LernerMedia Places: Paris — Media with a message is modern grail quest
Friday, December 26th, 2008
Louvre shopping annex - inverted pyrimids
As this journal starts here in Paris, I suppose it is appropriate that the first post about “Places” is based on observations made here last December. I wish to thank my daughter Adeline Wilmoth Lerner (Ellie Lerner) for her pictures and for preparing the initial draft of this post. — Cheers, Lee
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In the closing scene of the movie The Da Vinci Code, Tom Hanks’ character peers downward from atop an inverted glass pyramid near the entrance to the Louvre that supposedly marks the resting place of a grave representing the Holy Grail, the goal of thousands of mythical quests. In reality, this now famous movie prop and communal space is nothing more than an artistic skylight that is set in the underground shopping center annexed to the Louvre.
The landmark skylight is now the quest of thousands of tourists, and on the outside is now covered most of the year to keep those tourists off the glass.
The inverted pyramids were obviously intended to compliment the main glass pyramid in the Louvre courtyard and to functionally spread light about the shopping annex atrium. Fortunate to work and visit at the Louvre–and the shopping annex–several times a year, I can personally assure everyone that all that lies in the floor underneath is a parking garage. Moreover, contrary to the claims made in the movie, the inverted pyramids are actually several hundred yards off the rose line running north and south through Paris that is marked by golden “Arago” discs.
With free time one afternoon, Ellie and I stood off to the side of the inverted pyramid to take pictures of people reacting to the space while we waited for Brenda to finish her portion of the days work. I watched as crowds continually gathered to snap group pictures, touch the pyramids, and discuss the book or movie. Some visitors played the role of pilgrims and bent to kneel and pray.
It was maddeningly ridiculous.
What made it maddeningly ridiculous over simply pop culture ridiculous was that off in a corner of the atrium stood an almost totally ignored maze of storyboard panels put up by UNICEF and Medicien Sans Frontiers that carried pictures of hungry children and AIDS orphans that offered real challenges to the mind and heart.
This was a media (and design) failure. The message on the panels was profound, but the media carrying the message could not compete or connect in that time and place.
Perhaps if the space had been rearranged so that in flocking to the inverted pyramid visitors had to pass thorough the maze of panels, or had the panels surrounded the pyramid, then perhaps a mass of minds seemingly open to the mysticism of a movie might have dwelled for a moment on the panels. Time enough, perhaps, to stir them to a real world quest to tackle real world global issues.
What better symbolism to remind us that although the media is not the message (or should not be), choice of media and engaging presentation are critical to the success of even the most profound of messages.
