Download The Glass State: The Technology of the Spectacle, Paris, by Annette Fierro PDF

By Annette Fierro

A research of the technological, theoretical, and cultural importance of the transparency of the glass buildings of Francois Mitterrand's Grands Projets in Paris.

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Additional info for The Glass State: The Technology of the Spectacle, Paris, 1981-1998

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Another Grand Projet that might be included with these was the Musée d’Orsay of 1986 by ACT Architecture and Gai Aulenti (no. 9), a renovation of the Gare d’Orsay (Victor Laloux, c. 1900) undertaken by former president Giscard d’Estaing to house the substantial Impressionist collection previously held at the Jeu de Paume. Relocations of other existing institutional entities were undertaken primarily because of inadequate space at the original locations. One of these is the Ministère de L’Economie of 1988 (no.

In their similar missions to intervene in extant orders of monumentality, the two eras forced changes to the expression of national identity and drastically altered the mnemonic order of the city. Haussmann’s legacy first established an overwhelming physical setting within which the Mitterrand projects would have to resonate. Although Haussmann’s reorganization of the urban fabric was motivated by a number of highly complex infrastructural features, its most memorable characteristic was permeation of that fabric with a comprehensive system of grand axial boulevards.

2), and the Cité de la Musique by Christian de Portzamparc of 1992–1994 (no. 3)—recharacterized a segment of the nineteenth arrondissement that included new housing built over the defunct slaughterhouse district. Equally, Patrick Berger and Gilles Clément’s Parc André Citroën of 1992 (no. 4) marked a large area of housing and institutional building in the fifteenth arrondissement over remnants of the old Citroën automobile-manufacturing yards. 17 If Johan Otto von Spreckelsen’s arch of 1989, looming over the enormous new development at La Défense (no.

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