PARIS

Istanbul Bilgi Universitygraduate program in architectural design

2013 architectural excursion0 7 - 1 5 s e p t e m b e r 2 0 1 3

The program discovering architecture through world metropolises, initiated in

2006, has now completed its 7th year. The History of Modern Architecture was studied

each year within the context of, respec-tively, Vienna, Chicago, London, Amsterdam,

Barcelona, Hamburg and Berlin, and was concluded with an architectural excursion

carried out at the end of each academic year thanks to the support of VitrA. To-

gether with course and studio instructors, students had the opportunity to discover

the places with which they were acquainted from books and pictures. Through these

intensive excursion programs they evalu-ated legendary objects of architecture and

urban planning that have determined the modern worlds paradigms of urbanization

and architecture within the relationships their city, community, and world establish

with social, economic, political, and cultural contexts. We owe a debt of gratitude to

VitrA as an institution and to its managers and supporting members individually for providing this meaningful opportunity to

architects of the future.

Instructors + Participantshsan Bilgin, Gerhard Fehl, Emre Altrk, ebnem Yalnay inici, Burcu Ktkolu, Mehmet Ktkolu, Tansel Korkmaz, Murat Tabanlolu, Sinan Omacan, Han Tmertekin, Ali Osman ztrk, Seluk Avc, Meral Ylmaz

Coordinatorsdil Erkol, Elif Simge Fettaholu (Bilgi Uni.. Selin Uysal, Beng Eken (VitrA.

Students Yamur Arc, Ethem Aybar, Nimet Bekar, Zeynep Burolu, Sedef atalkaya, Feyza Dalolu, Gizem Erta, Efe nan Gne, Gizem er, Irmak Kalkan, Derya Karaali, Mete Keskin, Mehmet rc, Hurit Trker zdede, Elif zgr, Aybke Samast, Hazer Saretin, Cemal apolu, Aya Yazc

Special Thanks toGerhard Fehl, Levent Ylmaz, Murat Belge, Fatih zgven, Necmi Zek, Komet, Virgine Picon-Lefebvre, Pierre Pinon and Can Onaner

i n d e x / / p a r i s e xc u r s i o n

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8a Isle Cite

8b Cathedrale Notre Dame

8c Mmorial des Martyrs de la Dportation

8d Hopital Hotel-Dieu

8e Place Dauphine

8f1 Louvre Palace

8f2 Louvre Pyramidev

8g Tuillerienpark

8h Place de la Concorde

8i Eglise de la Madeleine

8j Champs Elysee

8k Theatre des Champs Elysee

8l Musee de IArmee

8m Unesco Building

8n Tour de Montparnasse

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7a Centre Georges Pompidou

7b Montmarte

7c Sacre Coeur

9a Opera Garnier

9b Passages

9c Place Vendome

9d Mixed Used Building / Bofill

9e Bibliotheque Nationale

9f Palais Royal

9g Place Victories

9h Les Halles

9i Hotel de Ville

9j Marais

9k Place des Vosges

9l Place de la Bastille

9m Opera de la Bastille

9n Canal Saint-Martin

10a Palace of Versailles

11a Palais dIena

11b Place du Trocadero

11c Tour Eiffele bak

11d Palais de Chaillot

11e Apartment - Rue Franklin

11f Apartment - Rue Raynourd

11g Chancellerie de LAmbassade de Turquie

11h Villa La Roche

11 Villa Jeanneret

11 Apartments by Mallet-Stevens

11k Immeuble Molitor

11 Glass Houses

11m Canal Plus Office Buildings

11n Ambassade DAustralie

11o Tour Totem 207

11p Apartments - Les Colonnes

Dinner by VitrA

12a Muse du Quai Branly

12b Gare dOrsay

12c Maison de Verre

12d Foundation Cartier

12e Ozenfant Evi ve Atlyesi

12f Maison de lInde

12g Pavillon Suisse

12h Pavillon Netherlands

12 Maison du Brsil

12j Cite de Refuge

12k National Library of France

12l Le Cinmathque Franaise

12m Cit de La Mode et du Design

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13a St.Germain

13b Jardin de Luxembourg

13c Pantheon

13d Bibliotheque St Genevieve

13e Jussieu Campus

13f Institut du Monde Arabe

13g Place de la Republique

13h Social Housing

13i Siege Central du Parti Communiste Fran.

13j Student Residence in Paris

13k 46 Homes in Rue du Maroc

13 Plein Soleil

13m Parc de la Villette

13n Musee National de Sciences des Techniques et des Industries

13o Music Center

14a La Defense

14b La Grande Arche de la Dfense

14c Notre Dame de Pentecte Church

14d Hotel Fouquets Barri

14e Bureau Building

14f Villa Savoye

15 Free Day

Flight Back to Istanbul

Paris-Istanbul / PC 874 / 18.30

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Flight Istanbul - Paris / PC 401 / 10.30

Hotel Arrival - B&B Porte de la Villette

4 Rue Emile Reynaud 75019

Public transport : Bus lines 75, 139, 150, 152, 249. Bus stop Porte de la Villette. Mtro : 300m from the hotel line 7. Station Porte de la Villette, exit Avenue Porte de la Villette

7a Centre Georges Pompidou

Metro Rambuteau (11-Kahverengi Mairie des Lilas Yn. >Metro Belleville (Aktarma: 2-Mavi Porte Dauphine Yn.. > Metro Anvers

7b Montmarte

z7c Sacre Coeur

septemb ers a t u r d a y07 The site for the Centre Pompidou

is located in the centre of Paris, within one kilometre of Notre Dame Cathedral and the Louvre Museum, on the edge of a densely populated medieval quarter Les Halles, the famous inner city market nearby, later to be demolished. To the east, the Marais was rundown and in need of regeneration. In the midst of this, the Centre Pompidou, was planned as a key connection in the renewal of the historic heart of the capital. In 1970, an international competition was announced for the design of an arts centre, which would include a library, modern art museum, a centre for industrial design, and a music research centre.

Montmartre was a village just to the north of Paris. The village took its name from the 130m high Montmartre hill. The latter was city dominated by the Romans around the year 55 AD who built a temple at the top of the hill. Montmartre was a burial ground of Christian martyrs and its name is coming from the roman words for hill and martyrs mons martirium.

As the centuries passed, Montmartre retained, and strengthened, its religious impor-tance, but also adopted a military importance. The exquisite location proved to be an excellent vantage point from which to bomb and attack conquering foreigners. During the 1590 Siege of Paris, Henry IV made this his headquarters of artillery operations, as did the invading Russians who took over the area during the Battle of Paris in 1814.

The Montmartre of today is very much what was built up in the 19th century during the reign of Napoleon III (grandson of Napoleon.. It was he who declared war on the Prussians and so quickly lost (1870.. However, much of what is to be seen in the way of city urbanization and reforms is thanks to him.

Napoleon III got Baron Haussmann to destroy the small alleys and poorer areas which caused so much discontent and move the inhabitants further out. 18th arron-dissement is also an example of this rebuilding. The beginning of Paris Commune (1871. is apparently marked by an event by which the peasants of Montmartre took over 150 cannons taken from the Prussians to the top of the hill. The government declared its ownership over them and sent the military to get them at which point the peasants revolted, killed the commanding officers and began their revolt. After this Franco Prussian War the Basilica of Sacre Coeur was built as a public subscription of the defeat.

Due to the light of heights and low rents, the mound was colonized by artists from the 19th century such as Corot, Gricault, Renoir, Degas, Cezanne, Max Jacob, Apollinaire, Juan Gris, Vlaminck, Braque, Picasso.

Abadies design called for one tall central dome bracketed by four smaller domes at the corners in turn topped by and surrounded by several smaller lanternons or cupo-las. These domes were sheathed in small stone tiles, giving the surface of the domes a scaly texture.

Despite its outward radiating appearance, the main portal has grand bronze doors with foliage designs which leads into a dim and rather gloomy sanctuary with heavy and almost overly ornate details.

The architect went to work and pro-duced one of the most unusual designs

in the competition. His Sacre-Coeur was a blend of Romanesque and Byzan-tine styles. All openingswindows,

doorways, pendentiveswere framed by Roman, semicircular arches, not the

high, pointed openings characteristic of Gothic. But all of the domed designs had been faithful to Romanesque in this

respect.

The floor plan is a typical basilica layout with an equal-armed Greek cross and a

large dome (83m high) over the crossing. What made his design stand out were its elongated domes, which gave the

design a distinctly exotic eastern look.

Sacre Coeur is a popular landmark, located at the highest point in the city;

also a double monument both political and cultural.

The laying of the foundation stone in 1884 was closely associated with the found-

ing of the Third French Republic, the constitution of which was adopted the

same year. The basilica was controversial in that it was built to expiate the crimes of the Communards, as some people at the

time put it.

It was also seen as a memorial to the many French citizens who lost their lives

septemb ers u n d a y08

Meet in 09.30 at Kathedrale Notre Dame

8a Isle Cite

8b Cathedrale Notre Dame

8c Mmorial des Martyrs de la Dportation

8d Hopital Hotel-Dieu

8e Place Dauphine

> Pont Neuf (7-Pembe La Courneuve Yn. > Metro Palais Royal Musee du Louvre

8f1 Louvre Palace

8f2 Louvre Pyramidev

8g Tuillerienpark

8h Place de la Concorde

8i Eglise de la Madeleine

8j Champs Elysee

8k Theatre des Champs Elysee

8l Musee de IArmee

8m Unesco Building

8n Tour de Montparnasse

The Ile de la Cit is the cradle of Parisian civiliza-tion. It was here that the Parisii tribe lived; the Romans, led by Caesars lieutenant Labenius, conquered the Parisii in 52 AD and set up camp. The city was given the name Lutecia, from the Latin lutum meaning mud. During the barbarian invasion, Lutecias inhabitants, galvanized by the young Sainte Genevive, took refuge on the easily defended Ile de la Cit. Clovis, king of the Francs and defeater of the Romans, made the island his capital. It stayed the areas center of activity throughout the Middle ages. In the 9th century, the Norman invasions subjected Paris to repeated Viking attacks. One such attack in 885 met with the resistance led by Count Eudes, later king; once again, the defeat was organized on the island.The island kept its role as a religious and judicial center throughout the Middle Ages. Notre-Dame, Saint Chapelle and and the Con-ciergerie are the last three Middle-Aged buildings left on the island.The plaque here in the square is the zero-point for all distances measured from other towns to Paris, underlining yet again the central role of the island in Parisian history.The land between the eastern and the western part

was, until the 1850s, largely residential and commercial, but since has been filled by the citys Prefecture de Police, Palais de Justice, Htel-Dieu hospital and Tribunal de Commerce.

Most of Notre-Dame was complete by the 1220s, the later masters having remained generally faithful to the first design. The cathedral can be classed as a masterpiece of the early-Gothic period. From the mid 1220s on, Notre-Dame was largely re-modelled in an attempt to modernize the cathedral in response to subsequent stylistic developments. Those later modifications are manifest on the exterior, and it would be said that todays cathedral is a 12C building in 13C dress.

The final round of major work came in the 19C when, following a century of neglect and the brutal vandalism of the Revolu-tion. Nearly all the decorative elements date from this time.

In 1160, Pariss newly invested bishop, took the eventful deci-sion to replace the citys cathedral and planned big: the new building would be the largest of its kind yet constructed, 127.5 m long, 40 m wide and 33.1 m high under the main vault.

His urban redevelopment scheme included the building of a brand-new bishops palace to the south of the cathedral, and the cutting of a new, straight street through the tight jumble of houses in front of Notre-Dames west facade.

The widest in Paris, at 6 m, this street was designed to link the complex to the north-south road crossing the Ile de la Cite, thereby ensuring connection with the mainland, and would also facilitate delivery of raw materials to the building site.

The Rue Neuve Notre-Dame, was aligned with the axis of the cathedrals central portal, and opened out onto a square, a transitional space between the secular world and the house of God. Although only a fraction of the size of Notre-Dames current place, this parvis was exceptionally large for its era.

On the eastern tip of the Ile de la Cite, underground behind Notre Dame lies this stark monument to the more than 200,000 French men, women, and children who died in Nazi concentration camps during World War II. The evocative memorial, inaugurated by Charles de Gaulle in 1962, was intentionally designed to be claustro-phobic. Concrete blocks mark the narrow entrance to the crypt, which contains the tomb of an unknown deportee killed at the Neustadt camp. A dimly lit narrow gallery studded with 200,000 pieces of glass symbolizes the lives lost; while urns at the lateral ends contain ashes from the camps.At the exit to the chamber is the injunction, engraved, found at all sites memorializing the victims of the Nazis: Forgive but never forget.

Like the majority of Gothic great churches. Notre-Dames principal vessel, only 12.5 m wide, is very narrow in relation to its enor-

mous height to give verticality rising towards heaven. In original form, Notre-Dames main-vessel elevations were divided into four storeys.: firstly, a comparatively low arcade; on top of the arcade

a generous tribune gallery: above the gallery a row of oculi opening into the tribune roof space; and finally a row of short clerestory

windows under the vault.

First architect wisely pierced oculi to animate a space which in the main vessels of many Romanesque cathedrals was left dead. In comparison to its Romanesque predecessors; Notre-Dames

internal elevations are rather flat and these oculi opening as they did onto the dark attic space above the tribune vaults, would have given a more traditional feeling of depth to the nave walls. When you look

at the Notre-Dames choir elevations, the cathedrals first architect try to break traditionally horizontal emphasis of Romanesque great

churches and instead put the accent on the interiors upward move-ment.

Various structural innovations can be seen in the church. This departure from usual practice seems explicable only by a desire for

greater uniformity.

Notre-Dames west elevation has today become one of the most cel-ebrated images in Gothic architecture, a highly graphic, iconic distillation of

the classic two-tower formula, achieved in part through the unusual flatness and relative sobriety of its surfaces. In comparison to the overcharged

composition of other French-Gothic west fronts, it is a model of clarity and simple harmonious proportions.

If you stand at the entrance to Notre-Dames original courtyard, you will see that the facades proportions were calculated so that, when viewed

from this spot, the statue appears at the exact center of the rose window above, which thus forms an enormous halo around the figures heads. This kind of scholastic symbolism is present throughout the cathedral: its twelve

doors recall the twelve tribes of Israel arid the twelve apostles. its towers, pinnacles and spire evoke the Heavenly Jerusalem, and so on.

Htel Dieu has been in existence since 651, making it the oldest hospital in the city and one of the oldest in Europe.It still resides on the left bank of the le de la Cit, next to Notre-Dame

where the facility was originally built between the 7th and 17th centuries, with two buildings being

linked by the pont au Double.Because of its dead central location, just next to Notre Dame

cathedral, it is a strategic place, surrounded by 9 arrondissements.It original purpose was to

serve the poor of the city, with donations being provided by the bourgeois and nobility. By 1650,

it had become hugely overcrowded treating some 2,800 patients at any given time.As a

symbol of charity and hospitality, it was the first hospital in Paris until the Renaissance.In 1772, a fire destroyed a fair amount of the structures

and it was decided to rebuild Htel Dieu on the opposite side of Notre Dame in 1877.

It was initiated by Henry IV, in 1607 the second of his projects for public squares in Paris.From the square, actually triangular in shape, one

can access the middle of the Pont Neuf, a bridge which connects the left and right banks of the

Seine by passing over the le de la Cit. Only two buildings whose facades are looking through

the Pont Neuf, are still remaining their ancient style: while the others buildings have changes

in height, facade or in material.Originally all were built with more or less the specified facades,

which were similar to those at the Place Royale, although the houses were more modest. Each

repeating unit comprised on the ground floor two arcaded shopfronts interior court with a steep

staircase leading to two residential floors above. These were faced with brick and limestone

quoins, chanes, and tablets.The building looks like monobloc from the roof view, however it

looks seperated when looking at the facades.

It is located in the center of medieval Paris, which is the oldest bridge of the city. It is total length is 232 m. and it is width is 22 m.The bridge is composed of two separate spans, one of five arches joining the left bank to the le de la Cit, another of seven joining the island to the right bank. Old engraved maps of Paris show how, when the bridge was built, it just grazed the down-stream tip of the le de la Cit; since then, the natural sandbar building of a mid-river island, aided by stone-faced embankments called quais, has extended the island.It is important because of being the first bridge whose horse road and the pedestrian road were seperated from each other.

The complex occupies about 40 hectares and forms two main quadrilaterals which

enclose two large courtyards: the Cour Carre (Square Courtyard) and the larg-er Cour Napoleon (Napoleon Courtyard)

with the Cour du Carrousel to its west

A - Philippe Augustes fortress of 1190 was not a royal residence, but t was a

sizable arsenal.

In the mid-14th century, Paris spread far beyond Philippe Augustes original wall.

the Louvre lost its defensive function. In 1364(Charles V) , the old fortress

began transforming into a splendid royal residence.

After the death of Charles VI, the Louvre slumbered for a century until 1527.

Franois I ordered the construction of new buildings at the Louvre in 1546. The work

begun under Franois I was completed by Henri II.

C - Henri IIs widow Catherine de Mdicis ordered the building of a new residence

a short distace to the west. Plans for the Tuileries palace were drawn up by

Philibert Delorme in 1564. (It was burned in 1871)

D- Henri IV built the Galerie du Bord de lEau between 1595 and 1610. Also

known as the Grande Galerie, the long passage provided a direct link from the

royal apartments in the Louvre to the Tuileries palace. Work begun by him

fifteen years later was completed under Louis XIV.

G - Louis XIII ordered the demolition of part of the north wing of the medieval Louvre and its replacement by a continuation of the Lescot wing, in 1625.

I - the architect Jacques Lemercier installed the monumental Pavillon de lHorloge (Pavil-ion Sully), now known as the Pavillon Sully, in 1639.

L- In 1667, a committee that included the physician Claude Perrault designed the celebrated Colonnade, a monumental facade with a peristyle of double columns occupying the entire upper story. Building was stopped in 1672, when Louis XIV moved to Versailles, leaving the project unfinished.

King Louis XIV in 1678, completed the Cour Carre, which was closed off on the city side by a colonnade.

P- The Louvre was still being added to by Napoleon III. The new wing of 18521857, by architects Louis Visconti and Hector Lefuel

In 1793 the Museum Central des Arts opened to the public in the Grande Galerie and the Salon Carr, from where the col-lections gradually spread to take over the building.

The construction of the pyramid triggered considerable controversy because many

people felt that the futuristic edifice looked quite out of place in front of the Louvre Museum with its classical architecture.

Certain detractors ascribed a Pharaonic complex to Mitterrand. Others lauded the

juxtaposition of contrasting architectural styles as a successful merger of the old and the new, the classical and the ultra-modern.

The main pyramid is actually the largest of several glass pyramids that were con-

structed near the museum, including the downward-pointing La Pyramide Inverse

that functions as a skylight in an under-ground mall in front of the museum. During

the design phase, there was a proposal that the design include a spire on the pyramid

to simplify window washing. This proposal was eliminated because of objections from

I. M. Pei.

The Place de la Concorde is one of the major public squares in Paris. Measuring 8.64 hectares in area. It is the largest square in the French capital.

The center of the Place is occu-pied by a giant Egyptian obelisk decorated with hieroglyphics.(Luxor Obelisk) This is one of two obelisks given to France in 1829 by The Ottoman viceroy of Egypt, Mehmet Ali.

Another main feature of Place de la Concorde is its two large fountains, designed by the architect Jacque-Ignace Hittorff. The south one, closer to the Seine, is dedicated to the seas,

with figures representing the Mediterranean. The north one is devoted to the rivers, with figures representing the rivers Rhone and Rhine.

At each corner of the octagonal square is a statue representing a French city: Bordeaux, Brest, Lille, Lyon, Marseille, Nantes, Rouen and Strasbourg.

From the Place de la Concorde you can see the Arc de Triomphe on the west, Htel de Crillon, Church of the Madeleine on the north, the Tuileries on the east and,across the Seine, the Palais Bourbon.

Tuillerien Garden is created by Catherine de Medicis

for herself and for her son Francois II, as a palace apart from the Louvre

called `Tuileries Palace`, and this garden extends

through the Concorde.Tuillerien Garden takes

place through the Louvre/La Defense horizontal city

axes. This garden was cre-ated first in the renaissance style in 1559, then in 1660, it was redesigned by Andre

Le Notre in formal French style. The garden opened to the public in 1667, and

became a public park

after the French Revolu-tion. Tuileries Palace, built

in 1564, it was gradually extended until it closed

off the western end of the Louvre courtyard and dis-

played an immense faade of 266 metres. Since the

destruction of the Tuileries by the Paris Commune,

the Louvre courtyard has remained open and the site

is now the location of the easternend of the Tuiler-ies Garden, forming an

elevated terrace between the Place du Carrousel and

the gardens proper.

The Champs-lyses was originally fields and gardens, until 1616, when Marie de Medici decided to extend the axis of the Tuileries Garden with an avenue of trees. It was called Grand Cours. King Louis XIV commissioned to make Champs Elyses, which was to be seen from Louvre palace. The Champs Elyses was first created by Andre le Notre by extending Jardins des Tuileries. The avenue was named Champs Elyses in 1709. The avenue runs for 1.91 km in northwestern Paris. To the east, you can find the Tuileries gardens and Louvre museum and to the north, you can see St. Lazare train station and to the South is the Seine River. The Champs-lyses ends at the Arc de Triomphe. It was built when Napoleon returned in 1806 from the battle of Aus-terlitz . The current shape which we see today was designed by the French architect Ignaz Hittorf in 1838. He also installed sidewalks, gas lamps and fountains. The latest renovation was done in 1994 by Bernard Huet. He redesigned the side lanes in to pedestrian zones and installed underground park-ing lot and few more new trees were planted.

La Madeleine, a church dedicated to St. Mary Magdalene, is an impressive building

in Paris financial district. It is located at the Place de la Madeleine, close to Palais

Garnier and Place de la Concorde.

La Madeleine was designed by Pierre Alex-andre Vignon at 1806. Napoleon III, desired

to build a temple to represent his armys greatness and truimphes With completion

of the Arc de Triomphe in 1808, the original commemorative role for the temple was

blunted.

The temple is built in the Neo Classical style was inspired by renowned Roman temple

Maison Caree at Nimes. It looks impressive from a distance, with its flight of broad steps

and its 20m.-high columns going all round the church: there are 52 of these columns in all The church is decorated by precious

details and sculptures

Perret remained royal to reinforced-con-crete all his life, and it had been the main element of his buildings of the decades.

Only rarely are the faades of his concrete structures disguised with cladding, as with

the Thtre des Champs-lyses, which is adorned with reliefs by the artist Antonie

Bourdelle. In addition to the Antoine Bourdelles artwork, the building includes

a dome by Maurice Denis, paintings by douard Vuillard and Jacqueline Mar-

val, and a stage curtain by Ker-Xavier Roussel. The building houses two smaller

stages, the Comdie des Champs-lyses theatre on the 3rd floor, and the Studio

des Champs-lyses on the 5th floor. This site for contemporary music on impressive

Paris street, incidentially, became talked

about not only from an architectural point of view-it was there, after all, that modern-

ism in ballet originated.

Despite its name, the theatre is not on the Champs-lyses, but nearby in another part of the 8th arrondissement of Paris.

The venue is one of few major examples of Art Deco in the city and significant as

an early landmark of reinforced concrete construction and, at the time, shock-

ingly plain in appearance. The buildings concrete construction was not merely a

stylistic choice. Subsoil conditions and the sites proximity to the Seine made concrete

necessary. Henry van de Velde was the initial architect, resigning when it was clear

that the Perret brothers had a far deeper understanding of the project than he did.

Les Invalides, officially known as LHtel national des Invalides (The National Residence of the Invalids), is a complex of buildings in the 7th arrondissement of Paris, France, containing museums and monu-ments, all relating to the military history of France, as well as a hospital and a retirement home for war veterans, the buildings original purpose.

Louis XIV initiated the project by an order dated 24 November 1670, as a home and hospital for aged and unwell soldiers The architect of Les Invalides was Libral Bruant. The se-lected site was in the then suburban plain of Grenelle. By the time the enlarged project was completed in 1676 . the complex had fif-teen courtyards, the largest being the cour dhonneur (court of honour) for military parades

Louis XIV commissioned Mansart to construct a

separate private royal chapel referred to as the glise du

Dme from its most striking feature . Inspired by St.

Peters Basilica in Rome, the original for all Baroque

domes, it is one of the triumphs of French Baroque

architecture.

Mansart raised its drum with an attic storey over its

main cornice, and employed the paired columns motif in his more complicated

rhythmic theme. The general

programme is sculptural but tightly integrated, rich

but balanced, consistently carried through, capping its

vertical thrust firmly with a ribbed and hemispherical

dome. The domed chapel is centrally placed to dominate

the court of honour. It was finished in 1708.

The interior of the dome was painted by Le Bruns disciple

Charles de La Fosse with a Baroque illusion of space

seen from below. The paint-ing was completed in 1705.

The UNESCO planning committee had studied the feasibility of establishing its new international headquarters. The Unesco Building were designed by three architects of different nationalities under the direction of an international commit-tee.Three more buildings complete the headquarters site.

The main Building

Located in the Place de Fontenoy is seven floors high, resting on stilts and was con-structed in the form of a Y. This building houses the Secretariat of the Organiza-tion. Nicknamed the three-pointed star, the entire edifice stands on seventy-two columns of concrete piling.

The building 2

It is known as the accordion, holds the egg-shaped hall with a pleated copper ceiling where the plenary sessions of the General Conference are held.

The small four-story building 3

It is in the form of a cube. behind the main building was originally built to house the Permanent Delegates and Non-govern-mental Organizations.

Six sunken patios, building 4

Totally invisible on ground level, conceived in 1965 by Bernard Zehrfuss. construction consists of two office floors.

The tower was designed by architects Eugne Beaudouin, Urbain Cassan and Louis Hoym de Marien and built by Campenon Bernard. Con-structed from 1969 to 1972. It was the tallest

skyscraper in France until, when it was surpassed by the 231m Tour First. It is the 14th tallest build-

ing in the European Union. The tower would have a maximum height of 154 meter. But even after this

was approved by a commission, the developers increased the height to more than 210 meter, even though this increase was never officially approved. The 59 floors of the tower are mainly occupied by offices. The 56th floor, with a restaurant called le Ciel de Paris, and the terrace on the top floor, are

open to the public for viewing the city. The view covers a radius of 40 km.

The towers simple architecture, large proportions and monolithic appearance have been often criticised for being

out of place in Pariss urban landscape. As a result, two years after its completion the construction of buildings over

seven storeys high in the city centre was banned.

septemb erm o n d a y09

Meeting 9:30 at Place de la Opera

9a Opera Garnier

M > Rue de la Paix

9b Passages

9c Place Vendome

9d Mixed Used Building / Bofill

M > Rue Danielle-Casanova - Rue des Petit Champs

9e Bibliotheque Nationale

9f Palais Royal

9g Place Victories

9h Les Halles

M > Metro Les Halles (4-Fuya Porte dOrleans Yn. > Metro Chatelet (Aktarma: 1-Sar Chateau de Vincennes Yn. > Metro Hotel de Ville

9i Hotel de Ville

M > Rue de Rivoli/Rue St.Antoine

9j Marais

9k Place des Vosges

9l Place de la Bastille

9m Opera de la Bastille

9n Canal Saint-Martin

Paris has been through tremendous trans-formation throughout history. The city has withstood poverty, disease, underdevelop-ment, deindustrialisation, criticism and many hardships throughout 19th Century and was redeveloped during the second empire of Napoleon III. A famous figure, Baron Haussmann, comes to mind when identifying Pariss urban regeneration. Haussmann, as he is commonly known, was responsible for changing the land-scape of Paris into the wide boulevards, cafes and shops, public parks and monu-ments and the entire urban architectural faade the city boasts of having today. To understand Paris present urban structure and prosperity, it is therefore important to look at some of the citys historical prominence.

During a time of industrial change and cultural advancement, Paris became the new home for many, The pre-industrial revolution period brought huge immigrant flow into Paris, increasing the population and resulting in a chaotic urban structure with many local Parisians forming illegal colonies

and suffering from prolonged famine and hunger con-structed, with disease and death surrounding the city. The

city had, after all, grown rapidly in population, from 786,000 in 1831 to more than 1,000,000 in 1846 But it had been untouched since the Middle Ages. Napoleon III set about

bringing order and structure to the chaotic, cramped city and putting an end to its identity crisis. Baron Haussmann, cho-

sen by Napoleon III to lead the project, created new roads, public parks, public monuments, as well as installing new sewers and changing the architectural faade of the city.

Haussmann molded the city into a geometric grid, with new streets running east and west, north and south, dividing Medieval Paris into new sections. His plan brought symmetry to the city, something it was lacking beforehand. The projects included creating a north-south axis in the city, developing the quarters around the Opra, as well as the annexation of the suburbs to make them outer arrondisse-ments, the sewer system, and the water supply The new streets were also wider than most of their predecessors, for rea-sons of public health and traffic engineer-ing. It also alllowed for an increase in height of the buildings, providing more room.

The next step in Haussmanns plan for Paris was to divide the city into arrondisse-ments. The decision to divide Paris into these new districts came about in 1853. The plan implied the destruction of the old, heterogenous quarters in the city center and the creation of large new quar-ters implicitly dividing the population by economic status. The original plan called for twelve districts, but in 1860, Paris an-nexed surrounding communities and was divided into twenty districts.

One of the largest stages of the project, second only to the new roads, was the

architecture. To accompany the new streets and provide visual unity to the entire city, Haussmann and his team of architects constructed a unifying architectural faade

that changed the shape of Paris. As well as coating the city with a unifying style,

they also constructed new public buildings, such as LOpra , as well as many other buildings. An emphasis on the horizontal can be seen in the faade, following the horizontal of the streets they sat next to, adding to the symmetry and geometric unity that Haussmann wanted the new Paris to have. The apartment buildings

were typically five stories with the ground floor and the in between floors having thick

walls.

The Paris Opera was designed as part of the great Parisian reconstruction, which was initiated by Emperor Napolean III of the Second Empire. The emperor chose Baron Haussmann to supervise the reconstruc-tion, first ordering that he clear 12,000 square metres of land on which the theatre was to be built. This would be the second theatre for the world renowned Parisian Opera and Ballet companies. An open competition was announced in 1861, which was won by Charles Garnier who was an unknown 32-year-old architect at the time

Palais Garnier is of the Neo-Baroque style.The monumental style can also be classified as Beaux-Arts, with its use of axial symme-try in plan, and its exterior ornamentation. The facade is decorated with rose marble

columns, friezes, sculpture groups and two large gilded statues. Palais Garnier became an influential architectural prototype for many theaters built around the World .It is 172 meter long, 125 meter wide and reaches a height of 73,6 meter The Paris Opera, or Palais Garnier, is one of the most famous auditoriums in the world with its 2,200 seats.

Place de lOpra is located in the heart of Paris, making this square extremely important in Parisian life. One reason is the fact that The Grands Boulevards (Les Grands Boulevards) cross the square from east to west, creating a great deal of activity in the area. Also three branches of the Paris Metro have stations there, making it easily accessible.

The covered passages developed in the capital over a period of only sixty years or so, between the late 18th century and the mid-19th century. Each passage has its own special character but they have one thing in common: they are all private roads. Innovative in terms of their archi-tectural shape as well as their social role, and systematically lined with shops, the passages were places of great diversity. There were usually homes above the shops, and luxury boutiques, toyshops, performance venues, bookshops and restaurants stood side by side.

The arcade itself is a building type that pro-liferated in early 19th-century Paris before Haussmanns grand boulevards ripped through the citys ancient fabric. Typically sheltered beneath an iron and glass roof, the arcade was a blocklong pedestrian passage nestled between two masonry structures. It was lined on either side with small shops. At its peak during the mid 19th century, there was a network of more than 140 passages, many connected to each other. They were very popular as they protected visitors from inclement weather and the often dirty and odorous streets. About 30 now remain, most of them clustered on the Right Bank in the first and second arrondisements.

For Benjamin, the Paris arcade was the most important building type of the 19th century. The

arcade may have lacked the heroic muscular-ity of train stations, bridges and other feats of

Victorian engineering. It had none of the classical gravitas sought by the Beaux Arts-trained archi-

tects of monumental public buildings. But the arcade represented a pivotal moment in modern history. With it, society began its transition from a culture of production to one of consumption.

Beneath the arcades greenhouse roof, the tech-nical apparatus of the industrial society was used

to furnish peoples minds with images of desire.The arcade itself was a visual device: a spatial frame around the shop windows that inspired

passersby

Place Vendme is a square in the 1st arrondissement of Paris, France, located to the north of the Tuileries Gardens and east of the glise de la Madeleine. It is the starting point of the Rue de la Paix.

Place Vendme was laid out in 1702. Architect Jules Hardouin-Mansart, who built most of the Versailles Palace , had originally purchased the land where it sits in hopes of making some money in real estate . Similar to the Place des Vosges, Mansard made all the buildings on the square identical, with arched ground floors and tall-windowed second floors. Pilasters and ornamental pillars were placed between each set of windows.

Its regular architecture by Jules Hardouin-Mansart and pedimented screens canted across the corners give the rectangular Place Vendme the aspect of an octagon.

Colonne Vendme

At the centre of the square there stood an equestrian statue of Louis XIV, which was destroyed during the Revolution. A bronze column with a statue of Napo-leon I and decorated with a spiral sculpted with war

scenes, known as the Vendome Column was erected by Napoleon as the Colonne dAusterlitz is modeled

after Romes Trajan Column. It was built to commem-orate the victory at Austerlitz in 1805

After the Bourbon Restoration the statue was pulled down and melted down to provide the bronze for the recast equestrian statue of Henry IV on the Pont Neuf , A replacement statue of Napolon in modern dress

however, was erected by Louis-Philippe, and a better, more augustly classicizing one by Louis-Napolon

(later Napolon III).

The project completed in 1985 by the international team Ricardo Bofill, Taller de Arquitectura was part of a renovation program in Paris 14th arrondissement, nearMontparnasse train station. Within this sensitive context the respect to the configu-ration of the existing urban tissue demanded a specific architectonic vocabulary.

In the mid-1970s Bofill became in-volved with several projects designed for the French New Towns which surround Paris. All of these projects combine Bofills interest in baroque spatial organization with a desire to return to traditional elements of ur-ban planning. In these projects Bofill turned from the vernacular archi-tecture of the Mediterranean to the Classical language which character-izes much of the grand architecture in France since the Renaissance. Using reinforced concrete structures and prefabricated concrete panels, he approached the Classical style on a truly monumental scale.

By applying the essence of baroque architecture the faade is not a mere wall, it breaks the established rigidity and becomes a dcor for the city.

In designing the buildings the team confronted two imperatives: to respect

the urban context and to obtain a formal relationship with the interior spaces of the project.Les Echelles du Baroque consists

of a building apartment surrounding a circular plaza which, by its axial condition, encloses the project perspectives; behind this space, two clearly differentiated apart-ment blocks define two additional plazas: one elliptical and the other amphitheatre-

shaped.

The faades facing the elliptical plaza define an elliptical space as the Italian

baroque plazas. For these faades the architectural team used a curtain wall with

glass columns that add rhythm to the design and become the bow-windows of the apartments.The three buildings

contain 274 apartments over seven floors with a basement level for car park (300 cars). The ground floor contains apart-ments, shops, offices and workshops.

The geometry of the apartments is based on the combination of modules in plan. The basic apartment module is 65 sqm

(3 bedroom apartment unit) .All of the houses have dual orientation. The interior

faade of the houses which delimit the elliptical plaza takes the form of a curtain

wall, with a rhythmic sequence of glass columns which makes it possible to

provide every apartment with a glazed window bay.

The National Library of France traces its origin to the royal library founded at the Louvre Palace by Charles V in 1368. However before Labrouste (1801-75),libraries were private places -in monaster-ies or educational buildings- that passersby could not enter. So when he embarked on designing Pariss Bibliothque Sainte Genevive(1838-50), and later the Bibliothque Nationale (1854-75), he had to start from scratch. He was the first person to think [of] what happens when you open the doors of the library to the public. As a result of this attempt, the triumph of the building is widely acknowledged. He gave built form to his notions of a modern library also became the pioneer of cast-iron construction with his design.The term Salle Labrouste is in the habitual memory of seven generations of readers in Paris, where those with any kind of bookish bent are familiar with the stunning reading room of the original Bibliothque Nationale.

With this masterpiece; Labrouste gave form to the idea of the modern library as a machine for knowledge

and a space for contemplation. He combined clas-sic, antiquity-inspired design with the latest materials and building technologies, with the exposed modern

frameworks, detailed masonry walls, and new me-chanical systems and forms of heating and light. Many hundreds of thousands of books provide the dominant

interior dcor, as Labrouste insisted. Natural and artificial light he was also a pioneer in insisting upon gaslight to enable evening use of the library suffuses

the interior Labroustes daring exposure of the sup-porting ironwork, gives optical and structural elevation

to the room, allowing the insertion of huge clerestory windows. Also many hundreds of thousands of books

provide the dominant interior dcor of this reading room, as Labrouste insisted.

The Palais Royal is located in the first arrondisse-ment of Paris . It lies opposite the north wing of the Louvre. The Palais Royal is made up of three parts the Palace, the courtyard and the garden. Despite its name, never was a residence of kings. Its construction was commissioned by Cardinal Richelieu, to architect Jacques Lemercier. Con-struction work began in 1624. When the palace became the seat of the Philip II Duke of Orleans, his great grandson Louis Philip who became known as Philippe-Egalite, shrank the gardens size and hired architect Victor Louis to enclose the gardens with colonnades, buildings and arcades, which were lined with shops. He then opened the garden to the french public which made him very popular with the people. Theaters were located at each end of the shops.

Today the palace is the headquarters of the State Council, the Constitutional Council and the

Ministry of Culture. In the back of the gardens there were the old buildings of the Bibliothque

nationale,and the deposit of the library with a collection of more than 6 million books, docu-

ments, maps and prints

The larger inner courtyard, Cour dHonneur, has since 1986 contained Daniel Burens site-specific

art piece Les Deux Plateaux, known as Les Colonnes de Buren. Project consist of 280 mod-

ern black and white striped truncated columns dominated by a large sculpture. Palais-Royal is a significant parisian space because of its extream

contrasts. The sober stone columns of its historic arcades are viewed against the modern,

black-and-white-striped truncated columns in the courtyard

The site began as Louis XIIIs hunting lodge before his son Louis XIV transformed and expanded it, moving the court and government of France to Versailles in

1682. Each of the three French kings who lived there until the French Revolution added improvements to

make it more beautiful.

In the 1670s Louis XIV built the Grand Apartments of the King and Queen, whose most emblematic

achievement is the Hall of Mirrors designed by Man-sart, where the king put on his most ostentatious

display of royal power in order to impress visitors. The Chapel and Opera were built in the next century under

Louis XV.

The chteau lost its standing as the official seat of power in 1789 but acquired a new role in the 19th

century as the Museum of the History of France, which was founded at the behest of Louis-Philippe,

who ascended to the throne in 1830. nch history.

In the mid-19th century, Louis Phillippe took a personal interest in the redevelop-ment of the central market in Paris. Napo-leon III: All we need is opened umbrellas. Victor Baltard developed glass pavillions with iron pillars and roof structures. The two cruciform groups of buildings were

connected by covered walkways so that the pavillions could be reached comfortably in bad weather. In 1854 Rue des Halles is built. In 1865, 10 pavillions are built. The Belly of Paris / 1874, Emile Zola. In the years after the Second World War, the site had become run down and not fitted to the

demands of a modern commercial centre. Les Halles gained an underground station

for the RER, a network of new express underground lines which was completed

in the 1960s.

Jean Nouvel tried to discourage them from demolishing Les Halles. But he could

not win the competition.The demolishing of Les Halles in 1971 must rank among

the most unfortunate urban planning decisions of th 20th century. The area

functioned as the main source of food-stuffs for Parisians for almost 700 years. In 1973 the notion of protected area came

up with the awareness of society. After the demolition, the wholesale market was

relocated to the suburb of Rungis in 1971.

The existing multi-level shopping mall with its arched, steel ribs, some of which open out organically, the Forum is meant to re-call the iron umbrellas of the old market hall, but its architecture is not convincing

in that regard.

The Htel de Ville is the building housing the citys local administration. Stand-

ing on the place de lHtel-de-Ville (formerly place de Grve) in the citys IV. arrondissement, it has been the location

of the municipality of Paris since 1357. It serves multiple functions, housing the

local administration.

In July 1357, tienne Marcel, provost of the merchants of Paris, bought the

so-calledHouse of Pillars in the name of the municipality on the gently sloping

shingle beach which served as a river port for unloading wheat and wood and later merged into a square, the

Place de Grve (French for Square of the Strand), a place where Parisians often gathered, particularly for public

executions

During the next two centuries, no changes were made to the edifice which was the stage for several famous events

during the French Revolution . Eventu-ally, in 1835, on the initiative of Rambu-teau, prfet of the Seine dpartement,

two wings were added to the main building and were linked to the facade by a gallery, to provide more space for

the expanded city government.

During the Franco-Prussian War, the building played a key role in several political events. On 30 October 1870, revolutionaries broke into the building and captured the Government of National Defence, while making repeated demands for the establishment of a communard government. The Paris Commune chose the Htel de Ville as its headquarters, and as anti-Commune troops approached the building, Communards set fire to the Htel de Ville destroying almost all extant public records from the French Revolu-tionary period. The blaze swallowed the building from the inside, leaving only an empty stone shell.

Reconstruction of City Hall lasted from 1873 through 1892 (19 years) and was directed by architects Thodore Ballu and douard Deperthes, who had won the public competition for the buildings reconstruction. The architects rebuilt the interior of the Htel de Ville within the stone shell that had survived the fire. The central ceremonial doors under the clock are flanked by allegorical figures of Art, by Laurent Marqueste, and Science, by Jules Blanchard.Some 230 other sculp-tors were commissioned to produce 338 individual figures of famous Parisians on each facade, along with lions and other sculptural features.

Paris Aristocratic District, Le Marais spreads across parts of the 3rd and 4th arrondissements. In 1240 the Temple turned the district into an attractive area, and

many religious institutions were built nearby. From that time to the 17th century and especially after the Royal

Square the Marais was the French nobilitys favorite place of residence. French nobles built their urban

mansions there. M

any of the old aristocratic mansions survive as mu-seums or public buildings. After the nobility started

to move to the Faubourg Saint-Germain, the district became an active commercial area, hosting one of

Paris main Jewish communities, until world war II. By the 1950s, the district had become a working-class

area. The main Htels particuliers have been restored and turned into museums. The Marais is now one of

Paris main localities for art galleries.

Place des Vosges was the first program of royal city planning, built on the site

of the Htel des Tournelles and its gardens. Place

des Vosges was designed by Baptiste du Cerceau in 1612. Then The King

ordered all 39 other build-ings bordering the square to follow the same housefront

design and he gave the houses as a present to

choice persons of different social standing. The public space frequently was used

for festivities and turna-ments.

Two pavilions that rise higher than the unified roof-line of the square center the

north and south faces and offer access to the square

through triple arches. Though they are designated the Pavilion of the King and of the Queen, no royal per-

sonage has ever lived in the aristocratic square.It initiated

subsequent developments of Paris that created a suit-able urban background for the French aristocracy and it is the prototype of all the

residential squares of Euro-pean cities to come. With

The Place de la Bastille is a square in Paris, where the Bastille prison stood until the Storming of the Bastille and its subsequent physi-cal destruction between 14 July 1789 and 14 July 1790 during the French Revolution. On 16 June 1792, the area occupied by the Bastille was turned into a square celebrating libertyand a column would be erected there. The first stone was laid by Palloy, however construction did not commence. In 1833,

Louis-Philippe decided to build the July Column as originally planned in 1792. The July Column which commemorates the events of the July Revolution (1830) stands at the center of the square. Other notable features include the Bastille Opera, the Bastille subway station and a section of the Canal Saint Martin. Prior to 1984, the former Bastille railway station stood where the opera house now stands.dimensions of 140 x 140

meters, is the first example grand urban schemes .

Inaugurated in 1989 as part of President Franois Mitterrands Grands Travaux, The

Opra Bastille is the work of the Canadian architect Carlos Ott, who was chosen in

November 1983 after an international com-petition. The theatre was inaugurated on

July 13th 1989. Its architecture is marked by transparent faades and by the use of identical materials. With its 2,700 acousti-

cally consistent seats, its unique stage facilities, its integrated scenery, costume and accessory workshops, as well as its

numerous work areas and rehearsal rooms, the Opera Bastille is a great modern theatre.

The Canal Saint-Martin is a 4.5 km long canal in Paris. It connects the Canal de lOurcq to the river Seine and runs under-ground between Bastille and Rpublique. Construction of the canal was ordered by Napoleon I in 1802, in order to create an artificial waterway for supplying Paris with fresh water to support a growing popula-tion and to help avoid diseases such as dysentery and cholera. The canal inspired painters such as Alfred Sisley. In the present day, many intricate works of graffiti are visible along the canal, and there is a large multimedia art space on its banks.

Louis XIV, known as Louis the Great , was the monarch of France from 1643 until his death. His

reign of 72 years is the longest of monarchs of ma-jor countries in European history. During his reign, Louis XIV mostly ordered royal peripherial projects

of Paris by calling the best architect and land-scape designers of Europe. He also made a few

patchwork investment to inner city and dedicated to royalty. The Place Des Victoire and the Place

Des Conquetes (now the Place Vendome) are the examples of these patchwork projects.However,

these square-projects had no other function than creating a public scenery for statues of Louis XIV.

In both cases,the land was bought and subdivided by the state or the municipality.

During his reign, Louis XIV practiced enormous peripheral project to modernize the urban layout

of Paris. The new view of the city shows the

Baroque architect features such as symmetry, classical order, monumental scale, and center emphasis. The King Louis commissioned the first plan for a perfectly straith prestigious royal road that was to stretch from the Palace of the Louvre , through the Tuler Garden till the Place de lEtoile with 7,5 miles long. The other project of the King i s the Les nvalides. The enormous building complex which was built, out of view of King, for the soldiers died or injured for the monarch and their family. the monumental Chapel covered with a golden dome to be seen from afar.

The facades were built by private investors who sold the plots to private persons. Place Victoire could not be realized fully with its unified facade, since several of the houseowners were not willing to sell their lots to the king. As opposite of this, Place Vendome was buily as unified facade. Louis XIV bought up more land and a larger and more

Baroque architect features such as symmetry, classical order, monumental scale, and center

emphasis. The King Louis commissioned the first plan for a perfectly straith prestigious royal road

that was to stretch from the Palace of the Louvre , through the Tuler Garden till the Place de lEtoile

with 7,5 miles long. The other project of the King i s the Les nvalides. The enormous building

complex which was built, out of view of King, for the soldiers died or injured for the monarch and

their family. the monumental Chapel covered with a golden dome to be seen from afar.

The facades were built by private investors who sold the plots to private persons. Place Victoire

could not be realized fully with its unified facade, since several of the houseowners were not willing

to sell their lots to the king. As opposite of this, Place Vendome was buily as unified facade.

Louis XIV bought up more land and a larger and

pompous new facade with broken corners designed and again realized by the inves-

tors.The King also made improvements) in living conditions: he introduced public street lighting in main-roads, built public hospitals,

introduced on a few coherent inner-city plots a new type of mass-housing.

septemb ert u e s d a y10

Bus at Gare Montparnasse.

10 a Palace of Versailles

The dream peripheral project of Louis XIV was to create a new suburb

as the new unofficial capital city of France. He decided to build his new palace to 20 km. southwest of Paris,

Versailles. Le Brun was rested for overall project. He enlarged the exist-ing hunting building and designed the

Chateau and Le Notre designed the gardens (Le Notres garden design

is particularly important because the axial composition was a direct

influence in future city planning, and perhaps the ultimate expression of Baroque landscape design). To the Upside of the palace and attached

to the main court. The houses were built for 20.000 people.

The palace and the gardens are both seminal examples of Baroque design which includes features such as par-terres, buildings on axes, focal points within gardens,radial roads and integra-tion with the surrounding landscape. Versailles consists of a central axis with a series of cross axes which creates the framework for the layout of the highly organized palace and garden. The palace creates one of the cross axes off of the central axis. The other cross axes created the framework for geometric designs within the landscape most of which had a focal point or central fea-ture. The palace is located in the center and adjacent to grand courtdyard which was marked with avenues of Saint-Cloud, Paris and Sceaux.

Between three avenues Grand and Petit Ecuries are placed in baroque

Architecture. Water was used to emphasize axiality and centrality. The

Fountain Lotona is the start point of east-west axis consisted of gravel,

grass and it reached up into the hori-zon. The axis was meant to appear to extend into the landscape for eternity. The Grangd Cannal at the end of the garden strengten the main axes and

at the starting point of cannal the symmetrical,radial roads designed.

The intersecting north-south arm of the cannal provides the secondary axes which points the Grand Trianon. The Trainon is the part where the second

building complexes are placed.

The site began as Louis XIIIs hunting lodge before his son Louis XIV transformed and expanded it, moving the court and government of France to Versailles in

1682. Each of the three French kings who lived there until the French Revolution added improvements to

make it more beautiful.

In the 1670s Louis XIV built the Grand Apartments of the King and Queen, whose most emblematic

achievement is the Hall of Mirrors designed by Man-sart, where the king put on his most ostentatious

display of royal power in order to impress visitors. The Chapel and Opera were built in the next century under

Louis XV.

The chteau lost its standing as the official seat of power in 1789 but acquired a new role in the 19th

century as the Museum of the History of France, which was founded at the behest of Louis-Philippe,

who ascended to the throne in 1830. nch history.

Over the centuries

1607 : The Dauphin, the future Louis XIII, visits the hunting lodge

1630 : Day of the Dupes

1662 : Louis XIVs visits to Versailles

1664 : The Royal Menagerie built by Le Vau

1675 : The large-scale landscaping of Andr Le Ntre

1682 : Installation of the court in Versailles

1688 : The Grand Trianon of Louis XIV

1701 : The new bedchamber of Louis XIV

1710 : The Royal Chapel of Versailles

1715-1722 : After 7 years of absence, the return of Louis XV at Versailles

1736 : The works of Hercules Salon

1738 : Louis XV and the creation of the Small Apartments

1752 : The demolition of the Ambassadors Staircase

1770 : The inauguration of the Royal Opera

1771-1775 : The construction of the Gabriel Wing

1774 : Marie-Antoinette and the Petit Trianon

1785 : The Grand Project for the reconstruction of the faades of the palace facing the town

1789-1792 : The Revolutionaries against Versailles

1811 : Napoleons stays to the Grand Trianon

1821 : The construction of the Dufour pavilion

1837 : The inauguration of the History Galleries of Versailles

1855 : The visit to Versailles of Queen Victoria

1867 : Marie-Antoinette exhibition in the Petit Trianon

1875-1876 : The Congress Room

1892 : Pierre de Nolhac and the revival of Versailles

Marie-Antoinettes estate

The Petit Trianon and its park are indissociably linked to the memory of Queen Marie-Antoinette. She is

the only queen to have imposed her personal taste on Versailles. Sweeping away the old court and its

traditions, she insisted on living as she wished. In her Trianon domain, which Louis XVI gave her in 1774,

she found the heaven of privacy that enabled her to escape from the rigours of court etiquette. Nobody

could come there without her invitation.

The reinstatement of the compound which shows most of the former arrangement: enclosing walls,

gates, grills and saut-de-loup [Wolfs jump] shows the Petit Trianon domain as a guarded, preserved

place, centred on its chteau. This arrangement shows the eclecticism and refinement of Marie-An-

toinette, an art of living linked to free thinking, for the spirit of the Enlightenment was far from absent here.

From the central window of the Hall of mirrors the visitor look down on the grand perspective that leads the gaze from the Water Parterre to the horizon. This original perspective, which preceded the reign of Louis XIV, was developed and prolonged by the gardener Andr Le Ntre by widening the Royal Path and digging the Grand Canal. This vast perspec-tive stretches from the faade of the Chteau de Versailles to the railings of the park.

In 1661, Louis XIV commissioned Andr Le Ntre with the design and laying out of the gardens of Versailles which, in his view, were just as important as the Chteau. The works were undertaken at the same time as those for the palace and took forty years to complete.

septemb erw e d n e s d a y11

11a Palais dIena

11b Place du Trocadero

11c Tour Eiffele bak

11d Palais de Chaillot

11e Apartment - Rue Franklin

11f Apartment - Rue Raynourd

11g Chancellerie de LAmbassade de Turquie

11h Villa La Roche

11i Villa Jeanneret

11j Apartments by Mallet-Stevens

M > Michel-Ange Molitor

11k Immeuble Molitor

M > Michel-Ange Molitor (10-Hardal Gare dAusterlitz Yn.> Metro: Javel-Andre Citroen

11 Glass Houses

11m Canal Plus Office Buildings

11n Ambassade DAustralie

11o Tour Totem 207

11p Apartments - Les Colonnes

Dinner by VitrA

The headquarters of the Economic, Social and Environmental Council is a palace of the 16th arrondissement of Paris, which is made during the Specialized Exhibition of 1937. Although the work was not yet completed, the National Mu-seum of Public Works was opened in 1939 with its first wing parallel to the avenue dIena. World War II delayed the progress of work and the rotunda could be completed in 1943. The palace houses a conference room with three hundred seats covered with a double dome. The lobby has a grand staircase suspended iron cheval. Building proportions are derived directly from the logic of the material. He defines the Palais dIena as a classical order whose proportions are derived directly from the logic of the material. Capturing the light and shadow on its concrete pink marble and green porphyry, the palace is one of the most important contributions of mod-ern rationalism to universal architecture.

The hill of Chaillot was first arranged for the 1867 Worlds Fair. For the 1878 Worlds

Fair, the (old) Palais du Trocadro was built here, where meetings of interna-

tional organizations could be held during the fair. The palaces form was that of a

large concert hall with two wings and two towers. For the Exposition Internationale

of 1937, the old Palais du Trocadro was demolished and replaced by the Palais de

Chaillot, which now tops the hill.

Designed in two wings with a gap be-tween, Palais de Chaillot frames axial view of the Eiffel Tower across the river, erected in 1889 as the entrance arch to the 1889

Worlds Fair.

This hill is also referred to colline des muses, since the Palais hosts many mu-seums, such as the Muse de lHomme,

theMuse de la Marine, the Cit de lArchitecture et du Patrimoine and the

Thtre national de Chaillot.

The main symbol of the Fair was the Eiffel Tower, which was

completed in 1889, and served as the entrance arch to the Fair.

The Eiffel Tower is an iron lattice tower stands 324 metres (1,063 ft)

tall, about the same height as an 81-storey building.

The main architect of the tower was Stephen Sauvestre and con-structed from the Gustave Eiffels

company between 1887-1889. There were also around 50 other engineers, 100 iron workers and

121 construction workers working on construction of the Eiffel Tower.

18. 038 piece of iron were joined by two and a half million rivets.

The Exposition Universelle of 1889 was a Worlds Fair held in Paris. The exhibition was held during the year of the 100th anniversary of the storming of the Bastille, which is an event traditionally considered as the symbol for the begin-ning of the French Revolution.

The fair included a reconstruction of the Bastille and its surrounding neighbor-hood. Including the Champ de Mars, the Trocadro, the quai dOrsay, a part of the Seine and the Invalides ,the 1889 Exposition covered a total area of 0.96 km, esplanade.The fair was also an expression and reflection of the times developments of construction technol-ogy with the usage of modern construc-tion materials.

The Galerie des machines was a pavilion built for the Exposi-

tion Universelle (1889) in Paris. It was located in the Grenelle district. The

huge pavilion was made of iron, steel and glass. It formed a huge glass and

metal hall and was by far the largest vaulted building to have yet been built

with an area of 115 by 420 metres and a height of 48.324 metres. The

framework consisted of twenty trusses and there were no internal supports.

The structure incorporated the three-pin hinged arch, developed for bridge building.[6] The Galerie des machines

gave the exposition of 1889 an area of about 8 hectares (20 acres) of usable

space.

The Galerie des machines was reused for the 1900 exposition, and

later used as a velodrome, agricultural exhibition hall and for other purposes. It was demolished in 1910 to open up

the view along the Champ de Mars.

Similar to other momentous monu-ments, the Eiffel Tower was criticized by number of French artists, writers and intellectuals who complained in 1887 that the Tower would be a monstrous symbol of the craven machine age that would destroy the integrity of Paris. The petition read,

We, the writers, painters, sculptors, architects and lovers of the beauty of Paris, do protest with all our vigour and all our indignation, in the name of French taste and endangered French art and history, against the useless and monstrous Eiffel Tower.

However, the Eiffel Tower is not only one of the most recognizable structures in the world but also, a global cultural icon of France and permanent feature of the Paris skyline.

The first principle of architectural beauty is thatthe essential lines of a construc-tion be determinedbya perfect appro-priateness to its use.Gustave Eiffel

For the Exposition Internationale of 1937, the old Palais du Trocadro was de-

molished and replaced by the Palais de Chaillot which now tops the hill. It was to be designed in moderne style by three

architects. Like the old palais, the palais de Chaillot features two wings shaped to form

a wide arc. These wings were built on the foundations of those of the former building.

However, unlike the old palais, the wings are independent buildings and there is no

central element to connect them. Instead, a wide gap leaves an open view from the

place du Trocadro to the Eiffel Tower and beyond. Quotations by French poet

and philosopher, Paul Valry, decorate the buildings. Large bronze statues of Apollo and Hercules stand in front of each wing.

Today, the Palais de Chaillot houses a number of different museums. In the south

wing, there are two - the Muse de la Marine (Naval Museum) and the Muse de

lHomme (The Museum of Man). Theres also an architecture museum - the Cit

de larchitecture et du patrimoine, which opened in 2007.

A. Perret made no secret of the structure of this apartment building: the load-bearing rein-forced concrete skeleton is clearly separated from the non-load-bearing filling and bot hare clearly visible in the faade. Thanks to the narrow supports and large window areas, the building, despite its size, does not seen at all massive, but rather light, transparent. Per-ret, had decided in favor of a comperatively new building material: reinforced concrete, which had been in use only since mid-19th century. Perrets take on reinforced concrete initially more in tune with the Gothic notion of rib-work and infill than Classical. While sunflowers in ceramic reminiscent of late Art

Nouveau, the frame model anticipates Le Corbusiers free plan.

More ingenious interpretation of the building regulations is to be seen in the semi-octago-nal recess between these projections, which formed the most novel element in the com-position, since it not only allowed every room a splendid view over Paris, but obviated the need to introduce the customary interior courtyard. After 1903 Perret regards the structural frame as the essential expression of the built form: Construction is the archi-tects mother tongue; the architect is a poet who thinks and speaks in construction.

Close to Franklin Street, Auguste Perret

conducted another apartment building at 51-55 Rue Raynouard. This apartment is

the one in which Perret placed his own fam-ilys apartment. He placed the offices of the family firm on the ground floor, dwellings on the upper floors and his flat on the top floor.

The apartments on each floor are around 250m and each offered panoramic views

of Paris, as well as balconies and small terraces.

The site for the Paris chancery had con-straints in terms of functional and contextual requirements. So the Turkish government preferred the contemporary lines that that would symbolize Turkeys progress towards future instead of adapting to the surrounding 18th century Parisian architectural context.

Having an indisputably modern appear-ance was also the designers architec-tural predilection. Beauclair stated that When national identity is concerned, I believe that modernism was a means to establish it.18th century mansion (of the residence) had nothing to do with a particular Turkish characteristic and even if it was an archetype, I would refuse to make a pastiche of Turkish architecture. The only reference made regarding the national characteristics and its reflec-tion in the design of the chancery was the gallery floor, where coffee was to be served. Architect made a populist remark in a speech given about the building too much coffee is consumed in Turkey

This undulating glass structure was questioned by the users for its disad-vantages after its completion. Karabey noted that during his visit there in 1979, there were complaints about the glass surfaces, which were assumed to be designed without considering that the officers especially working till late hours of the evening in the chancery constituted targets for terrorist attacks from outside.

However, its significance as an architec-tural work seems to go beyond such dis-advantages. Published in many architec-tural magazines and having a distinctive place among other architectural works, as the city guides evince, it has a reputa-tion beyond functional inadequacies.

Built between 1929 and 1932, listed as a historic monument in 1996, it reflects the mastery of concrete by Auguste Perret, which is as polished and shiny as marble. The

elements of the framework are clearly visible and projected in front of the facade. Perret summed achieving Raynouard street: This is a reinforced concrete frame, made to

remain visible on the outside and inside, decorating the house. To the rear and side of the building, some features, which are unfamiliar with Perret, are seen. The wall of glass - a rarity for a Perret building - bring light into his architectural studio, and to one side, a

glass lift shaft which gives those going up and down views across Paris.

In the Villa Jeanneret, the reversed layout, as Le Corbusier mentions it,

places the bedrooms on the floor below the living area, which connects to a

roof garden protected from view. At La Roche, to the east of the entrance hall

are small, private quarters with a so-called purist bedroom. To the west side were spaces considered public enough

to open to visitors twice a week. A sequence of spaces at different heights beginning at the gate to the cul-de-sac

moves through the great hall and gallery, culminating in the sky-lit library.

The term promenade architecturale used to describe the path through La

Roche refers to this sequence of spaces

The development of the entire neigh-borhood of Auteuil (south of 16th arrondissement) at this period made the site attractive to Le Corbusier, who also acted as the developer, finding the site and the clients. He planned the L-shaped villa for the bachelor banker Raoul La Roche and the adjoining house for Le Corbusiers brother, Albert Jeanneret, his wife and her three daughters.

La Roche commissioned the architects to build a villa with a gallery to hold his new collection, which consisted of pieces of very famous painters such as Picasso, Leger etc. On the other hand the second part was supposed to be a family house. The architects treated the estate as a unity rather than as a conventional row of houses. It is a complex of form and program. In both houses, very small rooms of specific function - bed, bath and kitchen- are set off against living spaces, whose ex-pansiveness is manufactured through architectural device and color as much as through their sizes. Also in both the experience of the top level and roof is privileged, in keeping with the traditional position of the piano nobile on the top level but with additional emphasis on light and private domain.

This group of five houses built between 1926 and 1927, from the number 9 to 12 is one of the works symbolic of the

modernist movement. Its volumes were lined with terraces and the structure of the concrete fronts, his material of preference, gives every apartment an

individual identity. A work esteemed in particular by the bourgeoisie who offered

him, thanks to a multitude of private or-ders throughout his career, long-lasting

and well-deserved success.

This complex was created by Paris-based architect, designer and produc-

tion designer Robert Mallet-Stevens (1886-1945), co-founder of UAM (Union of Modern Artists) in 1929. The street is

composed of four housing blocks that create a private dead-end crossing;

there are also ateliers at the ground floor (one used to be Mallet-Stevens office and is now an art gallery open to the

public). Mallet-Stevens architecture ex-plores all different variations of modernist

architecture language; in this work he displays a huge catalogue of windows, volumes and formal compositions; the architect was also criticised for the use

of such a complex language.

Immeuble Molitor is an attempt to present the elements of a new urbanism, sky, green, glass, cement, in that order of importance. At the time of its construction, the street was an undeveloped edge to the city. Le Corbusier hoped to challenge the existing Parisian building industry with a structure of metal, although in the end only the window framing and balcony details were executed in iron. Built of concrete, the columnar frame still allowed for an open and flexible plan adaptable to the needs of the buyer. Interior partitions could be rearranged and apartment units combined. Taking advantage of the through-block site, each of the two apartments per floor has such a facade, as well as two interior courts to bring natural light to the foyer, baths and kitchen. The adjoining athletic facilities and gardens were understood as a part of the buildings total environment.

The composition is based on a central void, a huge 320 x 130m rectangular

lawn set perpendicular to the river. This device imitates other Left Bank parks:

the Champs de Mars, the Invalides and the Jardin des Plantes. The embank-

ment is almost one kilometre long.

The central lawn connects all the other parts of the site, giving direction and

force to their relationship. It gently slopes down to the embankment without a

break, thanks to the construction of a tunnel for the expressway and a viaduct

for the regional express railway tracks.

At the other end of the lawn, to the south, a sloped court serves as a base for two large 15m-high greenhouses ,

between whicha peristyle (known as the dry fountains) blocks the view.

Water is in abundance, with a large canal running along the western flank

of the lawn. Like the diagonal path that runs north-south, the Serial Gardens

and the lily ponds, the canal and the lawn are part of the hierarchy. Architec-ture underpins landscape. Connections are made between the lily ponds to the west and the serial gardens to the east.

Water is present in all its states: the calm expanse of the slightly elevated canal is

enlivened by fountains, while a stream cascades down steps at the end of the

embankment.

The Canal+ headquarters in Paris is a commercial application of Meiers recipe of all-white paneling, all-white detailing and glass. In this case the building houses studio production facilities, in its east wing, and offices, in its west wing with views over the Seine, for the commercial television company Canal+. Meiers platonic idea of a television station comes in the shape of an L, entered through a tall atrium space where the two wings meet. Offices stretch out along one wing, in a tapering horizontal sweep set parallel to the Seine. Production studios are lodged in a boxier block that runs perpendicular to the river. The L frames a small square park that was already on the site. The building itself is an eight-story composition in solid and void, elaborated in variations of clear and white opaque glass, semitransparent metal sun screens, white enameled aluminum panels, and empti-ness carved by the manipulation of these

materials. The panels, set with open seams into the buildings concrete structure, form a grid that is carried into three dimensions by means of rotated and extruded planes and rectangular solids. The occasional curve, cone or cylinder relaxes the grid into an approximation of voluptuousness some may find discreetly French. The facade of the office wing is transparent, that of the studio wing opaque, and the most dramatic contrast within the building is that between the different kinds of illumination in the two wings. polar bears in a snowstorm. In the studio wing, to which the public is admitted for talk-show tapings, celebrity shades are in order. Ski goggles would come in handy in the offices, where avalanches of light cascade into rooms lacquered the color of Here, bursts of artificial colored light explode over the altar of an anchors desk with the force of medieval stained glass. The image suits the narrator of contemporary life.

Extending to 13 hectares, this park is the largest constructed in Paris since the 1870s. It is in the west of the capital be-

side the Seine, on a site formerly occupied by the Citron production plant.

With the Eiffel Tower a mere 400 metres away, the Embassy site overlooks the

river palisades with its tree lined parks, the Palais de Chaillot and the famous

landmarks of central Paris visible in the distance.

Two buildings were planned; the Chancel-lery, housing Australias diplomatic missions

to France, OECD and UNESCO with the Ambassadors apartment and reception

spaces on the top floor and a residential apartment building containing 34 units of

various sizes for some of the Australian diplomats and their families.

The design of the two opposing quadrant shaped buildings relate to the axes of the

Champ de Mars. The resulting concave and convex building facades take maxi-

mum advantage of the magnificent views.

Totem Tower is a residential skyscraper with 31 floors and two basements located in the Front de Seine in the 15th arrondissement of Paris, France. It comprises 207 homes. The housing blocks are hung in clusters on a central bearing structure apparent orienta-tion is supposed to optimize their view of the Seine. With an instantly recognizable face, this is one of the most original towers Front-de-Seine.

septemb ert h u r s d a y12

12a Muse du Quai Branly

> RER:Pont de IAlma (C Massy-Chantiers Yn. > RER: Musee dOrsay

12b Gare dOrsay

> Rue du Bac - Rue Saint Guillaume

12c Maison de Verre

>Metro: Saint Sulpice (4-Fuya Porte Orleans Yn. >Metro: Raspail

12d Foundation Cartier

>Metro: Raspail (4-Fuya Porte Orleans Yn. >Metro: Porte dOrleans (Aktarma: T3 Porte dIvry Yn. > T. Montsouris

12e Ozenfant Evi ve Atlyesi

>Tram: Montsouris (T 3 Porte dIvry Yn. > T: Stade Charlety

12f Maison de lInde

12g Pavillon Suisse

12h Pavillon Netherlands

12i Maison du Brsil

>Tram: Montsouris (T 3 Porte dIvry Yn. > T: Stade Charlety

12j Cite de Refuge

12k National Library of France

12l Le Cinmathque Franaise

12m Cit de La Mode et du Design

The building was designed by architect Jean Nouvel. The green wall (200m long by 12m high) on part of the exterior of the museum was designed and planted by Gilles

Clment and Patrick Blanc. The museum complex contains several buildings, as well as a multimedia library and a garden. The museums frontage facing onto quai Branly features

very tall glass panelling which allows its interior gardens to be remarkably quiet only metres from the busy street in front of them.

All that remains is to invent the poetry of the site by a gentle discrepancy: a Parisian garden becomes a sacred wood, with a museum dissolving in its depths.

Maison de Verre is a stunning example of the 20th century modern architecture, especially because of its steel structure.

It was built underneath the top floor of the former building as the tenant on the top floor refused to sell his floor, and the bottom three floors were demolished to construct the Maison de Verre. Viewed

from the courtyard the house looks like a glowing translucent box, its great

glass-block facade embedded in the 18th-century fabric and capped by the old

one-story apartment level above.

Its glass facade is made up of glass blocks supported by a steel frame structure. In

the interior, spaces are separated by mov-able, sliding, folding or rotating screens in glass, sheet or perforated metal. The

whole steel structure with bare beams, the canalisation and conduits remain visible

from the outside and contribute to the architecture thus transforming utilities into

decorative elements.

Cartier Foundation is a contemporary art center with exhibition halls, offices and

car parks, located in Boulevard Raspail, designed by Jean Nouvel.

Before it has built, an opaque wall had been located in the area as a barrier. Now the

intervention comes up with a new charac-teristic by blurring the tangible boundaries of

Boulevard Raspail.

In the Cartier Foundation, the buildings dissolves into the surrounding environment, a garden filled with trees, with the transpar-

ency, sequence of layers and superimposed scenes. It disappears into nature, greenery and creates a new landscape, new urban environment. In summer the huge sliding

bays disappear and the hall transforms into the extension of the park.

The house and studio in Paris for Le Corbusiers friend the painter Ozenfant is a