{"page":"\u003clink rel=\"stylesheet\" href=\"https://lessonplanet.com/assets/packs/css/resources-572d6a42.css\" /\u003e\n\u003clink rel=\"stylesheet\" href=\"https://lessonplanet.com/assets/packs/css/lp_boclips_stylesheets-f4d0de30.css\" media=\"all\" /\u003e\n\u003cdiv data-title='Celebrating 40 years of an iconic cultural centre' data-url='/boclips/videos/5c54d301d8eafeecae1e6374' data-video-url='/boclips/videos/5c54d301d8eafeecae1e6374' id='bo_player_modal'\u003e\n\u003cdiv class='boclips-resource-page modal-dialog panel-container'\u003e\n\u003cdiv class='react-notifications-root'\u003e\u003c/div\u003e\n\u003cdiv class='rp-header'\u003e\n\u003cdiv class='rp-type'\u003e\n\u003ci aria-hidden='true' class='fai fa-regular fa-circle-play'\u003e\u003c/i\u003e\nVideo\n\u003c/div\u003e\n\u003ch1 class='rp-title' id='video-title'\u003e\nCelebrating 40 years of an iconic cultural centre\n\u003c/h1\u003e\n\u003cdiv class='rp-actions'\u003e\n\u003cdiv class='mr-1'\u003e\n\u003ca class=\"btn btn-success\" data-posthog-event=\"Signup: LP Signup Activity\" data-posthog-location=\"body_link_boclips\" data-remote=\"true\" href=\"/subscription/new\"\u003e\u003cspan\u003e\u003cspan\u003eGet Free Access\u003c/span\u003e\u003cspan class=\"\"\u003e for 10 Days\u003c/span\u003e\u003cspan\u003e!\u003c/span\u003e\u003c/span\u003e\u003c/a\u003e\n\u003c/div\u003e\n\u003c/div\u003e\n\u003c/div\u003e\n\u003cdiv class='rp-body'\u003e\n\u003cdiv class='rp-info'\u003e\n\u003cdiv aria-label='Hide resource details' class='rp-hide-info' role='button' tabindex='0'\u003e\u0026times;\u003c/div\u003e\n\u003ci aria-label='Expand resource details' class='rp-expand-info fai fa-solid fa-up-right-and-down-left-from-center' role='button' tabindex='0'\u003e\u003c/i\u003e\n\u003ci aria-label='Compress resource details' class='rp-compress-info fai fa-solid fa-down-left-and-up-right-to-center' role='button' tabindex='0'\u003e\u003c/i\u003e\n\u003cdiv class='rp-rating'\u003e\n\u003cspan class='resource-pool'\u003e\n\u003cspan class='pool-label'\u003ePublisher:\u003c/span\u003e\n\u003cspan class='pool-name'\u003e\n\u003cspan class='text'\u003e\u003ca data-publisher-id=\"30356011\" href=\"/search?publisher_ids%5B%5D=30356011\"\u003eCurated Video\u003c/a\u003e\u003c/span\u003e\n\u003c/span\u003e\n\u003c/span\u003e\n\u003c/div\u003e\n\u003cdiv class='rp-description'\u003e\n\u003cspan class='short-description'\u003eLEADIN:Paris is preparing to celebrate the 40th anniversary of one of the city's iconic buildings, famous for its exoskeleton and multicoloured piping. The Georges Pompidou National Center for Arts and Culture - most often shortened to...\u003c/span\u003e\n\u003cspan class='full-description hide'\u003eLEADIN:Paris is preparing to celebrate the 40th anniversary of one of the city's iconic buildings, famous for its exoskeleton and multicoloured piping. The Georges Pompidou National Center for Arts and Culture - most often shortened to the Pompidou Center - opened to the public on 31 January 1977. STORYLINE:Walking through Paris, architect Bernard Plattner is on his way to admire the city's famous Pompidou Centre.  The building's radical architecture caused decades of controversy when it was built in the heart of the French capital's oldest neighbourhoods. But 40 years on - the building's quirky nature is being celebrated. \"We are here, of course, in front of this emblematic façade that everyone recognizes,\" says Plattner who's a partner at Renzo Piano Building Workshop. Renzo Piano and Richard Rogers both designed the daring structure which is famous for its exoskeleton and multicoloured piping.Plattner explains the concepts behind the design: \"Behind the concept of 'transparency' that is considered purely as an architectural characteristic – we like glass, we like the contrast with solid stone and things like that, this 'transparency' is something that allows to understand what happens behind the scenes. One of the fundamentals of the spirit at the time, and of Renzo (Piano) and Richard (Rogers), is to open this building onto the outside and excite the curiosity of passers-by, of people who don't usually want or feel like walking into a museum; people who are not used to visiting a museum because it's something you need to learn to do.\"Originally built to handle 5,000 visitors daily, the centre drew five times as many people to see its collections of modern and contemporary art, video and media centres, open-stack library and temporary exhibits when it opened.It reopened in 2000 after a two-year renovation which cost $135 millionToday, it draws thousands of Parisians and tourists from around the world. \"I like that it's quite interactive,\" says 27 year-old Londoner Tilly McHugh. \"You feel like you're using the architecture in a way that you don't find in most other buildings. You can see the people moving.\"Most of the 3.4 million museum goers who visited the center last year would most likely agree with Agathe Pourquoi, a 22 year-old Parisian who says she likes \"the architecture very much.\" \"I like a lot the fact that the structure was left apparent,\" she adds.Another visitor François de Froment, a 22 year-old Parisian, says: \"It's a monument that Parisians are rather proud of. We love to visit it. You never tire of walking past it. I think it's symbolic of the fact that in Paris, in a city where we have a hard time innovating and creating things that are different from the classic (19th century) Hausmann building, we had the courage to make this very different museum, in the heart of Paris and that it was so widely accepted.\"Parisians and tourists are being invited to help celebrate the Pompidou Center's 40th anniversary. President of the Georges Pompidou National Center for Arts and Culture, Serge Lasvignes says it's an important building that showcases the city's creativity. \"The creation of the Pompidou Center represents a complete break with the Paris scenery, and firstly with regards to the architecture. It was like a spaceship landing in the middle of the city, in the historical and oldest neighbourhood. We'd never seen architecture like this. I'm not sure we'd be able to do it nowadays, because of the rules for the protection of the local environment, etc.. We probably wouldn't put up with such a brutal break. But it was also a break with the way art was put on display. In France, we were stuck with a model based on old museums, designed as sanctuaries, with its doors and its front steps and a succession of rooms bathed in quiet obscurity. Here, we created something, which was this open forum – you can see it behind me – in which you could walk straight in as if the city just didn't stop at the door, as if we'd created a city inside the city,\" he says. Once mocked for its exposed pipes and looking like a building site, the modernist Pompidou Center has now settled into its surroundings, according to Lasvignes. \"It's true that when you look at this architecture, you realize that it's provocative and humorous at the same time. You're not sure whether it's a factory – Notre-Dame-of-the-pipes or the Refinery as it was called – or a toy, a large toy with which you'd like to… so it's not impressive. It doesn't make you feel small. Its architecture was not meant to compete with the content. It's not saying like many today, 'I, too, am a work of art by a famous architect'. It's a provocative, modest and humorous architecture.\"The Pompidou Center's anniversary will be marked by a series of exhibitions, theatre, film and dance productions across France.Paris - 27 January 20171. Tracking shot of Bernard Plattner, a partner at 'Renzo Piano Building Workshop', walking towards Pompidou center2. Tracking shot of Plattner outside Pompidou Center3. UPSOUND (French) Bernard Plattner, Partner at 'Renzo Piano Building Workshop':\"We are here, of course, in front of this emblematic façade that everyone recognizes.\"4. Tilt down from escalator running across the Center's façade to Plattner's hand5. SOUNDBITE (French) Bernard Plattner, Partner at 'Renzo Piano Building Workshop':\"Behind the concept of 'transparency' that is considered purely as an architectural characteristic – we like glass, we like the contrast with solid stone and things like that. This 'transparency' is something that allows (us) to understand what happens behind the scenes. One of the fundamentals of the spirit at the time, and of Renzo (Piano) and Richard (Rogers), is to open this building onto the outside and excite the curiosity of passers-by, of people who don't usually want or feel like walking into a museum; people who are not used to visiting a museum because it's something you need to learn to do.\"+4:3+Paris, France - November 1, 1978 6. Wide exterior museum7. Wide and pan crowd+4:3+Paris, France - December 17, 19798. Wide exterior Pompidou Cultural Centre with large statues of angels9. Mid of Salvador Dali, wearing leopard print coat, waves to photographers+4:3+ Paris, France - January 13, 1980 10. Pull out of exterior of Pompidou Centre11. Mid interior, people going up escalator+16:9+Paris - 27 January 201712. Close of banner on façade of Center reading 'Bon Anniversaire' (Happy Birthday)13. Pan of exterior of Pompidou Center with piazza in foreground14. Mid of escalator running across façade with visitors going up15. Wide of glass tunnel with visitors walking towards escalator16. Mid of steel structure and glass tunnel with shadows of visitors riding escalator17. Wide of exterior of Pompidou Center18. Wide of line of visitors waiting to go inside19. SOUNDBITE (French) Agathe Pourquoi (left) and Mégane Piart, 22 year-old Parisians:\"I like the architecture very much. I like a lot the fact that the structure was left apparent, but I'm not sure it's the same for you? – It is, I love it! It's just, it's very different from what we're used to seeing in Paris. But I know I like it. Although… the blue tubes… bold move. I know I see them from home and I can tell you, you see well! I know where I am in Paris! But it's true I like its industrial aspect very much.\"20. Wide of queue of visitors with typical Paris buildings in background21. SOUNDBITE (English) John Meirs (left) and Tilly McHugh, 27 year-old tourists from London:\"I think I like how a lot of stuff is on the exterior rather than internal so, similar to the (Renzo designed) Lloyd's building in London but I don't know much about architecture despite living with three architects but yes, that's what I like about it, not a kind of façade of a building, it's got all the exterior walkways. – (Tilly:) I like that it's quite interactive. You feel like you're using the architecture in a way that you don't find in most other buildings. You can see the people moving and when you're in it… also the views are obviously spectacular from the top. I really like it.\"22 . Close of visitors riding exterior escalator through glass tunnel 23. SOUNDBITE (French) François de Froment, 22 year-old Parisian:\"It's a monument that Parisians are rather proud of. We love to visit it. You never tire of walking past it. I think it's symbolic of the fact that in Paris, in a city where we have a hard time innovating and creating things that are different from the classic (19th century) Hausmann building, we had the courage to make this very different museum, in the heart of Paris and that it was so widely accepted.\"24. Wide of line of visitors queuing to go inside25. Mid of crowd outside Pompidou Center26. Mid of modern rendition of a portrait of former French President Georges Pompidou27. Wide of main ground floor forum with information desk and ticket booths28. Mid of neon signs outside galleries 3 and 4 with visitors at the mezzanine cafeteria29. Tilt-down of apparent blue ventilation system and main information desk with visitors30. Close of ventilation system hanging from ceiling and lamps31. Pan of visitor walking through ground floor forum 32. Wide of Pompidou Center President Serge Lasvignes' reflection as he walks past a giant mirror ball33. SOUNDBITE (French) Serge Lasvignes, President of the Georges Pompidou National Center for Arts and Culture:\"The creation of the Pompidou Center represents a complete break with the Paris scenery, and firstly with regards to the architecture. It was like a spaceship landing in the middle of the city, in the historical and oldest neighbourhood. We'd never seen architecture like this. I'm not sure we'd be able to do it nowadays, because of the rules for the protection of the local environment, etc.. We probably wouldn't put up with such a brutal break. But it was also a break with the way art was put on display. In France, we were stuck with a model based on old museums, designed as sanctuaries, with its doors and its front steps and a succession of rooms bathed in quiet obscurity. Here, we created something, which was this open forum – you can see it behind me – in which you could walk straight in as if the city just didn't stop at the door, as if we'd created a city inside the city.\"34. Close of Lasvignes' eyes during interview 35. SOUNDBITE (French) Serge Lasvignes, President of the Georges Pompidou National Center for Arts and Culture:\"It's true that when you look at this architecture, you realize that it's provocative and humorous at the same time. You're not sure whether it's a factory – Notre-Dame-of-the-pipes or the Refinery as it was called – or a toy, a large toy with which you'd like to… so it's not impressive. It doesn't make you feel small. Its architecture was not meant to compete with the content. It's not saying like many today, 'I, too, am a work of art by a famous architect'. It's a provocative, modest and humorous architecture.\"36. Mid of exterior of steel structure with more traditional Paris building in background37. 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