Baron Haussmann @200, Haussmannization and creative destruction
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:''[[creative destruction]], [[surplus product]]'' | :''[[creative destruction]], [[surplus product]]'' | ||
- | [[Baron Haussmann]] turned [[200]] in [[2009]]. | ||
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- | [[Baron Haussmann]] ([[1809]] - [[1891]]) was a French urbanist who called himself an "artiste démolisseur," literally translated as ''artist [[destroyer]]'', a concept with a political equivalent of [[creative destruction]]. I've mentioned Haussmann and [[Haussmannization]] here [http://jahsonic.wordpress.com/2006/10/30/gustave-caillebotte-1848-%e2%80%93-1894/] and here[http://jahsonic.wordpress.com/2006/10/30/boulevards/]. | ||
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- | :''[[Haussmann's renovation of Paris]]'' | ||
- | '''Baron Georges-Eugène Haussmann''' ([[March 27]], [[1809]] – [[January 11]], [[1891]]) was a [[France|French]] [[urbanist]] whose name is associated with the [[Haussmann's renovation of Paris|rebuilding of Paris]]. His work had destroyed much of the [[medieval city]]. It is estimated that he transformed 60% of Paris' buildings. Notably, he redesigned the [[Place de l'Etoile]], and created long avenues giving perspectives on monuments such as the [[Arc de Triomphe]] and the [[Palais Garnier|Opera Garnier]]. | ||
- | == Criticism == | ||
- | Because of [[Haussmannization]], that is the [[creative destruction]] of something for the betterment of society, the 1860s was a time of intense revolt in Paris. Many Parisians were troubled by the destruction of "old roots". Historian [[Robert Herbert]] says that "the impressionist movement depicted this loss of connection in such paintings as [[Édouard Manet|Manet]]'s ''[[A Bar at the Folies-Bergère|Bar at Folies]]''." The subject of the painting is talking to a man, seen in the mirror behind her, but seems unengaged. According to Herbert, this is a symptom of living in Paris at this time: the citizens became detached from one another. "The continuous destruction of physical Paris led to a destruction of social Paris as well." Haussmann was also criticized for the great cost of his project. Napoléon III fired Haussmann on [[5 January]] [[1870]] in order to improve his own flagging popularity. Haussmann was also a favorite target of the [[Situationist International|Situationist's]] critique; besides pointing out the repressive aims that were achieved by Haussmann's urbanism, [[Guy Debord]] and his friends (who considered [[urbanism]] to be a "state science" or inherently "capitalist" science) also underlined that he nicely separated [[leisure]] areas from work places, thus announcing modern [[functionalism]], as illustrated by [[Le Corbusier]]'s precise zone tripartition (one zone for circulation, another one for accommodations, and the last one for labour). | ||
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- | The changes wrought by Baron Haussmann on the streetscape of Paris were documented in the film, "Paris: Living Space", featuring [[Edmund N. Bacon]] and based on sections of his book ''[[Design of Cities]].'' | ||
"Paris, as we find it in the period following the Revolution of 1848, was about to become uninhabitable." | "Paris, as we find it in the period following the Revolution of 1848, was about to become uninhabitable." |
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"Paris, as we find it in the period following the Revolution of 1848, was about to become uninhabitable." [E1a,3] quoting from Maxime du Camp, Paris, vol 6 (Paris, 1875), p.253.
Narration Its population had been greatly enlarged and unsettled ... and now this population was suffocating in the narrow, tangled, putrid alleyways in which it was forcibly confined." [E1a,3] quoting from Maxime du Camp, Paris, vol 6 (Paris, 1875), p.253.]
Jules Ferry: "Les Comptes fantastiques de Haussmann"
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