The first work about Fernand Pouillon in English, long overdue and lovingly written. Partial in both senses of the word which gives a deep insight into his Architectural philosophy.
The following post is by my Father Graham Dunstan Martin. He sent this to me after a conversation we had over the phone a few years ago. I don’t remember exactly what we started talking about but we ended up with dad telling me about this passage by a famous French author Joris-Karl Huysmans about the Eiffel Tower which had been newly erected in his beloved Paris and had enraged him.
I really wanted to know what he said, it seems so many of the worlds great landmarks start off life being despised. I wanted to know exactly what he objected to.
It’s well known anecdotally that Parisians always have loved to hate the tower. Strong opposition at the time is also well documented. A short trip to the wikipedia page of the Eiffel Tower will show you that with people like Charles Garnier, William-Adolphe Bouguereau, Guy de Maupassant, Charles Gounod and Jules Massenet organising against it.
But also this famous writer Joris-Karl Huysmans that dad remembered wrote an essay against it. The essay was called Le Fer and dad being a retired French lecturer of course helps a little when you want to translate some French.
Dad passed away recently and I wanted to put this back up on the internet for him. So please see below as far as I know the only public translation of Le Fer by Joris-Karl-Karl Huysmans first published in 1889 with some commentary by Graham Dunstan Martin.
The Centre National d’Arts et de Culture George Pompidou or The Beauborg opened in 1977 designed by Renzo Piano and Richard Rogers with Ove Arup Engineers. Located in the center of Paris within 1km of the Louvre and Notre Dame Cathedral, it lies on the edge of the historic Marais quarter.
It Neighbours Les Halles one of the old Parisian indoor markets now demolished and replaced by the shopping center Forum des Halles itself partially demolished and rebuilt in 2018. Les Halles was previously one of the locations of the May ’68 uprisings. The authorities wanted to provide much needed cultural services and bring these as close to the people as possible. They also wanted to reinstitute a cultural relevance and importance for Paris in the fine arts that they felt had been lost to New York.
It was to embody the new pluralist cultural policies of the French state after Georges Pompidou became President. An Academic, he took over from General de Gaulle and took the project under his wing. It is a litmus test, therefore, for the way Architecture relates to culture as it is a building dedicated to bringing that culture to the people of Paris and it’s visitors.
Anyone mulling over the worlds current economic problems should look at the white elephants of Spain. Following my post about the catacombs of Paris an old one but good one about the caves of Nottingham. Any time you are in a shopping center you are being monitored. The future of construction via the always excellent architechnophilia.
Paris, otherwise known as the city of Light could have another title too, it has one of the most extensive underground networks of tunnels of any city. You can visit some of the catacombs and this article in WSJ gives a great general overview of them and also the subculture that has grown up of cataphiles who go down (illegally) into the underground Paris. I knew a little of the story of the underground Paris of course having been there before and as a child having been down to see the skeletal catacombs myself.
But it was on my last most recent trip to Paris I picked up a book about Paris called Parisians: An Adventure History of Paris by Graham Robb, which has a chapter in it about the building of the catacombs, its an amazing story worth quickly retelling and all quotes are from Graham Robb’s Chapter concerning it.
While many people are familiar with Baron Haussmanns urban modernisation of Paris which established the wide boulevards and centerpiece Grand Avenues and monuments of the picture postcard Paris of today, most people are unfamiliar with the name of Charles-Axel Guillaumot the Architect who ‘built’ the catacombs.
In 1774 along the Rue d’Enfer a quarter mile long sinkhole opened up engulfing the houses on either side of it. Enfer being the french word for hell, the sinkhole quickly became known as the mouth of hell. In 1777 Charles-Axel Guillaumot was appointed the first inspecteur généraux des carrières, and it was clear that the reason for the sinkhole was there was a long abandoned and forgotten mine under the street, the stone of which had been used earlier for the building of Paris and then covered over. As the city expanded this long forgotten quarry now endagered the buildings above it.
The work over the next years was massive, there were three teams the Excavation team to clear the underground galleries of rubble, the Masonry Team to reinforce the roof and the Cartography team to map it all out.
the ‘Cartography’ team would create a map of the underground labyrinth on a scale of 1:216 – which meant that the map of abandoned quarries would be more detailed than any map that had ever been produced of the streets of Paris.
As the teams made their way through the abandoned quarries and mapped them out the picture gradually must have become clear and Guillaumot realised that there was not a single quarry but a whole range of them. That they didn’t occur just below the streets but often stacked one on top of each other.
The miners had dug away as much stone as they dared, leaving just enough to support the roof. Years later, other miners had found the worked-out quarries, and dug down to lower layers. The floor of each quarry then became the roof of yet another mine, so that now, instead of finding solid rock beneath the tunnel floor, Guillaumot encountered vast cavities buttressed only by a few teetering piles of stone.
Guillaumot in short discovered that not just the Rue D’Enfer but half of 18thC Paris was in danger of falling into the mouth of hell. So while the people of France were vexed about the cost of Versailles and the Royal Court, Guillaumot relatively quietly went about building on an even more massive scale.
If those galleries had been placed end to end, they would have reached the edge of the Massif Central, two hundred miles away.
The underground city surpassed that of the city above not just in the quality of its map. While many of the buildings in Paris were not even numbered the galleries below had their own numbering system, a lesser Architect might have just filled up the voids with rock and sand but Guillaumot
turned each cloche into a beautiful, swirling cone of stonework that might have been copied from a strange, inverted cathedral….Tunnels that had been clumsily hacked out by ignorant hands were dressed with freestone and dignified with coursed limestone walls.
Gradually these 200 miles of catacombs had been discovered mapped and reinforced and in the 1780’s when the vast rotting pits of the Parisian dead threatend the cities water supply Guillaumot had a neat proposal. In 1786 the first of many millions of corpses were moved to what is now known as the Catacombs on the left bank.
It was said that the number of skeletons that made the journey to La Tombe-Issoire was ten times greater than the living population of Paris.
Not only had Guillaumot saved Paris but he had built a shadow Paris and he had populated it. Guillaumont remained as inspector of quarries until his death in 1807, his gravestone disappeared sometime in the 1880s and, his bones were gathered up to be placed in the catacombs to join the city he’d built.
Nowadays it is illegal to venture under the city except on official business or to visit the Catacombs the macabre section of the subterranean Paris given over as an ossiary.