Renzo-Piano-倫佐-皮亞諾課件

RenzoPiano

倫佐·皮亞諾指導老師：張青萍學生：錢靚1RenzoPiano倫佐·皮亞諾蓬皮杜藝術中心使Piano名揚天下，并給他帶來源源不斷的工程設計項目。Piano公司完成的一些工程讓世人囑目，但Piano為公司起的名字樸實簡單——‘BuildingWorkshop’(建筑工作室）主要作品：LaGalleriad’ArteContemporaneaalCentroGeorgesPompidou布蘭蘇西工作室，蓬皮杜藝術中心，巴黎PuntaNavehousesandUNESCOLaboratory,Vesima

倫佐·皮亞諾建筑工作室暨聯(lián)合國教科文組織實驗室，維斯瑪PadrePioChurch,foggia

皮歐神父教堂，福賈eanMarieTjibaouCulturalCenter

讓·馬利·奇巴歐文化中心，新喀里多尼亞Auditorium,Rome音樂廳，羅馬2BiographyofRenzoPiano

RenzoPianowasborninGenoa(Italy)onSeptember14,1937.fromabuilder’sfamily.Hegraduatedin1964fromtheschoolofArchitectureoftheMilanPolytechnic.Asastudent,hewasworkingunderthedesignguidanceofFrancoAlbini,whilealsoregularlyattendinghisfather'sbuildingsiteswherehegotavaluablepracticalexperience.Between1965and1970heworkedwithLouisI.Kahn,inPhiladelphia,andZ.S.MakowskyinLondon.ItwasatthattimehemetJeanProuvetheirfriendshipwouldhaveadeepinfluenceonhisprofessionallife.In1971,hefoundedthepiano&RogersagencywithRichardRogers,hispartnerontheCentrePompidouprojectinParis.In1977,hefoundedtheAtelierPiano&RicealongwiththeengineerPeterRice,aprofessionalpersonalitywhowouldworkwithhimonmanyprojects,untilhisdeathin1993.HethenfoundedRenzoPianoBuildingWorkshop,withofficesinParisandGenoa.

簡介倫佐·皮亞諾1937年9月14日生于熱那亞一個建筑商的家庭。1964年畢業(yè)于米蘭理工大學建筑學院。在學習過程中，設計上受到弗朗克·阿爾比內(nèi)的教導，同時也照料父親工地上的事務，在此期間獲得了寶貴的實踐經(jīng)驗。1965-1970年，他先后在費城為路易斯·康，在倫敦為Z.S.馬克渥斯基工作。這個時期，他遇到吉恩·普魯維，它們之間的友誼對他日后的工作產(chǎn)生了深刻的影響。他與理查德·羅杰斯的合作開始于1971年（皮亞諾-羅杰斯公司），從1977年起與彼得·賴斯合作（皮亞諾-賴斯工作室）。他們的合作一直到1993年賴斯去世。此后皮亞諾建立了倫佐·皮亞諾建筑工作室，在巴黎和熱那亞都有辦公機構(gòu)。

RenzoPiano倫佐·皮亞諾3PuntaNavehousesandUNESCOLaboratory,Vesima

倫佐·皮亞諾建筑工作室暨聯(lián)合國教科文組織實驗室，維斯瑪4PuntaNavehouses

工作室皮亞諾的理念是：“透明就是復雜”5PuntaNavehouses

工作室Laboratory實驗室Slopingelevator斜向電梯Hedgeofcypresses柏樹籬Vegetalbarrierofdeciduoustrees落葉樹屏障Orchard果園Garden花園Meadowofspontaneousvegetation野生植物場Thesea

Theroad公路6PuntaNavehouses

工作室建筑剖面圖軸測圖7PuntaNavehouses

工作室Note:Thespacehasanetherealquality,characterizedbytransparency,vibrationsoflightandaconstantchangeofscaleineventhemostintricatedetailsPhotographer:MichelDenancé8PuntaNavehouses

工作室thezenithallightthatpervadeseveryaspectoflifeherehasrapidlybecometheirnaturalclock.9PuntaNavehouses

工作室10PuntaNavehouses

工作室梁架構(gòu)造細部11PuntaNavehouses

工作室Theplayoflight,emphasizedbytheslatsanddrapesPhotographer:ShunjiIshida1213PuntaNavehouses

工作室Viewbynight14PuntaNavehouses

工作室透明的斜向索道電梯聯(lián)系上下交通15PuntaNavehouses

工作室索道立面及自動調(diào)整不同坡度的轉(zhuǎn)向架16PuntaNavehouses

工作室Note:Experimentalstructuresinbamboo,studiesofnewapplicationsofnaturalmaterialsPhotographer:Fregoso&Basalto17PuntaNavehouses

工作室18PuntaNavehouses

工作室PuntaNaveForPianothestudiorepresentsaplacewherehecouldbuildhismoralpositionaboutarchitecture:’machinesshouldnotdestroynaturebuthelpustolive;spaceshouldnotbehierarchicalbutgivepleasuretoallofthosewhoworkinit.’對皮亞諾來說，工作室成了可以表現(xiàn)他建筑倫理觀的地方：機器不應該破壞自然，而是幫助我們生活：空間不應該等級森嚴，而是給所有身在其中的人帶來歡樂。19PuntaNavehouses

工作室thesitehasbeenpurposelyisolatedlikeadesertisland.Itinvitescalm,silence,concentrationandcreativity.Viewofthesitebeforeconstruction20PuntaNavehouses

工作室

Itisnot,however,ahermitage:peopleofalldifferentnationalitiesworkthere,andthedoorisalwaysopentocolleagues.

Piano傾聽每一個人的意見、想法。這聽起來是個很奇怪的策略，但卻是Piano要傳達的最重要的經(jīng)驗：好的設計來自認真的傾聽。21JeanMarieTjibaouCulturalCenter

讓·馬利·奇巴歐文化中心，新喀里多尼亞AttherequestofNewCaledonia,theFrenchgovernmentagreedtofinancetheconstructiondevotedtothememoryofthepoliticalleader,Jean-MarieTjibaou,whowasassassinatedin1989.22JeanMarieTjibaouCulturalCenter

讓·馬利·奇巴歐文化中心ThesitebeforeconstructionThemajorchallengebehindthisprojectwasthetaskofpayinghomagetoaculturewhilealsorespectingitstraditionsandhistory,past,presentandfuture,aswellasitssensitivities.ThismeantputtingEuropeantechnologyandexpertiseattheserviceofthetraditionsandexpectationsoftheKanak.Bynomeansshoulditbeaparodyorimitationofthisculture,norshoulditinvolveimposingatotallyforeignmodel.23JeanMarieTjibaouCulturalCenter

讓·馬利·奇巴歐文化中心Theideawasthat,insteadofcreatingahistoricalreconstitutionorasimplereplicavillage,itwaspreferabletostrivetoreflecttheindigenouscultureanditssymbolswhich,thoughage-old,werestillverymuchalive.24JeanMarieTjibaouCulturalCenter

讓·馬利·奇巴歐文化中心25JeanMarieTjibaouCulturalCenter

讓·馬利·奇巴歐文化中心第一村落第二村落第三村落場地入口100座位會議廳1000座位戶外會議廳ThestructureandaboveallthefunctionalityofCaledonianhutswerereproducedandadapted,architecturallyaswellassocially.Therearetenhutsinall,eachmeasuringbetween20and28metersinheight,atthecenterofanaturereservealongtheoceanshore.Eachisinterconnectedbyafootpath.26JeanMarieTjibaouCulturalCenter

讓·馬利·奇巴歐文化中心27JeanMarieTjibaouCulturalCenter

讓·馬利·奇巴歐文化中心Structure28JeanMarieTjibaouCulturalCenter

讓·馬利·奇巴歐文化中心29JeanMarieTjibaouCulturalCenter

讓·馬利·奇巴歐文化中心Theyusingtraditionalmaterialsandbuildingmethodsaswellasrespectinganddrawingoncertainnaturalelements,suchaswind,lightandvegetation.30JeanMarieTjibaouCulturalCenter

讓·馬利·奇巴歐文化中心AnunderstandingofthedevelopmentofKanakculturewasavitalpartofthisproject:becomingfamiliarwithKanakhistory,environmentandbeliefswouldmakeitpossibletoremainasfaithfulaspossibletothepeoples'traditions.

31JeanMarieTjibaouCulturalCenter

讓·馬利·奇巴歐文化中心現(xiàn)代技術和原始風貌結(jié)合在一起，達到了高度的融合。這種形式產(chǎn)生于長時間的討論——與人類學家的討論，與工程師的討論，與當?shù)乜{克文化代表的討論。房屋的形狀也許是皮亞諾最直接意義上的構(gòu)造工程：張力的框架撐起編織結(jié)構(gòu)，雙層直立的木構(gòu)件由金屬拉力桿和加強板固定，形成了半透明的具有生態(tài)功能的“殼”，能夠傳送微風使房間自然通風。這些奇異的圓木屋不僅是失去文化的再現(xiàn)，而且體現(xiàn)了熱帶透氣建筑的精髓。他們充分利用當?shù)刭Y源，用盡可能少的外來技術支撐豐富它。這種結(jié)構(gòu)會在熱帶氣流中發(fā)出微弱的哨聲，給那些留神去聽的人一種意想不到的愉悅。這正是有活力的、真正傳聲建筑的魅力所在。32PuntaNavehousesandUNESCOLaboratory,Vesima

倫佐·皮亞諾建筑工作室暨聯(lián)合國教科文組織實驗室，維斯瑪Perchedonahillsurroundedbythesea,PuntaNavehousestheGenoaheadquartersoftheRenzoPianoBuildingWorkshop.Builtin1989towardthewesternedgeofGenoa,thesitehasbeenpurposelyisolatedlikeadesertisland.Itinvitescalm,silence,concentrationandcreativity.Itisnot,however,ahermitage:peopleofalldifferentnationalitiesworkthere,andthedoorisalwaysopentocolleagues.

PuntaNaveisinperfectharmonywithitssurroundings.Theworkshop'sgraduallyslopingterraces,whichopenontothesea,arebuiltinglassandmadetobeexactreplicasofthetraditionalgreenhousesfoundontheLiguriancoast.LyingbetweenthemountainandtheMediterraneanSea,PuntaNavestandsasahomagewewishedtogivetothesea.

Theworkshopisanimmensegreenhouseovertakeninsideandoutbyalltypesofplantsandgreenery,creatingthefeelingofaprivilegedcommunionwithnature.Inthesamespirit,wesoughttotakemaximumadvantageofthezenithallightthatpervadeseveryaspectoflifehereandhasrapidlybecomeournaturalclock.

WhilePuntaNaveisarefugedeliberatelyawayfromthecenter,itcanneverthelesscommunicateinrealtimewiththerestoftheworldthankstonewtechnology.Itisthereforenotreallytheoppositeofthecity;itiswhatweprefertocallapost-urbanresearchcenter.33JeanMarieTjibaouCulturalCenter

讓·馬利·奇巴歐文化中心，新喀里多尼亞AttherequestofNewCaledonia,theFrenchgovernmentagreedtofinancetheconstructiondevotedtothememoryofthepoliticalleader,Jean-MarieTjibaou,whowasassassinatedin1989.

Themajorchallengebehindthisprojectwasthetaskofpayinghomagetoaculturewhilealsorespectingitstraditionsandhistory,past,presentandfuture,aswellasitssensitivities.ThismeantputtingEuropeantechnologyandexpertiseattheserviceofthetraditionsandexpectationsoftheKanak.Bynomeansshoulditbeaparodyorimitationofthisculture,norshoulditinvolveimposingatotallyforeignmodel.

Theideawasthat,insteadofcreatingahistoricalreconstitutionorasimplereplicavillage,itwaspreferabletostrivetoreflecttheindigenouscultureanditssymbolswhich,thoughage-old,werestillverymuchalive.

AnunderstandingofthedevelopmentofKanakculturewasavitalpartofthisproject:becomingfamiliarwithKanakhistory,environmentandbeliefswouldmakeitpossibletoremainasfaithfulaspossibletothepeoples'traditions.

Concretely,thatmeantusingtraditionalmaterialsandbuildingmethodsaswellasrespectinganddrawingoncertainnaturalelements,suchaswind,l