Etude comparative du paris d’ Haussmann et du plan voisin de Le Corbusier / Inthamoussou Camille

STRATEGIES AND PLACES - HAND IN 3 - 19/12/2014

Block 113 District I

Student name: C.A.E INTHAMOUSSOU id-number: 0921287

Table of contents

1. Introduction

4-5

2. Urban tissue

6-17

1.1 Paris - Haussmann 1.2 Le Plan Voisin - Le Corbusier

2.1 Paris 2.2 Le Plan Voisin 2.3 Comparaison 2.4 Conclusion

4 5

6-10 11-15 16 17

3. Boulevard and Street

18-24

4. Block

25-43

5. Urban Amenagement

44-45

6. Atmosphere

46-48

3.1 Paris 3.2 Le Plan Voisin 3.3 Comparaison

4.1 Block 113 - Paris 4.2 Block of Plan Voisin 4.3 Comparaison

5.1 Paris 5.2 Le Plan Voisin

6.1 Paris 6.2 Le Plan Voisin

Pictures Bibliography

18-21 22-23 24

25-35 36-41 42-43

44 45

46-47 48 50 51

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1. Introduction

1.1 Paris - Haussmann The name refers to the Haussmann transformations benefited or suffered by, depending on your point of view.

Paris during the Second Empire, which he calls in his memoirs (1890-1893), the “Grands Travaux de Paris�: new roads, municipal buildings, gardens and squares, drinking water and wastewater systems. From the beginning of the XIXth century the goal of the work is to open up the center of Paris, to prevent its movement toward the northwest and allow the bourgeoisie to reinvest the center abandoned by the upper classes from the late XVIIIth century. The idea is that the center of the activities must continue to stay in the geographic center. So that the center remains the center, it is necessary that one can move about easily, which is not the case, because of its bulk.

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fig.1 Map of Haussmann network into the urban tissue of Paris

1. Introduction

1.2 Le plan voisin - Le Corbusier Le Corbusier is a worthy descendant of the hygienist theories of utopian socialists. native canton of Neuchâtel in Switzerland, street of cities is unhealthy, literally - because of the lack of sunlight - as figuratively.

After drawing until 1920 of “garden cities”, Le Corbusier wrote the Charter of Athens at the end of the 4th International Congress of Modern Architecture (CIAM) in 1933 whose theme is “the functional city”. The Charter, which appears during the 2nd World War, is the theoretical basis of functionalist urbanism of large urban ensembles of the postwar period.

Le Corbusier return to this project through a revolutionary approach to urbanism in contemporary city of 3 million inhabitants, theoretical project then applied to the redevelopment of the city of Paris with Le Plan Voisin proposal in 1925 when international Exhibition of Decorative Arts.

The basic principles of city map are: 1) decongest city centers, 2) increased density, 3) increase in circulation means, 4) increase in planted areas.

fig.2 Shape of the Plan Voisin - Le corbusier fig.3 Sketch of Plan Voisin to Le Corbusier

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2. Urban tissue 2.1 Paris

Processing and local history Haussmann inaugurated in Paris in the 1860s a complete urban planning. In the early XIXth century, the appearance of Paris is still largely medieval and streets are narrow and dark. The idea is to clean up and facilitate the movement in the urban tissue. He draws big “percées” and impose architectural standards.

Remains behind the medieval tissue.

This new urban image of the city gives its place to the urban walk and boulevards become emblematic of Parisian life. These major works must make Paris the “capital of the XIXth century,” they will also close the city by annexing the faubourgs and thus invented the suburbs. The bourgeois city of the XIXth century, promotes a more thoughtful organization with straight pathways that promote circulation. The design is driven by commercial logic. This was reflected by the Parisian passages, and haussmanisation of Paris. As can be remark on these maps the urban tissue of Paris undergone much change.

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fig.4 Maps processing and Local History

2. Urban tissue 2.1 Paris

In two dimensions, the city map, reading rhythms, layout of hierarchies with the variations of the forms of viaire scheme, the relative size of the roads and the geometric and functional hierarchies streets, show the nesting of several superimposed realities that led in time, “the layout of cities, the plan of cities. » But the plan of a city beyond the concept of drawing, “Make a plan that is specify, fix of ideas. It is to have ideas. This is order his ideas so that they are transcribed.

We must therefore demonstrate a clear intention. “These plots draw homogeneous areas, meeting places for many different homogeneous areas, residual spaces, encysted entities in larger areas to which they do not belong.

Paris is divided into arrondissements dating from 1795 with then a division into 12 arrondissements. The current districts were defined by the law of 16 June 1859 they become 20 with the annexation of the faubourgs located between the fortifications of the walls of Thiers and the wall of the Farmers-General.

fig.5 Satellite View of 2nd arrondissement

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2. Urban tissue 2.1 Paris

The urban landscape The 2nd district is limited to the west and north by the Grands Boulevards, historical break and “natural” to the south by the rue des PetitsChamps.

The only own monumental axis at the district consists of the series of streets of Quatre Septembre and Reaumur. The second axis, which also converges on the Opera, the Avenue de l’Opéra ends in theater of the same name. This is a fundamental element of the composition organized around the Opera, even though the layout of this avenue was arrested several years before the site selection of the National Theatre is fixed. Thus the perspective was designed in an unusual chronological order: the axis before the monument.

The arrondissement has two main singular spaces. Place de la Bourse, released around the monument.

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fig.6 Map urban environment

2. Urban tissue 2.1 Paris

fig.7 Delimitation of 2nd arrondissement of Paris

The urban structure

The urban tissue

The general structure of the urban fabric (roads, parcels) is dominated by a general direction perpendicular to the Seine, but begins to bend to the north west, to take the rise of the relief at the base of Montmartre . The relief is only important for the boundary of the borough.

This almost orthogonal structure broadly is of rural origin. It was reinforced by the Richelieu subdivision including the streets des Petits-Champs and Richelieu. then in late superimposition through the streets of Quatre Septembre and Reaumur.

The diagonal structures that cut this grid had only local influence, resulting in fragmented than their immediate shoreline.

The urban tissue of the 2e arrondissement is generally continuous, monuments inserting into the general frame or in places, or in rectangular blocks.

In morphology, tissues that compose it are usually regular. They are split into three main groups.

Southeast reigns tissue organized on streets perpendicular to the rue Saint-Denis, very dense urban tissue of medieval origin. The streets and plots are parallel.

However, all these old tissues have undergone parcel modifications and a strong architectural renewal that make their composite built occupation.

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2. Urban tissue 2.1 Paris

The urban environment The 2nd arrondissement covers an area of about 100 ha on the plain of the right bank, halfway between the Seine and the Montmartre hill.

The district boundaries are clear.

To the east is the Boulevard de Sebastopol; north and west of the “Grands Boulevards” from the Madeleine to the Porte Saint-Denis; and for the south, the series of streets Etienne Marcel, des Petits-Champs and des Capucines.

The landscape of the 2nd arrondissement has several characteristics scales.

The first landscape dimension is the medieval tissue. These streets largely rebuilt in the XVIIth, the frame is distinguished by a narrow parcel, often allowing only two spans.

Property is generally crowned with triangular gables or skylights frontons characteristics of Louis XIII style.

The XVIIth and XVIIIth centuries produced two types of parts of the arrondissement landscape: the hôtels particuliers and speculative lotissements.

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Most hotels were destroyed.

Speculative lotissements are rarely preserved in their entirety but there are still some notable sets.

Napoleon’s decision to locate the Bourse at the heart of the 2nd arrondissement has changed the face of the district. Before the Revolution, the business bourgeoisie had established the headquarters of many banks near the Grands Boulevards, particularly to the west, in these districts of Paris tended to develop. The construction of the Palais Brongniart accelerates the process by transforming the district in business district. Modern materials are iron, glass and steel, industry symbols, on stone background, symbolizes continuity.

The covered shopping malls, appeared at the turn of the century, multiply the Restoration. They offer a covered market walk, away from traffic jams. The 2nd district will focus the majority of Parisian arcades.

The banks are multiplying on the boulevards, like Crédit Lyonnais (1878) and buildings looking for light.

“Les percées” of Haussmann and his successors will contribute to the character of the business district.

The homogeneity of the street is due to the speed of construction.

Haussmann’s renovation produced a particular object of urban architecture: the building block, one building (produced by a single developer) completely occupies the block.

fig.8 Satellite view

2. Urban tissue 2.2 Le Plan Voisin

It should be recalled that Le Plan Voisin was sponsored by the car manufacturer of the same name.

This is therefore a planning thought primarily for automotive, the city of the Industrial age will be a “citymachine.” Le Corbusier, in the spirit of purism, artistic movement he helped found and inspired by the functional aesthetics of machines, advocates a new rational architecture and mono-functional. The main focus of this new layout of the center of Paris was to go from east to west, from Vincennes to Levallois-Perret.

Live, travel, work and distraction are the four basic functions of the contemporary city as the manifesto of the Charter of Athens (1943), functions to be clearly differentiated involving an urban zoning. The city machinist plan is geometric, with an hyper dense center and a disappearance of the suburbs.

Le Plan Voisin includes the construction of two essential elements: a business district and a residential district. The business district made a 240 hectares of way in a particularly old and unhealthy area of Paris - the Place de la République to the street of the Louvre and Gare de l’Est to the Rue de Rivoli. fig.9 Model of Le Plan Voisin, Le Corbusier

The residential district extends from the Rue des Pyramides at the roundabout of the Champs Elysees and Gare St. Lazare to the Rue de Rivoli.

Central Station is located between the business district and résidencial district, it is underground.

A grid of major arteries of 50, 80 or 120 meters wide intersecting every 350 or 400 meters.

The cruciform skyscrapers in the center of these vast plots creates a city in height. The ground is built as 5%. The rest is spent on major roads, parking and parks. Park at the foot of skyscrapers are actually ground of this new city, a huge garden.

In this ideal city, sunshine, green spaces and relaxation areas are privileged, circulations are clearly differentiated (Rule of the seven roads); the image is that of a geometrised city and ordered that evokes the absolutism of visionary architects of the XVIIth.

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2. Urban tissue 2.2 Le Plan Voisin

Around the center were built housing units a dozen floors with community services, as well as “immeublesvillas� containing green spaces.

In 1925 Le Corbusier resumed its project to make Le Plan Voisin for Paris. He proposes the establishment of 18 office towers of 200 meters high in the heart of Paris, opposite the Ile Saint-Louis, which would require demolishing much of the Marais and Saint Paul district so unhealthy .

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fig.10 Map delimitation of areas of Le Plan Voisin

2. Urban tissue 2.2 Le Plan Voisin

The principle of tabula rasa. It is the notion of perpetual extension. Do not give up are whole areas of the city under the pretext that this is not “fashionable”.

The extreme attention that Le Corbusier dedicating to the existing, also emerges in most of his theoretical writings. Although he often expressed against any idea of erasing the past, Le Corbusier has always vigorously opposed to any idea of historical fetishism. He writes in the Charter of Athens: “The death that spares no living being also hits the works of men. You should know, in the testimonies of the past, recognize and discriminate against those who are still alive. All that happened was not, by definition, right to the continuation: you should choose wisely which must be respected. “ The question of the relationship between the monument and the language of modern architecture is important. This contempt for old buildings has not changed after the First World War. Rather, it is an unprecedented echo through the modern movement.

fig.11 Plan of Le Plan Voisin, Le Corbusier

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2. Urban tissue 2.2 Le Plan Voisin

These architects, occupied by the problem of housing production workers of cheap and large-scale, they become fixed this value of progress represents the new.

The standardization of building components, optimization of built surfaces and scale of projects “machinists” do not mix with the ancient and unhealthy, dark and irrational city. The latter is denied, abandoned in the best case. It represents the defects functionalism precisely seeks to combat. A single attitude seems possible if we want to progress: destroy and remake. It is from this reflection that Le Plan Voisin taking shape. Le Corbusier proposed the destruction of much of the historic center of Paris but is concerned about the monuments and historic sites and preserve them, to make way for an iconic modern city, in a huge park crossed by highways, cruciform skyscrapers and the principle of “immeublesvillas”, a project that obviously still at the stage of mere utopian vision.

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He was also aware of the impact on the population residing in his quarters but sees the good side of things, proposing a new housing solution and work. This logic of the Tabula Rasa appears related to one of the most prolific myths of modernity: the myth of progress, which grows to act on the idea of a movement of history, according to the idea of a teleology that assigns an end to any action. The awareness of acting within historical time oriented in the direction of this teleology must necessarily be associated with the break principle with the past.

So pioneers like Walter Gropius and Hannes Meyer, who new architecture was thought as a pure creation of the mind in the words of Le Corbusier, placed the foundation for an massive architecture. The logic was that adopted tabula rasa, working closely with the idea that the new architecture would be able, bringing with her progress, to resolve the many defects of the industrial city and by amalgam those of the medieval city.

fig.12 Map of superposition of the old layout and the layout of Le Corbusier

2. Urban tissue 2.2 Le Plan Voisin

The new presupposed the destruction of the old and the new was even better thought of as the substitution of what was preexisting.

The new radically different from the old, especially by affirming a unity of style, for hygienic principle forms with air and light, was intended to resolve the squalor of the industrial cities. This architectural and urban mentality, this worldview had of course impacts whose traces are still visible today.

Six articles in the Athens charters explain the conditions and limits of application of urban conservation.

They treat the subject avoiding to dive the city into a conservative lethargy. The postwar then gives the opportunity to drive a reconstruction based on the principles of functional city. The modern mind not only directs this reconstruction, but also the excessive expansion of cities to the seventies. It gives rise to large residential complexes, such as public housing districts and major business centers.

fig.13 Sketch of the principle of Le corbusier

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2. Urban tissue 2.3 Comparaison

As can be seen in the respective analyzes of Haussmann intervention and Le Corbusier in Paris, they propose any two radical intervention on the urban fabric but the plots are not alike.

The urban tissue in Paris under Haussmann is a street intermingling which converges to a boulevard. The parcel is composite, and always at the base of the roads. It is divided into block. Some are homogeneous but then are heterogeneous.

The urban tissue proposed by Le Corbusier for the Plan Voisin is orthogonal, it follows a pattern. The urban grid is not the priority but traffic and public areas. This urban composition improves circulation to the inverse of the composition of Paris.

Le Corbusier insists on an urban centrality with a strong center, visible, conspicuous, however connected to a fast traffic network; that is precisely the axes implemented, among others, in the Parisian scheme.

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2. Urban tissue 2.4 Conclusion

Haussmann The work of Haussmann was a big change for Paris. It is a progress for society of the Second Empire, even if they have been and are still very controversial. Haussmann offers the percées to open the urban tissue, which was crowded by essort of the car at the time. It was then that “les grands travaux” in Paris transforms the city. It becomes accessible and fluid, the historical monuments in the urban tissue are put into values, boulevards are widened and create a consumption mechanism in the city.

It is no more a flanerie space but an attractive and consumption space.

In 1882, Jules Simon writes: “We do not care now that Mr. Haussmann accounts have been fantastic; he had undertaken to make Paris a beautiful city and there is completely successful, his work was at least as fantastic as its accounts. We do not want a thing now is that we end with the freedom that began with despotism. “ When Haussmann left around 1 / 6th of the city was rebuilt over a period of 17 years.

Before Haussmann does not work, the streets of Paris accounted for 10% of the city, when he leaves 20%, it flows better. This intervention is the structure of Paris, it designs the capital city, and transforms the Parisian landscape.

Le Plan Voisin Le Corbusier, also works around the traffic and he designed the urban tissue with major importance for traffic flows.

He continues his analysis by a relentless diagnosis and in the following terms: “Whole districts are only decay, with disease outbreaks, sadness, demoralization. A large financial operation resembling that of Haussmann but on a much larger scale, would bring to the city the enormous financial benefits (remember Haussmann built houses with six floors instead of six floors houses, and that today we can build houses with sixty or twelve floors instead of six floors). » The field of urban intervention by Le Corbusier in Paris is vast - he held several districts of the actual Paris - and very accurate in the implementation of the buildings: skyscrapers in the center, buildings sawtooth around.

“My proposal is brutal, because urban planning is brutal, because life is brutal.”

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3. Boulevard and street 3.1 Paris

Public space is made up of roads and public places. The road is composed of different types of roads (main, secondary, boulevards, avenues, shopping ...).

These configurations are unique and must be understood. The evidence of the city, it is first the street. The street is a simple and continuous structure that allows to move and to have an address. Ordinary street, represents most of the territories of the city. A street is regarded as such it serves built parcels. This is a major public space. The evidence of the Rue due to this double feature: the course and support the building. Street ordered the frame and directs the course of the plot, it is regulated. The Haussmann rule where the pavement is the circulation associated parking.

To form the street, the pavement is associated with sidewalks. For car traffic, so do not go below 3.5 meters.

Haussmann’s street is composed of 3/5 to 2/5 for the roadway and sidewalks. For a double track, you have a higher floor than 5 meters.

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In the development of the road, you have several choices to make: width of the roadway (one-sided, dual circulation, parking, ...), sidewalk width (double symmetric, asymmetric double, one sidewalk ... ). The buildings and roads thinks the same time.

Since Haussmann in Paris has three street calibrations: 12, 15 and 18 meters. They are thus differentiated boulevards. Urban policies are important because they determine lifestyles. There is a logical layout shops generated by the flow of the streets. There is a role that the city should exercise: to connect public spaces, universities, hospitals and all major facilities throughout the city.

The sidewalks are often planted and walkways contres- are occupied by cafĂŠs. There is a one perspective on some public buildings, important places ... The avenues connecting the main points them in the same way as the boulevards connect them in a circular manner.

fig.15 Scheme of the typology of Haussmannian Boulevard

3. Boulevard and street 3.1 Paris

The streets become places for walks and entertainment.

In Paris, it was 5% of places, public space, 35% of boulevards and avenues and 60% of streets.

The square is a socially identified place. This is an exception in the urban fabric, a vacuum, an air and sunshine outlet. It is important because it plays a symbolic role, collectively acknowledged and a role highlighted monuments and public buildings. We are in a functional approach to the city, the place becomes junction. We are dealing with urban objects that have a vocation.

Each axis to its parking regulations, depending on its typology.

fig.16 Map of hierarchy of road network fig.17 Map of regulation of street parking

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3. Boulevard and street 3.2 Block 113

The block is surrounded by various types of road and parking regulations.

North : Boulevard des Italiens - main network - rotary parking West : Rue de Gramont - main connections - no parking South : Rue Marivaux - serving network - residential parking East : Rue GrĂŠtry - serving network no parking Road and directly relating to the built, it is he who defines the public space.

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fig.18 Map of hierarchy of road network - focus around the block fig.19 Situation of block

3. Boulevard and street 3.2 Block 113

The urban tissue is hierarchical, as can be seen with these two views, the Italian Boulevard and Rue de Gramont, they consist of a pedestrian traffic and car traffic.

The boulevard is asymmetric double sidewalk, one being larger than the other, allowing for cafĂŠ terraces. The road consists of 2 x 2 lanes in both directions, with a an extra lane next to the parking lot and the other one lane for buses.

The street is one-way, symmetrical double sidewalk. The road consists of a single wide lane and a parking lane.

fig.20 View Boulevard des italiens fig.21 View Rue de Gramont

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3. Boulevard and street 3.3 Le Plan Voisin

“Traffic is dynamite thrown into the batch in the street corridors. The pedestrian is struck dead. And with that, the flow does not circulate. The sacrifice of pedestrians is sterile “ He theorized the integration of different modes of transport in the urban project by a hierarchy of networks. Thus, in the Charter of Athens, he recommends three types of channels: “The first useful step would be to separate radically in congested arteries, the fate of pedestrians from that of mechanical vehicles. The second, to give the heavyweights a particular traffic bed.

The third, to consider the systemic circulation, independent transit routes running lines for only a small circulation “.

A first proposal is expressly released in its patterns, “il faut tuer la Ruecorridor! “. The lanes endless trap pedestrian in inhumane perspectives. He is lost, suffocated.

Indeed, the streets that structure the city are endless. Straight, they form an infinite urban mesh.

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fig.22 Scheme “il faut tuer la rue-corridor” of Le Corbusier fig.23 Scheme of Le Plan Voisin of Le Corbusier

3. Boulevard and street 3.3 Le plan Voisin

In Le Plan Voisin, Le Corbusier offers orthogonal organization.

Traditional street is banished in favor of a distribution of traffic levels. “The cross is the enemy of circulation”, reduce the number of streets, the street grid is the spacing of bus stations. The main artery of high traffic had to be 120 meters wide and equipped with a racetrack, a kind of urban highway to cross Paris from side to side.

Modern street is a new body plant species in length, ventilated warehouse complex multiple organs.

There are three kinds of blocks, one below the other: in the lower level, trucks, at the ground floor of buildings, multiple system and sensitive normal streets. And North-South and East-West, forming the two axes of the city, crossing the racetracks for fast traffic, are drawn on large concrete bridges and are connected by crawling in normal streets. These automobile crossings are doubled by “an underground penetration that leads to the four extreme points of the city.”

fig.24 Map of Le Plan Voisin in Paris with in blue the main network

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3. Boulevard and street 3.4 Comparaison

The two architects see the traffic space differently. Haussmann offers spaces that combine: pedestrians, cars and public transport, while Le Corbusier separates the stream.

A boulevard in Paris measures between 12 st 18m while Le Corbusier offers for its major axis, a scale 10 times larger. The parcel organization induces the form of circulation space but also public spaces such as sidewalks, squares and parks of the city.

The major axis in Le Corbusier’s more than a space circualtion while the boulevards of Paris combines traffic, parking, pedestrian flow, shops.

Streets and boulevards in Paris are directly linked to the bati, Association at while in the Plan Voisin traffic connects neighborhoods, parcels; the route of the city is different.

We can also talk views in Paris streets and boulevards being anarchic, offer a persective on the frame, boulevards often overlook historic buildings or squares. While for the major axis of the Plan Voisin perspective is infinite.

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fig.25 Focus of plan of urban tissue of Le Plan Voisin / Paris fig .26 Scheme of the size of the public space fig.27 Perspective main street of Le Plan Voisin / Boulevard des Italiens

4. Block

4.1 Block 113 - Paris Typology of the block Block 113 is located in the 2nd district, it is surrounded by three streets and a boulevard. This has a shape which approximates the triangle. The right of way was built on the parcel is 80%, the remaining 20% are skylights and courtyards.

The parcel is recut into 10 plots.

fig.28 Cadastre fig.29 Top view of 3D model

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4. Block

4.1 Block 113 - Paris Typology of the built As can be seen from the map, the urban tissue has a high density of commercial equipment. The 2e arrondissement is distinguished by the particularly high density, which highlights its membership in the Parisian business center.

Urban island is considered historic building, it is in the old heart of the city.

The building evolves with the elevator. The upper floors are indented with terraces in the early 20th century. Construction system: Majority masonry sections with wood as possible. Operations to gender was controlled by private. The position on the plot is in alignment of the street and mitoyen.Chacune bati facades is mainly dedicated to the public on the ground floor, shops, restaurants, cafes ... the floors are with private homes, then we can talk about intermediate space for building entrances.

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fig.30 Map of commercial equipment

4. Block

4.1 Block 113 - Paris

fig.31 Axonometric view

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4. Block

4.1 Block 113 - Paris

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fig.32 Axonometric view

4. Block

4.1 Block 113 - Paris Architecture of the built Haussmann buildings have specific aesthetic characteristics. Buildings called “Haussmann” contribute to a large extent, in the image of Paris.

True, Paris has the most famous buildings or landmarks that buildings “Haussmann”.

But their numbers and their “family resemblance” these buildings are inseparable from the image that each is in Paris, France and abroad.

So it seemed interesting to look at these buildings, why and how they were built. And also to admire the details, such as their overall effect.

fig.33 View facade Boulevard des Italiens

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4. Block

4.1 Block 113 - Paris

facade Boulevard des Italiens

facade Rue Marivaux 30

facade Rue de Gramont

facade Rue Grétry fig.34 Facade block n°113

4. Block

4.1 Block 113 - Paris The facades in stone

Balconies

the facades are made of stone blocks splicers, from many careers, sometimes located several hundred kilometers from Paris.

located at the second (floor “noble” before the appearance of the elevator in 1870) and fifth levels, these balconies are one of the most striking features of buildings “Haussmann”.

The new means of transport, sawing and lifting on construction sites now allow use for residential buildings, appliances reserved until monuments.

They are generally “ropy”, that is to say without interruption from one end to the other of the building.

The walls with crosswalls The ground floor and the mezzanine are often streaked with deep shear walls that strongly mark the Haussmann façade.

In addition, specific rules on the heights of the floors to the width of the track mean that, from one building to another and sometimes across the street, balconies lines are continuous.

Between these shear walls, the “bossage” more or less worked, can participate in the decoration of the facade.

fig.35 Details facade

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4. Block

4.1 Block 113 - Paris Dimensions

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fig.36 Dimensions of the block

4. Block

4.1 Block 113 - Paris inside / outside relation Urban tissue consists of block and a network. The block consists of several adjoining buildings. For a light intake, the center of the block consists of inner courtyard which skylight.

fig.37 Axonometric view with the light well of the building fig.38 Transversal section on the urban tissue fig.39 Longitudinal section on the urban tissue

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4. Block

4.1 Block 113 - Paris Local urbanism plan Annex VI: heritage protection

13 rue Marivaux 13 boulevard des italiens Investment property built in 19141915 by architect R. Lelièvre.

Monumental facade in stone richly carved floral decorations.

The monumental character is accentuated by the treatment of angle rotunda and elevation that takes full advantage of the 1902 regulation, the facade comes alive from the fifth floor of a loggia topped cantilevered three-story additional arranged in tiers. If the carved decoration retains an exuberant appearance late XIX, railings, pulling abstraction, look to Art Deco. All built remarkable enrolling in historical sequences Parisian Grands Boulevards.

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fig.40 Cadastre fig.41 Photo of building protected

4. Block

4.1 Block 113 - Paris 15 boulevard des Italiens 30 rue de Gramont “Italians building� built in 1914 by architect Lefranc.

Stone facades marrying the corner of rue de Gramont and using many references of the Louis XVI style (railings, consoles, garlands) and the neoclassical period on a monumental scale permitted by Regulation 1902.

Together frame remarkable enrolling in historical sequences Great Parisian Boulevards.

fig.42 Cadastre fig.43 Photo of building protected

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4. Block

4.2 Block of Plan Voisin Typology of blocks Plan Voisin consists of 2 different blocks with 2 different typologies.

1: cross-shaped, which made the business district. 2nd: rectilinear form, which includes residential neighborhood.

As can be seen, the block in the urban fabric of Le Corbusier no more contributes to the image of the city but public space.

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fig.44 Map of Le Plan Voisin in the urban tissue of Paris fig.45 Part of plan of Le Plan Voisin with the layer of Paris

4. Block

4.2 Block of Plan Voisin Typology of the built As we can see, the typology of the built is unique. The functions are not mixed into the urban tissue or in the building. Each building at its own function, its own form, scale and design. It is from this principle we thus find two types of block (orange: office and blue: residential).

Aside from the separation of these two categories the built is identical for all residential and business for all buildings.

fig.46 Map with districts of Le Corbusier

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4. Block

4.2 Block of Plan Voisin

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fig.47 Axonometric view business building

4. Block

4.2 Block of Plan Voisin

fig.48 Axonometric view residential building

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4. Block

4.2 Block of Plan Voisin Architecture of built L’immeuble Villa The building collective living is primarily accommodate up to families in a minimum of space.

Better is allow three million people to live together. The current density of the inner cities is paradoxically too strong for Le Corbusier.

Paradoxically, however, proposing a new type of group housing, it still intends to densify, while freeing soil must be restored to pedestrians.

The closed-cell subdivision has dimensions of 400 mx 200 m. The facades turn their back on the Rue and open onto huge parks.

Each apartment is a small house on two levels with its own flower garden, at any height above the roadway.

The garden forms a cavity 6m high and 7m deep,that is ventilated by a large hopper 15 m2 section.

This is actually an air intake, and the building is such a huge sponge, “the building breathes.”

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fig.49 Drawing of Le Corbusier of immeuble villas

4. Block

4.2 Block of Plan Voisin The use of reinforced concrete, is the possibility of infinite connections, operation of verticality, freedom of the plan and facade separated a simple structure, economical, and efficient.

Materiality essort comes with new materials such as glass, steel and concrete.

fig.50 Drawing of business building

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4. Block

4.3 Comparaison After analyzing the 113 block of the urban fabric of Haussmann and typologies of urban fabric of Le Corbusier’s Plan Voisin. We can see that all opposites.

The principle of tabula rasa Le Corbusier brings a different scale to the block and therefore any impact in the city.

Haussmann worked from that u’il was, while Le Corbusier seeks novelty. At this time there appear new materials and thus new principles of construction: prefabrication. The mass production is possible and there is no structural problems.

The aesthetics of bati is induced by materiality. So we can say that the block made of stone Haussmann in the story and traces of the move while the concrete, glass and steel in Le Corbusier demonstrates the novelty and modernity.

The block and network viaire shape the urban fabric. We can see that in the urban fabric Haussmann is contituĂŠ or road or bati, while in Le corbusier its will to build upwards offers a new form of urban fabric. A fabric that wants to be free and airy.

The fabric is then composed of large green areas, public transition with major roads.

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4. Block

4.3 Comparaison

3D view of Plan Voisin combined Paris plan

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5. Urban Amenagement 5.1 Paris

The first standardized urban furniture The first concerted program of urban furniture in Paris is set up in the second half of the XIXth century, when Haussmann decided, for the safety and comfort of pedestrians, to furnish gardens, squares and newly created sidewalks. In addition to their utilitarian function, they also have an aesthetic role, and the prefect asked the architect Gabriel Davioud the care to design and realize in series kiosks, urinals, Morris columns, benches, lampposts, tree grates.

The decor of this furniture, mostly inspired by the plant world, brings nature into the city, as an extension of expensive parks to Napoleon III. Oriental influence is also noted in the bulbs, steeples and domes with scales (ĂŠcailles). Cast iron, stone, slate, wood and glass come together to create a typical polychrome of the Second Empire.

Generally, this furniture takes place, such as trees, in a line down slightly from the curb, but leaving enough space on the side of buildings and creating a separation between vehicles and pedestrians. Moreover, these elements are arranged 44

regularly - for example, an interval of 42 meters separating each of the 96 kiosks for the sale of newspapers, flowers or refreshments that were on the Grands Boulevards - and constitute a leakage who directs the gaze of the walker to the place or monument punctuating the way.

The uniformity of style, material and color and the regularity of the implementation of furniture designed by Davioud brought a new unity to the city, while the lightness of its forms was part like a playful counterpoint to the mineral mass buildings.

The candelabra and Morris column quickly become symbols of Paris, and their installation in 1860 in the adjacent municipalities will mark the annexation of the latter to the capital.

fig.51 streetlights, Morris columns, bench and tree grate, street sign

5. Urban amenagement 5.2 Le plan Voisin

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Le Plan Voisin, Le Corbusier did not have much detailed urban planning.

He talks about the greatness of the public space and the verdoyance. He speaks of idealism in his project, but so far does not offer any detail and quite detailed drawing to be able see what could look like Paris with the intervention of Le Corbusier.

But some artist like NB Visualisation and Alain Bublex have imaged what the project of Le Corbusier might look nowadays.

Note that in the interpretation of Bublex the picture and publicity has a big place in urban planning. the tissue becomes a moving space, we can not stop it. The space dedicated to the car plays with lights, neon signs and streetlights highly perched.

While public areas are in search of natural light and nature with abundant vegetation.

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54 fig.52 Scheme of Le Plan Voisin of Le Corbusier fig.53/55 Interpretation of Le Plan Voisin, by Alain Bublex fig.54 Render of “Le Plan Voisin 2012� by NB visualisation

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6. Atmosphere 6.1 Paris

In the passage from Balzac was a personification of Parisian Boulevard, but it is also a theater scene where each passers endorse a role and it is include the dynamics of phantasmagoria. This is the instrument that create theatrical illusions, and give life to that which has no life, together individuals become their puppets.

A boulevard that would be a huge total work of art, which is based on the model of ancient tragedy in which all the people met, and also because it is the entire system of fine arts that is mobilized around the consumption of goods.

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Scène de la vie parisienne - Balzac DEUXIÈME ÉPISODE LE COUSIN PONS. Vers trois heures de l’après-midi, dans le mois d’octobre de l’année 1844, un homme âgé d’une soixantaine d’années, mais à qui tout le monde eût donné plus que cet âge, allait le long du boulevard des Italiens, le nez à la piste, les lèvres papelardes, comme un négociant qui vient de conclure une excellente affaire, ou comme un garçon content de lui-même au sortir d’un boudoir. C’est à Paris la plus grande expression connue de la satisfaction personnelle chez l’homme. En apercevant de loin ce vieillard, les personnes qui sont là tous les jours assises sur des chaises, livrées au plaisir d’analyser les passants, laissaient toutes poindre dans leurs physionomies ce sourire particulier aux gens de Paris, et qui dit tant de choses ironiques, moqueuses ou compatissantes, mais qui, pour animer le visage d’un Parisien, blasé sur tous les spectacles possibles, exigent de hautes curiosités vivantes.

Un mot fera comprendre et la valeur archéologique de ce bonhomme et la raison du sourire qui se répétait

comme un écho dans tous les yeux.

On demandait à Hyacinthe, un acteur célèbre par ses saillies, où il faisait faire les chapeaux à la vue desquels la salle pouffe de rire : « — Je ne les fais point faire, je les garde ? » répondit-il. Eh bien ! il se rencontre dans le million d’acteurs qui composent la grande troupe de Paris, des Hyacinthes sans le savoir qui gardent sur eux tous les ridicules d’un temps, et qui vous apparaissent comme la personnification de toute une époque pour vous arracher une bouffée de gaieté quand vous vous promenez en dévorant quelque chagrin amer causé par la trahison d’un ex-ami.

fig.56 Vers 1880 (Boulevard des Italiens, par Gustave Caillebotte)

6. Atmosphere 6.1 Paris

Oh! à Paris, là est la liberté de l’intelligence, là est la vie (...) Le boulevard, qui ne se ressemble jamais à lui-même, ressent toutes les secousses de Paris : il a ses heures de mélancolie et ses heures de gaieté, ses heures désertes et ses heures tumultueuses, ses heures chastes et ses heures honteuses. A sept heures du matin, pas un pied n’y fait retentir la dalle, pas un roulis de voiture n’y agace le pavé. Le boulevard s’éveille tout au plus à huit heures au bruit de quelques cabriolets, sous la pesante démarche de rares porteurs chargés, aux cris de quelques ouvriers en blouse allant à leurs chantiers. Pas une persienne ne bouge, les boutiques sont fermées comme des huîtres. (...) À neuf heures, le boulevard se lave les pieds sur toute 1a ligne, ses boutiques ouvrent les yeux en montrant un affreux désordre intérieur. Quelques moments après, il est affairé comme une grisette, quelques paletots intrigants sillonnent ses trottoirs. Vers onze heures, les cabriolets courent aux procès, aux payements, aux avoués, aux notaires, voiturant des faillites en bourgeon, des quarts d’agent de change, des transactions, des intrigues à figure pensive, des bonheurs endormis à redingotes boutonnées, des tailleurs, des chemisiers, enfin le monde matinal et affairé de Paris. Le boulevard a faim vers midi, on y déjeune, les boursiers arrivent. Enfin de deux heures à cinq heures sa vie atteint à l’apogée, il donne sa grande représentation gratis. Ses trois mille boutiques scintillent, et le grand poème de l’étalage chante ses strophes de couleur depuis la Madeleine jusqu’à la porte Saint-Denis. Artistes sans le savoir, les passants nous jouent le chœur de la tragédie antique : ils rient, ils aiment, ils pleurent, ils sourient, ils songent creux ! Ils sont comme des ombres ou comme des feux follets. On ne fait pas deux boulevards sans rencontrer un ami ou un ennemi, un original qui prête à rire ou à penser, un pauvre cherche un sou, un vaudevilliste qui cherche un sujet, aussi indigents mais plus riches l’un que l’autre. C’est là qu’on observe la comédie de l’habit.

Autant d’hommes, autant d’habits différents; et autant d’habits, autant de caractères ! Par les belles journées, les belles femmes se montrent mais sans toilette. Les toilettes, aujourd’hui, sont dans l’avenue des Champs-Élysées ou au Bois. Les femmes comme il faut qui se promènent sur les boulevards n’ont que des fantaisies à contenter, s’amusant à marchander ; elles passent vite et sans reconnaître personne.

Balzac Le Diable de paris 1845

fig.57 Buildings on the Boulevard des Italiens at the start of the 20th century fig.58 Terrasse du Café Anglais (démoli en 1913), boulevard des Italiens. Paris, vers 1910. Roger Viollet.

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6. Atmosphere 6.2 Le Plan Voisin

« Vous serez sous des arbres, des pelouses vous entourent d’immenses distances verdoyantes tout autour de vous. Un air sain, presque pas de bruit. Vous ne voyez plus de maisons ! Comment donc ? À travers les ramures des arbres, à travers la résille arabesquée [sic] et si charmante des ramures, vous apercevez dans le ciel à de très grandes distances les unes des autres, des masses de cris- tal, gigantesques, plus hautes que n’importe quel édifice du monde. Du cristal qui miroite dans l’azur, qui luit dans les ciels gris de l’hiver, qui semble plutôt flotter dans l’air qu’il ne pèse sur le sol, qui est un étincellement le soir, magie électrique. [...] Un bureau idéal est formé d’une paroi de verre et de trois parois de murs. Mille bureaux : idem. Dix mille bureaux : idem.

Donc tout est en verre, en façade des édifices, du bas jusqu’en haut. Et il n’y a plus de pierre visible sur ces immenses bâtisses, mais seulement du cristal... et de la proportion.

L’architecture n’emploie plus de pierre pour construire. » Le Corbusier.

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Fig.59 scheme of Le Plan Voisin of Le Corbusier Fig.60 Illustrations for La Ville Radieuse (The Radiant City) of 1935

Pictures Fig 1. Le plan haussmann, www.larousse.fr Fig 3. Le Plan Voisin, Le Corbusier, laboratoireurbanismeinsurrectionnel.blogspot.com Fig 4. Paris et ses quartiers, 2ème arrondissement, APUR Fig 5. Google maps Fig 6. Paris et ses quartiers, 2ème arrondissement, APUR Fig 7. Paris et ses quartiers, 2ème arrondissement, APUR Fig 8. Google earth Fig 9. 900x720_2049_1708.jpg, www.fondationlecorbusier.fr Fig 10. Google earth Fig 13. Croquis de Le Corbusier “ Unité d’habitation “, Lesson of L.Viala - Professor ENSAM Fig 14. Images for > plan voisin, skylaproject.com Fig 15. Le boulevard haussmannien typique d’après F. Maville, Lesson of L.Doumenc - Professor ENSAM Fig 16. Paris et ses quartiers, 2ème arrondissement, APUR Fig 17. Paris et ses quartiers, 2ème arrondissement, APUR Fig 18. Paris et ses quartiers, 2ème arrondissement, APUR Fig 22. “il faut tuer la rue-corridor”, question-speciale-materialisation.blogspot.com Fig 23. Images for > plan voisin, skylaproject.com Fig 26. Images for > plan voisin, skylaproject.com Fig 28. cadastre.gouv.fr Fig 30. Paris et ses quartiers, 2ème arrondissement, APUR Fig 33. Google street view Fig 35. L’immeuble de Paris au XIXe siècle, Université Paris-Est Créteil - IUFM Fig 40. cadastre.gouv.fr Fig 41. Google street view Fig 42. cadastre.gouv.fr Fig 43. Google street view Fig 49. Drawing of Le Corbusier of immeuble villas, www.fondationlecorbusier.fr Fig 50. Le Corbusier A City of Towers, wildrocketsledgeride.com Fig 51. photos of internet, for Morris Columns : painting of Jean BERAUD (1849-1935) Fig 52. Le Plan Voisin by Le corbusier Fig 53/55. illustration by Alain Bublex Fig 54. visualization by NB Fig 56. Boulevard des Italiens, par Gustave Caillebotte Fig 57. Buildings on the Boulevard des Italiens at the start of the 20th century, en.wikipedia.org Fig 58. Terrasse du Café Anglais (démoli en 1913), boulevard des Italiens. Paris, vers 1910. Roger Viollet.

Fig 60. www.themodernist.co.uk

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NB: Images that are not in the list have been realized by myself with 3D model Sketchup or database that I had in my classes my French school

Biography & sources - Le Paris d’Haussmann Patrice de Moncan ; Les éditions du Mécène; 2009 - Atlas du Paris haussmannien Pierre Pinon ; Edition Parigramme; 2002 - CORBUSIER OEUVRE COMPLETE EN 8 VOLUMES, Birkhauser, 1994 - Formes urbaines de l’îlot à la barre, Philippe Panerai, Jean Castex, Jean-Charles Depaule; 1997 - Le diable de Paris, Balzac; 1845 - La comédie humaine, Scène de la vie Parisienne, Balzac; 1847 -Les Grands Boulevards. Un parcours d’innovation et de modernité, Paris, Action artistique de la Ville de Paris, 2000.

-http://www.paris.fr/pratique/documents-d-urbanisme-plu/dossier-cartes-et-textes-du-p-l-u/textes-du-plan-local-durbanisme/annexe-vi-protections-patrimoniales/rub_7042_dossier_21439_port_16186_sheet_3357 - Lessons of my school in France : Ecole nationale supérieure d’architecture de Montpellier.

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