Aspirational Architecture
It all started with a sketch
Renzo Piano is the mastermind behind some of the world’s most iconic buildings, including the Centre Pompidou in Paris, the Auditorium of the Parco della Musica in Rome, the New York Times Building and the Whitney Museum of American Art in New York, The Shard in London and the BCAM and Resnick Pavilion of the Los Angeles County Museum of Art.
With the multi-award-winning Aurora Place, Piano reinvented the office environment, humanising the workplace to inspire creative thinking and the free flow of ideas. His inventiveness and maverick spirit are evident in every detail and are embedded in the very fabric of this inimitable tower. When organisations establish themselves within its walls, they declare their own progressive culture and unique outlook.
Kan Yasuda – “Touchstones”
Classically trained in both Japan and Italy, Kan Yasuda is one of the pre-eminent contemporary Japanese sculptors. Titled ‘Touchstones’, Yasuda’s work is a splendid example of the marriage of art and architecture. Artists are rarely brought in at the beginning of a project and rarely work directly with architects. But not so at Aurora Place. The developers encouraged the connection between architect and artist right from the commencement of the project, giving rise to an organic piece that sits harmoniously within its environment.
Tim Prentice
As a kinetic sculptor, Tim Prentice works in a variety of lightweight materials including aluminium, stainless steel, feathers and Lexan. His work investigates the shape, form and flow of wind currents in order to make air visible. Prentice’s use of intriguing structures and reflective materials enables his sculptures to soar or undulate in response to their environment. Architectural training has helped him design commissions with a sensitivity to their surroundings, whether they be for large corporations or private collections.
Caio Fonseca
American painter Caio Fonseca is inspired by a love of music. His canvases often appear as a lyrical play of tone, rhythm and balance, all elegantly woven with the cadence of a visual counterpoint. The placement of his signature geometric forms is not bound by gravity to the foregrounds. Often, the purely abstract works are arranged in quirky compositions which seem, at first encounter, to be random. However, with contemplation, each movement in a Fonseca painting often reveals deft precision.
