Abstract
Architecture seems often imbued with the notion of “gesture.” The term is mentioned in abundance both when architecture is seen as a discipline and when it is seen as a social practice. Arguments about it can be found in an artefact as well as in an act of design. In this context it may be revealed as an object to be claimed (i.e., a fetish), or stand for a trace or a carrier of meaning. Thus, in a wider scope, gesture may be discussed as a persistent – if not necessary – theme in the field’s culture. This essay examines “gesture” as a mediator between society (including culture and power) and the practice of architecture. This will be discussed within the framework of the competition for the Centre Beaubourg (later known as Centre Georges Pompidou). The heated discourse revolving around the expression “le geste architectural,” including the proposal to design the building literally as an open hand and thereby as a gesture of offering, will be explored. We will thus show how “gesture” simultaneously creates a multifaceted existence: at once as a token of validity and a symbol of truth and beauty, as well as representing the very danger of banality. Furthermore, we will show how the Centre itself – to which was attributed the character of a feat – becomes a “political gesture” carrying the sperm that spawned the type of “heroic architecture” that is so distinctive to the Fifth Republic. Finally, we will revisit “gesture” as a token taking part in a conundrum where the modern ideal ends up substituting genuineness with genius; and we will see this binary relationship in connection to all the “gestures” we discuss in the case of the Centre Beaubourg. On these premises we will propose that, before we ask to define “gesture” by its content, it is important to see it first and foremost for what it does; namely, that it acts as a nominator, and thereby as a mediator, and even a weaver, of the collective between architecture and society. This shift in perspective is critical, as it reveals that gesture plays a more dynamic role than any doctrine would like to have it. Ultimately, we hope to show that gesture can be seen as taking an integral part in the very fabric of architecture, instead of merely playjng a role in one of its many histories. This essay is based on existing literature as well as original research conducted in the archives of the Centre Georges Pompidou – to which we extend our gratitude for the access.
Highlights
Once gesture takes the form of an act, it is often understood as a feat or an exploit.[21] This is a meaning that largely originates from the word’s medieval roots,[22] and through which the phrase “geste architectural” is seen as implicitly bound to an act of architecture that serves as an expression of power, for example by a prevailing elite, either architectural or political.[23] All of these instances – as we shall see later on – play a major role in the case of the competition for the Centre Beaubourg.[24]
This essay is based on existing literature as well as original research conducted in the archives of the Centre Georges Pompidou – to which we extend our gratitude for the access
It can be applied to elements or actions carrying a trace, such as a symbolic hand gesture,[6] a sketch conveying an architectural idea,[7] or a building that is considered to “gesture”[8] to another. In most of these cases, gesture is usually connected with the notion of a fundamental condition, for example being testament to a certain fundamental truth[9] or connected with a certain power of expression.[10]. While this domain is largely open-ended, we cannot ignore that there is an abundance of mentions of the term, which we will attempt to address here by focusing on the specific case study of the Centre Beaubourg
Summary
Once gesture takes the form of an act, it is often understood as a feat or an exploit.[21] This is a meaning that largely originates from the word’s medieval roots,[22] and through which the phrase “geste architectural” is seen as implicitly bound to an act of architecture that serves as an expression of power, for example by a prevailing elite, either architectural or political.[23] All of these instances – as we shall see later on – play a major role in the case of the competition for the Centre Beaubourg.[24]
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