Architecture in the Shadows

Last week the Kimbell Art Museum unveiled Renzo Piano's design for its new building opposite Louis I. Kahn's 1972 landmark. While the site plan and section don't reveal a heck of a lot about the design, it made me wonder why Piano is chosen not only for every other museum design (it seems) but for additions to important, and in some case iconic, pieces of Modern architecture.

[Kimbell site plan | image provided by Kimbell Art Museum | © Renzo Piano Workshop]

In addition to the Kimbell in Fort Worth, Texas...

[Kimbell section | image provided by Kimbell Art Museum | © Renzo Piano Workshop] Piano's controversial (PDF link) visitor center next to Le Corbusier's Notre Dame du Haut in Ronchamp, France...

[Notre Dame du Haut visitor center | image source]

...his unrealized addition to Marcel Breuer's Whitney Museum of American Art in New York...

[Whitney Museum expansion | image source]

...and finally his addition to Richard Meier's High Museum of Art in Atlanta, Georgia, which opened in 2005.

[High Museum expansion | image source]

I would argue that Piano's treatment of the vertical and the horizontal, the facade and the roof, is a formal reason for his position as the "go-to guy" for these sorts of commissions. Specifically by focusing focus on the overhead plane, most often in the form of innovative skylights, the relatively windowless facade is able to drop into the background, much like Gwathmy Siegel's extension of the Guggenheim, which didn't even try to compete with Frank Lloyd Wright's swirling masterpiece. This is surely the case with the High Museum, and the Whitney facade is a lesson in restraint, but the two latest designs for the Kimbell and Ronchamp attempt to use the landscape to "blend" into their context. In the case of the former the landscape berms over the partially underground, Nasher-esque building, while in the latter case the visitor center would be built into the hillside to be hidden from the chapel above. Of the two the Kimbell has the best chance of being realized, so I'm looking forward to seeing more fleshed-out images that give a stronger impression of the formal relationship between old and new.


  1. Well, he wasn't chosen for the Tate Modern extension in London, but perhaps there it was because they were looking for something fresh and iconic, and not something merely to complement.

  2. I like the High Museum's Addition, it is a great place to see art and functions well, but I do have one main problem with it. While the structure does not compete with Meier's original on the surface, it did pull the entrance to the new structure. The original entrance sequence through the site and into the Meier structure was a well composed experience that gave you a forced perspective of the building when walking up to it and had a great feeling of compression in the ticket area and expansion in the main atrium as you experienced the structure. Now you enter a rather simple glassy enclosure that lacks the drama and intrigue of the earlier space.

  3. um,excuse me what?! I grew up in Fort Worth and have watched additions be presented to the Kimball my whole life. They have all been shot down.

    When I heard renzo, i thought great! But when I saw THE SITE of the proposed addition i am deeply saddened. This is one of the VERY few public outdoor spaces that work in all of Fort Worth(frisbee, dogs, shade under the oak trees - very untexan like activities) also - kahn's intentended entrance -

    i am shocked and not happy about the proposed site at all.

    I have had people all over the world tell me the kimball is their favorite building. It is precious. It is small. Ando's modern across the street doesnt even compare, but thank god it is on its own lot. Please leave the Kimball alone. Renzo already has a little gem in Dallas, lets call that enough please.


Post a Comment

Comments are moderated for spam.