Arch@Rudy Ricciotti 設計竹子「翼手龍巢」

法國建築師魯迪‧裡齊奧蒂（Rudy Ricciotti）形容他在巴黎設計的一幢竹子建築物是一個「翼手龍巢」（Pterodactyl　Nest）。這個造價4,100萬美元的項目，以它的圖紙編號命名為T8。這幢建築物將安排辦公室、商店和大約40套公寓住宅。從樓上可以俯瞰一個形狀不規則的庭院池塘。這幢建築物建築在一個跨鐵路的混凝土平台上。它的高度為7層，建築面積為47,684平方英尺。它將在很有發展前途的Tolbiac Chevaleret地區佔用一塊兩英畝矩形地塊。其對面是法國國家圖書館。
這幢建築物的外表面用竹子方格覆蓋。它被一個T形庭院劃分為三個主要部分。裡齊奧蒂採用了與傳統的巴黎庭院不同的設計方法。巴黎的大多數庭院都是正方形的或短形的，並且沒有植物。裡齊奧蒂的建築物將種植許多植物，從屋頂懸掛下來，他稱為「想像的伊甸園」。這幢建築物的縱深為39 英尺到66英尺，臨池塘的一面採用綠色玻璃，形成一種波浪形的表面。
在材料和色彩方面，裡齊奧蒂在臨街的一面選擇了一種昏暗的色調。商店和咖啡館的標牌採用了青銅、黃銅或紫銅。地面採用黑色混凝土。門廳採用了白色材料。

裡齊奧蒂有意限制這個項目的材料的數量，並且採用了簡單的顏色，但在每一個方面最大化地使用。裡齊奧蒂說：「我們將不使用其他的材料，例如鋁、PVC塑料或法國建築業流行的其他材料。」這幢創新的竹子建築將於2011年建成。

裡齊奧蒂在2006年贏得了法國建築大獎（French Grand Prix d』Architecture）。

@Source: ABBS獨家編譯據美國「建築實錄網站」

Culture@上海先發 廢工廠變文化園區

莫干山路50號是上海最早的文化創意園區，現在面臨租金過高的困境。
記者陳宛茜／攝影


上海什麼最多？第一個答案是摩天大樓，一百公尺以上的高層建築達四百多棟，數量全球第一。第二個應該是文化創意園區，據二○○六年底的統計，擁有上海政府授牌的創意園區達七十五家，密度也是全球第一。

二○○一年，上海藝術家丁乙沿蘇州河岸找到了莫干山路50號，將工作室搬到這裡。被稱為「M50」的此地，短短半年便從廢棄的紡織工廠，搖身一變成為「上海的塞納河左岸」。如今在M50設點的畫廊、設計工作室、影視公司超過百家、來自十六個國家，被認為是上海文化創意園區的開山鼻祖。

二○○四年起，上海政府大力推動「文化藝術產業」。M50成為模範，大量廢棄廠房掛上「創意園區」的招牌，去年便有近二十家創意園區冒出頭。

「上海其實不是一個城市，是好多城市湊在一起！」在上海成立設計公司SURV的台灣建築師莫仁傑認為，從租界時代以來，上海分成十幾個區，區域主義性格鮮明。每一區都想要擁有幾個創意園區，數量驚人。

SURV在二○○三年底搬進泰康路田子坊，是第一個進駐此地的設計工作室。田子坊本來是廠房、倉庫、石庫門夾雜的上海弄堂。一九九九年，已逝上海畫家陳逸飛率先將工作室搬進此地，二○○四年在攝影家爾冬強的提倡下，許多藝術家的腳步跟隨到此，如今和M50並稱上海兩大創意園區。

「莫仁傑說，田子坊和M50默默累積了好多年，才擁有今天的創意能量。上海許多創意園區都是政府先掛牌、大肆整修後，再邀請文化產業駐進。莫仁傑說，上海政府規畫了七八十家創意園區，稱得上成功的還是只有田子坊和M50。他分析，規畫整修後的園區租金高，反而嚇走真正有創意的中小型創意產業。

「當NIKE進入北京七九八，也象徵藝術活力的失去！」莫仁傑說，當商業力量湧入，高漲的租金會逼走藝術家，M50如今便面臨藝術家出走的困境。

@Source: 2008/01/02 聯合報 http://udn.com/ ╱記者陳宛茜

Fashion@珠寶時尚跨界 顛覆印象

品牌跨界，對時尚及潮流圈而言，早已非新鮮事，但在工藝限制較多且自成一家的珠寶來說卻仍是相當罕見，隨今年於日本時尚與珠寶各執一方的兩大品牌，山本耀司（Yohji Yamamoto）與MIKIMOTO攜手合作的珠寶系列，或將帶動珠寶圈的跨界風氣。

山本耀司以水和暴風為靈感的設計，顛覆皇室御用珍珠MIKIMOTO向來溫柔含蓄的印象，呈現嶄新而豐沛的生命力，去年11月已於日本上市，預估今年秋季將於台灣販售。

國內珠寶設計師林曉同，也於日前發表以JAGUAR XF新車為靈感的戒指，取車身流線科技與藍色環場光源設計，巧妙結合白K金與藍寶石，並刻有JAGUAR專屬字樣，也算開國內跨界之先。

@2008/01/01 聯合報 @ http://udn.com/ ╱陳若齡

Arch@Hearst Tower by Foster

Spacious common areas encourage staff and company heads to interact, allowing for productive and healthy interchange. This space houses the building’s Café 57, which is also used for a variety of events, such as movie premiers and conferences on sustainability. Menus are organic and an in-house farmers’ market for staff comes once a week.

Employees feel that the building fosters a collaborative spirit. Casual meeting spaces are distributed throughout the workspaces, and many private offices were swapped out for more workstations.

On the east side of the building, circulation spaces are pushed out to the perimeter, and private offices are moved inward for more democratic access to natural light and views of Central Park.

The overall office-to-workstation ration was reduced from 50:50 to 20:80, and workstation walls are lowered to foster interaction and openness.


New York City, New York
Foster + Partners/Gensler

Citation for Excellence

By Christopher Kieran

Foster + Partners’ design for a stainless-steel-clad, diagrid structure has given the Hearst Corporation an iconic presence on the New York City skyline [record, August 2006, page 75]. The Hearst Tower’s environmental agenda and unique aesthetic have dominated conversation about the building, but its occupants like to talk about how it enhances their work experience.

The new 46-story structure rises from a six-story pedestal built in 1928 and designed by Joseph Urban as the base for a future tower. But the Great Depression stalled the plans, and the short building served as the Hearst headquarters until Foster used it as the springboard for his design. Moving from 12 offices around the city back to its original home has given the company a more cohesive identity, and fewer private offices encourages more interaction among employees. The overall office-to-workstation ratio has been reduced from 50:50 to 20:80. Shorter workstation walls and casual meeting areas in desirable corner areas also encourage collaboration. Synergy among the leaders of Hearst’s many publications is greater now due to the seamless flow of space in the building.

As interior architect, Gensler designed many of the tower’s amenities. A fitness center, media lab, data center, and digital photo and broadcast studios make Hearst’s media operations run efficiently. Gensler also helped Hearst develop a “tower transition process” to aid employees in moving smoothly to the new workplace.

Increased productivity, an improved corporate image, and a healthy, attractive work environment have made Hearst a more desirable employer and a better company overall. Cosmopolitan publisher Donna Kalajian Lagani says the building has changed her perception of the company. “There is much more camaraderie companywide,” she observes. “I used to say I work at Cosmopolitan. Now I say I work at Hearst first.”

@Source: http://archrecord.construction.com/ Photo: © Nigel Young

Arch@InterActiveCorp Headquarters

InterActiveCorp’s new headquarters, with its iconic, curvaceous form designed by Frank Gehry, serves as a powerful branding tool for its client, declaring this electronic and new-media conglomerate as a cutting-edge and ambitious company. The building also is a key player in the ongoing revitalization of the west Chelsea neighborhood in New York.

The interior, designed by STUDIOS Architecture, is punctuated by incidents of bold color, developing an eclectic aesthetic to suit the client.

The building’s lobby, or “living room” space, boasts one of the world’s largest HD-quality, rear-projection screens and frequently hosts events for galleries and nonprofit organizations.

The building’s fluctuating envelope creates powerfully dynamic interior spaces that liven the workplace and reflect the creativity and diversity of the many brands working under one roof.

Customized, 120-degree workstations are designed to fit into the unique floor plans resulting from the building’s shape.

New York City, New York
Gehry Partners/STUDIOS Architecture

Award of Excellence

By Christopher Kieran

Frank Gehry’s first New York building, the highly anticipated InterActiveCorp (IAC) Headquarters, has been likened to the flowing pleats of a skirt, or the billowing sails of a ship floating along the Hudson River. The 10-story building near the Chelsea Piers Sports Center has fans and critics wondering what it says about the direction of the architect’s work. Meanwhile, the client is thriving and finds its own creative enterprises stimulated by the unique plan of its new facility.

IAC is an electronic and new-media conglomerate that includes the Home Shopping Network and more than 60 Web-oriented brands, such as Ticketmaster, Expedia, Lending Tree, Citysearch, and Match.com. The new IAC Building’s dynamic form reflects the aggregation of these diversified brands under one roof. STUDIOS Architecture’s interior design makes clever use of customized, 120-degree workstations that stretch out across the irregular floor plates, folding into the unusual spaces created by the building’s fluctuating envelope. Contrasting the ethereal palette of the curtain wall, STUDIOS punctuated the muted interior spaces with incidents of color, developing an eclectic aesthetic to suit the client.

IAC is among a number of forces stoking the revitalization of the West Chelsea neighborhood. Opening up to its new neighbors, the ground floor of the IAC is a “living room” space for the community. Galleries and nonprofit organizations host events in the lobby, which boasts one of the world’s largest HD-quality rear projection screens.

Gehry may not have stamped his long-awaited signature onto the New York skyline, yet with IAC he has created a building that brings identity to a neighborhood in flux and to a corporation whose distinct entities can now function as a more effective conglomerate.

@Source: http://archrecord.construction.com/ Photo: © Albert Vecerka / Esto

Arch@Gardiner Museum

Canada's only museum devoted entirely to ceramics, the Gardiner Museum reopened in June, 2006 after a 30-month renovation and expansion

By Henry Ng

The renovation of Canada's only ceramics museum, the Gardiner Museum in Toronto, solved infrastructural problems that had plagued the institution. The new design by Kuwabara Payne McKenna Blumberg Architects also created a facility capable of supporting the museum's anticipated growth. In all, the redesign added three new galleries, larger education and research facilities, and a critically acclaimed restaurant run by local celebrity chef Jamie Kennedy. The restructuring prompted major increases in membership and revenues for the museum.

Eduard Hueber / Arch Photo

The museum's new facade features bold forms in polished buff limestone and glass. It creates an enticing image for pedestrians and a powerful architectural identity for the museum.

Eduard Hueber / Arch Photo

The sleek, modernist design contrasts with the neoclassical surroundings of the neighborhood, highlighting the museum as a go-to cultural destination in the city's high-end retail district.

Eduard Hueber / Arch Photo

Since the museum's reopening, the gift shop has almost doubled its revenues. Large red ottomans enliven spaces throughout the building, including the shop, galleries, and restaurant.

Eduard Hueber / Arch Photo

The museum's acclaimed restaurant combines textures from throughout the building-the gray stone of the exterior, the white ceilings, the wood floors from the galleries-to create a beautiful space. The restaurant attracts a broader clientele to the museum and is another way in which it has established itself as an important cultural destination.

Toronto, Ontario
Kuwabara Payne McKenna Blumberg Architects

Citation for Excellence

By Christopher Kieran

Canada’s only museum devoted entirely to ceramics, the Gardiner Museum reopened in June 2006 after a 30-month renovation and expansion. Located in Toronto, just south of the city’s high-end retail district, the museum’s original 1984 building proved deficient in various respects. Kuwabara Payne McKenna Blumberg Architects (KPMB), whose Young Centre for the Performing Arts is a winner in this year’s awards, designed a 14,000-square-foot addition and worked with the museum to make a facility capable of supporting the institution’s anticipated growth.

Set back from the street to protect sight lines of neighboring historic buildings, the former Gardiner Museum suffered from limited visibility. Floor-to-ceiling windows on the new facade, however, make the building more inviting. The large glass walls frame and reflect nearby Neoclassical buildings, juxtaposing them with the Gardiner’s polished buff limestone surfaces, creating a dynamic visual experience. KPMB also designed a series of terraced platforms that use landscaping to bring the museum to the street.

In addition to expanding curatorial and exhibition space, the Gardiner aimed to be more of a cultural destination by enlarging its retail shop and opening a restaurant managed by local celebrity chef Jamie Kennedy. In the new shop, white floors, walls, and ceilings draw attention to brightly colored merchandise arranged on spacious white shelves, appearing to float between panes of glass.

All the elements of the building come together in the restaurant, where the gray stone found on the building’s exterior, and the wood floors and white ceilings from the galleries are assembled and contrast with one another. Large red ottomans, which enliven the galleries and shop, also punctuate the dining room’s muted earth tones and textures. Having met with critical acclaim from Food & Wine and Bon Appetit magazines, the restaurant has succeeded in attracting a broader audience to the museum.

Prior to this project, the Gardiner found itself lacking the infrastructure to augment an active schedule of exhibitions and programs and to accommodate its growing collections. Three new galleries and larger education and research facilities, including some tucked into a former underground parking garage, give the museum space to showcase additions to its permanent collection. New Chinese, Japanese, and contemporary porcelain collections have been well received. A new special exhibition gallery enables the Gardiner to enter negotiations to house the Victoria and Albert Museum’s ceramic collection while the London museum is renovated in 2009.

Featured in Vogue as the place to shop in Toronto, the Gardiner is reaping the benefits of good planning and design. Since reopening, the museum has seen a 20 percent increase in members and a 34 percent increase in membership revenue from the year before it closed for renovations. Attracting more visitors overall, the museum also saw a 95 percent increase in revenues from its shop and enjoyed the additional contribution of the restaurant. With its increased profile, the Gardiner has become a more important cultural resource for Canada, and its expanded facilities will enable it to continue growing.

@Source: http://archrecord.construction.com/

Design@Folding Chair Ladder

An incredibly clever little side chair that turns into a step ladder, what could be more convenient?

Said to have been designed originally by Benjamin Franklin, master inventor, this easy to convert piece is a wonder. It flips over to instantly make a handy stepladder perfect for the kitchen, library, and garage or storage areas. Made from hardwood and finished in white, it will look great in you home and last through years of use. Chair is 16"W x 15.25"D x 34"H. Internet exclusive

Country of Origin Thailand

Trend@京都學 引領日本企業再造的新顯學

京都式企業強化單一技術，不局限於品牌與完成品思惟，更不只顧日本國內客戶，一定要玩全球市場。他們最大的特色，就是「擁有絕對的全球市占率」，做就要做到全世界第一名，不想成為第一名以外的。

藝伎、櫻楓、古寺的千年京都古城，聚積了大和民族最精緻的藝匠精神，如今在如此深厚的人文底蘊下，激發出先進的科技產業！當求快、求大的東京式企業隨著日本經濟泡沫沉淪時，京都式企業卻以四倍以上的營利率、六倍以上的資產報酬率，屹立不搖。京都式變革，憑什麼成為全日本企業再造的依循方向？這也同樣是以零組件為核心競爭力的台灣企業，應該回答的新課題。

深秋，烈焰般的楓紅，惹火京都！這千年古都，不僅是日本第一的賞楓勝地，衹園玉面藝伎來來往往、鴨川流火明明滅滅、金閣寺榮光輝輝煌煌，一切加總起來，京都，無疑是東瀛最華美的時令色調。

迷人的景致下，京都聚積的深厚人文底蘊，更令人驚豔！窄巷百年老店裡，一個小漆碗，就是日本藝匠精神的展現，可以開價超過十萬日圓；一只小瓷盤，背後也代表了對品質無止境的追求，至今仍是日本政府致贈外賓的伴手禮；甚至是一張貼著金箔的皇室壁紙，傳人也到了第十四代，是五百年歲月的結晶。

除了古老，京都更用鮮活的創意，成功行銷自己，成為國際城市再造的典範！玻璃帷幕外觀、巨型鋼骨架構的新京都車站，正是這座城市最新的驕傲代表。京都市民雖曾一度爭論：這突兀建築如何融入優雅的市容？但如今，璀璨聖誕樹裝飾的站前露天廣場，已經成為年輕人流連的最佳約會去處。

老寺廟、新車站，在在讓世人對京都亮了眼，但更令外人訝異的是，這座千年老城竟然還活力四射地孕育出領先全球的高科技！

重裡子 京都組以逾四倍營利率勝出

京都人口僅一四七萬人，是東京的九分之一，比台南縣市一八○萬人還要少，但卻在半導體、通訊、電信、軟體、精密零件等多元領域，擁有世界級競爭力。除了最近因Wii聲名大譟的老牌遊戲天王任天堂外，包括羅姆、京瓷、日本電產、東星、村田製作所、堀場製作所，這一票極低調、極保守的高科技巨頭，在盈餘上的穩健表現，甚至遠遠超越東京的大企業。

「集團神話、完成品神話、綜合企業神話，統統不是京都式企業的特徵！」京都大學教授末松千尋指出，失落十年造成諸多日本神話瀕臨崩潰，京都式企業此時卻持續出現高成長動能，顛覆了管理學教材。

末松千尋著有《京都式經營策略》一書，是最早關注這群標竿企業的學者，他在接受《今周刊》專訪時強調，「京都式變革，已經是全日本企業再造的依循方向！」

因為，相較於京都式企業，東京式企業如新力、日立、東芝、三菱電機、NEC、富士通、松下，個個都是全球知名的大品牌，然而，在一九九一年至二○○一年日本陷入泡沫經濟時，小而美的京都式企業，卻以四倍以上的營利率、六倍以上的資產報酬率，把東京式企業遠遠拋在腦後。

甚至，在二○○一年高科技泡沫股災後，京都式企業的獲利，依然比載浮載沉的東京式企業穩定。當新力頻換執行長、日立與東芝皆大幅裁員的同時，專注研發關鍵零組件，隱身在終端商品幕後的京都式企業，仍然穩穩地握著全球高市占率。

「這是日本企業典範的轉移！」《東洋經濟》指出，知名度如同公司的面子，獲利率則是裡子，「東京愛面子，京都重裡子！」

重技術 強化單一技術力求第一

京都式企業憑什麼能夠創造眾所矚目的優越績效？

首先，京都式企業強化單一技術，不局限於品牌與完成品思惟，更不只顧日本國內客戶，一定要玩全球市場。他們最大的特色，就是「擁有絕對的全球市占率」，做就要做到全世界第一名，不想成為第一名以外的。

其次，京都式企業不強調集團化路線，自主性高，他們不喜歡借貸、財務體質好，自有資金遠比東京式企業來得高，還特別重視營利率，得以安全越過泡沫經濟。事實上，東京的資金環境，比京都好得多，但他們都仍決定留在京都，以過去的利潤，養未來的研發。另外，京都離東京遠，對中央政府的依賴度低，可以保持相當的獨立地位。

最後，京都式企業的經營者，都有留洋背景，不喜歡組織內的高同質性，更揚棄年功序列（薪資依年資調整，意即做愈久領愈多）神話，極度厭惡模仿、內部創新文化相對開放。

一九七三年創立的日本電產，是馬達驅動裝置的先驅，他們集中所有資源投入硬碟主軸馬達的研發，目前全世界每十台電腦出貨，就有七台內建的硬碟，是由日本電產出品。成功關鍵是，僅數十公釐見方的微型馬達，轉速可以逼近一萬RPM（每分鐘一萬轉），而這就是極精密、高品質的京都式代表。

「我們就像是半導體產業的英特爾，沒有我們的零件，整台硬碟就不能運轉，整個產業就要停滯！」日本電產社長永守重信強調，去年硬碟主軸全球市占率高達七七％，創下歷史新高，形成了無人能及的壓倒性競爭力。

「你家印表機的噴頭，用眼睛看看，夠小吧！」羅姆取締役研發本部部長高須秀視說，羅姆擁有高達四成、世界第一的印表機噴頭晶片市占率，這晶片操控著速度與顏色，印表機一分鐘要印上七、八頁全彩，奈米級晶片控制著一切。

「縮小化、效率化，是日本人的天性！」資深京都迷、政大科技管理所教授李仁芳觀察京都的創新之道是：小零件的深技術。

重精緻 千年聚積的藝匠經濟

環環相扣的三大勝出關鍵外，高科技的核心是智慧資本，京都小民們，成功轉化了傳統藝匠經濟。

京都城的南北地理位置，中世紀起即分為天皇居住的「上京」、武士居住的「中京」、庶民居住的「下京」。下京是工匠們的聚集地，他們精心生產的一碗一筷，都是供貴族階級使用。

「京都的精緻，無人能出其右，」法藍瓷總裁陳立恆觀察，藝匠學，向來是京都傳統產業的核心價值，直到一群外來創業家入駐，這長存的厚實聚積，一下子在高科技圈大放光彩。不論是電產的永守重信、京瓷的稻盛和夫、羅姆的佐藤研一郎、堀場製作所的堀場雅夫、村田製作所的村田昭，個個都是外地人，卻不約而同看上京都。

事實上，東京與京都，好比是中國上海與北京，上演著互相對立、甚至瞧不起的雙城記。現今的中國上海，如同東京，是掌控全國市場的巨型商業中心，但首都北京，則是中國企業與外商群聚的研發重鎮。

中經合創投董事長劉宇環觀察，台商的經營模式都是代工製造，所以群聚於長三角、珠三角，但包括微軟、Google等一大票看上中國本地人才的美國企業，一定選擇北京落腳。如同北京聚積了厚底子研發人才，京都亦是。

日本經濟新聞社出版的《京阪谷》，書中則把關西這一帶，比喻為美國矽谷，擁有日本其他地方少見的科研活力。

重創新 矽谷創新精神的變形

「日本向來是一個同質性很高的社會！」末松千尋認為，京都人卻非常有個性、有想法，極具差異化的創新精神。事實上，京都式企業的核心內涵，乃是矽谷創新精神的變形。

一九八○年代前，同質化帶來的好處，包括容易管理與維持秩序，是日本自二次世界大戰後復甦、大企業躍上世界舞台的關鍵；但在變動莫測的二十一世紀，這已不再適用。

日本的諾貝爾獎得主中，與自然科學相關的有七人，其中六人是從京都大學畢業或任教職的。在京都大學，每位教授進行獨立的研究，沒有人限制、干涉。這股自由風氣，一般循規蹈矩的人，可能無所適從。

「抱持批判精神」是京都不少高中的校訓！對東京人來說，這幾乎是難以想像的。「日本過去不注重員工個人績效，但京都式企業恰好相反！」京瓷發言人片山武美，一語道破。

有趣的是，連日本人自己都不知道，京都有這一群高科技模範生。因為大家都知道清水燒、西陣織，卻不知道半導體與精密陶瓷，也能與京都畫上等號，京都人引以為傲的藝匠精神，更在高科技找到新出路。

重深度 擺脫「me too」模式

京都典範，又能給台灣什麼樣的啟示呢？

「台灣企業很快，可是很淺，」李仁芳認為，只要有人一開始賺錢，大家都跟，所以大家必須要跑得更快，「京都是慢，但是他們真的很深。」

李仁芳強調，台灣企業一定要有特色，不出手則已，一出手就要讓大家知道是你的東西，因為「me too」已經走不下去了！他舉例說，包括華碩的Eee PC、宏達電的阿福機，都符合京都藝匠精神。

末松千尋則說，京都式製造企業的核心精神之一，是模組化策略，這在鴻海身上也看得到。

末松所謂的高品質模組化，初期研發成本雖然高，甚至是兩到三倍以上，但是拉長時間來看，絕對比一次次從頭再來，划算得多。以汽車產業作為例子，底盤是模組A、引擎動力是模組B、是模組C、內裝配備是模組D，在面對不同客戶的要求時，ABCD可以自由調配，像是日本客戶強調內裝，可以在D上面另外下點工夫，或者美國客戶強調動力輸出，則可以再加強B的表現。通用的部分愈多，效率愈高。

「不做模組，成本會一直向上跳！」末松觀察，台灣很多製造業都已經慢慢跟進。目前台灣陷入「毛三到四」、「保五保六」的獲利危機，京都式企業基業長青的作法，該是台灣企業的升級典範。

重特色 老企業寫下新傳奇

一直以來，廣為日本人認知的「企業三十年論」，指的是幾乎所有企業，擁有卓越表現的時間頂多三十年，之後一定會出現衰退。但是，京都式企業卻創造了新傳奇。

羅姆明年要過五十歲生日，京瓷也創立了四十八年、任天堂更是有兩甲子歷史，這一票歷久彌堅的科技企業，從A到A的歷史，已經博得全世界注目。

「商業組織是最容易犯錯、生命週期最短的人類組織！」這是美國管理大師杜拉克的名言，看來，京都式企業聽進去了。台灣，也該好好豎起耳朵！（節錄自《今周刊》574期：夢想預算書）

@Source: 今周刊 / 撰文／楊方儒

Arch@Mi Casa VolB in Sao Paulo

We have an unashamed soft spot for raw concrete, and Marcio Kogan's Vitra showroom in Sao Paulo proves our point; the material here seems as contemporary and versatile as ever.
The space opened in May this year, as an extension to the existing modernist emporium Mi Casa and to showcase Vitra products. The concrete is visible throughout, free of detailing, with even the construction workers' chalk markings left intact inside.

Outside, one facade is an exposed steel frame, normally used to reinforce concrete. Rough-textured surfaces lit from above and via the low shop window, make the space, as Kogan says, 'almost an X-ray of the materials'.

INFORMATION

City
Sao Paulo

Contact
Rua Estados Unidos 2109Jardim AmericaSao PauloTel: 55.11 3088 1238

Photographer: Nelson Kon

@Source: http://www.wallpaper.com/

Arch@ILORI in New York

Sunglasses super group Luxottica have proved their mettle as market leaders with a spanking new concept store, ILORI, on New York's Spring Street. With the evolution of sunglasses from summer holiday accessory to wardrobe staple, it's extraordinary they haven't previously been granted a luxury retail outlet, separate from that of their prescriptive siblings.

But ILORI more than makes up for it with a gallery approach to displaying their wares. Designed by architect Craig Nealy, the large space has been subdivided by a clever apportioning of piers into more intimate areas, delineated by different styles of frame, with the all-important mirrors never too far out of glance.

INFORMATION

City
New York

Contact
138 Spring Street
NY 10012
Tel: 1.212 226 8276

@Source: http://www.wallpaper.com

Arch@Bottega Veneta in Tokyo

In a building specially designed and constructed for the company, the new Bottega Veneta Ginza flagship is the brand's largest to date. The space allowing a good representation of furniture, homewares and fine jewellery, in addition to the core ready-to-wear, luggage and leather goods.

Vertical louvers in palm wood divide space and emphasise the high ceilings, whilst mohair velvet upholstery, custom dyed wool carpeting, African walnut ceilings and leather bound door handles emphasise the brands luxury allure and provide a subtle and subdued backdrop for the precious wares on display.

INFORMATION

City
Tokyo

Website
http://www.bottegaveneta.com


@Source: http://www.wallpaper.com/

Arch@Hermes in Seoul

When Hermes opens a new store, one might well expect to see something traditional and wood-panelled. However, the company's new Seoul outlet in Dosan Park bucks these assumptions. Architect Rena Dumas, who designs all the Hermes stores worldwide, created a bold, detached, double glass-membraned block. The exterior is coated with gold stripes - not far from the Hermes house shade of orange - that reflect the surroundings, acting as a screen to those looking in, but allow a view out to the bustling capital.

Any notion that this sculptural exploration in light is coldly unwelcoming is also dismissed once inside the building, which has been cut into to provide walkways, patios and gardens, with a curved staircase that flares up between levels. On the upper levels of the new ten-storey building, above the sales floor, are Hermes offices, workshops and an art exhibition space (pictured below during the inaugural show by French artist Daniel Buren), while in the basement is a cafe and a library.

There's also a museum, designed by long-time Hermes collaborator Hilton McConnico, with luminous white flooring, a mirrored ceiling and leather-clad tree-like columns; inside each of these is either an interactive screen explaining Hermes' historical legacy or a rare item from its archives.

Taking a stroll through this sci-fi forest is one of the highlights of a visit to this 7,745 sq m monster of a concept store. It's also a place to catch your breath after blowing a tidy sum on one of Hermes' highly desirable leather goods.


Contact
630-26 Shinsa-DongKangnam-gu, Seoul Tel: 82.2 542 6622

@Source: http://www.wallpaper.com/

People@Donna Karan interview

International fashion designer extraordinaire and founder of the DKNY label, Donna Karan has been dressing people all her working life, but now, she says, it’s time to address people.

Her Urban Zen initiative was born out of frustration that so much was missing from traditional Western practices of medicine. While powerful science and pharmaceuticals are of course vital in curing disease, she noticed there was a distinct lack of healing of the heart and the spirit. ‘We must treat the patient with the same passions with which we fight the disease,’ Karan insists.

Her vigour in spreading this message has included not only setting up seminars and training staff but she has converted her husband’s studio into a well-being centre and retail outlet with personally selected products including clothing, jewellery, home furnishings, CDs, books, perfumes and art where a percentage of the proceeds all go towards the project. We caught up with her in New York to find out more.

Where did the name ‘Urban Zen’ come from to describe your initiative?
'Urban Zen' seemed to sum up the two things that I believe this project is about. One is finding the calm amidst the chaos of our daily city lives: we always leave the city to try to find peace, but I’m proposing that maybe to find true calm you need to look inside and change what’s there rather than what’s on the outside. Secondly, this initiative is about harmonizing Eastern philosophy with Western medical practice and bringing the two opposites together.

What are the intentions of the initiative?
It is all to do with mind, body and spirit. Along with our three divisions: wellness, helping children in need and the preservation of culture, we are looking to shift the paradigm of the healthcare system today. Our aim with the Urban Zen philosophy is to raise awareness, inspire change and bring people together.

How do you intend to bring about change?
On a philosophical level it is about teaching and building communities but we are also validating the initiative by putting it into practice. We are building healing centres in hospitals, training doctors and nurses and recently employed 70 yoga teachers educated in Urban Zen to work in hospitals across the country.

How is the project financed?
A lot of the money comes from sponsorship and private donations but the other artery is the retail formula. A percentage of all the objects sold in the store goes to the project.

What do you sell in the Urban Zen store?
We have an exclusive line of cosy, comfortable and what I call 24-hour clothes. But the store is not only about clothes it also about the preservation of culture. There are lots of objects from other designers and artists as well as a vast selection of things that I have personally chosen from around the globe including jewellery, home furnishings, CDs, books, oils and perfumes.

How have you designed and decorated the space to reflect the principles of the initiative?
As soon as you enter the space you are taken away. The smells and the aromas that first greet inspire instant calm. No money has been put into the architecture of the space so it’s very raw but it is beautiful. There’s a simple little café with juices, soups and cookies, and there’s a wonderful outdoor space. We’re always holding cultural events and benefits there so the atmosphere is fantastic.

What was the inspiration for the initiative?
I have never been one to sit back, I have always been driven to solve problems. With Urban Zen it was after talking to so many of my friends about their treatment in hospital that it occurred to me that our culture was so focused on dealing with the disease, the patient was almost forgotten. As much as we talk about globalization, we’ve got a long way to go. There’s a soul in our culture that needs to be preserved.

How do you reconcile the polar opposite mindsets that run one of the world's most successful fashion labels with an initiative that springs from ancient philosophical values?
I’ve always been involved in both worlds. I’ve been doing yoga since I was 18 and been fascinated by the East. I also think that with success comes a responsibility to give back. I know it’s a huge undertaking but I love it.

@Source: http://www.wallpaper.com/fashion/ 10 December 2007

Design@大師的店》在街上遇見深澤直人…

有人說，東京是個最容易尋訪親近設計大師作品的地方，除了各種具時尚設計與創意的建築空間、大樓、商場等，一不經意，在百貨公司或大街小巷，就可能碰到知名設計師的專櫃或專賣店。

位於東京北青山的「 0」（plusminuszero，正負零、不多不少剛剛好的意思；http://www.plusminuszero.jp ），就是日本最具代表性的設計師深澤直人（Naoto Fukasawa）親手打造的新創品牌生活雜貨及小家電專賣店。

「 0」約僅十來坪，整家店的設計，也是由深澤直人操刀，店面簡潔單純，以四座白色櫃子展示所有設計產品，穿過中間的小庭院，後方有「 0 cafe」。

店裡陳設的重點商品，是獲得2005年日本「Good Design 」金獎的加溼器，它的外型溫潤可愛、色彩亮麗，有如貝果般的外形，中間陷處是水氣出口。

深澤直人在此門市的作品風格，多為圓弧造型，沒有多餘的線條或裝飾，雖然他為無印良品設計的產品多為白色或木質原色，但在 0，他大膽運用鮮豔色彩，讓作品簡單而不失活潑。

難得的是，即使身為備受推崇的當代設計大師，但任何人進了這家店，面對通透開放的陳列，完全感受不到設計師的盛名壓力，小家電的價格，也多在一、二萬日圓之間，十分平實，讓人充分體會到深澤直人強調的寂靜簡單的日本美學精神，這種精神也落實在無印良品的產品概念中，進而跨越國界和文化，打動許多人的心，影響可謂深遠。

@2007/12/22 經濟日報 http://udn.com/ ╱王家英

Arch@無印之家 自由編輯的生活空間

無印之家目前有木之家與窗之家，圖為位在永樂町的窗之家，屋內強調採光與高挑的設計，較具現代感。記者李至和／攝影
記者李至和／攝影
記者李至和／攝影
記者李至和／攝影

逛賣場，也可以順便看樣品屋、買房子；這就是無印良品日本東京有樂町門市的特別服務，更特別的是，這兒賣的不是一般的房子，而是十分「無印」的自然健康之屋。三年來，已有2,000組人申請參觀。

不論是之前推出的「木之家」，或今年4月登場的「窗之家」，無印之家室內延續無印良品一貫的簡潔低調，卻動線流暢，採光良好。以木之家為例，外表平凡無奇，結構卻有玄機，挑高屋頂的原木樑柱中，隱藏足以承受7級地震的鋼板。

木樑隱藏鋼板

無印之家由於堅持環保、堅固等設計興建要求，造價比一般房子略貴，30建坪的窗之屋，含家具價格約1,800萬日圓。即使如此，在日本推出三年來，已經有100棟「木之家」售出交屋。剛推出的「窗之家」，反應也很好。為什麼一個強調無意識設計的生活用品通路品牌，可以把產品線，成功地延伸到住宅？

有日本一級建築師執照的無印良品住空間事業部部長高野一義指出，除了強調堅固、耐用、環保、健康，無印之家最主要的概念是讓使用者，可以隨著生命階段不同、家庭結構變化，以及居住和環境改變，隨時調整、「編輯」空間，畢竟，單身、新婚、養兒育女和空巢期的居住需求，都不一樣，無印之家的變動，不用大動干戈即可完成。

至於內部空間規劃，不論是從客廳到餐廳、廚房，樓上臥室到樓下的公共空間，秉持既開放互動，又適度區隔的原則，好讓一個屋簷下的家庭成員沒有疏離感。加上內部陳設、家具、家電和用品，多半是自家的產品，整體的協調感，令人難以抗拒。

自然低調無壓力 「在這樣自然的裝潢『底妝』下，即使加上其他家具的『彩妝』，也不會覺得突兀。」高野說。

他指出，成立近30年，無印良品共有7,000多種產品，許多顧客也已年過30，他們有成家的需要，為了讓他們的生活更便利安適，無印良品結合專業建築、工程公司，跨出這一步。

在橫濱的無印之家樣品屋內，以赤松原木為主要建材的空間，舒適溫馨，每個空間的屋頂都一樣高，以方便家具的搬移。

無印良品產品設計時，非常重視所謂的基本寸法，即規格化，無印之家的設計也是如此，所以可以營造出物品各得其所、又方便收納、取用的住宅。

以廚房為例，充分利用柱子間的空間，貼切地嵌入無印規格化的金屬組合層架，每個層架上可視需求嵌入各種不同的收納產品，再以輕巧的拉門間隔流理台，不但開關方便、省空間，視覺上也清爽而一目了然。

一扇窗一幅畫

「窗之家」，名副其實就是以窗為設計特色的住家，高野指出，設計時可依屋主的喜好，開出「特別而沒有邊框」的窗，有樂町門市的樣品屋，就把窗子開在客廳牆面的下方，「從室內的窗看出去，多了許多風景，戶外看起來，每一扇窗，都是一幅不同的畫。」高野說。

窗之家的建築工法，運用更多自然素材，除了原木家具，牆面使用的是類似桂藻提煉的塗料，可以呼吸，隨外部環境調節室內的溫濕度、節省能源。家具是深澤直人為無印良品設計的「real furniture」系列，門把、掛勾、蓮蓬頭等五金配件，也是無印良品新成立的新事業部Muji infill的產品，似曾相識的平淡線條，延續深澤直人一貫super simple的設計概念，卻和整個空間十分協調地營造出無壓力的舒適感，這大概是過度科技化社會中最令人渴望的歸屬吧!

@2007/12/22 經濟日報 http://udn.com/ 文／王家英

Design@大師秀巧思 無印良品展新貌

無印良品今年新發展結合餐飲與咖啡的Cafe&Meal MUJI，位在高級商業區日比古，吸引許多白領女性入內用餐。中的大吊燈乍看下相當奢華，實際上卻是採用無印良品果汁瓶所做的吊燈。記者李至和／攝影
日本無印良品有樂町店內的收銀區，背後是由紙箱堆疊而成的牆面，也是很代表無印精神的設計。記者李至和／攝影
記者李至和／攝影
記者李至和／攝影
記者李至和／攝影

將邁入第28個年頭的日本無印良品，正悄悄地展開一場蛻變革命，它的改變和創新，從東京時尚設計中心六本木Midtown的MUJI新概念店，到有樂町剛改裝的無印良品、無印之家樣品屋、新成立的Cafe&Meal MUJI，處處可見，雖然低調依舊，但在杉本貴志、深澤直人、隈研吾等大師的巧思下，卻適度的呈現細緻的美學生活品味，展現一番新意。實驗創意
跳脫無色彩限制

今年3月新落成的的六本木Midtown，是日本向世界展示設計力的新作。日本無印良品躋身其中，並在地下一樓取得最佳的位置，占地200坪，展現它最新的設計與生活概念，它的店招不是漢字的無印良品，而是英文MUJI，反映出它國際化的企圖心。

在這家概念店的入口處，可以看到磚紅色的毛衣、紅綠交錯的圍巾、帥氣的小羊皮外套，這些嶄新的服裝面貌都整合在實驗性的「MUJI LABO」的新品牌中。實木素材、線條簡潔、強調舒適性的無垢材家具，是無印良品新推出的real furniture系列產品，在這家店中，以大面積的空間陳列，並且提供訂做服務。

日本無印良品社長松井忠三解釋，「Midtown門市有點實驗性質，用來思考未來五年無印良品該走向哪個方向，每半年都會有新火花」。LABO是「實驗、測試」的意思，因此這個新發展的服裝支線，活用素材的優點，納入更多流行元素，跳脫無印良品一貫無色彩的限制。

「無印良品已經是快要30歲的品牌，成長也到一定規模，在產品設計上要更有突破，但商品開發又要更精確，MUJI LABO就是兼具革新與測試的作法」，無印良品主導商品開發與宣傳的金井政明專務更進一步解釋。

MUJI Midtown位在這棟商場大樓的一角，都會時尚感的挑高空間，分成服飾、家具家電、生活雜貨三大區塊，三面落地玻璃面對大塊綠地及花木，白天陽光自然灑落進來，和簡約、高質感的木質家具、衣飾等商品陳設，以及現代感的空間設計自然融合。

這一家店由無印良品的外部設計諮詢委員會成員、知名空間設計師杉本貴志一手操刀，除此之外，他所領軍的的Super Potato設計團隊，也讓位於日比谷商業區寶塚劇場附近的Cafe & Meal MUJI，充滿文化時尚創意。綠色創意
商品開發重環保

這家餐廳11月7日才開幕，以發揮食材美味的健康餐飲為經營宗旨。店中最特別的是，餐廳屋頂懸掛的一盞大吊燈，耀眼地讓人以為是一般的水晶燈，近看才發現，原來是用無印的空玻璃飲料瓶當燈罩，焊接廢棄鐵材製作而成。這種回收產品，結合設計巧思的創意，既符合環保概念，也貼切傳達無印良品2008年商品開發的三大重點：善待地球、廢料再利用及自由組合。

無獨有偶地，11月才改裝好的有樂町無印良品旗艦門市中，也有類似的創意；三樓生活雜貨區的結帳櫃檯背後，一整面波浪狀的土黃色立體壁飾，是用無印良品回收的包裝紙箱製作而成，這也是杉本貴志工作團隊的點子。

這一家店原是寶塚劇場舊址，賣場約950坪，除了服飾、文具、生活雜貨家具，還有餐廳、麵包店、花店及無印窗之家樣品屋，不但是東京地區最大的門市，業績也最好，每年有200萬人光顧，其中126萬人消費，平均客單價3,800日圓，居各店之冠。台灣無印良品總經理王文欣指出，這家店不但經營績效好，「不論是商品陳列、門市管理和銷售服務，也最有看頭」，是她每次到日本考察必訪的一站。

在這家店的窗之家樣品屋內，陳列著深澤直人設計的無垢材餐桌椅、白蠟木床組及簡潔俐落的方形浴缸，窗景的規劃則有日本知名建築師隈研吾的專業建議。

這些知名設計師，都是無印良品的設計活水，也是支持品牌核心價值以及創新的動力。目前無印良品的企劃設計部門共有15個人，外部設計諮詢委員會有八位設計師，另外還有四位海外設計師採專案合作模式。

無印良品生活雜貨部企劃設計室室長安井敏指出，「未來無印良品的設計有兩個主要區塊『World MUJI』與『Found MUJI』，前者透過外國設計師的眼光看無印良品，開發出兼具世界觀與無印精神的商品。後者則是從日本設計師的角度，尋找符合無印理念的世界設計」。檢驗創意
名家設計不具名

例如，來自法國塔斯馬尼亞的海藻保養品系列、從捷克傳統手工藝發想而來的直角襪，就是Found MUJI的商品。單價較高的包包配件、訂製家具等，則來自World MUJI的設計。

讓人好奇的是，為什麼這些名家與專業設計人才，都願意不具名的與無印良品長期合作？

金井政明指出，主要是他們都認同無印良品化繁為簡、凸顯商品原形及No Brand的概念，「設計師出名之後，也會反思究竟消費者是為了真心喜歡，還是為了設計師的名氣，才購買商品的？」掛上了名字，反而無從檢驗。

誠如設計產品時盡可能降低個人專業色彩的深澤直人所說，「我喜歡當個平均數，所以在設計無印良品的產品時，希望不要放上我的名字，否則不但危險，更會混淆產品的焦點。」回歸產品和生活本質，無印良品就是以這個精神，拉近了設計人才與消費者。

@2007/12/22 經濟日報 http://udn.com/ 文／李至和、王家英

Food@珍珠奶茶鍋／玥飲軒

珍珠奶茶火鍋：葷素皆有，重點是「鹹的」。珍珠超大粒，其它配料吸飽奶茶香，也變得甘甜有味，唯一缺點是茶香淡了些！450元（含前菜、沙拉、甜品、飲料等）

猴頭菇擂茶火鍋：有葷有素，猴頭菇搭擂茶（其實鍋裡沒有茶），滋味還不錯，湯頭淡雅，重口味者可沾特製醬。500元

茶卡布奇諾：這道鋪滿奶泡的茶， 並沒有咖啡， 也是取其「形」；茶湯與奶泡的組合，是奶茶的變身款！200元

拚創意！有鮮奶的濃醇、茶香的芬芳，湯底更撈出碩大軟Q的「珍珠」，驚奇和口感百分百。


珍珠奶茶火鍋，聽了讓人害怕！到底是甜還是鹹？能吃嗎？在種種疑惑之下，走進玥飲軒。這是家別具氣質的茶館，水流、古箏、木香與優雅的美女現身，對珍奶鍋的印象，偷偷加了分。


店長說，會研發珍奶鍋，是因茶館賣茶，以茶入鍋太普遍，茶配牛奶最優，於是奶茶入選。珍珠又是奶茶的絕配，珍奶鍋就這樣出爐。


鍋底是乳白色，據說還加了自家研發的「白醬」，有點西式濃湯的味道，帶些甘甜味；珍珠個兒大、咬勁足，有點蜜香，搭配奶茶，不像吃鍋，倒像喝熱珍奶！


除了珍奶，茶館還賣起擂茶鍋，取客家擂茶的「 形」，鍋裡有松子、栗子、花生、蓮子等擂茶所用的各種堅果，但沒有茶，走的是「養生」路線。除了鍋，也有餐，主角當然是茶。採訪當天，見識到了「啡茶」（咖啡＋茶）、「茶卡布奇諾」與「茶拿鐵」，還有西藏的酥油茶、台灣客家擂茶，光是茶單，也有數十款，創意不下於珍奶鍋！


怎麼吃？店長洪橧鋌：珍珠與奶茶是絕配，先配著嘗湯頭； 珍珠不要一次吃完，留些最後收口，口感全然不同！

DATA

地址：台北市溫州街80號

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@ Source: 2007/12/08 聯合報 http://udn.com/ ／記者羅建怡、吳雨潔

A Few of Renzo Piano's Favorite Things@Arch

An appreciation for ancient and modern is readily apparent in the list of 10 buildings beloved by the famed architect

By Paula Lehman

Renzo Piano believes buildings should reflect their environments. He's not simply talking metaphorically: While he's well known for the attention he pays to a building's context, he has also become known for designs that include large transparent surfaces. This is visible in designs such as the three-building addition he built for the High Museum of Art in Atlanta, completed in 2005. Atop each building is a grid of 1,000 skylights allowing natural light to pour into the exhibition space.

Recently, Piano, who is currently finishing work on The New York Times Building in midtown Manhattan and also the High Museum of Art (seen here), spoke to BusinessWeek about his 10 favorite buildings of all time. Many were built prior to the 20th century. Piano says the reason he's partial to older structures is that to him, architecture is about memory. Having grown up in Genoa, Italy, where his office is headquartered, he was surrounded and inspired by historic architecture. "Memory is a constant part of what I'm doing," he says. "All my work is in some way connected to memory." This shows in the details of his projects, which act as a tribute to the family of builders he grew up in and to the following classic works of architecture.

The Acropolis
Athens
Architect: various
Sixth century BC

The Acropolis is a collection of ancient ruins atop a 150-meter-high flat rock in the center of Athens. To Piano, the use of stone on such a monumental scale is an example of lightness in design. "This is the living example of how light you can be with stone," he says. "It's almost like you're fighting against gravity."

Viking Ships
Northern Europe
Architect: various
Viking Age (800-1100)

For Piano, Viking ships present a perfect marriage between functionality and architecture. For instance, the keels of Norse ships, built in the ninth century, not only serve to steady the boat but are often intricate in aesthetic detail. Piano himself both builds and sails boats in his minimal free time, and as such these boats present an inspiration — and a challenge.

Brunelleschi's Cupola
Florence
Architect: Filippo Brunelleschi
1434

Standing 91 meters high, the cupola atop Santa Maria del Fiore in Florence has been one of Piano's favorite structures since childhood. The cupola is self-supporting, with an octagonal base and stone ribs. Piano admires Brunelleschi's approach — acting not only as an architect but also as builder and artist on the project. "He didn't just design the cupola," explains Piano. "He even designed the tools to make the cupola."

The Crystal Palace
London
Architect: Joseph Paxton
1851

The Crystal Palace was originally built for the Great Exhibition of 1851, where exhibits ranged from traditional art to a precursor to the modern fax machine. After the exhibition the palace was moved to the south part of London that still bears its name though it burned down in 1936. Designed by celebrated architect Joseph Paxton, this wrought iron and glass structure looked like a gigantic greenhouse — appropriate, given that Paxton began his career as a gardener. Piano calls the Crystal Palace "the reinvention of the dream of lightness."


The Palm House
London
Architect: Decimus Burton and Richard Turner
1848

Piano often plays with light in his designs. Perhaps it is this fascination that caused him to pick not one but two greenhouse structures for his top 10 buildings of all time. The Palm House in London's Kew Gardens is a Victorian greenhouse made out of glass and wrought iron. Piano acclaims it as "a masterpiece of steel. [It] feels immaterial."



La Maison de Verre
Paris
Architect: Pierre Chareau
1931

La Maison de Verre means "house of glass." The Paris residence was designed by Pierre Chareau for Dr. Jean Dalsace. The house, which was built over a period of five years, has a facade of glass blocks. Inside, the house is divided by movable panels and screen doors, allowing light to flood the interior. Piano later used this building as the inspiration to design the headquarters of Hermès Japan in Tokyo, which opened in 2001.




The Kimbell Art Museum
Fort Worth
Architect: Louis Kahn
1972

Piano is currently working on an addition for the Kimbell Art Museum, due for completion in 2011. During his time at the museum, he says he has come to admire the original building designed by legendary architect Louis Kahn, with whom Piano worked as a young architect. The museum is a series of five stone vaults, with skylights that flood the exhibition space with natural light.



Castelvecchio Museum
Verona, Italy
Architect: Carlo Scarpa
1973

When Carlo Scarpa restored the Castelvecchio Museum, an art museum in Verona, Italy, he created a contrast between ancient and modern. The medieval castle now includes ornate metal lattice doors leading to modern-style platforms that hold various pieces of artwork, such as a statue of Cangrande della Scala that sits atop a cantilever, one story above the ground floor level. Piano says he appreciates the subtle integration of old with new.



Centre Georges Pompidou
Paris
Architects: Renzo Piano and Richard and Sue Rogers
1977

The Centre Georges Pompidou, also known as Beaubourg, was built in 1977 when Renzo Piano was still fairly unknown and working for legendary British architect Richard Rogers. The building is a skeleton of color-coded mechanical systems. Piano, who now lives in Paris, picked this building as one of his favorites because it's become a regular hangout for him. He says that the building "exudes a feeling of freedom."



Renzo Piano Building Workshop
Punta Nave, Italy
Architect: Renzo Piano
1991

Piano's own architectural studio headquarters in Genoa, Italy, is inspired by the surrounding environment and location. Sitting on a hill, the office is composed of a series of glass terraces that slope down towards the sea. Piano says the building is modeled after greenhouses typical of the Ligurian coastline. The office was built in 1991 and houses 130 employees.

@Source: By Paula Lehman http://www.businessweek.com/ November 7, 2007