Pompidou (Round II):
Today, I managed to go inside the Pompidou Museum, climbing seven stories up the exterior escalator before I reached the first gallery. The museum’s collection of modern and contemporary art dates back to the early 1900’s and is an amazing compilation of works reflecting the progression of modernism, dealing with a range of artists such as Henri Matisse, Cy Twombly and the more recent Annette Messager.
However, I was most intrigued by the galleries devoted to modern architects such as Jean Prouvé. These galleries featured original drawings, models and essays created by a handful of early modern architects, revealing how modern architecture was first established. It was fitting to be viewing this exhibit in the Pompidou, built 1977, within a room that looked over IRCAM, finished in 1990.IRCAM:
The IRCAM (Institut de Recherche et Coordination Acoustique/Musique) building is located at the Centre Pompidou and is dedicated to the research and creation of contemporary music. Designed by Renzo Piano, Richard Rogers and Partrick and Daniel Rubin, this site was first envisioned in 1973 but was eventually completed in 1990 after the addition of the brick tower. With six of its nine stories underground, the IRCAM building is a testament to the advancement of modern architecture, allowing city planners to maximize IRCAM’s resources while minimizing it’s impact on the surrounding Marais district.
Unfortunately, I was unable to gain access into IRCAM and I am still waiting for a reply concerning a possible tour. I am also waiting for a response from the Atelier Brancusi, which is located on the opposite end of the Centre Pompidou and hosts the permanent collection of the works of Constantin Brancusi. Also designed by Rezno Piano, the structure is a replica of Brancusi’s original studio and attempts to recreate the atelier as it existed when Brancusi donated it to the French government.
Pyramid at the Louvre:
The pyramid at the Louvre is one of the most recognizable structures in Paris and has become a symbol of French modernism ever since its inauguration in 1989. Designed by Chinese-American architect I.M. Pei, the pyramid received at first harsh criticism for its incongruous, geometric forms that seemed to clash against the museum’s ornamental Napoleon III style architecture. Yet, this 21meter high steel and glass structure is now indispensable to the “Grand Louvre”, having successfully served almost twenty years as the entrance to the museum. However, unknown to most travelers, I.M. Pei’s design includes more than just this architectural icon. Besides the main pyramid, I.M. created an additional three, smaller pyramids in the Louvre’s main courtyard to emphasize balance and symmetry within his design and to add light to the subterranean Cour Napoléon, which holds shops, cafés and the official museum entrance. Lastly, there is a fourth inverted glass and steel pyramid between the Louvre and the Tuileries that is best known as the location of the denouement in Dan Brown’s novel The Da Vinci Code and provides an interesting contrast to the main pyramid. For me, I.M. Pei’s pyramid complex at the Louvre embodies the unification of modernism and more traditional architecture that is evident throughout Paris. Glass and Steel, the two materials used in the designs of the pyramids, serve not only as purely functional sources of light, but also allow for a sense of transparency that adds to the grandeur of the Louvre without diminishing the impact of the museum’s marble façade. In fact, when I asked a handful of resting tourists for their opinions on the pyramid, the most negative response I received was “unsure”, while the rest agreed it is “great”.
-Ian
Philip Johnson Glass House Intern
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