As with Jean Nouvel, the majority of Renzo Piano's sections were extremely technical. In selecting exemplars I again filtered using the criteria (tectonic, while conveying experiential elements).
Above: Institute for Research and Coordination in Acoustics and Music, Paris.
Furniture and People:
In the above section I was especially drawn to the way the figures were responding to, and expressing, the functions of the rooms. It made me realise the potential of using figures to implicitly express function, opposed to explicitly stating it in a legend. I previously considering the most important value in figures was showing scale.
Background and Context:
There is a clear separation between the section and the context. This is defined through the presence and absence.of colour. Because I want my section to be as expressive I think it will be better for me to reverse this formula, using colour for my section and greyscale for my context. This will provide the same clarity of elements, while allowing full expression of spatial qualities.
Above: The Lingotto Factory Conversion, Turin, Italy
Lighting and Depth:
The lighting in this is very expressive, but I what was most interested in was the separation of depths in the section. Some elements (through use of shading) seem to protrude into the foreground, while others are in the background. This could be used to show, not only the true depth of spaces, but also to give a hierarchy of important spaces. If an architect is trying to convey the experience of one particular space above another, the more important view could be set in the 'forground' to first capture the viewers attention.
Jodidio. P. (2008). Piano: Renzo Piano Building Workshop 1966 to today. Koln: Taschen.
Garbato.c. & Ishida. S. (1989). Renzo Piano: Buildings and Projects 1971-1989. New York: Rizzoli International Publications Inc.
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