Editing Renzo Piano (section)

==Projects completed 2010 to present==
<gallery mode="packed" heights="150">
File:New St Giles development.jpg|[[Central Saint Giles]], London, under construction (2002–2010)
File:CentralSaintGiles-London-RenzoPiano-1.jpg|[[Central Saint Giles]], London (2002–2010)
File:LACMA.JPG|The [[Los Angeles County Museum of Art]] (BCAM), Los Angeles, California (2003–2010)
File:The Shard from the Sky Garden 2015.jpg|[[The Shard]], London, UK (2012)
File:Astrup Fearnley Museet og skulpturparken sett fra sjøen.jpg|The [[Astrup Fearnley Museum of Modern Art]], Oslo, Norway (2010–2013)
File:Parliament House (Malta).jpeg|[[Parliament House (Malta)|Parliament House]] in [[Valletta]], Malta (2011–2015)
File:Whitney Museum of American Art (49051573133).jpg|[[Whitney Museum of American Art]], New York City (2007–2015)
File:Stavros Niarchos Foundation Cultural Center5.jpg|[[Stavros Niarchos Foundation Cultural Center, Athens]], Greece (2016) 
</gallery>

===The Shard, London (2000–2010)===
[[The Shard]], built over the underground station of [[London Bridge station|London Bridge]], is sixty-six stories and {{convert|305|m|ft|-1}} high, which made it, when completed in 2012, the tallest skyscraper in Europe. Inside, it contains luxury residences and a hotel, along with offices, shops, restaurants, and cultural centers. It has a wide base and a split pinnacle point which seems to disappear into the clouds, like, as Piano described it, "a bell tower of the 16th century, or the mast of great ship...Often buildings of great height are aggressive and arrogant symbols of power and egoism," but the Shard is designed "to express its sharp and light presence in the urban panorama of London."{{Sfn|Jodidio|2016|page=79}} Like his other tall buildings, the glass sunscreen on the exterior extends slightly above the building itself, appearing to split apart at the top. The critical reaction to the tower was predictably mixed. [[Simon Jenkins]] of the ''Guardian'' of London saw it as a foreign attack on the traditional London skyline and monuments: "This tower is anarchy. It conforms to no planning policy. It marks no architectural focus or rond-point. It offers no civic forum or function, just luxury flats and hotels. It stands apart from the City cluster and pays no heed to its surrounding context in scale, materials or ground presence. It seems to have lost its way from Dubai to Canary Wharf... The Shard has slashed the face of London for ever."<ref>Simon Jenkins, ''The Guardian'', 3 July 2012</ref> However, Jonathan Glancy in the London ''Telegraph'' defended Piano's building: "The criticism – hurled against Piano like the spears of Ancient Britons fighting the civilised Romans – is, I think, a bottled up attack on our low standards of design and the beetle-browed politics that have allowed so many poor tall buildings to have been rushed up around St Paul's. The Shard, whatever its flaws – and all its many floors – is a much better building than most of the flakes below it."<ref>Jonathan Glancey, "Is the Shard really worse than the Taliban?", ''The Telegraph'', 9 February 2017</ref>

===Central Saint Giles, London (2002–2010)===
The [[Central Saint Giles]] between St Giles High Street and New Oxford Street in London (2002–2010) is a complex composed of 56 luxury apartments, 53 social rented apartments, and {{cvt|37000|sqm}} of office around a public square with retail and food outlets, covering {{cvt|7000|sqm}}. The site was previously occupied by a Ministry of Defence building and is partially on the site of a medieval [[leper colony]], St Giles Hospital. A block 109 flats rises 11 floors and is set alongside offices rising to 11 floors to the east. A distinctive element is strident solid color which is designed not to mellow with time; the buildings are covered with large kiln-fired ceramic panels glazed leaf green, orange, lime green, pale grey and yellow. "Cities should not be dull and repetitive", Piano declared. "One of the reason we find them so beautiful and interesting is that they are full of surprises; even the idea of color represents a joyful surprise."{{Sfn|Jodidio|2016|page=75}}

===Los Angeles County Museum of Art (BCAM and Resnick Pavilion), Los Angeles (2003–2010)===
Commissioned to design a "transformation" of the [[Los Angeles County Museum of Art]], Piano designed a new building, the Broad Contemporary Art Museum at LACMA (BCAM) (2008), with {{cvt|5574|sqm}} of space, as well as the BP Grand Entrance, an entrance pavilion with {{cvt|750|sqm}} of space, and the Lynda and Stewart Resnick Exhibition Pavilion (2010). The BCAM facade is concrete covered with plaques of cream-colored Italian travertine, harmonizing with the older buildings of the museum complex, but added distinctive Piano touches; finlike white sun shutters on the roof softening the sunlight, a red escalator on the outside of the main facade, and a stairway suspended by red cables on the other facade, reminiscent of the Centre Pompidou. The Resnik Pavilion, to the north of the BCAM, has {{cvt|4180|sqm}} of space, with travertine covered walls to the east and west, glass walls on the north and south, and a roof with vertical glass shutters that open to the sky. Describing this project, Piano wrote:  "It's not enough that the light is perfect. You also have a need for calm, serenity, and even a quality of voluptuousness connected with the contemplation of a work of art."{{Sfn|Jodidio|2016|page=77}} Nicolai Ouroussoff, the architecture critic of ''The New York Times'', admired the interior of the BCAM but was less impressed by the exteriors: "There is little of the formal freedom that is at the heart of the city's architectural legacy; nor is there much evidence of the structural refinement that we have come to expect in Mr. Piano's best work. The museum's monumental travertine form and lipstick-red exterior stairways are a curious mix of pomposity and pop-culture references. It's an architecture without conviction."<ref>''New York Times'', 15 February 2008</ref>

===Astrup Fearnley Museum of Modern Art, Oslo, Norway (2006–2012)===
The [[Astrup Fearnley Museum of Modern Art]] in Oslo, Norway (2006–2012) was designed to revive an old port and industrial area southwest of the center of Oslo with an art museum and offices, and to provide a destination and attraction on the edge of the picturesque fjord. The project has three buildings, two museum buildings and an office building, under a single glass roof, which covers {{cvt|6000|sqm}}. The construction materials include both steel and wood beams. A canal and walkway connect the museum with another area under development nearby, while the museum and walkway offer views of the fjord and center of Oslo. A sculpture park with works of [[Anish Kapoor]], [[Louise Bourgeois]] and other notable sculptors is placed between the museum and the water. The museum building on one side of the canal holds permanent exhibits, while the building on the other side is used for temporary exhibits. A bridge over the canal the two museum buildings. The construction materials include steel, glass and wooden beams, while the facades that are not made of glass are covered with finely-crafted weathered panels, in the tradition of Scandinavian architecture.{{Sfn|Jodidio|2016|page=83}}

===Kimbell Art Museum extension, Fort Worth, Texas (2007–2013)===
The extension of the [[Kimbell Art Museum]] in [[Fort Worth, Texas]] (2007–2013) is an addition to the museum designed by [[Louis Kahn]] the modernist architect for whom Piano worked at the beginning of his career, completed in 1972. The building faces the Modern Art Museum of Fort Worth, designed by [[Tadao Ando]] (2002). The new gallery occupies {{cvt|7595|sqm}}, compared with {{cvt|11,148|sqm}} for the Kahn building, and cost 135 million dollars. Piano created a dramatic new entrance for the museum, with huge windows showing the bright red furniture against the alabaster white walls within. The materials used in the new museum included light-colored concrete, to harmonize with the Kahn building, combined with beams and ceilings of Douglas fir, and floors of white oak and an abundance of double-paned and fritted glass. The museum also includes modern ecological features including a vegetal roof, photovoltaic cells on the roof, geothermal wells, and [[LED]] lighting. Piano wrote: "Our building echoes the Kahn building through its height, its scale and its general plan, but our building has a character that is more transparent and more open. Light, discreet (half of the surfaces are underground), it nonetheless has its own character and creates a dialogue between the old and the new."{{Sfn|Jodidio|2016|p=87}} However, the museum also attracted critics, who said it was not ambitious enough. Mark Lamster, architecture critic of the ''Dallas Morning News'', wrote: "With its almost impossibly smooth walls and squared columns of titanium-treated concrete, Piano's front facade evinces a clinical, stoic perfectionism.... Altogether, the assembly is a minor miracle of construction. Most impressive are the beams: 100-foot-long bars of laminated Douglas fir, trucked from Canada. But for all its technical mastery, it offers none of the elemental majesty of Kahn's building across the lawn. It is deferential to a fault."<ref>Mark Lamster, ''Dallas Morning News'' November 2013</ref>

===Whitney Museum of American Art, New York City (2007–2015)===
The [[Whitney Museum of American Art]] decided to move from its original building on Madison Avenue, constructed by [[Marcel Breuer]] in 1966, to a new location at the corner of Gansevoort and Washington in Manhattan, a neighborhood once occupied by meat packing houses, next to the [[High Line]], a riverside highway and park. The museum, with nine levels, has an asymmetric industrial look to match the architecture of the neighborhood. In addition to its interior galleries, it has {{cvt|1207|sqm}} of open-air exhibit space on a large terrace atop one section of the building. It was built of steel, concrete, and stone, but also with pine wood and other materials recycled from demolished factories.{{Sfn|Jodidio|2016|page=89}} Jule Iovine, architecture critic of the ''Wall Street Journal'', called it "a welcoming, creative machine" thanks to its "open, changeable spaces,"  and Michael Kimmelman, critic of the ''New York Times'', called it "an outdoor perch to see and be seen... There's a generosity to the architecture, a sense of art connecting with the city and vice versa".<ref>''New York Times'', 19 April 2015</ref>

===The Harvard Art Museums, Cambridge, Massachusetts (2008–2014)===
Beginning in 2008, Piano rebuilt an existing structure to house the [[Harvard Art Museums]], a consolidation of collections of the three art museums associated with [[Harvard University]]. The new museum preserved the picturesque brick Ivy-League facade of the 1925 Fogg Museum (1925), but added a new space in the courtyard, covered by a pyramidal glass roof, which increased the gallery space by 40 percent.<ref>{{cite web |url=https://www.bostonglobe.com/lifestyle/style/2014/04/12/after-years-harvard-art-museums-reemerging/4QlaUg7h7tQoCVV3OXB8aM/story.html |title=After 6 years, Harvard Art Museums reemerging |work=Boston Globe |access-date=22 June 2017 |archive-date=8 September 2018 |archive-url=https://web.archive.org/web/20180908164919/https://www.bostonglobe.com/lifestyle/style/2014/04/12/after-years-harvard-art-museums-reemerging/4QlaUg7h7tQoCVV3OXB8aM/story.html |url-status=dead }}</ref> The renovation adds six levels of galleries, classrooms, lecture halls, and new study areas providing access to parts of the 250,000-piece collection of the museums.<ref>{{cite web |url=http://www.dezeen.com/2014/11/18/renzo-piano-harvard-art-museums-boston-renovation-expansion-courtyard-atrium/ |title=Renzo Piano reconfigures Harvard Art Museums around a grand courtyard atrium |work=Dezeen magazine |date=18 November 2014 |access-date=19 November 2014}}</ref> The new building was opened in November 2014.<ref>{{Cite news|last=Farago|first=Jason|date=14 November 2014|title=Renzo Piano reboot of Harvard art museums largely triumphs|language=en-GB|work=The Guardian|url=https://www.theguardian.com/artanddesign/2014/nov/14/renzo-piano-reboot-of-harvard-art-museums-largely-triumphs|access-date=17 March 2023|issn=0261-3077}}</ref>

===Valletta City Gate and Parliament House, Malta (2011–2015)===
The 'City Gate' project in [[Valletta]], Malta was the complete reorganization of the principal entrance to the Maltese capital of Valletta. It included a massive [[City Gate (Valletta)|City Gate]] through the [[Fortifications of Valletta|16th-century city walls]], an open-air theatre 'machine' within the ruins of the former [[Royal Opera House, Valletta|Royal Opera House]], and the construction of a new Parliament building. The gate project was controversial, though the old gate it replaced was only built in the 1960s, in the Italian rationalist style. The "theater machine" is particularly unusual; the original idea was that in summertime a steel portable theater with stage and wings and a thousand seats can be installed inside the ruins of the 19th century opera house, which had been destroyed in [[World War II]]. It has its own stage equipment and technology for reproducing the acoustics of a traditional opera house. When performances are not taking place, the "machine" was meant to turn back into a public square and gathering place. The [[Parliament House (Malta)|Parliament House]] (2011–2015) is a mixture of modern technique and technology with the massive stone look of the city's old walls.<ref>{{cite web |url=http://www.rpbw.com/project/86/la-valletta-city-gate/ |title=Renzo Piano Building Workshop Site |access-date=17 February 2017}}</ref>

===Centro de Arte Botín, Santander, Spain (2012–2017)===
The ''Centro Botín'' in [[Santander, Spain]] is a private sponsored project by the Fundación Botín whose aim is to be a hub for the promotion of culture both as a museum and as study centre. It consists on two buildings standing on columns over the sea line at the Bay of Santander. The western building hosts the exhibition space of {{cvt|5,000|sqm}} and the eastern is the one dedicated to study which hosts an auditorium, study rooms and other installations. Both are connected by a suspended square and set of stairs and platforms named "pachinko". This was Piano's first project in Spain and had some controversy over its location.<ref>{{Cite web|url=https://news.artnet.com/art-world/renzo-piano-centro-botin-opens-in-santander-1002176|title = Renzo Piano's Stunning Centro Botín Opens in Santander|date = 23 June 2017}}</ref> Critics describe the building as sublime and striking due to the conjunction of light, views and design that the buildings propose.

===Stavros Niarchos Foundation Cultural Center, Athens, Greece (2016)===
The [[Stavros Niarchos Foundation Cultural Center]] (SNFCC) in [[Athens|Athens, Greece]] is one of Piano's most dramatic projects. Located next to [[Faliro Bay|Falirio Bay]] at [[Kallithea|Kalithea]], an ancient Greek port, {{convert|4|km|spell=in}} south of central Athens, on a site which served as a parking lot for the [[2004 Summer Olympics]], it combines the [[National Library of Greece|Greek National Library]] and a new opera house for the [[Greek National Opera]] along with the Stavros Niarchos Park, an urban park covering an area of {{cvt|210000|sqm}}. An artificial hill was created to raise the building and give it a view of the nearby sea. The opera house has a 1400-seat main theater and a smaller "black box" theater of 400 seats. On top of the opera house a square horizontal glass box is placed, called ''Pharos (Lighthouse),'' similar to the perch of the art museum atop the Lingotto factory in [[Turin]]. The entire structure is covered by a single flat roof, which provides shade, and which is covered with {{cvt|10,000|sqm}} of photovoltaic cells, generating 1.5 megawatts of electricity, designed to the building self-sufficient in energy during working hours. The cost of the project was 588 million dollars.<ref>{{cite web |url=http://www.archdaily.com/790678/stavros-niarchos-foundation-cultural-centre-renzo-piano-building-workshop |title=Stavros Niarchos Foundation Cultural Center, archdaily.com |date=4 July 2016 |access-date=17 February 2017}}</ref>

===Krause Gateway Center, Des Moines, Iowa (2019)===
The Krause Gateway Center in downtown [[Des Moines, Iowa]] adjacent to [[Western Gateway Park]] is the headquarters for the Krause Group, parent company of [[Kum & Go]]. The architecture features long overhangs and giant glass panels.<ref>{{Cite web |date=11 January 2019 |title=renzo piano completes 'transparent' office building in des moines with extra-long overhangs |url=https://www.designboom.com/architecture/renzo-piano-krause-gateway-center-des-moines-iowa-01-11-2019/ |access-date=23 May 2022 |website=designboom {{!}} architecture & design magazine |language=en}}</ref><ref>{{Cite web |title=RPBW Architects – Renzo Piano Building Workshop |url=http://www.rpbw.com/project/krause-gateway-center |access-date=23 May 2022 |website=www.rpbw.com}}</ref><ref>{{Cite web |title=Krause Gateway Center – OPN Architects |url=https://opnarchitects.com/portfolio/krause-gateway-center/ |access-date=23 May 2022 |website=opnarchitects.com}}</ref>

===Academy Museum of Motion Pictures, Los Angeles, California (2021)===
[[Academy Museum of Motion Pictures]] in Los Angeles is a conversion of the former May Company Department Store (1939), an [[Art Deco]] landmark opened in 2021.