"Architecture is an artistic craft, but at the same time it is also a scientific profession, it is precisely its distinctiveness" "Architecture is a service." "When style gets to become a brand, a personal seal, this becomes a cage" "The architect is first and foremost a builder, but also should be a poet, and above all a humanist''

1. HIGH TECH
ARCHITECTURE

2. MOHD TANZEEL FARAZ
3PD12AT025
PDACE
BY:

3. BORN: 14SEPTEMBER 1937
GENOA,ITALY
NATIONALITY: ITALIAN
GRADUATION:IN 1964 FROM
POLYTICINEODI MILANO, ITALY
AWARDS :PRITZKERARCHITECTUREPRIZE
RIBAGOLDMEDAL
SONNINGPRIZE
AIA GOLDMEDAL
KYOTO PRIZE
BUILDINGS:PARCO DELLAMUSICA
SHARDLONDONBRIDGE
THENEW YORKTIMES BUILDING
"PIANOHAS NOSIGNATURESTYLE.
INSTEAD,HIS WORKIS
CHARACTERIZEDBY A GENIUS FOR
BALANCE AND CONTEXT“-PAUL
GOLDBERGER,

4.  I WANTED TO BE A MUSICIAN, BUT I
WASN'T GOOD ENOUGH SO I BECAME AN
ARCHITECT...IT'S REALLY QUITE
THERATICAL. MUSIC IS ABOUT ORDER
AND MATHEMATICS. ORDER AND
DISORDER, AS WELL AS, DISCIPLINE AND
FREEDOM ARE PART OF THIS ARTISTIC
STRUGGLE. ARCHITECTURE, LIKE MUSIC,
DEPENDS A LOT ON DISCIPLINE AND
ORDER, AND THEN YOU PLAY THAT
ORDER,WHICH I INTERPRET AS SETTING
UP FRAMEWORKS TO WORK WITHIN. BUT
SOMETIMES, YOU MUST BECOME
DISOBEDIENT TO THAT DISCIPLINE, AND
YOU BREAK THE ORDER
 "IT IS MY BELIEF THAT EXCITING THINGS
HAPPEN WHEN A VARIETY OF
OVERLAPPING ACTIVITIES DESIGNED FOR
ALL PEOPLE—THE OLD AND THE YOUNG,
THE BLUE AND WHITE COLLAR, THE LOCAL
INHABITANT AND THE VISITOR,
DIFFERENT ACTIVITIES FOR DIFFERENT
OCCASIONS—MEET IN A FLEXIBLE
ENVIRONMENT, OPENING UP THE
POSSIBILITY OF INTERACTION OUTSIDE
THE CONFINES OF INSTITUTIONAL
LIMITS. WHEN THIS TAKES PLACE,
DEPRIVED AREAS WELCOME DYNAMIC
PLACES FOR THOSE WHO LIVE, WORK
AND VISIT; PLACES WHERE ALL CAN
PARTICIPATE, RATHER THAN LESS OR
MORE BEAUTIFUL GHETTOS."

5. "Architecture is anartistic craft,butat
thesametimeit is also ascientific
profession, it isprecisely its
distinctiveness"
"Architecture is aservice."
"Whenstylegets tobecomeabrand,a
personal seal,this becomes acage"
"Thearchitect is first andforemost a
builder, but alsoshould be apoet, and
aboveall ahumanist''
IDEOLOGIES AND QUOTES

6. His architecture is defined assolid
constructionmadebyexcellent
materials .
CHARACTERIZED BY :
Architecture is about exploring. Culturally, historically, psychologically, anthropologically,
and topographically, everyjobis different. So the real risk is that as an architect you endup
imposing your stamp before you understand what is the reality of a place. Itis not necessarily
to integrate with the context. Sometimes architecture should not integrate, butshould make
a contribution to the context.,

7. RENZO PIANO: ECOLOGICALINNOVATOR
Forthe great Italian
architect RenzoPiano,
the protectionof the
environment,is far from
being a limitation, it has
also becomea "source of
inspiration" for the
development of major
projects being
undertaken in many
countries.

8. Is thereaRenzoPianostyleatthis point?Is therea signaturethatif someone came upona building, didn'tknowit
wasyours,would theylookatit andsaythatlookslike aPiano?
RP:I thinkso,butyouknow,let's putitthis way.I don'tlike the idea thatthe firstpreparation,when youstartto
design, yourbuilding hastoputyourstamp.Forexample,I loveworkingwith verylight elements,transparency,and
naturallight.Sowhen thebuilding's finished,yourecognizethoseelements in someway.ButI thinkimposing your
stylemaybeactuallyvery limiting, becauseyoumayend bysimply imposing yourstyle,insteadof understanding
the need ofpeople.
Everyscheme is a newadventureeven if youmakeanotherbuilding...thatis thereasonwhyyou
havetobecarefulnottobecome self referential.insteadoflistening to thenew placeandthenew voices youkeep
promotingyourownkindof ego.I don'twanttobe moralist,butwhen thishappensit is notjustbadforarchitects,
it's badforeverybody...Sothe realrisk isthatasan architectyouend upimposing yourstampbeforeyou
understandwhatis therealityof aplace.I never takea new jobwithoutvisiting the place, withouttryingto
understand,withouttryingtoget abasic,fundamentalemotion...thattruthis thereal sourceofinspirationandif
youcloseyourselfin yourlittle gold cage youend up becoming repetitive.

9. RICHARD ROGERSRENZO PIANO
AFTERWORKINGWITH LOUISKAHN FOR ACOUPLEOF YEARS,PIANOJOINEDFORCESWITH
BRITISHARCHITECTRICHARDROGERS IN1971ANDDESIGNEDWHAT WASTO BEA CAREER-
DEFININGPROJECTFORBOTH OF THEM,THE CENTREGEORGESPOMPIDOUINPARIS.THE
PROJECTWASVIGOROUSLYDISCUSSEDATTHE TIMEOF ITSCONSTRUCTIONDUETO ITS
RADICALDESIGNSTRATEGYOF EXPOSINGALL TECHNICALFUNCTIONSON THE OUTSIDE.THE
PUBLICOPINIONHASSHIFTEDSINCETHEN, HOWEVER,ANDTODAYITISCELEBRATEDFOR ITS
BOLDNESSANDWIDELYREGARDEDASONEOF THE CITY'SMOST PREEMINENT
CONTEMPORARYLANDMARKS.

10.  IN 1970 an internationalarchitecturalcompetitionwas
launchedbased on a program to build aculturaland arts
complex inthe centre of historicParis set out by French
President Georges Pompidou.

CONCEPT:

11.  Type- CultureandLeisure
 Architectural style - Postmodern/High-Tech
 Structuralsystem- Steelsuperstructurewithreinforcedconcretefloors
 Location - Paris,France
 Time- 1971 –1977
POMPIDOUCENTRE

14.  Ithouses, Avastpubliclibrary,
 TheMuseeNational d'ArtModerne
whichisthelargestmuseumfor
modernartinEurope.
 IRCAM,acentreformusicandacoustic
research.
 ItisnamedafterGeorgesPompidou,
thePresidentofFrance.
 Thesuperstructurehas7levelsand
risesuptoaheightof45m.
 Theflat opensiteuponwhichitis
located isaconstantexteriorstagefor
urbanevents.
THEPOMPIDUO:

16. 1 Fórum
2 General Information
3 Venta de pases
4 Reception groups
Educative tellers
5 Children’s gallery
6 Box office
7 Wardrobe
8 Cafe
9 Library-book centre

17. 1 Fórum,level -1
2 Salón de descanso-Hall of rest
3 Taquilla-Box office
4 Cine 2-Theatre
5 Sala Pequeñ-Small room
6 Sala Grand-Big room

18. 1 Fondo General-General fund
2 Espacio de
Autoformación-
Self education space
3 Televisiones del
Mundo-World of television
4 Sala de prensa-Press room
5 Cafetería de la
Biblioteca-
Cafeteria for library
1 Espacio audio-video:Audio video
space
2 Fondo general-Generel fund
3 Biblioteca Kandinsky-Main Library
3,acceso reservado-Reserved cabin

19. 1Colecciones de arte
moderno desde 1905
hasta 1960-Modern Art collections
from 1905 upto 1960
2 Terraza esculturas-Terrace scuptures
Calder, Takis-
3 Terraza esculturas-Terrace scuptures
Richier, Miró
4 Terraza esculturas-Terrace scuptures
Laurens
1 Colecciones de arte contemporáneo
desde 1960 hasta la actualidad-
Contemporary Art collections from 1960’s
upto today
2 Espacio de nuevos medios-New media
space
3 Salón del Museo-living room(museum)
4 Galería del Museo-Museum gallery
5 Galería de artegráphico-Antigraphic
gallery
6 Audioguía-Audio guide
7 Librería-Library

20. 1 Gallery 1
2 Gallery 2
3 Gallery 3
4 Restaurant
5 Library

21. .

22. PLAN DRAWING
ELEVATIONAL DRAWING

23. ELEVATIONS:

24. SECTIONAL ELEVATION - NORTH

25. Architecture is more than just putting things together. It's about the
organic, about illusions, a sense of memory, and a textural approach. I
must admit, though, that I still love the idea of putting parts together. I
love the idea that you go from the general to the detail and then from the
detail to the general. It's a double process. You cannot think about the
presence of the building in the city without thinking about materiality.
And when you think about materiality, you start to think about detail

31. 4.
6.5.
3.
2.1.

32. COLOUR CODES:
BLUE FOR AIR
GREEN FOR FLUIDS
(PLUMBINGANDFIRE
CONTROL)
YELLOW FOR ELECTRICITY
CABLES
RED FORMOVEMENTAND
FLOW (ELEVATORS, STAIR
AND FIRE EXTINGUISHERS)

33. STAIRS AND ELEVATORS ARE
PAINTED IN GREY
THE STRUCTURE AND LARGEST
VENTILATION COMPONENTS WERE
PAINTED WHITE.

34. USE OF ESCALATORS IS
NOT ONLY THE
ASTHETIC ADVANTAGE
BUT IT ALSO
HIGHLIGHTS THE POST
MODERN ERA.

35.  THESTEELSKELETON OFTHEFLOORSAREDOMINANTLYVISIBLE
FROMTHEOUTSIDE.
INSIDE OUT:

36.  A TUBE THAT ZIGZAGS UP TO THE TOP OF THE
BUILDING PROVIDING VISITORS WITH AN
ASTONISHING VIEW OF THE CITY OF PARIS.

39.  1977:centre pompidou, paris (with richard rogers)
 1990:san nicola stadium, bari, italy
 1990:ircam extension, institute for acoustic research, paris
 1991:renzo piano buildingworkshop, genoa, italy
 1992:columbus international exposition, genoa, italy
 1994:lingotto factory conversion, turin, italy
 1994:kansai airport terminal,osaka, japan
 1995:menil collectionmuseum, houston, texas
 1996:congress center and offices, lyon, france
 1997:reconstruction of the atelier brancusi, paris
 1998:tjibaou cultural centre, nouméa, new caledonia
 2007:new york times building
 2008:californiaacademy of sciences
 2012:the shard, london, united kingdom

40.  In 1989, Piano was the recipient of the Royal Gold Medal
 In 1990, Piano was the recipient of the Kyoto Prize.
 In 1995, Piano was the recipient of the Praemium Imperiale
 In 1998, Piano was the recipient of the Pritzker Architecture Prize.
 In 2008, Piano was the recipient of the AIAGold Medal.
 In 2008, Piano was the recipient of the Sonning Prize.
 In 2002, Piano was the recipient of the UIA Gold Medal.

41. THANK YOU 
ARCHITECTUREIS NOT
JUSTCREATING
BUILDINGS ,ITIS A TASK
OF SERVINGHUMANITY.