Boris Hamzeian – Actar Publishers

Authors/boris hamzeian

(PhD École Polytechnique Fédérale-EPFL, 2021) is an architect and architectural historian. His studies focus on some of the protagonists of the neo-vanguards of the 1960s and 1970s, from the Florentine radicals to Renzo Piano, Richard Rogers, Aldo Rossi and Rem Koolhaas. His publications include a monograph on the history of the Centre Pompidou, Live Centre of Information, from Pompidou to Beaubourg, 1968-1971, published by Actar in three languages and winner of the Lino Gentilini and Institut Georges Pompidou awards. Together with Lampariello and Anselmo, he published with Actar Unidentified Flying Object for Contemporary Architecture, the first monograph dedicated to the history and legacy of one of the protagonists of radical Florentine architecture, winner of the 9th edition of the Italian Council and the subject of the exhibition Unidentified Flying Object (UFO), performer l’architecture, set up at the Frac Centre-Val de Loire. He is a researcher at the Centre Pompidou and visiting scholar at the Architectural Association in London and Princeton University. He is a member of the Construction History Society, Association francophone d’histoire de la construction and of the scientific committee of Archphoto 2.0.

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The Live Centre of Information (ENG ED.)

Boris HamzeianWhen Jean Prouvé presented the winning design of the future Centre Pompidou in Paris, the project’s idea of a “Live Centre of Information” was denigrated as a “metallic dam” in the heart of Paris

From Pompidou to Beaubourg (1968–1971) Boris Hamzeian When, on July 19, 1971, Jean Prouvé and Robert Bordaz unveiled the competition-winning design for the Centre Beaubourg in Paris, now known as the Centre national d’art et de culture Georges Pompidou, press and public reaction was harsh. The project architects, Renzo Piano, Richard Rogers, and Gianfranco Franchini, were considered “unknowns”; its promoters, the engineers of the firm Ove Arup & Partners, were simply forgotten; the original idea of a “Live Centre of Information,” with its sequences of flexible platforms suspended over an open-air piazza for the crowd, was misrepresented and reduced to the image of a “metallic dam” dropped in the heart of Paris; the jury, which featured figures of the caliber of Prouvé, Oscar Niemeyer, and Willem Sandberg, was believed to have been dominated by the charismatic Philip Johnson; the man who initiated the competition, President Georges Pompidou of France, was believed to

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Live Centre of Information (FR ED.)

De Pompidou à Beaubourg (1968–1971) Boris Hamzeian When, on July 19, 1971, Jean Prouvé and Robert Bordaz unveiled the competition-winning design for the Centre Beaubourg in Paris, now known as the Centre national d’art et de culture Georges Pompidou, press and public reaction was harsh. The project architects, Renzo Piano, Richard Rogers, and Gianfranco Franchini, were considered “unknowns”; its promoters, the engineers of the firm Ove Arup & Partners, were simply forgotten; the original idea of a “Live Centre of Information,” with its sequences of flexible platforms suspended over an open-air piazza for the crowd, was misrepresented and reduced to the image of a “metallic dam” dropped in the heart of Paris; the jury, which featured figures of the caliber of Prouvé, Oscar Niemeyer, and Willem Sandberg, was believed to have been dominated by the charismatic Philip Johnson; the man who initiated the competition, President Georges Pompidou of France, was believed to

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Live Centre of Information (IT ED.)

Da Pompidou a Beaubourg (1968–1971) Boris Hamzeian When, on July 19, 1971, Jean Prouvé and Robert Bordaz unveiled the competition-winning design for the Centre Beaubourg in Paris, now known as the Centre national d’art et de culture Georges Pompidou, press and public reaction was harsh. The project architects, Renzo Piano, Richard Rogers, and Gianfranco Franchini, were considered “unknowns”; its promoters, the engineers of the firm Ove Arup & Partners, were simply forgotten; the original idea of a “Live Centre of Information,” with its sequences of flexible platforms suspended over an open-air piazza for the crowd, was misrepresented and reduced to the image of a “metallic dam” dropped in the heart of Paris; the jury, which featured figures of the caliber of Prouvé, Oscar Niemeyer, and Willem Sandberg, was believed to have been dominated by the charismatic Philip Johnson; the man who initiated the competition, President Georges Pompidou of France, was believed to

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Authors/boris hamzeian