1. Study the pre-condition of Paris as set up by Haussmann. What was the city like between 1860-1910? How did the Paris World Expo and the Age of Iron affect the thinking of Corbusier, Mallet-Stevens, and others working in the early 20th century?
2. Study 3 typographic relationships to the Haussmann plan by studying one modern building in each of the three typologic locations: In the fabric, Along the Boulevard, Terminating the Axis.
In the Fabric: Villa La Roche (1925), Immeuble Molitor (1934).
Despite not being on the Haussmann boulevards, the building chosen in the fabric is still very much linked to the changes that happened in Paris at the time. This typology is exposed to the social, political and economic changes that occurred in Paris. It also provides an interim step between “pre-condition of” and “built reaction to” the Haussmann context. A study of this typology can reveal the zeitgeist of architecture in the early 20th century (if the building chosen is from this era) and offer a more impartial reading of the other typologies.
Along the Boulevards: Centre Georges Pompidou (1977),
Annette Fierro makes the observation that the Haussmann Boulevards placed the upper and lower classes in close contact with each other, and for each increased the presence and surveillance of the other. In placing works of architecture along the axes, the buildings elevate the presence of the Parisian fabric behind, and make it more accessible. The Centre Georges Pompidou is a popular example of such architecture inhabiting the sides of the axes and allowing for such readings. Though the Pompidou is one example, other candidates for this typology should address issues of transparency and accessibility along these routes.
Terminating the Axis: Louvre Addition (1989) L’Opera Bastille (1989)
La Grande Arche (1990)
Three examples showcase three works of Mitterand’s Grands Projets, a series of large urban projects finished just prior to the 200th anniversary of the Revolution. Each is located on the Royal Axis, which conceptually extends to Versailles, whose gardens also conceptually extend infinitely into the distance. In contrast to this, Haussmann found many opportunities in Paris not to have his boulevards extend infinitely, but to be terminated in large civic monuments. This has the dual advantage of terminating grand vistas and more practically, of offering landmarks as wayfinding tools in the city. Candidates, such as the Opera Bastille, should be at or near these termination points, and will demonstrate how these modern buildings react to such a complex site condition.
3. Overlay the findings of these 4 conditions and compare and contrast to elicit a series of patterns or sensibilities about modern design in the Parisian context. This may begin in Paris, but for the most part will be post-travel analysis, so as to maximize time spent on the candidate sites.
