bande à partAngela Khermouch

bande à partAngela Khermouch

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Bande à PartArchitects are perpetually in-between. Professionally, the architect’s work begins once a client decides there’s a need, but also precedes the act of construction. Disciplinarily, an architect makes material sense of the immaterial, translating the hidden patterns of cultural logic (symbolic, political, pragmatic, economic) into a visible, tangible and operational construct. So, architects are a peculiar band of producers: shifting between observation and projection, between instrumental possibilities and operational realities, between the remote space of the atelier, where maps become plans and models are materials, and the immediate site, where the culmination of work will be evaluated physically and socially.

Students of architecture are also in-between; suspended: practicing to practice. They are expected to interpolate between distinct courses, each pulling in a divergent direction. Within this framework, they must also consider their own values, before entering a global landscape of opportunity.

The Paris Program offers capable students a discrete chance to develop a sense of larger implications, to try on existing approaches to contemporary questions, and to have a glimpse of what it could mean develop their own approach to practice, before returning to the final years of University.

FieldworkFieldwork is an integral part of the pedagogy. In the first, sense, it’s about in-situ activity. Students have the opportunity to experience important buildings and urban patterns in a dynamic physical and cultural continuum. Because students can reinforce theoretical positions with intuitive sensations, they develop a resilient memory and richer understanding. Students learn to recognize meaningful conditions, and record observations upon which other work will be based. Because the field is always in flux, it exposes students to unfamiliar patterns, tests the potency of their ideas, and challenges their ability to translate (into models) for the arena of work. We indulge like tourists, but operate like ethnographers. We immerse in the field as an aid to seeing, but also as a laboratory and instrument of production.

Fieldwork is also an exploration of the discipline. Physically and pedagogically, our atelier is a mixing chamber which encourages students to explore connections between complementary disciplines within the field of architecture: history, urbanism, technique, design. Students may write history to support studio speculation, or use models and drawings as tools of historical analysis. They may refine drawing or modeling techniques as tactics for understanding and speculation, researching the social, cultural or scientific history, or speculate on adapting a technique for a totally new purpose. Students understand and measure the city in various ways, but also use the city to measure the relevance of ideas. So, the design studio becomes a feedback mechanism: the testing ground for speculative activity which allows us to evaluate the viability of results againt contemporary questions.

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BaM Building as Model

Building as Model examines the history of buildings and cities as the autonomous manifestations of ideas. Students are encouraged to explore the writing of history as a creative act, rather than abiding chronological statements of “progress.” Writing may be connected to drawing and modeling as analytic tools. Students compare shifting versions of history, explore the relation between drawing tactics and ideology, evaluate the propagation of ideas as collective rallying points, and examine the influence of parallel cultural movements on paradigm shifts in European architecture, urban design, and urban planning.

AA Architectural Atelier

The design atelier explores architecture within an urban design framework. Its the testing ground for speculative activity, as students appropriate experiences and techniques from other classes applying them to a specific semester-long project.

As a studio platform, students are asked to understand form, rather than speculate on novel shapes, ex nihilo. Because of our unique situation with Europe, we use the rich field of operation as a basis for investigation. We often focus on types: institutional, infrastructural, intermodal, etc. We sepculate on altering a type, or systematically adjusting its components, to profoundly reorganize its significance. We try to identiy ways that architecture operates as a form of media which has the capacity to extend human capability, influence behavior, and transmit economic or political power.

“Bande à Part”

This year projects addressed the Petite Ceinture (PC), a peripheral railway which stitched together independently owned lines, each entering Paris from a different direction. Now mostly abandoned, a 23.5 kilometer band of disengaged territory cuts through the city. A no-man’s land within Paris’ density, and proximate to the Periphérique (a manifest limit) it provokes many contemporary questions, across many scales.

For the first 6 weeks of the semester, the students developed urban design proposals. Then they zoomed-in to examine specific sites, exploring the relation between large scale planning principles and its consequence for a localized architectural proposal.

Students were asked to develop architectural projects according to the terms of their urban design , but model programs on real precedents. This encouraged students make connections in Europe, and several students engaged institutions, interviewing them as though they were real clients.

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UEx Urban Exploration

Urban Exploration exploits the living city as a laboratory, and feedback loop, where reflections on studio work meet the city itself, in a space of free association. Each class begins with an itinerary that introduces the student to distinct territories within Paris, but also harnesses physical immersion as a generator of ideas. The physical nature of the class, and its perpetual state of motion, alters and provokes relationships between conception (or preconceptions) and perception (experience). The class mixes sharp concentration with daydreaming, expectation with surprise, and generates divergent thoughts and possibilities as a complement to studio.

DeS Developed Surface

Developed Surface investigates the significance of techinque. Architectural discourse sometimes struggles to reconcile socio-political agendas with material ones. Whether a result of practice or ideology, focus on one realm often involves suppressing the other. And yet, a constructed building is accountable for both. This course looks at models (2 and 3 dimensional) as operational and instrumental tools which assist an architect to control material and the meaningful. Acting as an advanced seminar and workshop, course sessions juxtapose speculative model making with seminar discussion. Each week, student work is reviewed in direct relation to readings, and short lectures on historical and theoretical precedents in art, architecture, and urban design. Special attention will be paid to intermediate frameworks that architects develop to connect technique to ideology. (Le Modulor, for example).

In mathematics, the word “development” refers to the process of rolling one surface over another. In architecture, this technique is often deployed to model three-dimensional space on paper – to speculate, regulate, and communicate the ordering of material, construction assemblies, and form. So, “surface” is a convenient subject that connects thinking, drawing and construction. It allows the class to examine activity across many scales (urban patterns, building envelopes, programmatic interior).

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27 Jan - Rome / Two “Giants”

Baths of DiocletianTrajan MarketPiazza CampidoglioMusei Capitolini, Piazza CampidoglioRoman ForumColloseoBorromini, San Giovanni in LaeteranoThermae Caracalla

EUR DistrictGiovani Guerini, Pallazo della Civilita

Italiano, (“Colosseo Quadrato”)Museo della Civilita Romano, Palazzo dei Ricevimenti e Congressi

28 Jan - Rome / Baroque Surface

Spanish StepsBorromini, Collegio de Propoganda

FideBorromini, Sant Andrea delle Fratte

(apse)Borromini, Palazzo Barberini

(heliocoidal stair) Galleria Barberini Bernini, Santa Carina della Vittoria (St.

Theresa in Ecstasy)Borromini, San Carlo alle Quattro

Fontane (ceiling)Pantheon Su 9:00-18:00 / M-Sa

8:30-19:30Bernini, Sant’Ivo alla Sapienza

(corkscrew dome)Borromini, Piazza NavonaBorromini, Sant’Agnese in AgoneBorromini, Palazzo Spada (forced

persp. corridor) Galleria Spada Michelangelo, Palazzo FarneseBorromini, Oratorio dei Fillipini,Giorgetti, San Girolamo della Caritá

(Borromini’s pupil)Borromini, Palazzo FalconieriBorromini, Oratorio dei FilippiniBorromini and Ferri, San Giovanni dei

FiorentiniBernini, Piazza Pietro (Vatican)

29 Jan - Rome / New Institutions

Galleria BorgheseViale delle Belle ArtePiano, Auditorio Parco della MusicaNervi, Pallazeto della SportHadid, MAXXI Museum of Art

31 Jan - Venice

Murano IslandTour Vanini Glass FactorySan Michelle Island Cemetery Rialto BridgeCampo Santa Margherita

01 Feb - Venice

Piazza San MarcoPalazzo DucaleCarlo Scarpa, Olivetti ShowroomMarciana LibraryCarlo Scarpa, Querini StampallaScuola Grande di San RoccoIUAV ToletnitiCarlo Scarpa, IAUV Gate / GardenGallerie dell’AccademiaSanta MAria della SaluteCampo San Giacomo

02 Feb - Venice

Giudecca IslandPalladio, Redentore ChurchSan Giorgio Maggiore IslandPeggy Guggenheim CollectionCa’Pesaro Museum of Modern ArtCampo San Polo (ice skating0

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16 Mar - Copenhague

Hasløw & Kjærsgaard, Amager Strandpark

PLOT (BIG+JDS), Maritim Jugend Center

Dorthe Mandrup + B&K, Prism Sports + Kultur Center

Dorthe Mandrup, Holmbladsgade Nachbar Kulturhaus

Lundgaard & Tranberg, Royal Theater Lundgaard & Tranberg, Tietgen

HousingPLOT (JDS+BIG), VM HousesPLOT (JDS+BIG), VM Mountain

HousesØrestad Masterplan Model

17 Mar - Copenhagen

Gruntvig’s ChurchBispegjerg CemeteryActivity CentersBIG, Linear Park

18 Mar - Sweden

Sigurd Lewerent, Sant Petri (Klippan)Tham Videgard Arkitekten, Museum

of Modern Art ( Malmo)

RESEARCH: DENMARK NETHERLANDS SWEDEN

19 Mar - Amsterdam

20 Mar - Day Trip to Rotterdam

Wine or Water RestaurantJL Brinkman, Van Nelle FactoryJo Coenen, NAI (Model Storage)Neutlings Reidijk, SheepvartCafé D’Unie ReconstructionPiet Blom, Kubuswonig (Tree Houses)UN Studio, Erasmus BridgeBolles + Wilson, Erasmus Bridge

HouseOMA, KunsthallJo Coenen, NL Architecture Institute

21 Mar - Day Trip to Utrecht / Hilversum / Almere

Gerrit Rietveld, Schroderhuis and Apartment Block

MVRDV, Villa KBBW (Double House)OMA, EducatoriumUN Studio, ErasmussiumMVRDV, BasketbarWiel AretsSANAA, Kunstlinie (Almere)

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Tina Bizaca, Angela Khermouch

DormAnT PArisiAnismsReviving the Flâneur within the Petite Ceinture

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In this project, La Petite Ceinture is seen as an opportunity to revive the Flaneur in the Parisian daily routine. By diverting the public’s movement towards the center of the city by taking existing elements of the surrounding arrondissements and amplifying, resituating, or distorting them in some way, creating unexpected experiences within La Petite Ceinture.

La Petite Ceinture is therefore broken up into distinct zones depending on the activity taking place within it, providing a unique atmosphere for each area based on programs that already surround it.

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Angela Khermouch

Le theAtre des excentriquesResituating puppet theater within an abandoned train line to create new excentric performances

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In this project, La Theatre de la Marionnette a Paris, an existing group that promotes pup-petry within Paris is provided with a space from which to broadcast Paris’s strong puppetry culture. Combining with the existing Monfort Theatre, whose spectacles include every-thing from optical theater to interpretive dance, this collaboration creates Le Theatre des Excentriques.

Situated in the programmatically varied Georges Brassens park located in the 15th ar-rondissement, along the abandoned Petite Ceinture train line, this location allows an al-ready excentric program to be heightened by its surroundings.

The organization of the building on the site is such that it allows for moments of unex-pected performance, while the integration of learning, production and entertainment in the building’s program allows for unique relationships to develop across programatic elements.

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La Petite Ceinture Puppet Theater Locations George Brassens Park

Puppet TheaterPark

Vineyards

La Petite Ceinture

Playground

SwingsScent Garden

Day Care

Theatre de Polichinelle

Monfort Theatre Ping-pong

Area

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Pony Rides

NGeorges Brassens Park Excentriques

AdultsKids

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Theatre Des ExcentriquesProgram Provider: Theatre de la Marionnette a ParisOne of the biggest organizers and promoters for the puppet art form in Paris, the Theatre de la Marionnette a Paris, formed in 1992, orga-nizes events dedicated to the art of puppetry, however they lack their own space.

Space Provider: Monfort TheatreSituated within the Georges Brassens park, the Theatre Monfort hosts atypical spectacles including everything from interpretive dance to “theatre optique,” a similar surreal experience to that of puppetry entertainment. Their space is currently underused during the year.

Theatre de la Marionnette

Monfort Theatre Monfort Theatre Usage Theatre Des Excentriques

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La Petite Ceinture Puppet Theater Locations George Brassens Park

Puppet TheaterPark

Vineyards

La Petite Ceinture

Playground

SwingsScent Garden

Day Care

Theatre de Polichinelle

Monfort Theatre Ping-pong

Area

Antique Book Fair

Pony Rides

NGeorges Brassens Park Excentriques

AdultsKids

Both

Theatre Des ExcentriquesProgram Provider: Theatre de la Marionnette a ParisOne of the biggest organizers and promoters for the puppet art form in Paris, the Theatre de la Marionnette a Paris, formed in 1992, orga-nizes events dedicated to the art of puppetry, however they lack their own space.

Space Provider: Monfort TheatreSituated within the Georges Brassens park, the Theatre Monfort hosts atypical spectacles including everything from interpretive dance to “theatre optique,” a similar surreal experience to that of puppetry entertainment. Their space is currently underused during the year.

Theatre de la Marionnette

Monfort Theatre Monfort Theatre Usage Theatre Des Excentriques

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EXPRESSION of puppetry construc-tion in building systems

RESITUATING perfor-mances to create new excentrics

In Theaters:

In Plan:

In Theaters:

In Plan:

DIRECT VIEWS

OBLIQUE VIEWS

Addition of Oblique Views

PerformanceAudience

OVERLAPPING of many artistic disci-plines

Performing

Production

Learning

SupportPetite Ceinture

Theatre de Polichinelle

Monfort Theatre

Puppetry Precedence

Extracted Elements

Architecture Application

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EXPRESSION of puppetry construc-tion in building systems

RESITUATING perfor-mances to create new excentrics

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In Plan:

In Theaters:

In Plan:

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Addition of Oblique Views

PerformanceAudience

OVERLAPPING of many artistic disci-plines

Performing

Production

Learning

SupportPetite Ceinture

Theatre de Polichinelle

Monfort Theatre

Puppetry Precedence

Extracted Elements

Architecture ApplicationAp

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BaM

Angela Khermouch

Le CorbusierCity grid as density problem

Ville RadieuseRemoval of density from grid, relocationto specific points

American Grid SystemMilitary OriginsAgencies with other objectives

New York CityA system before existing density

Grand Urban RulesBlock Width limited by streets, public spaces, parks, etc. (p. 35)

Squaring of CirclevilleChanging society calls for new system (Grand Urban Rules)

ChicagoEndless growth

opportunities

Burnham PlanUsed to sell an idea

ZoningAs a way to regulate density

Rem KoolhausDelirious New York,

exceptions within the city

SuperblockCity block system within a system

Jane JacobsThe Death and Life of Great American Cities

DecentristsThin out and disperse density

Live-Work movementPeople should live close to work

Public policy should not, “...freeze conditions and uses as they stand. That would be death.”

Robert MosesLarge city projectsHighway infrastructure

Urban RenewalLeveling urban blight for new construction

Setback RegulationsTo aid street lighting

l’Eixample Plan BarcelonaCentral courtyards for light, density relief

Orientation of blockTo maximize sunlight to courtyard

Organic layout of early civilizationsMesopotamia, Egyptian civilizations

Military Layout of CitiesCity layout based on protection

CentralizationRecognization of military, communal, or spiritual power

Breaking The Wall: City Block Planning Before and After Medieval Limits

Preliminary paper topic diagram 074

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While humans have been organizing them-selves into cities as a way of exchanging goods, services, ideas, and generally ad-vancing civilization for many years, urban planning as an organizing system for cities was not present medieval and pre-medi-eval cities, whose urban plans were dic-tated primarily by the location’s geography and a need to defend its citizens from out-side attacks. Paris in particular was a prime example of this medieval city layout, how-ever, as health conditions worsened due to this seemingly haphazard layout, a more organized approach to city planning was called for. In Paris this manifested with the plan laid out by Baron Haussmann, in which the wide boulevards cutting through the existing fabric of the city were particularly straightforward in their intent as well as powerful in creating a new image for Paris which frightened the Parisians even when elements of the new boulevards spoke to elements of city planning that existed be-fore. The boulevardizing of Paris also cre-ated a new image for the Baron himself, rising questions as to how far a human in power can go to change the environment of so many without seeming ruthless and very much inhuman in doing so.

In early medieval cities, urban planning as we think of it now was not present as a discipline. In medieval times, the extent of urban planning involved protecting the people within a town from outside attack. For this reason, cities were often central-ized around an institution such as a church and surrounded by an outer wall from which the city could be defended. In Paris, this existed in the centralized location of Notre Dame, where the city’s coordinate origin lies, and a series of fortifications cen-tered on this point, the earliest of which were built in the 10th and 11th centuries to protect the city of Paris.

Between this centralized space and outer wall, however, cities grew much more hap-hazardly, in many cases as another line of

BOULEVARDS AND POWERBaron Haussmann’s Boulevardizing of Paris

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defense so that enemies could not easily navigate the city or know its layout before-hand, as can be seen in Paris’s thick tan-gle of streets enmeshed in what is known as ‘Old Paris.’ However, as Paris became denser, problems regarding hygiene and traffic emerged that were related back to the way the city was laid out. A preoccupa-tion with poverty and cramped living con-ditions caused a call for healthy air, running water, social housing and kitchen gardens to evolve. At the same time, technological advancements in communication from the industrial revolution caused a reaction to manage movement systems within towns and cities. As described in Du Camp’s Paris:

Paris, as we find it in the period fol-lowing the Revolution of 1848, was about to become uninhabitable. Its population had been greatly enlarged and unsettled by the incessant activity of the railroad, and now this population was suf-focating in the narrow, tangled, putrid alleyways in which it was forcibly confined.

As a result, Paris, like many medieval cities, looked to much more regular and spacious layouts giving the chance for “air and men to circulate.”

In Paris, this emerged with the election in 1870 of Napoleon III as president for the Republic of France, who decided to mod-ernize Paris after seeing post-industrial rev-olution London. To head up this new vision of Paris, Napoleon III hired Baron Georges-Eugene Haussmann and together they laid out their plan d’ensemble in which the city was planned as if it was an entire entity, a new approach to city planning that had not been implemented before at this large of a scale. However, this was not a sort of urban planning that had been seen before. What these men intended to do was create a new city from one that already existed, that was well established, and most importantly, had a thoroughly developed fabric that its citizens cherished.

In Haussmann’s transformation of the city layout, the most striking feature was a se-

ries of large boulevards that cut straight through this very developed fabric that the people so cherished, or what was known as ‘Old Paris.’ As opined by Haussmann who was also known as the ‘demolition artist’, it was, ‘easier to cut through a pie’s inside than to break into the crust.’ Programmati-cally, these wide boulevards prioritized cir-culation, the harmonization between mon-uments, as well as providing more light and air to the streets. This image of long perspectives down long, straight boule-vards ending in city monuments was also seen as ideal to Haussmann, a product of the tendency in the 19th century to elevate technological necessities through artistic ends. Economically, these boulevards also provided certain areas a chance to rejuve-nate themselves by replacing unsanitary old buildings with new properties contain-ing much more rent-able space.

A primary purpose behind these large bou-levards was also one that the medieval city was very familiar with: to protect from at-tack, only this time, from within. In order to minimize the threat of civil war within Paris, these wide boulevards were created as a way to inhibit the erecting of barricades across the city. These streets also acted as a quick connector between the barracks and the worker’s districts, where the po-tential uprising would occur. Referred to as “strategic embellishments” by some, these wide, straight boulevards with uniform fa-cades marching down either side came to symbolize an expression of power by the self-proclaimed emperor of the time over the city of Paris and a way of restoring quick order to a city that was known for its capacity to rebel.

However, despite all these benefits to the city on levels ranging from health to state, Haussmann’s ‘boulevardizing’ of Paris did not escape verbal attack. While most crit-ics just clung to the remnants of city fabric bulldozed by Haussmann’s implementation of the boulevards, others saw the construc-tion of the boulevards as an immense ex-pression of power, one not to be expressed by one man. In this immense expression of power, the public saw not a man but a pow-er-hungry god, daring to squash the hap-hazard natural growth of a healthy city with his regular, controlled and picture-perfect sets that he had designed and constructed

Benjamin, Walter. The Arcades Project. London: Belknap Press, 1999. 123-125. Print.

Jones, Colin. Paris: Biography of a City. New York: Viking, 2005. 305. Print.076

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for the city. This can be seen in the assess-ment made by one critic of the changes made by Haussmann: “Haussmann’s urban works are a wholly appropriate representa-tion of the absolute governing principles of the Empire; repression of every individual formation, every organic self-development, fundamental hatred of all individuality.”

Among Haussmann’s biggest critics was Le Corbusier who said, “The avenues [Hauss-mann] cut were entirely arbitrary: they were not based on strict deductions of the sci-ence of town planning. The measures he took were were of a financial and military character.” Le Corbusier’s critique of Hauss-mann’s boulevards were more an expres-sion of disbelief for their ability to provide what Haussmann promised. He too could only see the overpowering, godly manner in which Haussmann sliced through the city.

Still others critiqued the large boulevards aesthetically, particularly several groups in the 1880’s that grew out of the conserva-tionist movement that began to emerge

in Paris. These conservationist groups at-tacked, ‘these new boulevards without turning, without perspectival adventure, implacably straight-lined…which recall some future American Babylon.’ Based in a love for Paris’s older city fabric in which streets constantly turn and change, these conservationists saw only the desire of one man to make his mark on an already thriv-ing city in the long boulevards implement-ed by Haussmann.

Yet, among all this dissent, there were a few Parisians that saw some good in the new Haussmannian Paris. One writer, Jules Simon wrote in Le Galois, “He [Haussmann] demolished some quartiers - some might say entire towns. There were cries that he would bring on the plague; he tolerated such outcries and gave us instead - through his well-considered architectural break-throughs - air, health, and life.” In this pas-sage, Simon acknowledges the destruction of the old for the improvement of quality of life, something few of Haussmann’s crit-ics at the time were able to accept. How-

Benjamin, Walter. The Arcades Project. London: Belknap Press, 1999. 130. Print.

Jones, Colin. Paris: Biography of a City. New York: Viking, 2005. 360. Print.

During and after the construction of Haussmann’s Boulevards

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ever, Haussmann himself recognizes this in the civilians of his city as can be seen in a later conversation between Napolean III and himself. Haussmann says, “I myself am charged with the double offense of having unduly disturbed the Population of Paris by bouleversant, by ‘boulevardizing,’ almost all the quartiers of the city, and of having allowed it to keep the same profile in the same setting for too long.” Haussmann sees the extensive distress he has caused to the Paris population, however he sees the act of boulevardizing Paris as one the city has been needing for some time and its monumentality as an expression of Par-is’s need for a new image as a city and as the people who inhabit it. He was simply a means of providing Paris with this new im-age.

It is easier to see now, removed from the initial shock that these large boulevards caused, how they were, and still are, a suc-cess in a number of ways. As methods of navigation, the wide boulevards connect-ing monuments within the city are useful tools for pedestrians and cars alike trying to

orient themselves, especially after emerg-ing from the dense tangle of streets that often flank either side of the boulevard. While the boulevards were unsuccess-ful in improving road mobility due to the fact that these straight boulevards gener-ally delivered speedy traffic into crossroads where they then became enmeshed in traf-fic jams, as direct routes across the city of Paris, these boulevards cut down travel time in their directness. Logistically, these boulevards did indeed provide the renewal on a health, infrastructure and economic level that the city of Paris so desperately needed.

Most importantly though, these boule-vards did a lot to encourage and allow for an image that Paris was already very familiar with: one related to a lively active street life. Many Parisian terms such as the flâneur, the dérive and détournement all relate back to the way a walker expe-riences the city-strolling through streets, observing the action teeming around him and generally letting the thriving city con-trol his motions and attentions. As a part

Benjamin, Walter. The Arcades Project. London: Belknap Press, 1999. 132. Print.

Gustave Caillebotte’s painting of the flâneur on a Haussmannian boulevard

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of life, an active street life has always been strongly valued by the Parisian people and despite tearing through existing dense and thriving neighborhoods, Haussmann’s boulevards did nothing to destroy the ac-tive street life that existed, instead it made it stronger. One obvious reason for this is that the dense, thriving neighborhoods the boulevards cut through still existed on ei-ther side of them, feeding into the broad streets a constant stream of pedestrians. Another benefit to the Parisian boulevard’s pedestrian life is the ground floor lining of small shops, cafes, and restaurants that draw people to the street for various needs and desires and provides interest to the passer-by. Lastly, these wide boulevards did not simply provide more room for fast-circulating traffic but for the pedestrians as well. Wide sidewalks line either side of the Haussmannian boulevards, allowing each pedestrian more space as well as space for restaurants, bars and cafes to install outdoor seating year round, or for stores to advertise merchandise that encourage pedestrians to stop, browse or mingle on the already active street.

Despite the strong outcry from Parisians against the Haussmannian boulevards for their expression of power by the men who designed them, these boulevards ended up creating for Paris a stronger picture of it-self. While the approach to urban planning was new and the improvements the bou-levards made on a practical scale, in terms of health, economics and infrastructure worked to renew the city, the new image of Paris that Haussmann envisioned was per-haps not so new at all. At street level, these wide boulevards in fact create the perfect playground for the pedestrian, building off the already thriving existing city fabric and ensuring the people of Paris that the flâ-neur was once again alive and well.

Works Cited

Benjamin, Walter. The Arcades Project. London: Belknap Press, 1999. Print.

Chan Chieng, Diana, ed. Projets Urbains En France = French Urban Strategies. Paris: Le Moniteur, 2002. Print.

Jones, Colin. Paris: Biography of a City. New York: Viking, 2005. Print.

Lehnerer, Alex. Grand Urban Rules. Rotter-dam: Lecturis, 2009. Print.

“The L’Enfant and McMillian Plans.” Wash-

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8 walks and 2 lectures

1 - Les Passages / Arcades

A link between the past and the present city, and between the previous flâneurs and our-selves. Literally, a journey through the core of the city, like a drilled corridor. References: Charles Baudelaire, Walter Benjamin, Dada-ists and Surrealists. Bourse - Bibliothèque Nationale (Labrouste reading room) - Palais Royal - Les Halles - Grands boulevards -

2 - A string of Pearls

A walk along the great axis about layers of urbanism and power, about maps and propa-ganda. An opportunity to observe the succes-sive kings’ and presidents’ desire to “mark” space. A concentration of grand urban spaces (jewels) cut into the dense fabric of Paris. Place des Vosges - Hotel de Sully - Philippe Auguste Wall - Beaubourg - les Halles - Place des Vic-toires - Marché St Honoré - Place Vendôme - Jardin des Tuileries - Place de la Concorde (view along the “grand axe”) -

3 - ZigZag, rive gauche / rive droite

Weaving between monuments and neighbor-hoods along the river axis, and observing its essential connection with the city, since the beginning. Checking that Paris belongs to us, outside and inside (school, park, museum, courthall, church...). Pont d’Austerlitz - Jardin des Plantes - Université Jussieu - Institut du Monde Arabe - Pont Sully - Ile St Louis - Ile de la Cité: Mémorial de la déportation - Notre Dame - Palais de justice - Place Dauphine - Pont Neuf - Cour Carrée - Pont des Arts - Ecole des Beaux Arts - St Germain des Prés - Place St Sulpice: Café de la Mairie (G.Perec) -

4 - Belleville

Visit of a Parisian neighborhood with a strong identity, not touristic and particularly dense, complex and mixed - in its population (Asian, Arabic, Jewish, African, French, etc.), as well as in its architecture : juxtaposition of old and new parts, individual houses and public hous-ing, secret inner courtyards, street market, park, etc.

5 - Canal de l’Ourcq, a cruise to elsewhere Seascapes and Utopias (self-guided walk)

An itinerary along and around the canal, from Ledoux’s rotunda at the bassin de la Villette to (almost) the “périphérique” and the exit

out of Paris. A catalogue of ideas on buildings and cities, and the opportunity to make links between real places encountered on the walk and visionary and utopist projects. Ledoux’s Rotunda - Ourcq canal - Ave de Flandre - Jar-dins d’Eole - 104 - Renzo Piano’s housing - St Serge Orthodox Church - Parc de la Villette -

6 - Borders: the 18th

An itinerary about territories, borders and thresholds. Also about tourism, clichés and immigration. Montmartre/Montmartreland/Pigalle/Chateau Rouge/la Goutte d’Or: navi-gating through these territories with strong identities, and observing precisely where the borderlines pass, more or less visible. Maison Tzara (Loos) - métro Abbesses (Guimard) - St Jean de Montmartre - Shoe store (former the-ater) - African market -

7 - Collage city: the 13th

A contrasted itinerary through the 13th arrdt., offering a panorama of buildings and urban-ism from the 60s until the current transfor-mations. On our way: a few Parisian towers, Chinatown, social housing from different time periods and the new Paris Rive Gauche neigh-borhood. Orientation maps and loss of orien-tation. Manufacture des Gobelins - “ghost” river Bièvre - Mobilier National (Perret) - first Parisian skyscraper (Albert) - les Olympiades - underground street - Salvation Army build-ing (Le Corbusier) - Paris Rive Gauche neig-borhood - Bibliothèque Nationale (Perrault) - Seine river - floating swimming pool - pe-destrian bridge -

8 - Student designed walk

Students (by teams) are designing a walk - and its corresponding map - and taking the group on a tour. It should be centered around some-thing they would like to investigate: a neigh-borhood, a physical component of the city, a theme, a fiction story, a sensation, emotion, etc….The walks should be seen as narratives.The students will then assemble the various walks together - in a specific and appropriate order - to compose a bigger itinerary made of several sequences.

- Lectures: Urban Wanderers

1-Getting lost

2-Discovering new territories

Personal mapping project

Throughout the semester, students are creating and developping a personal mapping project, on which they are working independently. It is about exploring a place or an idea, experimenting and creating a personal graphic language, and about learning to play and combine in the best possible way form and content, simplicity and complexity. Inventing one’s own method of working is part of the process and as important as the final result.

Angela Khermouch

UEx13 memory maps

After each walk/lecture, a memory map - highly subjective and selective (with holes, distortions, additions, thoughts, feelings, etc) - is produced by each student and handed in the following week. Postcards are sent from other cities, as travel memory maps.

- Map 0 : preconceived map of Paris

- 8 memory maps from walks

- 2 memory maps from lectures

- 2 postcards from field trips (Italy, Denmark/Netherlands)

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143

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a Kh

erm

ouch

UrbAn nAming Devices

In these images of three locations I have lived are naming devices used to identify them. By finding places with similar naming devices and connecting them, we can create a new landscape entirely.

300 Riverside Drive, NYC

43 Rue Notre Dame de Nazareth, Paris

3330 South Michigan Avenue, Chicago

Riverside Avenue, Riverside, CA

Michigan Avenue, Lansing, MI

Notre Dame Street, Westfield, MA

Rue Notre-Dame Ouest, Quebec, Canada

Michigan Bridge, WI

Riverside, Liverpool

144

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Lect

ure

02: U

rban

Nam

ing

Devi

ces

UrbAn nAming Devices

In these images of three locations I have lived are naming devices used to identify them. By finding places with similar naming devices and connecting them, we can create a new landscape entirely.

Rue Notre-Dame Ouest, Quebec, Canada

Place Notre Dame de Nazareth, Pernes-les-Fontaines, France

Nazareth Avenue, Eastlawn Gardens, PA

Rue Nazareth, Manage, Belgium

Michigan Bridge, WI Michigan Avenue, Buffalo, NY Michigan Ave NW, D.C. Michigan Ave, Alexandria, VA

Riverside, Liverpool River Drive, Riverside, NJ Riverside Drive, Tansmania Riverside, Newport, South Wales

145

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erm

ouch

Post

card

01:

Ital

y14

6 :

Ang

ela

Kher

mou

ch

Post

card

01:

The

Net

herla

nds

147

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ngel

a Kh

erm

ouch

148

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ngel

a Kh

erm

ouch

Pers

onal

Pro

ject

: Le

Petit

Thea

tre d

e Pa

ris

Follo

win

g a

rel

ativ

ely

stra

ight

pat

h b

etw

een

Pas

sag

e Ve

rdea

u an

d t

he S

eine

, fi

rst

head

ing

so

uth

and

the

n he

adin

g n

ort

h, I

cre

ated

a s

erie

s o

f se

ts f

rom

th

e fa

cad

es e

nco

unte

red

on

the

two

wal

ks. T

hese

set

s w

ere

then

arr

ang

ed s

o

that

the

y co

uld

be

pul

led

, re

enac

ting

one

wal

k w

ith

a se

ries

of

pla

nes,

and

th

en r

eset

and

ro

tate

d t

o e

xper

ienc

e th

e se

cond

wal

k, t

he r

ever

se o

f the

firs

t.

A s

crip

t ac

com

pan

ies

the

sets

allo

win

g t

he u

ser

to p

roje

ct o

nto

the

set

s th

e si

ght

s an

d s

oun

ds

of

wha

t w

as e

xper

ienc

ed o

n m

y p

arti

cula

r w

alks

.

149

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ngel

a Kh

erm

ouch

AC

T I

Wed

nesd

ay, M

arch

7th

, 13:

00. 4

5 D

egre

es, C

loud

y.

SCEN

E I

74 b

us a

pp

roac

hes

from

the

left

, 2 s

coot

ers

pas

s

150

: A

ngel

a Kh

erm

ouch

Pers

onal

Pro

ject

: Le

Petit

Thea

tre d

e Pa

ris, A

ct I

SCEN

E II

A w

oman

with

a b

aby

carr

iag

e p

asse

s fr

om le

ft to

rig

ht,

A s

coot

er p

asse

s fr

om t

he le

ft m

ovin

g t

o th

e rig

ht

151

: A

ngel

a Kh

erm

ouch

SCEN

E III

Traf

fic p

asse

s in

dro

ves,

Tire

s sq

ueal

, Sco

oter

s so

und

, Som

eone

sp

its e

mp

hatic

ally

152

: A

ngel

a Kh

erm

ouch

Pers

onal

Pro

ject

: Le

Petit

Thea

tre d

e Pa

ris, A

ct I

SCEN

E IV

The

soun

d o

f cla

ngin

g s

caffo

ldin

g

153

: A

ngel

a Kh

erm

ouch

SCEN

E V

Peop

le e

at lu

nch

on t

he s

tep

s, O

ne m

an s

mok

es b

y th

e ex

it of

the

met

ro

154

: A

ngel

a Kh

erm

ouch

Pers

onal

Pro

ject

: Le

Petit

Thea

tre d

e Pa

ris, A

ct I

SCEN

E V

ITw

o w

omen

pas

s ta

lkin

g lo

udly

, Som

ewhe

re a

man

laug

hs

155

: A

ngel

a Kh

erm

ouch

SCEN

E V

IITh

e cr

unch

of g

rave

l und

er s

hoes

, Peo

ple

wal

k sl

owly

pas

t, A

man

sits

and

read

s on

a b

ench

, Bird

s ch

irp, A

n am

bul

ance

and

chu

rch

bel

ls

soun

d in

the

str

eet

bey

ond

156

: A

ngel

a Kh

erm

ouch

Pers

onal

Pro

ject

: Le

Petit

Thea

tre d

e Pa

ris, A

ct I

SCEN

E V

IIITr

affic

sou

nds,

Peo

ple

wal

k in

larg

e g

roup

s fr

om t

he M

etro

sta

tion

157

: A

ngel

a Kh

erm

ouch

SCEN

E IX

Peop

le s

it al

ong

the

foun

tain

, Bird

s la

nd t

wo

at a

tim

e

158

: A

ngel

a Kh

erm

ouch

Pers

onal

Pro

ject

: Le

Petit

Thea

tre d

e Pa

ris, A

ct II

AC

T II

Tues

day

Ap

ril 2

4th,

19:

00. 5

0 D

egre

es, C

loud

y an

d r

ainy

.

SCEN

E I

Shoe

s on

sto

ne, E

lect

roni

c m

usic

, A c

oup

le s

nap

pho

tos

159

: A

ngel

a Kh

erm

ouch

SCEN

E II

A t

rum

pet

ech

oes

and

reve

rber

ates

, The

tru

mp

eter

is n

ot a

goo

d o

ne

160

: A

ngel

a Kh

erm

ouch

Pers

onal

Pro

ject

: Le

Petit

Thea

tre d

e Pa

ris, A

ct II

SCEN

E III

A w

oman

sna

ps

a p

hoto

, The

sou

nd o

f wat

er m

ovin

g, A

man

laug

hs

161

: A

ngel

a Kh

erm

ouch

SCEN

E IV

A w

oman

ben

ds

over

a b

race

let,

A c

usto

mer

ent

ers

162

: A

ngel

a Kh

erm

ouch

Pers

onal

Pro

ject

: Le

Petit

Thea

tre d

e Pa

ris, A

ct II

SCEN

E V

A m

an p

asse

s w

ith h

is d

og, S

omeo

ne la

ughs

, A m

an a

sks

if hi

s p

artn

er h

ad e

noug

h to

eat

163

: A

ngel

a Kh

erm

ouch

SCEN

E V

IA

str

ong

sm

ell o

f gar

lic, T

he b

ang

of a

n es

pre

sso

mac

hine

, The

hub

bub

of p

eop

le t

alki

ng, A

wom

an in

a s

tam

p s

tore

put

s st

amp

s in

a

pla

stic

sle

eve

with

tw

eeze

rs

164

: A

ngel

a Kh

erm

ouch

Pers

onal

Pro

ject

: Le

Petit

Thea

tre d

e Pa

ris, A

ct II

SCEN

E V

IISc

oote

rs p

ass

from

rig

ht t

o le

ft

165

: A

ngel

a Kh

erm

ouch

SCEN

E V

IIITw

o w

oman

lean

in t

alki

ng a

nd g

estic

ulat

ing

in a

caf

e

166

: A

ngel

a Kh

erm

ouch

Pers

onal

Pro

ject

: Le

Petit

Thea

tre d

e Pa

ris, A

ct II

SCEN

E IX

Hig

h-he

eled

sho

es s

ound

on

mar

ble

floo

rs, A

man

flip

s th

roug

h ol

d d

raw

ing

s, p

ipe

in m

outh

167

: A

ngel

a Kh

erm

ouch

bande à partAngela Khermouch