Visitors to Art Basel Miami Beach may have noticed a white construction fence outside The Raleigh advertising its renovation and return in 2026. On it were two names: “Peter Marino” and “SHVO.” Very few real estate developers achieve that single name “Cher” moniker, but Michael Shvo is one of them.
In 2020, Shvo invested one billion dollars in a renovation of San Francisco’s Transamerica Pyramid, which opened its doors this past September. The improvements were spearheaded by Foster + Partners, revamping the original design by William Pereira. In classic Shvo style, the renovation came with an art element in Pyramid Arts, a program that rotates twice a year and debuted with “Les Lalanne at Transamerica Pyramid Center,” an exhibition dedicated to the work of Claude and François-Xavier Lalanne, collectively known as Les Lalanne.
We caught up with Shvo, who among other things is an art collector, to hear more about the show and his plans for Transamerica and its art programming.
How did you become interested in the art world? What was your first foray into it, and when did you start collecting?
I began collecting art in my early thirties. My first acquisition was a Takashi Murakami print purchased for around $8,000 at a Phillips auction in the early 2000s. This initial purchase ignited my passion for art collecting, leading me to explore galleries and auctions more deeply.
Subsequent acquisitions included a Gene Davis painting and a Harry Bertoia sculpture. Over time, our collection expanded to encompass works by artists such as Andy Warhol, Tom Wesselmann and François-Xavier Lalanne. Each piece resonates with me—I believe that art should be beautiful, evoke a connection and bring joy.
Tell me about the Pyramid Arts program—how was the idea conceived? What makes Transamerica uniquely well-suited 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 after forty years, I became the proud custodian of this iconic building. That story led to one of our exhibitions, “Pyramid Dreams.”
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Pyramid Arts is a new series of public art installations celebrating innovation and creativity through art and architecture. Our first two exhibitions were curated by Lord Norman Foster and run through April of 2025: “The Vertical City,” a selection of Foster’s architectural achievements across skyscrapers, and “Les Lalanne,” an outdoor exhibition honoring the work of Claude and François-Xavier.
Our vision for the program is to celebrate artists who were ahead of their time, much like the Transamerica Pyramid. For decades, the Pyramid has represented the spirit and resiliency of San Francisco, and we sought to curate an arts program that reflected the bold, innovative and creative legacy the iconic landmark has held.
As part of the program, you worked closely with Lord Norman Foster to launch Les Lalanne’s first outdoor exhibition in San Francisco. Tell me more about this collaboration and how the exhibition was brought to life.
Collaborating with Lord Norman Foster to inaugurate 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 environment.
The exhibition, co-organized with Kasmin Gallery, features over twenty major works by Les Lalanne. Their whimsical sculptures, inspired by flora and fauna, are thoughtfully placed throughout the newly revitalized Redwood Park, creating an enchanting dialogue between nature and art.
You’ve also done other large-scale installations with Les Lalanne. What is it about their work that resonates so deeply with you? Were you close with them before they passed?
Les Lalanne’s work holds a special place in my heart because it embodies a unique blend of whimsy, elegance and timelessness. Their ability to transform everyday subjects into enchanting sculptures resonates with my own 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 was fortunate to know Claude Lalanne personally, and that connection deepened my admiration and love for their artistry. Spending time with her allowed me to understand the thoughtfulness and joy the pair infused into their creations. Their work isn’t just art—it’s an experience that transcends time and trends, which is why it has always been central to our collection and my vision for installations like those at the Transamerica Pyramid and beyond.
Every time I curate an exhibition with their pieces, I feel a responsibility to honor their legacy while sharing the magic of their creations with a wider audience. Their work is a celebration of imagination, and that spirit is something I hope to carry forward in all my projects.
How do you envision the Pyramid Arts program will contribute to the broader cultural landscape of San Francisco?
We have invested so much in the Transamerica Pyramid Center’s restoration because we truly believe in the city and its revival. I see the Pyramid Arts program as pivotal in redefining the cultural heartbeat of San Francisco. The city is known for its rich artistic heritage and innovative spirit, and our goal is to amplify that by transforming the Pyramid into a cultural landmark where art, architecture and community intersect.
The renovations, particularly the revitalization of Redwood Park, create a seamless blend of nature and urban life, offering a unique venue for public art installations. By curating exhibitions and programming that celebrate creativity and innovation, we aim to foster a space where locals and visitors can connect with the arts meaningfully.
Beyond that, this program will draw attention to world-class artists and create opportunities for dialogue and engagement, contributing to the city’s identity as a global hub for art, culture and ideas. Ultimately, I envision the Pyramid Arts program as a catalyst for cultural enrichment, making art accessible to everyone and inspiring the community to explore new possibilities.
Do you have a personal favorite Les Lalanne work from across their oeuvre? It doesn’t necessarily have to be something you’ve owned or curated.
It’s hard to choose just one favorite piece from Les Lalanne’s incredible body of work because their creations are so diverse and imaginative. However, if I had to pick, I would say Singe Avisé holds a special place for me.
François-Xavier’s sculptures of animals often carry a sense of humor and wisdom, and the Singe Avisé is a perfect example. It has a contemplative presence that feels both playful and profound. Also Moutons de Laine. Perhaps one of their most recognizable works, François-Xavier’s Moutons—sheep sculptures—embody the Lalannes’ playful yet functional ethos. These sculptures transform any space into a pastoral dreamscape, and they’ve been a centerpiece in our collection and exhibitions.
Both of these works reflect the essence of why we are so drawn to Les Lalanne: these are not just beautiful objects; they evoke emotion, spark curiosity and invite interaction. Whether as a collector, curator or admirer, their pieces continue to inspire me to think beyond the conventional and embrace the unexpected. Each piece 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 at the Center. The first round of exhibits launched when we celebrated the remastering of the Pyramid in September and will continue to be updated with new installations that showcase iconic artists’ creativity and innovation. Looking ahead, we plan to curate biannual exhibitions that showcase a diverse array of artists and thinkers who, like the Transamerica Pyramid itself, are ahead of their time.
