Building on the Shoulders of Giants by a.strizi

The Renzo Piano Pavilion/ “Building on the Shoulders of Giants” Illustrated Critical Essay by Anna Strizikova - 18020820

Table of Contents

Introduction

Philip Johnson - Amon Carter Museum of American Art

Louis I. Kahn - Kimbell Art Museum

Tadao Ando - Modern Art Museum of Fort Worth

RPBW - Renzo Piano Pavilion for Kimbell Art Museum

Conclusion

Timeline

References & Bibliography

List of Figures

Essay word count

(excluding timeline, table of contents, titles, figures descriptions, direct quotations, references & bibliography and list of figures)

Title page figure: Façade of the Renzo Piano extension (RPBW, 2013)

3791

Introduction

People have always sought inspiration, whether it is when we are creating or just in our everyday lives. People need to feel inspired in order for humankind to move forward. Creating everything anew, not looking at what has already been done and ignoring the work of others would stop all progress and growth that the generations of creators, whether it is painters, composers, architects or inventors and innovators, have achieved in the past. We have to stand on the shoulders of giants in order to see further, in order for the society to move further, be better. This critical essay describes the history of a special site in the Cultural District of Fort Worth, Texas. Here, on an area mere tenth of a square kilometre large, four great minds of the 20th century, one after another, created their masterpieces, all mutually influencing and inspiring each other. Three different art museums, four different styles and four different approaches to the use of natural light, which is so important when displaying art, all complementing and contrasting each other at the same time. This progression does not only show the last fifty years of architecture neatly presented next to each other, it shows that people learn from the past, get inspired, but essentially move forward. We improve what has been done in the past and adapt it for the future. Starting with Philip Johnson in 1960s and finishing with Renzo Piano in 2010s, who here faced the largest challenge, as he had to design a building worthy of standing next to Kahn’s iconic vaulted museum; this essay analyses how much was this last design in particular influenced by existing buildings on the site and how much Piano decided purely based on his own experience and perception of architecture.

Philip Johnson’s Amon Carter Museum of American Art (1961 - 2001)

Renzo Piano Pavilion for the Kimbell Art Museum (2013)

Louis Kahn’s Kimbell Art Museum (1972)

Tadao Ando’s Modern Art Museum of Fort Worth (2002)

Fig. 1: Site plan (RPBW, 2013) 1

Philip Johnson - The Amon Carter Museum of American Art

Philip Johnson was born into a lawyer’s family in Cleveland, Ohio in 1906. He excelled in school and, in 1923, was admitted to Harvard without an examination. A year later, he inherited a fortune from his father, securing him for life. However his youth was not easy, mostly due to his sexuality, which, at the time, was still not widely accepted, Johnson took time out from Harvard and started travelling to Europe to escape, which started his enthusiasm for European architecture and design in general (Saint, 2005).

His work was influenced mainly by his teachers and the architects he worked with, those include for example Le Corbusier, Walter Gropius, Marcel Breuer, or Ludwig Mies van der Rohe, whose effect is especially apparent in Johnson’s Glass House in New Canaan (Fig. 2, designed in 1949) which was inspired by Mies’ Farnsworth House (Fig. 3, designed in 1946). This project later became one of Johnson’s most famous works (Johnson, Noble, & Futagawa, 1972, pp. 9-12).

Fig. 2: Johnson’s Glass House in New Canaan, Connecticut (Highsmith, 2006)

Fig. 3: Mies’ Farnsworth House in Plano, Illinois (Highsmith, 2006)

Johnson designed The Amon Carter Museum of American Art (Fig. 4, originally of Western Art) in 1958 and marked so the beginning of his experience with institutional buildings which afterwards rapidly grew in 1960s and 1970s, those include for example the Sheldon Memorial Art Gallery (Fig. 5, built in 1963) which arguably bears elements similar to the ones seen in Fort Worth, such as the arched portico facing a small plaza, or the shape of the arches themselves (Lewis & O’Connor, 1994, pp. 12-13).

Fig. 4: Johnson’s Amon Carter Museum of American Art in Fort Worth, Texas (Bianchini, 2020)

Fig. 5: Sheldon Memorial Art Gallery, University of Nebraska (Mirer, 2013)

The building of the Amon Carter Museum is relatively simple international style structure, cladded in shell stone (Fig. 6) with a loggia at the east façade inspired by the Italian Renaissance architecture, which Johnson admired on his tours around Europe. It is positioned, in accordance with the client’s request, on the upper end of the slopped site, to provide a view onto downtown Fort Worth from the entrance portico, furthermore the building is then additionally elevated to enhance this view even more (Bianchini, 2020).

Fig. 6: Shell stone cladding of the portico (Watson, 2016)

As the collection of the museum grew, the original design could no longer facilitate its extents and had to be repeatedly expanded, in 1964, 1977 and finally in 1999. The first extension was designed by Joseph R. Pelich, who worked with Johnson on the original project and even this expansion was discussed with Johnson personally to maintain consistency with the original design. The second extension was executed by Johnson and his partner at the time, John Burgee. In 1999, the museum closed again and the 1961 design was restored to begin new extension (based on the same footprint as the previous two). To visually detach this new built from the original, it is cladded with dark Arabic granite. This extension has an atrium in the middle, rising over 17 meters, and is topped with a circular elevated roof with side windows, to let natural light into the interior, where it reflects from the walls cladded again in shell stone. This last extension was executed by Johnson himself who made the building, as a whole, an example of his work, and even though it may not be his most well-known work, it reflects the development of his style, he even called it “the building of my career” (‘Amon Carter Museum of American Art’, no date).

Fig. 7: Section of the original Amon Carter Museum of Western Art - before extensions (Amon Carter Museum of American Art, no date)

Louis I. Kahn - Kimbell Art Museum

Louis Isadore Kahn was born on the island of Saaremaa in Estonia in 1901, however in 1906 he emigrated with his family to Philadelphia, Pennsylvania, where he spent most of his life and career. He found interest in drawing and sculpting in grammar school and pursued different kinds of art ever since. He was first introduced to architecture in 1919, and the new subject fascinated him so much he decided to give up his plans to study painting at Pennsylvania Academy and instead go to the University of Pennsylvania to study architecture. After the university, he worked at several different architectural offices, mostly in Pennsylvania, though only as a junior architect. His career as a leading architect did not take off until the 1950s, however even during those last twenty-five years of his life, he managed to redefine modern architecture for generations after him (Brownlee, et al., 1997, pp.12-20).

Throughout his whole career, Kahn wanted to create a socially transformative architecture, and believed that his mission as an architect was to better society by transforming its people and institutions to be more humane. This later steered his career from private houses towards public buildings, especially in the end, when he focused on projects for educational institutions, religious communities, and art collections. Among them, the Kimbell Art Museum in Fort Worth, which is now considered to be the peak of his architecture career and one of the most important pieces of modern architecture (Goldhagen, 2001, pp. 4-5). Kahn was short-listed for the project since the very beginning and Richard Brown, then director of the museum, eventually commissioned him to the project in 1966, after meeting him in his Philadelphia office where he was struck by Kahn’s creative imagination and his sensible work with natural light, which was very important to Brown as well (McCarter, 2005, pp. 341-342). Kahn has previously designed only one art museum, the Yale Art Gallery (Fig. 8 and 9, finished in 1953). The Yale art collection was quite extensive and well-established when Kahn was working on the gallery, the Kimbell collection was, on the contrary, both new and undefined, Kahn welcomed this lack of definition in specificity of the collection’s content and size as “an opportunity to create an ideal setting for works of art” (Kahn in McCarter, 2005, pp. 342).

Fig. 8: Exterior of Kahn’s Yale Art Gallery (Ludwig, 2018)

Fig. 9: Interior of Kahn’s Yale Art Gallery (Ludwig, 2018)

One of the determining factors for the design was the Amon Carter Museum of American Art at the top of the site, as no new building could obscure the views from Johnson’s portico, Kahn’s museum had to be set low (Brawne, 1992). As to the iconic concrete vaults of the museum, Kahn envisioned a barrel-vaulted space from the beginning. The original vaults were however from folded concrete and rather angular, unlike the final proposed vaults, which are cycloidal. This idea was introduced to Kahn by his project captain for the museum, Marshall Meyers. (Brownlee, et al., 1997, p. 212) Nonetheless, he original idea of reflecting natural light into the spaces from the vaults stayed unaltered throughout the design process, as is apparent from his sketches from 1967 (Fig. 10). Kahn described the museum as a ‘villa in a garden’, calling its west façade and porticoes the “entrance of the trees.” He turned the building’s entrance away from the road and parking spaces, as he believed buildings are meant for people and not for cars, however, due to this decision, the visitors tend to enter the building from what Kahn considered the back entrance in the east (de Monchaux, 2014). The museum is quite modest in its materials, walls are non-load-bearing and made from Italian travertine, the vaults and columns are in concrete, which has been smoothed out to enhance its reflective qualities so the light can spread through the space more evenly, and flooring is in white oak, all those materials are of pale colours, so the interior spaces would not distract the visitors from the art itself, but rather pose as a muted, desaturated background.

Fig. 10: Kahn’s early sketch of polygonal vault and reflector, 1967 (Kahn in Brawne, 1992, fig. 7)

Fig. 11: Materials of Kahn’s Kimbell Art Museum (Gerwing 2015)

Fig. 12: South-west view of the Kimbell Art Museum (de Jauréguiberry, 2011) 5

Tadao Ando - Modern Art Museum of Fort Worth

Tadao Ando is known for his unusual career trajectory, from boxing professionally in 1958 to establishing Tadao Ando Architectural Institute a mere decade later, even winning the Architectural Institute of Japan Prize in 1979 and many other architectural awards, including Pritzker Architecture Prize in 1995, despite never receiving any formal architectural education (‘Tadao Ando’, 2020). Born in 1941 into a poor family in Osaka, Japan, Ando started boxing to earn money when he was only seventeen years old, following the footsteps of his twin brother (Bailey, 2015). This later presented him with valuable opportunity to travel abroad, despite the travel restrictions, this eventually opened the world of architecture for him. He soon realised his own limitations and the dangers of this sport and eventually stopped boxing professionally (Nussaume, 2009, pp. 43-44). After ending his short career in boxing, he apprenticed himself to a carpenter, while he taught himself architecture, using a list of books recommended to university students, however he never apprenticed to another architect, as every time he tried he was fired for “stubbornness and temper” (‘Tadao Ando’, 2020). When the travel restrictions were lifted in 1965, Ando wished to see the architecture that he was learning about and that was so different from the one which he lived in. He set off alone on a seven months long tour around Europe and Asia, where he saw modern as well as ancient architecture (Nussaume,2009, pp. 45-46). He later wrote the following about his traveling experiences: “The encounter with an exceptional work surely makes us understand, better than a long-winded speech, many things that precede language and involve the creators unconscious. And this pertains even to areas that are invisible to the eye, such as the climate and nature of each region, the way of life of the people, and the air that one breathes in the streets. Soon emotion gathers deep in our consciousness and , over time, it is condensed, becoming part of our own bodies. During my travels, I had such dialogues a thousand times while walking and touching, and I believe that this is how I learned architecture” (Ando in Nussaume, 2009, p. 45) His first architecture project was the Tomishima House (Fig. 13) in 1972, and even here he was already asserting his distinct style, distancing himself from his surroundings by using concrete instead of traditional timber, this earned him his first publication in a local journal and started a reputation that would only grow from then on (Nussaume, 2009, p. 47). Ando later bought the building from his client and turned it into his atelier, the original Tomishima building got demolished in 1991, when Ando decided to build a new, sevenstorey tall, building on the site - ‘Atelier in Oyodo II’ (Munteanu, no date), which resembles the original one, especially in the materiality, however the twenty years of experience in the field are clearly apparent as well (Fig. 14 & 15).

Fig. 13: Tomishima House (Ando, 1973)

Fig. 14 & 15: Atelier in Oyodo II (‘Atelier in Oyodo’, no date) 6

Fig. 16: Hyogo Perfectural Museum of Art (Stock, 2013)

Fig. 17: Modern Art Museum of Fort Worth (Yusheng, 2012)

Coming to the site in Fort Worth in 1997, Ando had already had a rich experience with museum buildings, as he previously worked on seventeen museums and galleries. Work on six of them even overlapped with the work on the Modern Art Museum of Fort Worth and have therefore inevitably had an influence on this project and vice versa. This is apparent for example in the Hyogo Prefectural Museum of Art (Fig. 16), which Ando designed in the years 1997-1998 (Dal Co, 2010, pp.282-289). The similarities are visible in the division of the building into rectangular boxes, or the overhanging roof, but mainly in the glass and concrete double skin façade, which Ando uses in many of his projects even later on. He compares the gap between the layers of the façade to the Japanese engawa (veranda) - “neither fully inside nor outside the building” (Ando in Jodidio, 2014, p. 428).

Fig. 18: Sketch by Ando comparing the height of The Modern and the neighbouring Kimbell Art Museum (Jodidio, 2014)

Fig. 19: The Modern at night - better showing the double skin façade (Yusheng, 2012)

Ando designed the Modern Art Museum of Fort Worth (also known as The Modern) in the years 19971999 and the museum opened in 2002. Positioned just across the street from Kahn’s Kimbell Art Museum, which is considered to be one of the key buildings of the 20th century, the main challenge was to provide a harmonious relationship between itself and Kahn’s design (Ando, et al., 2003, p.68). Ando contrasted the rounded design with five parallel boxes set into a reflecting pond and oriented perpendicularly to Kahn’s vaults. Three of the boxes are shorter and serve as exhibition area, the remaining two are occupied by public and administrative spaces. The glass and concrete double skin façade, as mentioned above, here serves to protect the art works from the harsh Texas sunlight (Jodidio, 2014, p.428).

RPBW - Renzo Piano Pavilion for Kimbell Art Museum

Renzo Piano was born in Genoa (Italy), in 1937 into a family of builders, this directly affected his career and approach to architecture, as he appreciates craftsmanship and the knowledge of “how to do things not just with the head, but with the hands as well” (Renzo Piano in RPBW, no date). In the beginning of his career, he even briefly worked for Louis I. Kahn, before he set up an office in London with Richard Rogers in 1971. Together with Rogers, they won the competition for Centre Georges Pompidou (Fig. 20, finished in 1977), which brought them recognition and Piano subsequently moved to Paris where he and Peter Rice Fig. 20: Centre Georges Pompidou (Paris Digest, no date) established Atelier Piano & Rice (RPBW, no date). In 1981, Piano established his own practice, the Renzo Piano Building Workshop (RPBW), with offices in Genoa and Paris (today also in New York). The workshop operates the same way Piano does himself, no project is designed by one leading architect but by a whole team of architects, engineers and designers, as they describe it: “working collaboratively means working better: more ideas, more cultural and generational diversity, more experience, knowledge and creativity”. The practice, to this day, completed over 140 projects all over the world, among the first of which was The Menil Collection in Texas, where, in a way, Piano’s and Kahn’s journeys crossed for the second time (RPBW, no date). The Menil Collection (Fig. 21 & 22) was assigned to the RPBW in 1981, however it was originally commissioned to Kahn in 1972 (Kahn died before completing the proposal). The building is often compared to Kahn’s Kimbell Art Museum for its reflection of natural light into the spaces in such analogous manner that it dissolves the interior and makes the visitors pay more attention to the art occupying the spaces rather than the building itself (Piano, R. et al., 2007, p. 146). The Menil Collection was a large success for a starting office and it brought many similar projects to the RPBW, one of them was eventually the extension to the Kimbell Art Gallery where Piano’s and Kahn’s journeys crossed each other most recently.

Fig. 21: Interior of The Menil Collection (Hester, no date)

Fig. 22: Sketch of natural light reflecting from the roof structure into the gallery - creating similar effect to the one in Kahn’s Kimbell Art Museum (Piano, 1984) 8

Fig. 23: West - east section of the Kimbell Art Museum along with the Renzo Piano Pavilion (RPBW, 2013)

The RPBW was commissioned along with Kendall/Heaton Associates, Inc. to expand the Kimbell Art Museum in 2007, when the museum’s collection grew far beyond what the original building could accommodate. The workshop has previously worked on museums and galleries, even on several expansions to existing buildings, however no project has yet presented such a challenge like Kimbell has. With three significant buildings already on the site, the pressure to design a building worthy of standing among them was immense, as it was inevitably going to be compared to all of them, and especially Kahn’s (Jodidio, 2014, p. 589-595). Piano and his team took on the challenge, addressing the lack of space for the museum’s exhibition and education programmes by adding over 1500m2 of new gallery spaces (predominantly earmarked for temporary exhibitions), an education centre, auditorium, and library as well as underground parking. To provide all those spaces and still maintain a discreet profile next to Kahn’s, half of the footprint of the building is hidden underground, which divided the building into two parts (Jodidio, 2014, p. 589). The part above the ground level, also referred to as the Flying Pavilion, accommodates the entrance foyer (in the middle) and the temporary exhibition spaces (to the north and south from the foyer). It is directly facing the west façade of Kahn’s building, and therefore establishes the relationship between the two. As seen in the section above (Fig. 23), the pavilion is ever so slightly lower than Kahn’s museum, this shows the hierarchy between the two buildings. The exterior of the pavilion is further divided into three parts, reflecting not only the activities inside but also Kahn’s museum, which is divided in the same places. The division in Piano’s façade therefore perfectly mirrors Kahn’s, including the entrance in the middle as visible in the floor plans to the right (Fig. 24). The second part, hidden under a turf, runs behind and below the Flying Pavilion with no visible connection to the original building. This part contains the rest of the spaces, including a gallery for light-sensitive exhibitions, and perhaps the most interesting space - the auditorium, which features a glass wall directly behind the stage (Fig. 25), leading into a light-well (visible in the west façade in the section above). This is another element likely inspired by Kahn who also used light-wells in the west façade Fig. 24: Floor plans of the Kimbell Art Museum including to bring light into the lower floor of his museum. the Renzo Piano Pavilion (RPBW, 2013) As many other projects by the RPBW, the Renzo Piano Pavilion works with the “non-physical elements of architecture - natural light, breezes, vibration, colour and nature, which is both physical and non-physical” (Mark Carroll in RPBW, no date). Here is especially apparent the attention to nature and natural light. For instance the central part of the Flying Pavilion is completely glazed, bringing in light and giving clear view towards Kahn’s original entrance (Fig. 28). This gives it more open and transparent character, especially when compared to Kahn’s building which is closed to the outside world for the most part, opening its concrete walls only into the three courtyards and for the entrance in the west. 9

Fig. 25: Auditorium with a light-well behind the stage (RPBW, 2013)

Fig. 26 & 27: Comparison of the staircase - Piano’s on the left (Barnes, 2014), Kahn’s on the right (Barnes, 2014)

Another element showing Piano’s inspiration from Kahn’s design is the double staircase (Fig. 26 & 27), which is bridged in the middle, again highlighting the difference in materiality and the perceived weight of the building, from the thickness of the floor to smaller details, such as the railing. As mentioned before, Kahn’s museum is in concrete and Italian travertine, Piano’s building sparingly uses concrete as well, perhaps to again mimic the original structure, however the main material used in the pavilion is glass, steel and timber, which is in favour of a lighter frame structure. This directly influences the way the building allows natural light in, Kahn’s uses carefully designed slits and gaps in the walls and roof, whereas the pavilion lets the light pour in from all directions, especially through the translucent roof of the Flying Pavilion. Kahn created the ideal atmosphere for any art throughout the whole building, with soft light reflecting from the curves of the vaults, none directly hitting the works of art, Piano instead created two different spaces, one full of carefully controlled sunlight and one underground, with artificial light only, for the more light-sensitive art. The material choice underlines not only the contrast between the two structures and light-control but also the two different styles and time periods they have been designed and constructed in. When the building was eventually finished in 2013, it was critiqued by many for ‘ruining’ Kahn’s villain-a-garden concept, arguing that the original idea was so special and genial that “it should have been stewarded in such a way that another 500 years of humankind can fully experience its original effects” (de Monchaux, 2014). Piano wisely responded to those comments: “We need the trees to grow. To become part of the day-to-day life of the city, it needs a patina. … Architecture relies on a long time, it is made real only in time, like forests are.” (Piano in de Monchaux, 2014) Even though the pavilion’s position does indeed partially block the wider view onto Kahn’s building, it also corrects the visitors’ tendency to enter the museum from the east, which Kahn considered the back entrance, and instead it directs them towards the “entrance of the trees”, as Kahn intended. So perhaps by partially sacrificing one concept, it reinforced another, which was until now neglected and because of which many visitors did not have a chance to enjoy the main façade and the villa-in-a-garden at all. Furthermore, as half of the Renzo Piano Pavilion is underground and the other half is largely transparent and surrounded by trees, blending into them with its colonnades of square columns in the north and south, one might even argue that the building blends into the garden as much as possible while still accommodating the spaces necessary and establishing a dialogue between the old and new.

Fig. 28: Interior view from the entrance foyer towards Kahn’s building (Barnes, 2014)

Fig. 29: Interior view of the south gallery in the Flying Pavilion (Lehoux, 2013)

Fig. 30: Entrance into The Renzo Piano Pavilion (Barnes, 2014)

Fig. 31: “Entrance of the trees” in the west façade of Kahn’s Kimbell Art Museum (Barnes, 2014) 11

Conclusion With the last puzzle piece in place we can finally appreciate this site in its entirety, consisting of four different buildings in four different individual styles, completed over the course of half a century, the site itself can serve as a large scale museum of architecture and advancements in technology. All four architects had a rich experience in architecture when commencing their project in Fort Worth, and for Johnson and Kahn it was even one of the last projects they saw to completion. This makes the site even more unique, as all of them came there with their own idea about what a museum is and what atmosphere it should create for the art exhibited within as well as the visitors. Even though each building inevitably had an influence on the next one, ultimately, what influenced each design decisions the most was the architect’s vision and experience. There are external factors that need to be considered when designing a building, such as the existing structures, or typography of the site, those essentially influence mostly the architect’s decisions about size and orientation of the building or placement of openings, however the concept idea and final execution depends largely on the internal influences of the project, such as the purpose of the building, the architect’s idea, or his background and experience. Each architect, or any creator or designer for that matter, is on their own journey through their career, discovering different elements, combinations of materials and their effect on the overall appearance and atmosphere of the building. And in the design process, their current state of mind is more influential than the external factors. However it is interesting to see what happens when those journeys cross and inevitably get influenced by one another We learn something new every day, whether we realise it or not, we get influenced by the stories we hear or read about, we get inspired by the art that surrouns us every single day and all those small ideas and thoughts that go unnoticed as we disregard them in our colloquial lives, then inevitably show in our work, even more so in the work we are passionate about. We carry those concepts and incomplete ideas through our lives until we can turn them into a proper project, eventually again influencing other people, and perhaps even changing their lives, for better or worse.

Fig. 32: Closer section through the Flying Pavilion reveals shallow arches in the ceiling and the same ratio of flat and curved surfaces as Kahn’s roof - above (from fig. 23), scaled to match the spans of the section below (RPBW, 2013)

2010

2000

(1906-2005)

Philip Johnson

1990

1980

1960 Original Amon Carter Museum opened in 1961

1970

1950

1940

Johnson’s Glass House was finished in 1949

Second expansion in 1977

Seeing all those events and projects aligned with each other, furthrer shows the connections between the different journeys the architects took in their careers as architects. Coming from different backgrounds, even different countries, with different levels of education, and different amounts of experience with museums and public buildings. Those differences undoubtedly, and as this essay describes, showed in their approach to the project in Fort Worth, as each architect designed a building in different style, using slightly different materials, putting all they learned from their previous projects to use, and yet the result is a relatively unified site, each building in a way reflecting the previous, whether it is in materiality of form, the overall connection between all of them in undeniable.

(1901-1974) (1941-)

Tadao Ando

1953

1972

1974

Kimbell Art Museum opened in 1972

Yale Art Gallery opened in 1972

2005

2001

1977

1964

First expansion in 1964

Louis I. Kahn

1949

1961

Latest extension of the Amon Carter Museum opened in 2001

1972

1958

2002

(1937-)

Renzo Piano

1941

The Modern Art Museum of Fort Worth opened in 2002

Ando started his architecture career in 1972

Ando started his boxing career in 1958 Fig. 33: Tadao Ando boxing in his youth (Ando, 1958)

RPBW

1984

Atelier Piano & Rice

1981

Atelier Piano & Rice

The Menil Collection opened in 1984

1977

Piano working in Kahn’s office in 1965-1970

1971

1937

Centre Georges Pompidou opened in 1977

The Renzo Piano Pavilion opened in 2013 Fig. 34: South façade of the pavilion (Lehoux, 2013)

2013 *all figures in this timeline have been previously referenced in the essay, unless stated otherwise

References & Bibliography: Agnoletto, M. (2009) Renzo Piano, Milano: Motta Ando, T., Asensio, P., Cuito, A., Bain, W. and Fischer, M. (2003) Tadao Ando. Barcelona: TeNeues. Bailey, S. (2015) The Eternal Tadao Ando. Available at: https://www.surfacemag.com/articles/tadao-ando/ (Accessed: 4 January 2021) Bianchini, R. (2020) Amon Carter Museum of American Art. Available at: https://www.inexhibit.com/ mymuseum/amon-carter-museum-fort-worth-tx/ (Accessed: 5 January 2020) Brawne, M. (1992) Kimbell Art Museum: Louis I. Kahn. Phaidon. Brownlee, D. B.; De Long, D. G.; and Kahn, L. I. (1997) Kahn. Thames & Hudson. Cuito, A. (2002) Renzo Piano, Dusseldorf ; London: te Neues. Dal Co, F. (2010) Tadao Ando, 1995-2010, Munich ; London: Prestel. De Monchaux, T. (2014) The Renzo Piano Pavilion at the Kimbell Art Museum: Deferential or Deflating? Available at: https://www.architectmagazine.com/design/buildings/the-renzo-piano-pavilion-at-thekimbell-art-museum-deferential-or-deflating_o (Accessed: 7 January 2021) Fondation Beyeler (1999) Renzo Piano : Fondation Beyeler : a home for art, Cambridge, Mass.: Birkhäuser Verlag. ‘Fort Worth’s Amon Carter Museum of Western Art’ (2000) Journal of the West, 39(3), pp. 80–81. Available at: http://search.ebscohost.com/login.aspx?direct=true&db=31h&AN=3531976&site=ehost-live&scope=site (Accessed: 2 January 2021) Goldhagen, S.W. (2001) Louis Kahn’s situated modernism, New Haven ; London: Yale University Press. Lewis, H. & O’Connor, J. (1994) Philip Johnson : The Architect in His Own Words, New York: Rizzoli International Publications. Jodidio, P. (2014) Piano : Renzo Piano building workshop, 1966 to today. New ed. 2014: Taschen. Jodidio, P. (2014) Ando: Complete works 1975-2014. Johnson, P., Noble, C. & Futagawa, Y. (1972) Philip Johnson, London: Thames and Hudson. Mafi, N. (2019) The Best-Designed Building in Every U.S. State. Available at: https://www.architecturaldigest. com/gallery/best-designed-building-every-us-state (Accessed: 4 January 2021) McCarter, R. (2005) Louis I. Kahn. New York: Phaidon. Munteanu, D. T. (no date) Tadao Ando /// Tomishima House /// Oydo, Osaka, Japan /// 1973. Available at: https:// ofhouses.com/post/144331596578/307-tadao-ando-tomishima-house-oydo (Accessed: 10 January 2021) Nussaume, Y. (2009) Tadao Ando. Birkhäuser. Oshima, K. T. (2020) Tadao Ando (1941-), The Architectural Review, (1470). Available at: https://www. architectural-review.com/essays/reputations/tadao-ando-1941 (Accessed: 4 January 2021) Piano, R. (2004). On tour with Renzo Piano, London: Phaidon. Piano, R. (1989) Renzo Piano and building workshop : buildings and projects 1971-1989, New York: Rizzoli International Publications. (p.120) Piano, R. (1998) Renzo Piano : sustainable architectures = arquitecturas sostenibles, Barcelona: Gustavo Gili. Piano, R. (1997) The Renzo Piano logbook, London: Thames & Hudson. ‘Renzo Piano’ (no date) Available at: http://www.rpbw.com/people (Accessed: 6 January 2021) ‘Tadao Ando’ (2020) Available at: https://www.encyclopedia.com/people/literature-and-arts/architecturebiographies/tadao-ando#:~:text=He%20did%20not%20apprentice%20to,for%20architectural%20success%20 in%20Japan. (Accessed: 4 January 2020) Saint, A. (2005) Philip Johnson. Available at: https://www.theguardian.com/news/2005/jan/29/ guardianobituaries.artsobituaries1#:~:text=Troubled%20by%20his%20sexuality%2C%20Philip,into%20 modern%20art%20and%20architecture. (Accessed: 2 January 2021)

List of Figures: Title page figure: RPBW (2013) ‘Night Façade Detail’. Available at: https://www.fondazionerenzopiano.org/it/project/kimbell-artmuseum-expansion/#section-images-385 (Accessed: 11 January 2021) Figure 1: RPBW (2013) ‘Site Plan’. Available at: https://www.fondazionerenzopiano.org/it/project/kimbell-art-museumexpansion/#section-drawings-724 (Accessed: 11 January 2021) Figure 2: Highsmith, C. M. (2006) ‘Fall view of Philip Johnson’s Glass House, New Canaan, Connecticut’. Available at: https://www. loc.gov/pictures/item/2010630799/ (Accessed: 11 January 2021) Figure 3: Highsmith, C. M. (2006) ‘Farnsworth House, Plano, Illinois’. Available at: https://www.loc.gov/pictures/item/2011631294/ (Accessed: 11 January 2021) Figure 4: Bianchini, R. (2020) ‘Amon Carter Museum of American Art’. Available at: https://www.inexhibit.com/mymuseum/amoncarter-museum-fort-worth-tx/ (Accessed: 11 January 2021) Figure 5: Mirer, D. (2013) ‘Elevations’. Available at: https://archello.com/story/13692/attachments/photos-videos/1 (Accessed: 11 January 2021) Figure 6: Watson, S. (2016) ‘Texas Cordova Shell Limestone. Detail of wall at Amon Carter Museum of American Art, Fort Worth, Texas’. Available at: https://commons.wikimedia.org/wiki/File:Texas_Cordova_Shell_Limestone,_Amon_Carter_ Museum_of_American_Art,_Fort_Worth,_Texas.jpg (Accessed: 11 January 2021) Figure 7: ‘Amon Carter Museum of American Art’ (no date) Available at: https://en.wikiarquitectura.com/building/amon-cartermuseum-american-art/#carter-museum-sec (Accessed: 11 January 2021) Figure 8: Ludwig, S. (2018) Yale University Art Gallery/Louis Kahn. Available at: https://www.archdaily.com/83110/ad-classicsyale-university-art-gallery-louis-kahn/5b0208eef197cc1615000226-ad-classics-yale-university-art-gallery-louiskahn-photo (Accessed: 11 January 2021) Figure 9: Ludwig, S. (2018) ‘Yale University Art Gallery/Louis Kahn’. Available at: https://www.archdaily.com/83110/ad-classicsyale-university-art-gallery-louis-kahn/5b020929f197cc1615000229-ad-classics-yale-university-art-gallery-louiskahn-photo?next_project=no (Accessed: 11 January 2021) Fugure 10: Brawne, M. (1992) Fig 7: ‘Sketches of vault an dreflector, March 1967; drawing by Louis I. Kahn’. Kimbell Art Museum: Louis I. Kahn. Phaidon. Figure 11: Gerwing, M. (2015) ‘Kimbell Art Museum’. Available at: https://mgerwingarch.com/m-gerwing/2015/03/16/kimbell-artmuseum (Accessed: 11 January 2021) Figure 12: De Jauréguiberry, X. (2011) ‘Kimbell Art Museum’. Available at: https://www.archdaily.com/123761/ad-classics-kimbellart-museum-louis-kahn/52737df3e8e44e88a0000751-ad-classics-kimbell-art-museum-louis-kahn-image?next_ project=no (Accessed: 11 January 2021) Figure 13: Ando, T. (1973) ‘Tomishima House’. Avaialable at: https://ofhouses.com/post/144331596578/307-tadao-ando-tomishimahouse-oydo (Accessed: 11 January 2021) 15

Figure 14: ‘Atelier in Oyoydo’ (no date) Available at: https://en.wikiarquitectura.com/building/atelier-in-oyodo/#00atelier (Accessed: 11 January 2021) Figure 15: ‘Atelier in Oyoydo’ (no date) Available at: https://en.wikiarquitectura.com/building/atelier-in-oyodo/#14atelier (Accessed: 11 January 2021) Figure 16: Stock, R. (2013) ‘Hyogo Perfectural Museum of Art’. Available at: https://en.japantravel.com/hyogo/hyogo-prefecturalmuseum-of-art/3466 (Accessed: 11 January 2021) Figure 17: Yusheng, L. (2012) ‘Modern Art Museum of Fort Worth’. Available at: https://www.archdaily.com/213084/flashbackmodern-art-museum-of-fort-worth-tadao-ando/503827bd28ba0d599b001142-flashback-modern-art-museum-offort-worth-tadao-ando-photo (Accessed: 11 January 2021) Figure 18: Jodidio, P. (2014) page 431: ’This sketch by tadao Ando compares teh hieght of the Modern Art Museum of Fort Worth to that of th eneighbouring Kimbell by Louis I. Kahn’. Ando: Complete works 1975-2014. Figure 19: Yusheng, L. (2012) ‘Modern Art Museum of Fort Worth’. Available at: https://www.archdaily.com/213084/flashbackmodern-art-museum-of-fort-worth-tadao-ando/503827f128ba0d599b00114f-flashback-modern-art-museum-offort-worth-tadao-ando-photo?next_project=no (Accessed: 11 January 2021) Figure 20: Paris Digest (no date) ‘Centre Pompidou’. Available at: https://www.parisdigest.com/monument/centre-pompidou.htm (Accessed: 11 January 2021) Figure 21: Hester, P. (no date) ‘Interior view of one of the galleries with the “leaves” of the roof that filter the light and drastically reduce the internal light levels’. Available at: https://www.fondazionerenzopiano.org/it/project/menilcollection/#section-images-652 (Accessed: 11 January 2021) Figure 22: Piano, R. (1984) ‘Light in the museum’. Available at: https://www.fondazionerenzopiano.org/it/project/menilcollection/#section-drawings-527 (Accessed: 11 January 2021) Figure 23: RPBW (2013) ‘West - East Section’. Available at: https://www.fondazionerenzopiano.org/it/project/kimbell-artmuseum-expansion/#section-drawings-727 (Accessed: 11 January 2021) Figure 24: RPBW (2013) ‘Plan Level 1’. Available at: https://www.archdaily.com/448735/renzo-piano-pavilion-at-kimbell-artmuseum-renzo-piano-kendall-heaton-associates/5721db21e58eceb424000005-renzo-piano-pavilion-at-kimbellart-museum-renzo-piano-kendall-heaton-associates-site-plan?next_project=no (Accessed: 11 January 2021) Figure 25: RPBW (2013) ‘View of the auditorium stage’. Available at: https://www.fondazionerenzopiano.org/it/project/kimbell-artmuseum-expansion/#section-images-408 (Accessed: 11 January 2021) Figure 26: Barnes, R. (2014) ‘Double staircase leading to auditorium’. Available at: https://www.architectmagazine.com/design/ buildings/the-renzo-piano-pavilion-at-the-kimbell-art-museum-photos-by-richard-barnes_o (Accessed: 11 January 2021) Figure 27: Barnes, R. (2014) ‘Double staircase, leading from soft-used east entrance up to the galley levels on the main floor’. Available at: https://www.architectmagazine.com/design/buildings/the-kimbell-art-museum-the-original-louiskahn-building_o (Accessed: 11 January 2021)

Figure 28: Barnes, R. (2014) ‘Lobby, view out to the Kahn-designed building and garden’. Available at: https://www. architectmagazine.com/design/buildings/the-renzo-piano-pavilion-at-the-kimbell-art-museum-photos-by-richardbarnes_o (Accessed: 11 January 2021) Figure 29: Lehoux, N. (2013) ‘Interior view of the gallery’. Available at: https://www.fondazionerenzopiano.org/it/project/kimbellart-museum-expansion/#section-images-393 (Accessed: 11 January 2021) Figure 30: Barnes, R. (2014) ‘View of the main (east) entrance’. Available at: https://www.architectmagazine.com/design/buildings/ the-renzo-piano-pavilion-at-the-kimbell-art-museum-photos-by-richard-barnes_o (Accessed: 11 January 2021) Figure 31:

Barnes, R. (2014) ‘The main entrance, with its grove of trees. View from the west’. Available at: https://www. architectmagazine.com/design/buildings/the-kimbell-art-museum-the-original-louis-kahn-building_o (Accessed: 11 January 2021) Figure 32: RPBW (2013) ‘Section through gallery’. Available at: https://www.fondazionerenzopiano.org/it/project/ kimbell-art-museum-expansion/#section-drawings-719 (Accessed: 11 January 2021) Figure 33: Ando, T. (1958) Available at: https://www.architectural-review.com/essays/reputations/tadao-ando-1941 (Accessed: 11 January 2021) Figure 34:

Lehoux, N. (2013) ‘IExternal view from the garden’. Available at: https://www.fondazionerenzopiano.org/it/project/ kimbell-art-museum-expansion/#section-images-382 (Accessed: 11 January 2021)