Piano now also describes it as “not a building but a town where you find everything – lunch, great art, a library, great music”. It wasn’t supposed to be a monument but an event, a happening. There were many, many crises Richard Rogers There were lawsuits against us and all sorts of rules and regulations. “CAROLINE,” ran a message on a screen in one of the drawings, “GO TO KANSAS CITY IMMEDIATELY YOUR FRIEND LINDA HAS BEEN BUSTED”.
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Huge electronic screens would interact with crowds in a piazza outside and escalators in glass tubes would transport people towards the sky. Parts of the building could be clipped and unclipped in response to future needs. 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. They “stood on the shoulders”, as Rogers says, of architects such as Archigram and Cedric Price, who over the previous decade had conceived visions, largely unbuilt, of a kind of architecture that would use technology to change and move, and would embrace the gaudy glamour of film and advertising. Renzo Piano, left, and Richard Rogers in 1977. The point was to make people like us do something like that.” What was exceptional was that “a powerful political man like Pompidou” should run an open competition that could be won by such a team. What you do is what you feel.” Their proposals “were an exercise in freedom, not guided by any desire to win or compromise”. “When you are that young, you are innocent. Piano says that he and Rogers, in their early 30s, were by the standards of their slow-maturing profession “teenagers, young boys”. As Piano now says: “After 1968, he had to do something, to show something.” His motives would have included a wish to tame the city with a sophisticated form of bread and circuses. 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.
#EIFFEL TOWER SIMPLE DRAWING SERIES#
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. In 1968, three years before the memorable press conference, the Paris streets in which the centre now stands had been ripped up by protesting students. It was brave but also a bit impolite Renzo Piano Putting this spaceship in the middle of Paris was a bit mad but an honest gesture.
#EIFFEL TOWER SIMPLE DRAWING TV#
It is a palace for a media-soaked age, as bright in its reds and blues as colour TV and colour supplements. It is both a late blossoming of the 1960s and a precursor of the city-boosting “iconic” architecture of the decades since.
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It has claims to be the most significant single building since the war. And with the passage of time it only stands out more. This tableau captured the grand bargain between radical architecture and establishment politics that generated the famous building that would follow, the Pompidou Centre, sometimes called the Beaubourg, whose 40th birthday is about to be trumpeted with 50 exhibitions and 15 concerts and performances in 40 different cities – an André Breton show in Lille, for example, and an Alain Buffard dance piece in Nimes. “You are the capitalist,” the president told him. Only Ted Happold, of the engineers Ove Arup, wore a suit and tie.
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Richard Rogers wore a railwayman’s blue denim suit and a flower power shirt, Renzo Piano a hippiefied combination of beard and tweeds and their partner John Young a sweatshirt that (memories would vary) may have had Mickey Mouse on it. The hairy young crew who had just won the competition to design the arts centre that would carry his name, beating 680 others, were not. A t a press conference in the Élysée Palace, in 1971, President Georges Pompidou was so properly turned out that the soles of his shoes were polished.