California Academy of Sciences review in de Architect
Justin was asked to travel to San Francisco to write about the newly redesigned California Academy of Sciences. Here is the review from de Architect magazine. Translated from Dutch to English.
This building’s greatness as architecture, however, is rooted in a cultural history that stretches back through Modernism to Classical Greece. It is a comforting reminder of the civilizing function of great art in a barbaric age.
The academy building is the last in a series of ambitious projects to be conceived in and around the park’s Music Concourse since the devastating 1989 Loma Prieta earthquake. Herzog & de Meuron’s mesmerizing de Young Museum, enclosed in perforated copper, opened three years ago. Scaffolding is to come down at the concourse’s neo-Classical band shell this week after a loving restoration.
Glimpsed through the concourse’s grove of sycamores, the science academy gives the impression of weightlessness. A row of steel columns soaring 36 feet high along the facade lends the building a classical air; the sense of lightness is accentuated by a wafer-thin canopy above that creates the illusion that the roof is only millimeters thick. It’s as if a section of the park carpeted in native wildflowers and beach strawberries had been lifted off the ground and suspended in midair.
The idea is to create a balance between public and private, inside and out, the Cartesian order of the mind and the unruly world of nature.
A glass lobby allows you to gaze straight through the building to the park on the other side. Other views open into exhibition spaces with their own microclimates. The entire building serves as a sort of specimen case, a framework for pondering the natural world while straining to disturb it as little as possible.
Mr. Piano’s building is also a blazingly uncynical embrace of the Enlightenment values of truth and reason. Its Classical symmetry — the axial geometry, the columns framing a central entry — taps into a lineage that runs back to Mies van der Rohe’s 1968 Neue Nationalgalerie and Schinkel’s 1828 Altes Museum in Berlin and even further, to the Parthenon.