherical domes from triangulated units carefully concealed in more conventional con-
    resulted in the geodesic dome, an idea that struction. The building has become a mecca for
    proved workable in many different materials tourists and Parisians alike, generating new life
    and at many different scales. The most spec- in the surrounding area.
    tacular use of the geodesic dome was the U.S. The partners went their separate ways after
    exhibition pavilion at Expo 67, the World’s the Pompidou project. Piano designed the
    Fair at Montreal in 1967. The huge structural Menil Collection Museum in Houston, Texas
    dome (more than a hemisphere) was enclosed (1981–6), its exterior structure supporting
    by plastic panels admitting light controlled overhead louvers that continue inside to form
    by mechanically operated shades. The interior gallery ceilings. His Galerie Beyeler Museum
    housed exhibits on platforms accessed by esca- (1998) in Basel, Switzerland, is a work of great
    lators, while the enclosing structure formed dignity. Piano also did the master plan for
    an independent membrane high above (21.6). the restoration of Potsdamer Platz in Berlin
    The resulting interior was considered both dra- (1992–2000).
    matic and beautiful. Rogers’s most spectacular independent pro-
    ject is the Lloyd’s office building in the financial
    21.7 Renzo Piano and district of London (1978–86). Like the Centre
    Rogers and Piano
    Richard Rogers, Centre Pompidou, the building carries much of its struc-
    Pompidou, Paris, 1972–6.
    Probably the best known and most accessible ture and mechanical systems (including elevators)
    Part of the interior space is
    used as a gallery, housing
    of high-tech projects is the Centre Pompidou on its exterior. Inside, office floors surround and
    work from the French national in Paris (21.7; 1972–6), a multipurpose cultural overlook an enclosed central court topped by a
    art collection. The wall and center. Its design is by the team of the Italian half-cylinder glass skylight. Banks of escalators
    ceiling panels are movable,
    while the quality of the space
    Renzo Piano (b. 1937) and the Englishman rise within the lower levels of this central space.
    is established by overhead Richard Rogers (b. 1933). The large, multistory The building gives a sense of being entirely of
    patterns developed by the building exposes and displays its structure, glass, structure, and services. The Richard Rogers
    way in which the structural
    and mechanical system
    mechanical systems, and vertical transport Partnership also designed London’s Millennium
    elements are left entirely (escalators) on its exterior in a way that sug- Dome (1999), and Paddington Waterside, a
    exposed. The emphasis on gests, on the west side, the scaffolding of a major urban-renewal project for the area around
    the technological elements
    supports the Centre’s popular
    building under construction, and, on the London’s Paddington Station, as well as commer-
    designation of “high-tech.” east, the pipes and tubes of an oil refinery or cial projects in many other countries.

    Foster

    Norman Foster (b. 1935) was in partnership


    with Richard Rogers from 1963 to 1965. He
    later designed the office building of Willis,
    Faber, and Dumas in Ipswich, England (21.8;
    1970–5). Glass walls follow the form of an irreg-
    ular site. Inside, two floors of offices surround
    an open central area, with various services on
    the ground floor. Escalators connect the three
    floors and a roof penthouse housing a restau-
    rant. Open planning links the interior to the
    glass perimeter and the central atrium, where
    the overhead structure of open trusses under-
    lines the high-tech character of the space.
    In the United States, Foster developed an
    addition to the Art Deco Joslyn Art Museum
    building in Omaha, Nebraska (1994). In it,
    serene white space with a ceiling curved to
    trap daylight from hidden skylights establishes

    c21.indd 421 10/30/2013 5:05:06 PM

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