saiu hoje na Slate a segunda parte da crítica de Witold Rybczynski sobre os dois novos prédios de Renzo Piano na California, agora enfatisando a academia de ciencias em San Francisco. O edifício é lindo e elegante, como alias tudo que conheço de Renzo Piano, e o texto de Rybczynski é excelente.
mas o melhor do texto (e eu nem vou falar aqui da cobertura com plantas nativas e do aproveitamento da água de chuva) é o ultimo parágrafo que trata da relação entre o projeto de Piano e seus vizinhos Herzog e De Meuron:
“The California Academy of Sciences sits across from the new de Young museum of art, which likewise replaced a building damaged in the 1989 earthquake. Two different types of museums, two different architects (the de Young was designed by Swiss Pritzker Prize winners Herzog and de Meuron)—and although both buildings could be described as big boxes, they represent two different visions of the role of the contemporary architect: problem-solving vs. art-making. Of course, all buildings do both, but Piano seems to be more directly concerned with the former, while Herzog & de Meuron's self-absorbed architecture is a result of the latter. Whether you prefer one or the other may be a matter of taste, but standing on the roof of the Academy looking at the de Young, I was struck by its slightly ominous appearance—and how intrusive the 144-foot canted tower is in Golden Gate Park. The California Academy feels much more at home.”
1 comment:
Eu também lamentei que o Piano nem entrou na lista de opções. Acho que suas obras quase discretas do navegador genovês são menos eficientes na propaganda do que os arrojos materialistas dos compadres suíços.
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