Visitors to Art Basel Miami Beach may see a white construction fence outside Raleigh advertising its renovation and return in 2026. On it were two names: “Peter Marino” and “SHVO.” Very few real estate developers achieve that one word “Cher”, but Michael Shvo is one of them.
In 2020, Shvo invested one billion dollars in the renovation of the Transamerica Pyramid of San Francisco, which opened its doors this past September. The development was led by Foster + Partners, updating William Pereira's original design. In classic Shvo style, the renovation came with an art item at Pyramid Arts, a program that rotates twice a year and begins with “Les Lalanne at Transamerica Pyramid Center,” an exhibition dedicated to the work of Claude and François-Xavier Lalanne, together. known as Les Lalanne.
We caught up with Shvo, who is also an art collector, to hear more about the game and his plans for Transamerica and its art projects.
How did you become interested in the art world? Where was your first entry, and when did you start collecting?
I started collecting art in my early thirties. My first purchase was a Takashi Murakami print bought for about $8,000 at a Phillips auction in the early 2000s. This first purchase ignited my passion for collecting art, leading me to explore galleries and auctions more deeply.
Subsequent purchases included a painting by Gene Davis and a sculpture by Harry Bertoia. Over time, our collection expanded to include works by artists such as Andy Warhol, Tom Wesselmann and François-Xavier Lalanne. Each piece touches me—I believe art should be beautiful, spark connection and bring joy.
Tell me about the Pyramid Arts program—how did the idea come about? What makes Transamerica a good fit for such a program?
When I visited San Francisco in 1979, I saw the Transamerica Pyramid for the first time and drew a picture of the building with a dream that one day I would return here. And forty years later, I became the proud custodian of this iconic building. That story led to one of our shows, “Pyramid Dreams.”
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Pyramid Arts is a new series of public art installations celebrating innovation and creativity in art and architecture. Our first two exhibitions were organized by Lord Norman Foster and run until January 28, 2025: “The Straight City,” a selection of Foster's architectural achievements across buildings, and “Les Lalanne,” an outdoor exhibition honoring the work of Claude and François-Xavier.
Our vision for this program is to celebrate artists who were ahead of their time, like Transamerica's Pyramid. For decades, the Pyramid has represented the spirit and resilience of San Francisco, and we wanted to curate an arts program that reflects the bold, innovative and creative legacy of the global icon it carries.
As part of the program, he worked closely with Lord Norman Foster to present the first outdoor exhibition of Les Lalanne in San Francisco. Tell me more about this collaboration and how the show was brought to life.
Collaborating with Lord Norman Foster to present Les Lalanne's first outdoor exhibition in San Francisco was a harmonious fusion of art and architecture. Our shared vision was to reimagine the Transamerica Pyramid Center as a cultural landmark that integrates public art into its urban setting.
This exhibition, organized by the Kasmin Gallery, features more than twenty major works by Les Lalanne. Their whimsical sculptures, inspired by flora and fauna, are carefully placed throughout the newly renovated Redwood Park, creating an interesting dialogue between nature and art.
He also did another large-scale installation with Les Lalanne. What affects their deep work for you? Were you around them before they passed?
Les Lalanne's work has a special place in my heart because it embodies a unique combination of fascination, beauty and timelessness. Their ability to transform everyday subjects into fascinating sculptures is in line with my philosophy of bringing beauty and meaning to spaces, whether through art or design. Each piece invites curiosity and interaction, blurring the lines between art and life.
I had the good fortune to know Claude Lalanne personally, and that connection deepened my admiration and love for his art. Spending time with her allowed me to understand the thoughtfulness and joy the couple put into their creations. Their work is not just art—it's an experience that transcends time and trends, which is why it's always been fundamental to our collection and my vision for installations like those at the Transamerica Pyramid and beyond.
Every time I curate a show with their pieces, I feel a responsibility to honor their legacy while sharing the magic of what they do with a wider audience. Their mission is to celebrate imagination, and that spirit is something I hope to carry forward in all my projects.
How do you think the Pyramid Arts program will contribute to the broader cultural scene in San Francisco?
We invested heavily in the restoration of the Transamerica Pyramid Center because we truly believe in the city and its revitalization. I see the Pyramid Arts program as critical to redefining the cultural heartbeat of San Francisco. The city is known for its rich artistic heritage and spirit of innovation, and our aim is to enhance that by transforming the Pyramid into a cultural landmark where art, architecture and society meet.
The renovation, especially the renovation of Redwood Park, creates a seamless blend of nature and urban life, providing a unique environment for public art installations. By selecting exhibitions and programs that celebrate art and innovation, we aim to foster an environment where locals and visitors can interact with art in a meaningful way.
In addition, the program will draw attention to world-class artists and create opportunities for dialogue and communication, contributing to the recognition of the city as a global hub of art, culture and ideas. Ultimately, I envision the Pyramid Arts program as a catalyst for cultural enrichment, making art accessible to everyone and encouraging the community to explore new opportunities.
Do you have a personal favorite Les Lalanne work from their entire career? It doesn't have to be something you have or have chosen.
It's hard to pick just one favorite piece from Les Lalanne's amazing work because the creations are so diverse and imaginative. However, if I had to choose, I would Singe Avisé you hold a special place for me.
François-Xavier's animal portraits often have a sense of humor and wit, too Singe Aviséhe is a perfect role model. It has a thoughtful presence that feels playful and deep. Again Moutons de Laine. Perhaps one of their best-known works, that of François-XavierMoutons—images of sheep—represents the Lalannes' playful yet practical mannerisms. These sculptures transform any space into a dreamscape, and are a focal point in our collections and exhibitions.
Both works reflect the essence of why we are so drawn to Les Lalanne: these are not just beautiful things; they evoke emotion, arouse curiosity and invite interaction. Whether as a collector, curator or lover, their pieces continue to inspire me to think beyond the ordinary and embrace the unexpected. Each episode tells its own story while inviting viewers to create their own interpretations.
Anything you can tell us about what's next for Pyramid Arts?
This is just the beginning of our arts program on campus. The first round of exhibitions was launched when we celebrated the re-creation of the Pyramid in September and will continue to be updated with new installations showcasing the creativity and re-creations of master artists. Looking ahead, we plan to organize bi-annual exhibitions that showcase a variety of artists and thinkers, like the Transamerica Pyramid itself, who are ahead of their time.
