Interpretation of the Architectural Strategy in Renzo Pianos Urban Contemporary Museum Expansion

Abstract

Renzo Piano has been practicing his expansion of urban contemporary museums using his clear process. By analyzing Renzo Piano's four major design components, I have found very specific, detailed information in regards to his expansions that those four specified perspectives assist to understand the composition of important matters and elements in the expansion of Renzo Piano. From Pianos understanding of his composition of expansion, he has employed the new major space with his distinct belief of dividing programs and functions. Pianos sketches also help to understand the location and orientation of new major space. It was necessary to understand Piano's intention in regards to the new major space and his composition strategy in order to clearly interpret his architectural design strategy. Pianos refined details of design structure are revealed through his façades, ceilings and roof systems. His constant efforts to build expansions from a structural solution were clearly recognizable through the analysis of his architectural tectonics, a potential tool for Piano. Moreover, Due to Piano's respect for existing architecture, I have found, though often seamless and invisible, simple, yet humble connections to the existing building in his expansions. The three types of connections were categorized

compound, corridor and underground. Within the same category, they shared the physical appearance of being connected

though the intention was never clarified. Relating to outdoor space, the piazza was mostly placed in the process of expansion, but not always treated as an outdoor space. The piazza to Piano was more than the literal definition

it was a public gathering space where the major activities concentrated. Coincidently, I have found all ten of Pianos expansions were situated in an urban context. From interpreting his spatial formation of new major space in an expansion, I have found Pianos intent is to find balance with the existing museum. It is about coexistence

the existence of two major spaces that balance the harmony in a new museum complex. It is also about Centrality

the communication between two distinct centers connected together. Piano knew the communication between two distinct Centralities should be communicated through both physical and conceptual connections. In surface expansions, Piano used his usual transparent materials that often resulted in dematerialized surfaces. He treated the surfaces of an expansion as a filter for the natural and artificial light. The dematerialized surface also assisted in creating a transparent surface when necessary. Pianos intention in regards to the expansion of surfaces on a building was to implement transparency, or to his work on the building transparent. Rather than being intrusive, Piano believed his new expansions should be transparent and subtle. By bringing forth the characteristics of the existing architecture, he found his expansions would be functional and connected. To create a more advantageous expansion, Piano knew the connection to the existing building was the key factor. Considered to be a demanding decision in expansion, Piano resolved to make his designs transparent and light with a simplicity that would reveal the purity of the existing architecture. He created transparency in between the buildings to preserve the beauty of their existing architecture. With his simplicity of design, Piano created the lightness of connection in metaphysical sense. Lastly, Pianos expansion created a new outdoor space as the front of a new expansion

the Piazza. This outdoor space composed new corners in the street and added new diversity to the museum exterior. From the analysis of his outdoor space and its effects by the expansion, I could relate this outcome to the theory of Jane Jacobs the four generators of diversity. The physical changes of Pianos expansion to urban context corresponded with four generators of diversity in Jacobs theory: mixed uses, small blocks, aged buildings and concentration. I found these four generators of Jacobs were in an agreement in the Pianos strategy of outdoor space. This study of Renzo Pianos architectural strategy has revealed important and relevant design factors that should be considered in regards to urban contemporary museum expansions. With the vast growing number of expansion projects outweighing the number of studies in museum and architecture expansions, this study will prove useful and beneficial. As Pianos careful consideration of the four major components proved crucial in his museum expansions

it can also be a valuable asset for any architect considering any type of expansion.