June 12th: The Art of the Pompidou

            The Centre Georges Pompidou holds one of the largest collections of modern art in the world. Within this collection, there is surely a piece that I didn’t like. However, the most disappointing piece of art that I found was not in the collection itself. In fact, it was the actual building, which is undoubtedly a piece of artwork.

Ever since studying the Centre Georges Pompidou in my interior design seminar during my freshman year, I have been waiting to view it in person. It was one of the buildings that drew my attention and interest instantly. It is a clear example of futuristic architecture and planning. However, upon actually seeing it, the architecture failed to resonate with me. Yet, my experience does not discount the fact that the Centre Georges Pompidou is a fundamental structure within modern architecture. Additionally, it doesn’t disqualify the factors and artistry that compose it.

Architect Renzo Piano designed the Centre Georges Pompidou in 1971. Paris, like me, did not initially respond well to the structure. It was described as the city’s “loch ness monster”. Yet like most innovations in Paris, it grew upon the city and its residents. Piano’s initial concept for the Centre was to instill movement into the structure through visible infrastructure. The skeleton of the building encompasses the building from its exterior, showing all of the different mechanical and structure systems in order to maximize the interior space without interruptions. The different systems on the exterior of the building are painted different colors to distinguish their various roles. The structure and largest ventilation components were painted white, stairs and elevator structures were painted silver, ventilation was painted blue, plumbing and fire control piping painted green, and the elements that allow for movement throughout the building, are painted red. This combination of color and form create a dynamic clash of circuitry. It is a heavy visual experience for any viewer, which may be the reason that I did not respond well to it.

It is important to acknowledge the innovation of Piano’s design concept. It transformed the way art was viewed. Before his design of the Centre Pompidou, the design of museums was systematic. It followed a set course of design. Yet, Piano considered the function of the building over its aesthetic and created a space where art could be translated to more efficiently. Additionally, he turned the exterior of the Centre Pompidou into a piece of artwork in itself. It may not be visually appealing to individuals, but it does have movement and fluidity. It meets the ideas of his initial concept. Therefore, it does not matter if the Centre Pompidou didn’t meet my standards. Like stated previously, a piece of art does not fail to be art if it isn’t liked. It continues to operate upon its principles and retain its value until it is seen for what it is in its entirety. So, maybe one day, like the Parisians, I’ll come to like the Centre Pompidou too.