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Michael Webb
writes on modern architecture, design, and travel. He is the author of 26 books, most recently Modernist Paradise: Niemeyer House, Boyd Collection (Rizzoli) and Venice CA: Art +Architecture in a Maverick Community (Abrams). He travels widely in search of new and classic modern architecture and contributes to magazines around the world. Michael lives in the Neutra apartment that Charles and Ray Eames once called home.

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Michael Webb

Entries in Renzo Piano (2)

Wednesday
Feb262014

FORM on Design: Drawings in Houston

Menil Drawing Institute at dusk, looking past the west entrance courtyard. courtesy of Johnston Marklee/The Menil Collection.

Johnston Marklee have won plaudits for their houses and they have now triumphed over several larger firms for a coveted commission: the Menil Drawing Institute (MDI) in Houston. The late Dominique de Menil had refined taste and great wealth—a rare combination—and she patiently sought very best in art and architecture. The main museum, which opened in 1987, is still Renzo Piano's best—for its springy grace and luminous interiors. She established a leafy campus around that building, preserved a row of old houses to accommodate visiting artists, and created several satellite galleries, including Piano's understated shrine to Cy Twombly. For its future growth, the board commissioned a master plan from David Chipperfield, which will replace three massive apartment blocks with new housing and the MDI.

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Friday
Sep242010

An Acre of Art - LACMA's Resnick Pavilion Press Preview


LACMA
has a new gallery and it’s a winner. The Lynda and Stewart Resnick Pavilion is a work of art that complements BCAM to the south and fleshes out Renzo Piano’s master plan. It substitutes a vibrant, layered composition of travertine, scarlet steel, and plantings for a dowdy courtyard as the museum’s core. Unjustly disparaged as the safe choice for American museums that are afraid of innovation, Piano demonstrates a mastery of space and connectivity that make him an ideal choice for LACMA. He has introduced order and excitement to an institution that stumbled badly in commissioning two mediocre sets of buildings in its early years, and then abruptly abandoned Rem Koolhaas’s iconoclastic proposal to start afresh. As an Italian, Piano has a sense of history and the way cities grow incrementally over time. He is familiar with excavations that reveal the foundations of Roman villas—a discovery that delayed construction of the Rome Auditorio by several years. “Here we struck oil—and dinosaur bones, but it didn’t stop us,” he observed.

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