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CHASING THE TREE THE ARCHITECT: RENZO PIANO

RENZO PIANO An Urban Machine: Centre Pompidou Regarded as one of the most iconic buildings of Paris today, the Centre Pompidou was focused on the idea of flexibility and transparency. The monumental 10-storey building with a public square located in front of it stands out with its infrastructure system emphasized with color codes on its façade: Blue marking its air-conditioning pipes, red highlighting tubular escalators...

chasing the tree the architect: renzo piano
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inspiring ideas

RENZO PIANO

An Urban Machine: Centre Pompidou

 

Regarded as one of the most iconic buildings of Paris today, the Centre Pompidou was focused on the idea of flexibility and transparency. The monumental 10-storey building with a public square located in front of it stands out with its infrastructure system emphasized with color codes on its façade: Blue marking its air-conditioning pipes, red highlighting tubular escalators and elevators, yellow for electrics, and green denoting water pipes. This solution also provided space for large column-free exhibition areas in interior spaces as well.  Rogers and Piano also completed a number of other high-tech buildings including the headquarters of B&B Italia in Como, Italy in 1973, and the UOP fragrances factory in Tadworth, UK in 1974 before they terminated their partnership after this project that brought them great fame in their young years.

Although the buildings designed by him are rarely alike, the Renzo Piano signature stands out with a strong presence.Although the stone-faced New House of Parliament in Valletta, Malta (2015), the Central St. Giles Court in London (2010), one of the colorful terracotta façades, or the London Bridge Tower (2012) also called as “The Shard” with its glass exterior façade are quite different from each other; Renzo Piano speaks of a theme that unites his works: "There is one theme that is very important for me: Lightness… In my architecture, I try to use immaterial elements like transparency, lightness, the vibration of the light. I believe that they are as much a part of the composition as the shapes and volumes. "

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