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Essay / Research Paper Abstract
An 8 page research paper that offers a comprehensive architectural overview of the Centre Georges Pompidou in Paris, also known simply as Beaubourg. The writer discusses its controversial design, the architects, the philosophy behind the design and how the Centre has come to be accepted by the people of Paris. Bibliography lists 10 sources.
Page Count:
8 pages (~225 words per page)
File: D0_khcgpmus.rtf
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Unformatted sample text from the term paper:
-- or simply Beaubourg, which is the name first used and the name of the place where the centre currently stands. The Centre Pompidou is "one of the major
architectural statements of the expectations of the Modern Movement of the 60s" (Architectural Design Magazine, 1977, p. 6). The architects: Renzo Piano and Richard Rogers. The architects of the
Centre Pompidou are Renzo Piano, an Italian, and Richard Rogers of Great Britain (Matthew, 2003). Piano was born in 1937 and is a Genoese trained at the Milan Polytechnic (Silver,
1994, p. 5). Piano came from a family of builders, as his grandfather, father, brother and uncles were all contractors in Genoa (Levy, 1998). It was assumed that he would
go into the family business until Piano was 17 and announced that he dreamed of becoming an architect (Levy, 1998). Richard Rogers, an Englishman, was born in 1933 to
a, mainly, Italian family (Silver 6). He trained at the Architectural Association School of Architecture in London and then served in the British army (Silver 6). After being discharged,
Rogers became a Fulbright Scholar and went to the Yale School of Architecture where he earned a masters degree. Silver comments that at Yale, Rogers learned discipline and developed the
capacity for developing "strong feelings about a design" (6). This pair of architects burst onto the international scene in 1977 with the design of the Centre Pompidou, which was
unlike anything see previously in the French capital (Levy,1998). Piano and Rogers innovative design created an "organic breathing machine with an exoskeletal steel structure on which they displayed the buildings
color-coded pipes, ducts, gantries and escalators" (Levy, 1998, p. 60). This ode to technology formulated by Piano and Rogers horrified the cultural establishment, which Levy (1998) points out was also
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