Georges Pompidou died in April , before completion of the Lounge. It was finished that year, and rounded off with a rug made by the Manufacture Nationale des Gobelins and a mobile sculpture in stainless steel, also designed by Agam.
Visitors enter a claustrophobic space comprising two rooms with walls lined with rolls of felt. The entrance is designed to make visitors stoop, as a rite of passage leading to a thermal and acoustic experience: the felt absorbs both heat and sound.
Onlookers are then confronted with double silence: that of their environs and of a grand piano in the first room with a closed lid - a picture featuring empty staves to underline this musical mutism. The entire set-up invites musings on freedom, fostering awareness of a potential creator of all individuals. Inside the water tower for a New York building hangs a network of glass vials and stills. Lined with myriad laurel leaves secured beneath wire mesh, the room is heavy with their persistent scent, imbued with a green hue which fades over time.
At the centre stand two hirsute bronze sculptures. They appear to be swept by a draught that lifts their foliage. His subjects are drawn from everyday family culture animals, objects and vehicles , making up a world of imagery at once generic yet strange given their smoothed, standardised aspect. This paradoxic sculpture teams the animal and its weight to cars, suggested by the red enamel bodywork, and its speed.
Discover the complete selection on the online shop. Skip to main content. Close Search. You are here: Home Collections Masterpieces. Meet our Very Important Pieces! A new visitor tour in the museum.
More info. Museum map: Very important pieces tour. To prepare and continue with your visit: Download the VIP tour in the museum map See the new series of podcasts on the Centre Pompidou VIPs This podcast features conversations between a journalist and a guide, for you to enjoy a special moment, as you contemplate each masterpiece. Domaine public. The orthogonal structure translates the effervescence of New York.
The building has a length of meters feet , width of 60 meters feet and height of 42 meters feet — [Rue Beaubourg side] and Totally, the building covers 2 hectares 5 acres with a floor space of , square meters 1,, square feet.
The building has 7 above-ground floors of steel and glass, as well as 3 underground floors that house the equipment rooms and service areas.
There is a distance of 7 meters 23 feet between each floor. To maximize internal space, architects turned the construction inside-out and exposed a skeleton of brightly colored tubes for mechanical systems. The ducts on the outside of the building are color-coded: blue for for circulating air air conditioning , green for fluids, yellow for electricity cables and red for movement and flow elevators, stairs and safety fire extinguishers. Its facades and glass surfaces consists of 11, square meters , square feet of glass.
These works include painting, sculpture, drawing, print, photography, cinema, new media, architecture, and design. Bus - 21, 29, 38, 58, 69, 70, 72, 74, 75, 76, 85, Offer adapted to disabled visitors Hearing Mental Physical Visual Access facilities Loan of wheelchairs Free admission for disabled visitors on presentation of proof Free admission for the accompanying person. The Centre Pompidou has a user-friendly website for disabled people to guarantee accessibility to information and resources to everyone.
You can find all the relative information about our activites on this website: www. Physical disability: - entry via the corner of Rue Saint-Merri and Rue du Renard to avoid the access slope at the main entrance - all floors are accessible by lift.
Visiting Paris with a disability. Customer reviews. Extend your search. Search OK. The building was the vision of the man it's named after, France's leader between and President Georges Pompidou had the idea of a space dedicated to the culture of the 20th and 21st centuries, bringing together visual arts, literature, music, cinema and design in one unique multicultural institution.
The building has extensive galleries featuring both visiting exhibitions and selections from its permanent collection of modern and contemporary art, one of the most important in the world. With additional exhibition spaces, a cinema, a large public reading library - and eight million visitors each year - the President's idea now seems as if it was a very safe bet.
This present day success masks a highly controversial history, however, both of the idea itself and its audacious design. There were many problems facing President Pompidou's vision of a national multicultural centre.
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.
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