Renzo Piano’s vision of Klee
Renzo Piano’s vision of Klee, molded by the landscape By
Alan Riding The New York Times
BERN Strangely perhaps, in a land dominated by the Alps, the countryside around the Swiss capital is shaped by rolling hills that invite nothing more dramatic than unhurried contemplation. And it was this, both mood and look, that Renzo Piano sought to evoke when he added an $86 million museum, the Paul Klee Center, to the orderly Bern landscape. The results are both striking and discreet. The center's three round "hills" are etched and molded in a stainless steel that mirrors the sky, while their sloping roofs disappear under a field of barley. Thus the three basic tenets of Klee's semi-abstract work - line, form and color - are present. And by chance, a mere 100 yards, or 90 meters, away, is the Schosshalden Cemetery, where Klee is buried. The center, in a way, is a typical Piano museum, but typical only in that, when planning a museum, Piano noted, he does not work from a template but instead allows the location and purpose of each project to define the design. And this at least explains how the contrasting styles of, say, the Pompidou Center in Paris, the Menil Collection in Houston and the Paul Klee Center can be the work of the same architect. "You first try to listen to what the site has to tell you, because the shadow of the design is already there," Piano, 67, said over breakfast a few days before the center opened to the public on June 20. "Here, the other inner voice is that of Paul Klee. You don't create a Paul Klee building, but you can think of the poetic Paul Klee. Nature is always in his work: birds, trees, colors, North Africa." Still, in this case, Piano, who has also designed The New York Times's new headquarters in New York, was treading sensitive ground.
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