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Investigates how architecture, technology, politics, and urban planning came together in French architect Victor Baltard's creation of the Central Markets of Paris. Presents a case study of the historical process that produced modern Paris between 1840 and 1870.
A sparkling account of the nineteenth-century reinvention of Paris as the most beautiful, exciting city in the world In 1853, French emperor Louis Napoleon inaugurated a vast and ambitious program of public works in Paris, directed by Georges-Eugè Haussmann, the prefect of the Seine. Haussmann transformed the old medieval city of squalid slums and disease-ridden alleyways into a "City of Light" characterized by wide boulevards, apartment blocks, parks, squares and public monuments, new rail stations and department stores, and a new system of public sanitation. City of Light charts this fifteen-year project of urban renewal which -- despite the interruptions of war, revolution, corruption, and bankruptcy -- set a template for nineteenth and early twentieth-century urban planning and created the enduring landscape of modern Paris now so famous around the globe. Lively and engaging, City of Light is a book for anyone who wants to know how Paris became Paris.
"In 1853, Napoleon III appointed to the Paris city hall an administrator who had already proved himself in a number of provincial posts, most notably at Bordeaux, and whose name would come to symbolize the modernization of Paris. In barely fifteen years, Baron Haussmann completed the enormous task entrusted to him by the emperor: to transform an unruly capital into a prestigious metropolis. Dozens of building sites were opened in the streets of the capital; thousands of houses were pulled down; wide straight boulevards were cut through the city with blocks of apartments built alongside them; new theatres and churches sprang up along with public gardens; water, sewage, and gas systems were modernized." "Mr. Carmona has exhaustively examined the historical record and has written a superb biography that will be welcomed by all who have savored the avenues, parks, public buildings, monuments, and byways of the City of Light. Haussman will be a treasure too for architects, urban planners, and those readers who are interested in the life of great cities."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
Between the world wars, Paris welcomed not only a number of glamorous American expatriates, including Josephine Baker and F. Scott Fitzgerald, but also a dynamic musical style emerging in the United States: jazz. Roaring through cabarets, music halls, and dance clubs, the upbeat, syncopated rhythms of jazz soon added to the allure of Paris as a center of international nightlife and cutting-edge modern culture. In Making Jazz French, Jeffrey H. Jackson examines not only how and why jazz became so widely performed in Paris during the 1920s and 1930s but also why it was so controversial. Drawing on memoirs, press accounts, and cultural criticism, Jackson uses the history of jazz in Paris to illuminate the challenges confounding French national identity during the interwar years. As he explains, many French people initially regarded jazz as alien because of its associations with America and Africa. Some reveled in its explosive energy and the exoticism of its racial connotations, while others saw it as a dangerous reversal of France’s most cherished notions of "civilization." At the same time, many French musicians, though not threatened by jazz as a musical style, feared their jobs would vanish with the arrival of American performers. By the 1930s, however, a core group of French fans, critics, and musicians had incorporated jazz into the French entertainment tradition. Today it is an integral part of Parisian musical performance. In showing how jazz became French, Jackson reveals some of the ways a musical form created in the United States became an international phenomenon and acquired new meanings unique to the places where it was heard and performed.
Paris is the city of chic—and as such, its innate style shines throughout the city, even in the simplest spaces. Quaint bistros, picturesque alleyways, artists’ studios and unique characters are elevated to a modern-day genre painting when set in Paris. From skateboarders to antiquarians, this volume is a glimpse into Parisian life, as if peering over the edge of the balcony at your own pied-a-terre.
The design and history of Paris's iconic Centre Pompidou is explored in this absorbing and beautifully illustrated biography of a building.
The long and spectacular reign of Louis XIV of France is typically described in overwhelmingly visual terms. In this book, Nicholas Hammond takes a sonic approach to this remarkable age, opening our ears to the myriad ways in which sound revealed the complex acoustic dimensions of class, politics, and sexuality in seventeenth-century Paris. The discovery in the French archives of a four-line song from 1661 launched Hammond’s research into the lives of the two men referenced therein—Jacques Chausson and Guillaume de Guitaut. In retracing the lives of these two men (one sentenced to death by burning and the other appointed to the Ordre du Saint-Esprit), Hammond makes astonishing discoveries about each man and the ways in which their lives intersected, all in the context of the sounds and songs heard in the court of Louis XIV and on the streets and bridges of Paris. Hammond’s study shows how members of the elite and lower classes in Paris crossed paths in unexpected ways and, moreover, how noise in the ancien régime was central to questions of crime and punishment: street singing was considered a crime in itself, and yet street singers flourished, circulating information about crimes that others may have committed, while political and religious authorities wielded the powerful sounds of sermons and public executions to provide moral commentaries, to control crime, and to inflict punishment. This innovative study explores the theoretical, social, cultural, and historical contexts of the early modern Parisian soundscape. It will appeal to scholars interested in sound studies and the history of sexuality as well as those who study the culture, literature, and history of early modern France.
Paris by Design is the definitive Paris book for the design-savvy traveler and creatively curious Francophile. With a combination of interviews, profiles, essays, tips, and lists, author and designer Eva Jorgensen explores why Paris has such a magnetic pull for artists and design lovers, by introducing us to some of the city’s most fascinating residents and frequent visitors. Jorgensen has wrangled an eclectic and exciting group of contributors—creatives based in Paris and abroad—who offer travel tips and insight into Paris’s fashion, design, craft, and art scenes. Recommending more than 450 places to visit, shop, stay, eat, and drink, this richly illustrated book is both an inspirational source for satiating design-centric wanderlust and a practical guide full of places creatives will want to visit when they take a trip.
In Making Dystopia, distinguished architectural historian James Stevens Curl tells the story of the advent of architectural Modernism in the aftermath of the First World War, its protagonists, and its astonishing, almost global acceptance after 1945. He argues forcefully that the triumph of architectural Modernism in the second half of the twentieth century led to massive destruction, the creation of alien urban landscapes, and a huge waste of resources. Moreover, the coming of Modernism was not an inevitable, seamless evolution, as many have insisted, but a massive, unparalled disruption that demanded a clean slate and the elimination of all ornament, decoration, and choice. Tracing the effects of the Modernist revolution in architecture to the present, Stevens Curl argues that, with each passing year, so-called 'iconic' architecture by supposed 'star' architects has become more and more bizarre, unsettling, and expensive, ignoring established contexts and proving to be stratospherically remote from the aspirations and needs of humanity. In the elite world of contemporary architecture, form increasingly follows finance, and in a society in which the 'haves' have more and more, and the 'have-nots' are ever more marginalized, he warns that contemporary architecture continues to stack up huge potential problems for the future, as housing costs spiral out of control, resources are squandered on architectural bling, and society fractures. This courageous, passionate, deeply researched, and profoundly argued book should be read by everyone concerned with what is around us. Its combative critique of the entire Modernist architectural project and its apologists will be highly controversial to many. But it contains salutary warnings that we ignore at our peril. And it asks awkward questions to which answers are long overdue.
In the 19th century, Paris underwent profound transformations above and below ground, from the city center to its outskirts. Georges Eugène Haussmann, Prefect of the Seine from 1853 to 1870, embodies this entire century of public works that continue to shape the city?s organization and identity. Paris Haussmann explores and analyzes the characteristics of this homogenous yet polymorphous cityscape, the result of a lengthy process of changes and evolutions, even in recent times. Research was conducted at all levels to classify and compare roadways, identify public spaces, and organize the blocks and buildings according to their current geometry. For the first time, the qualities of the Haussmann model have been set forth to show how they grapple with the challenges that contemporary cities face.0Rich illustrative material, photographs, various plans and maps, floor plans and sections, axonometric projections, diagrams and other graphics, and statistical analyzes complement topical essays. The book is published in conjunction with an exhibition at the Pavillon de l?Arsenal in Paris in spring 2017.00Exhibition: Pavillon de l'Arsenal, Paris, France (31.01. - 07.05.2017).