The centre georges pompidou when was it built
Prices and times. Priority entrance for visitors with hearing impairments or learning difficulties via the Piazza entrance on the left. Free Free on the first Sunday of each month. Free admission for under 26s from countries within the European Union and for primary and secondary school teachers except temporary exhibitions.
Those entitled to free entry can collect a ticket at the Centre Pompidou tills. Free for young people and children Under 18s, after collecting a ticket at the Centre Pompidou ticket desks.
Opening times Wednesday to Monday, 11am to 9pm. Late opening Night opening only for temporary exhibitions on the 6th floor: Thursdays until 11pm.
Exhibition Georg Baselitz. Not least was that by the s, Paris had lost its place as a leader on the contemporary arts scene to New York. To regain the top spot, the French capital needed an original space that would be instantly recognised around the world. There was another factor. For Georges Pompidou personally, it was critical that all forms of artistic expression should be given prominence in the new centre.
He didn't want it to become yet another exclusive preserve for the Parisian art elite. These populist ambitions sparked intense debate, and a standoff ensued between those who were in favour of a celebration of popular culture, and those of a more traditional mindset, the established cultural elite.
Georges Pompidou was passionate about this project, and about his view that the new centre should include music, film, books and even audiovisual research. As he put it, "This place should be both modern and constantly evolve. The library alone will attract thousands of people who, in turn, will inevitably find themselves in contact with other aspects of the arts.
Not least due to the intense cultural debate that preceded it, the opening ceremony attracted international attention, and was attended by political and cultural personalities from around the world.
It has claims to be the most significant single building since the war. It is a palace for a media-soaked age, as bright in its reds and blues as colour TV and colour supplements. In , three years before the memorable press conference, the Paris streets in which the centre now stands had been ripped up by protesting students. Pompidou became president the following year — a conservative with a mission to restore order, who also planned a series of transformative building projects for Paris.
Among them was a proposal for a centre of contemporary arts — not just a museum or a gallery, but also a library and a centre for music. His motives would have included a wish to tame the city with a sophisticated form of bread and circuses. What you do is what you feel.
The point was to make people like us do something like that. For the Beaubourg competition, Piano, Rogers and their colleagues imagined a big frame with pipes and structure on the outside to leave the interior unencumbered and adaptable. Parts of the building could be clipped and unclipped in response to future needs.
Its floors would move up and down. Huge electronic screens would interact with crowds in a piazza outside and escalators in glass tubes would transport people towards the sky. Someone had to express that rebellion.
Putting this spaceship in the middle of Paris was a bit mad but an honest gesture. It is the largest museum for modern art in Europe and also contains a vast public library and a centre for music and acoustic research. The building is designed so that the internal spaces can be easily rearranged — made possible by placing the building services, corridors, elevators and structural members on its exterior.
Reflecting on the win at the time, Piano referred to himself and Rogers merely as "teenagers, young boys" whose proposal was just "an exercise in freedom, not guided by any desire to win or compromise". A key component of Rogers and Piano's proposal was that the building would only occupy half of the site with the other half of the site becoming a public square.
The building's exposed superstructure, which was developed in collaboration with Peter Rice and Edmund "Ted" Happold of Ove Arup and Partners, is constructed from more than 16, tonnes of prefabricated steel parts. Some of the structure's prefabricated components are of a scale rarely seen in the construction industry.
One particularly unique element is its tonne gerberettes. Positioned on both sides of the building, these gerberettes connect large trusses supporting the floors to the columns, helping to create the large internal spans.