02/03: Images of Nancy
I would like to share four buildings or spaces in Nancy.
Ecole Nationale Supérieure d'Architecture de Nancy
Building by Swiss architect Livio Vacchini and completed about 15 years ago.
Excellence in prefabricated concrete, light, and flexible spaces - in a modernist way! Here is a 1% for art project in the central atrium of the architecture school library.
Ecole Nationale Supérieure d'Architecture de Nancy
Building by Swiss architect Livio Vacchini and completed about 15 years ago.
Excellence in prefabricated concrete, light, and flexible spaces - in a modernist way! Here is a 1% for art project in the central atrium of the architecture school library.
The process of educating an architect in France changed in 2005 with an effort to normalize the education of architects within the European Union. Now, the process is a 3-cycle one. The initial diploma is 3 years and it provides a general architectural base. This is followed by a 2 years masters where one specializes in an area of interest. To become an independent architect with the right to sign and stamp drawings, there is a 1 year degree that includes a 6 month professional working experience and prepares one for the licensing exam. There is also the opportunity to continue more in-depth study to become an doctorate in architecture, yes a PhD in architecture, not a degree one sees often in the USA!!
Out of the 20 architectural programs in France, there are only a few that include masters degrees in "patrimoine". While similar programs in the USA are called historic preservation programs, a more direct translation of "patrimoine" is heritage. The first and the oldest is the Ecole de la Cité de l'Architecture et du Patrimoine at Chaillot. Eight other universities offer degrees or specializations with particular heritage components.
For comparison, in the USA, there are several educational paths one can follow to become an architect.
The fastest way is a 5 year Bachelor of Architecture, First Professional Degree. Next shortest is a 4+2 program, or a 4 year Bachelor of Arts or Sciences or Environmental Design, non-professional degree. One can stop here, but if you do, you are not eligible to take the licensing exams. For that, one must continue for another two years to receive a masters, first-professional degree. The longest way is what I did -- receive a 4 year undergraduate degree in a non-related subject, then go to architecture school for a Masters of Architecture, First Professional Degree. This is diploma is typically billed as a 3+ program; I took 4 years but also received a Certificate in Historic Preservation. Another option is a work-study program that takes around 7 years. After receiving the First Professional Degree, one must obtain a certain number of hours working experience in 16 areas. This typically takes about three years to do, only after this is done can one sit for the licensing exams. The eligibility rules vary with each of the 50 states, and there is a movement to enable interns to take certain techincal exams soon after completing school. While most states have adopted this formal internship program and the standardized computerized exam process, certain states do have individual requirements. For example, California requires an additional exam to address siesmic concerns and also require an oral exam. The website ARCHcareers.org is designed to help individuals understand the opportunities and paths that an architectural training can provide.
For training in historic preservation, there are several options in the USA. The National Council for Preservation Education maintains a chart describing the variety of programs and their specializations.
Out of the 20 architectural programs in France, there are only a few that include masters degrees in "patrimoine". While similar programs in the USA are called historic preservation programs, a more direct translation of "patrimoine" is heritage. The first and the oldest is the Ecole de la Cité de l'Architecture et du Patrimoine at Chaillot. Eight other universities offer degrees or specializations with particular heritage components.
For comparison, in the USA, there are several educational paths one can follow to become an architect.
The fastest way is a 5 year Bachelor of Architecture, First Professional Degree. Next shortest is a 4+2 program, or a 4 year Bachelor of Arts or Sciences or Environmental Design, non-professional degree. One can stop here, but if you do, you are not eligible to take the licensing exams. For that, one must continue for another two years to receive a masters, first-professional degree. The longest way is what I did -- receive a 4 year undergraduate degree in a non-related subject, then go to architecture school for a Masters of Architecture, First Professional Degree. This is diploma is typically billed as a 3+ program; I took 4 years but also received a Certificate in Historic Preservation. Another option is a work-study program that takes around 7 years. After receiving the First Professional Degree, one must obtain a certain number of hours working experience in 16 areas. This typically takes about three years to do, only after this is done can one sit for the licensing exams. The eligibility rules vary with each of the 50 states, and there is a movement to enable interns to take certain techincal exams soon after completing school. While most states have adopted this formal internship program and the standardized computerized exam process, certain states do have individual requirements. For example, California requires an additional exam to address siesmic concerns and also require an oral exam. The website ARCHcareers.org is designed to help individuals understand the opportunities and paths that an architectural training can provide.
For training in historic preservation, there are several options in the USA. The National Council for Preservation Education maintains a chart describing the variety of programs and their specializations.
Some energy consumption numbers to think about.
In 2009, France set a goal for new construction of net 50 kilowatt-hours per square meters per year. That's 15.85 kBTU/sf/year. These will become requirements for certain non-residential public projects in 2011 and residential projects in 2013. The city of Paris has added a goal of 80 kwh/m2/year, or 25.37 kBTU/sf/year for renovation projects. Listed historic monuments are excluded from these soon-to-be-obligatory targets. How does this compare to energy consumption and energy consumption targets in the USA?
The average energy intensity unit (EIU) for a commercial building in the United States is 91 kBTU per square feet per year, based on 2003 CBECS survey available on the US Energy Information Agency website.
The US Dept of Energy EERE High Performance Database currently includes 124 buildings. Seven of these buildings are identified as Net Zero energy consumers, meaning they purchase no power from "the grid". Most of these projects are small, less than 10,000 square feet. Nine buildings purchase less 15.85 kBTU/sf/year; and one project includes an existing building and another project includes a rehabilitated historic home (Hidden Villa Youth Hostel & Summer Camp). Again, these projects are small in scale; the largest at 46,000 square feet is two to three times larger than the other projects. Thirteen additional projects purchase less than 25.37 kBTU/sf/year -- and some of these are rather large at 76,000 or 149,000 square feet. A few are renovation projects; none are preservation projects.
The question in both the USA and France is "how to reach these energy consumption targets?" Demolish and build new does not strike me as a responsible answer, given the vast quantity of existing buildings and resources that represents. Common sense says the first step is to reduce the demand for energy, which is sometimes challenged by our modern technologies and expectations. A second step is to seek energy from the most efficient technologies possible, reusing energy within the system wherever possible. A third step is to seek energy from renewable sources, and to push renewable technologies to improve their efficiency and to reduce the environmental footprint of their raw materials extraction, manufacture and transportation. It's clear we have a long way to go...
France set the ambitious targets it has for several reasons. A primary one is based on calculations of greenhouse gas emissions and what must be done to meet their obligation to the Kyoto protocol to stabilize its greenhouse gas emissions between 1990 and 2012. Note that these low energy consumption targets are being set by a country that generates most of its energy from nuclear power, a process that is low on the greenhouse gas emissions, although it does introduce other questions. Realizing the need to address power sources, France has set a goal that 23% of energy consumption to come from renewable sources by the year 2020; two primary technologies being looked to are solar panel collector installations and wind farms across the landscape. Again, these are ambitious targets -- and the question that remains is how? Especially in a country with a high density of cultural heritage (built environment and landscape).
In 2009, France set a goal for new construction of net 50 kilowatt-hours per square meters per year. That's 15.85 kBTU/sf/year. These will become requirements for certain non-residential public projects in 2011 and residential projects in 2013. The city of Paris has added a goal of 80 kwh/m2/year, or 25.37 kBTU/sf/year for renovation projects. Listed historic monuments are excluded from these soon-to-be-obligatory targets. How does this compare to energy consumption and energy consumption targets in the USA?
The average energy intensity unit (EIU) for a commercial building in the United States is 91 kBTU per square feet per year, based on 2003 CBECS survey available on the US Energy Information Agency website.
The US Dept of Energy EERE High Performance Database currently includes 124 buildings. Seven of these buildings are identified as Net Zero energy consumers, meaning they purchase no power from "the grid". Most of these projects are small, less than 10,000 square feet. Nine buildings purchase less 15.85 kBTU/sf/year; and one project includes an existing building and another project includes a rehabilitated historic home (Hidden Villa Youth Hostel & Summer Camp). Again, these projects are small in scale; the largest at 46,000 square feet is two to three times larger than the other projects. Thirteen additional projects purchase less than 25.37 kBTU/sf/year -- and some of these are rather large at 76,000 or 149,000 square feet. A few are renovation projects; none are preservation projects.
The question in both the USA and France is "how to reach these energy consumption targets?" Demolish and build new does not strike me as a responsible answer, given the vast quantity of existing buildings and resources that represents. Common sense says the first step is to reduce the demand for energy, which is sometimes challenged by our modern technologies and expectations. A second step is to seek energy from the most efficient technologies possible, reusing energy within the system wherever possible. A third step is to seek energy from renewable sources, and to push renewable technologies to improve their efficiency and to reduce the environmental footprint of their raw materials extraction, manufacture and transportation. It's clear we have a long way to go...
France set the ambitious targets it has for several reasons. A primary one is based on calculations of greenhouse gas emissions and what must be done to meet their obligation to the Kyoto protocol to stabilize its greenhouse gas emissions between 1990 and 2012. Note that these low energy consumption targets are being set by a country that generates most of its energy from nuclear power, a process that is low on the greenhouse gas emissions, although it does introduce other questions. Realizing the need to address power sources, France has set a goal that 23% of energy consumption to come from renewable sources by the year 2020; two primary technologies being looked to are solar panel collector installations and wind farms across the landscape. Again, these are ambitious targets -- and the question that remains is how? Especially in a country with a high density of cultural heritage (built environment and landscape).
16/02: LRMH
LRMH stands for Laboratoire de Recherche des Monuments Historiques. Imagine a government-funded laboratory with material scientists who specialize in identifying materials and their pathologies in historic buildings. In addition, the scientists conduct research on new repair, cleaning, or coating materials, techniques to kill insects and microbiological growths, or other pressing concerns for buildings and objects identified as national historic monuments.
This is a resource that is unique to France. Other European countries have laboratories with similar expertises, but not under one roof and not always government-funded. The logic for the availability of this expertise stems from the government's fiscal responsibility for historic monuments. There are a significant number of historic monuments in France, a large number of which are owned and managed by the government, and furthermore, the government financially assists private owners with the maintenance and restoration of privately held historic monuments. While many have told me this financial aid is becoming less and less, it is still substantially more than what historic monuments in the USA can anticipate. In the USA, a building can be listed on the National Register of Historic Places, but the only financial benefit to this are historic tax credits, up to 20%, for restoration work that complies with the Secretary of the Interior Standards.
Understand as well that French historic monuments include furniture and church organs, not just buildings and historic districts! There is also an inventory of significant art work. The LRMH works parallel with other government-funded laboratories, who specialize in art and paper objects, objects usually held in museums or archives. The LRMH works closely with the Architects en Chef des Monuments Historiques when there is an usual or difficult case - or when their scientific expertise is needed to confirm an original stone, mortar, paint or metal finish, or to determine an appropriate protocol, for example, the best method to clean the exterior of the Louvre for the next 30 years -- or to understand the long term effects of consolidants on stained glass windows -- or the efficacity of waterproofing coatings on stone.
This kind of research takes years, and the research is published in several ways. In the bi-annual journal, Monumental, that is published by the Centre National des Monuments Historiques. LRMH has also begun to publish their own research - online or in print (all in French for now). LRMH also maintains an online database of the documents held in their archive; it includes items in both French and English. Expect to see more in English in the coming years, as it is the official language for the European Union.
Note that there are also many private laboratories in France that are also frequently used by preservation architects, but only one LRMH!
This is a resource that is unique to France. Other European countries have laboratories with similar expertises, but not under one roof and not always government-funded. The logic for the availability of this expertise stems from the government's fiscal responsibility for historic monuments. There are a significant number of historic monuments in France, a large number of which are owned and managed by the government, and furthermore, the government financially assists private owners with the maintenance and restoration of privately held historic monuments. While many have told me this financial aid is becoming less and less, it is still substantially more than what historic monuments in the USA can anticipate. In the USA, a building can be listed on the National Register of Historic Places, but the only financial benefit to this are historic tax credits, up to 20%, for restoration work that complies with the Secretary of the Interior Standards.
Understand as well that French historic monuments include furniture and church organs, not just buildings and historic districts! There is also an inventory of significant art work. The LRMH works parallel with other government-funded laboratories, who specialize in art and paper objects, objects usually held in museums or archives. The LRMH works closely with the Architects en Chef des Monuments Historiques when there is an usual or difficult case - or when their scientific expertise is needed to confirm an original stone, mortar, paint or metal finish, or to determine an appropriate protocol, for example, the best method to clean the exterior of the Louvre for the next 30 years -- or to understand the long term effects of consolidants on stained glass windows -- or the efficacity of waterproofing coatings on stone.
This kind of research takes years, and the research is published in several ways. In the bi-annual journal, Monumental, that is published by the Centre National des Monuments Historiques. LRMH has also begun to publish their own research - online or in print (all in French for now). LRMH also maintains an online database of the documents held in their archive; it includes items in both French and English. Expect to see more in English in the coming years, as it is the official language for the European Union.
Note that there are also many private laboratories in France that are also frequently used by preservation architects, but only one LRMH!
I've stumbled across some beautiful examples of cathedral and chapel lighting in France - both contemporary and early electric fixtures, some that were probably gas before. I will continue to add to this post, as I encounter new and striking designs.
Angers - Chapel at the Chateau
Angers - Chapel at the Chateau
15/02: Le Corbusier, continued
In the fall, I had the chance to visit Le Corbusier's work from 1959-1968 at Firminy: Maison de la Culture, the stadium, the recently completed church - and from a distance, his Unité d'Habitation. I also had the chance to visit Corbusier's second Unité d'Habitation de Rezé, located near Nantes. Over the past two weeks, I have had the chance to see more of his earlier projects in Paris and vicinity: Maison LaRoche-Jeanneret (1923-25), Villa Savoye in Poissy (1929-31), Atelier Ozenfant (1922-24), Pavillon Suisse (1930-33) and the Pavillon du Brésil (1957-59) designed by Corbu and Brazilian architect Lucio Costa at the Cité Universitaire in Paris. Common threads: sculptural forms, playing with light, framing, color -- buildings or sculptures; paintings or rooms/spaces; are the spaces for living or observing?
Maison LaRoche-Jeanneret (1923-25)
Maison LaRoche, interior restored 2009 by Agence Pierre-Antoine Gatier. Note gray color of radiators; this is the original color as determined by paint analysis.
Maison LaRoche, interior restored 2009 by Agence Pierre-Antoine Gatier
Maison LaRoche-Jeanneret (1923-25)
Maison LaRoche, interior restored 2009 by Agence Pierre-Antoine Gatier. Note gray color of radiators; this is the original color as determined by paint analysis.
Maison LaRoche, interior restored 2009 by Agence Pierre-Antoine Gatier
09/02: "Concours" or Competitions
Europe is known for its excellent contemporary design. Is one of the reasons for this the pervasive, perhaps required, use of design competitions for major public commissions?
Many many cities that I have visited use the method of a design competition for major projects, and the larger cities seem to have several design competitions in various stages at one time.
I have not studied the process in any detail, but the few that I have run across seem to have a couple of layers of competition. The first is open to anyone and everyone - and submissions often remain anonymous. The finalists (maybe three to five teams) are given some money to develop conceptual or schematic designs. The energy poured into the design development is impressive. The city provides detailed dossiers, including programmatic and functional requirements, historic and archaeological findings, urban context, etc. Many of these projects are for urban sites, in historic buildings or complexes, where their redevelopment will have a major impact on the city.
Recent competitions include the following:
Nantes: Grands musée d'art de Nantes, design of L’agence Stanton – Williams won
Paris: Les Halles, international competition held in 2006-2007; design of Patrick Berger et Jacques Anziutti won
Competitions currently in progress:
Saintes: Site of former Hospital Saint-Louis
Rennes: Conversion of the now vacant Couvent des Jacobins into a Centre de Congrès (convention center) This competition is by invitation only, and has been held only after four years of intense research into the history and feasibility of a "centre de congrès" at this site.
Saintes: Site of former Hospital Saint-Louis is centrally located in this town of 27,000 people, on a prominent hilltop overlooking the historic center. Its history goes back to Roman times, and it is highly likely that the forum was located on this hillside. The site has been vacant for many years, since a new modern hospital was built outside town-center. L'Eglise (church) Saint-Eutrope in the background is not part of the former hospital site; it is on the UNESCO World Heritage List as part of the nomination "Routes of Santiago de Compostela in France" for its 11th century crypt, a much visited pilgrimage site.
Rennes: The Couvent des Jacobins is located next to old Rennes and is also a site with a complex history. Church in background is not part of site.
Rennes, the Couvent des Jacobins: The existing complex hides many mysteries, and its many physical changes over the years makes it difficult to establish the relative importance of the remaining historic fabric and which elements should be restored and highlighted, versus which elements should be removed, or which elements leave room for interpretation.
Many many cities that I have visited use the method of a design competition for major projects, and the larger cities seem to have several design competitions in various stages at one time.
I have not studied the process in any detail, but the few that I have run across seem to have a couple of layers of competition. The first is open to anyone and everyone - and submissions often remain anonymous. The finalists (maybe three to five teams) are given some money to develop conceptual or schematic designs. The energy poured into the design development is impressive. The city provides detailed dossiers, including programmatic and functional requirements, historic and archaeological findings, urban context, etc. Many of these projects are for urban sites, in historic buildings or complexes, where their redevelopment will have a major impact on the city.
Recent competitions include the following:
Nantes: Grands musée d'art de Nantes, design of L’agence Stanton – Williams won
Paris: Les Halles, international competition held in 2006-2007; design of Patrick Berger et Jacques Anziutti won
Competitions currently in progress:
Saintes: Site of former Hospital Saint-Louis
Rennes: Conversion of the now vacant Couvent des Jacobins into a Centre de Congrès (convention center) This competition is by invitation only, and has been held only after four years of intense research into the history and feasibility of a "centre de congrès" at this site.
Saintes: Site of former Hospital Saint-Louis is centrally located in this town of 27,000 people, on a prominent hilltop overlooking the historic center. Its history goes back to Roman times, and it is highly likely that the forum was located on this hillside. The site has been vacant for many years, since a new modern hospital was built outside town-center. L'Eglise (church) Saint-Eutrope in the background is not part of the former hospital site; it is on the UNESCO World Heritage List as part of the nomination "Routes of Santiago de Compostela in France" for its 11th century crypt, a much visited pilgrimage site.
Rennes: The Couvent des Jacobins is located next to old Rennes and is also a site with a complex history. Church in background is not part of site.
Rennes, the Couvent des Jacobins: The existing complex hides many mysteries, and its many physical changes over the years makes it difficult to establish the relative importance of the remaining historic fabric and which elements should be restored and highlighted, versus which elements should be removed, or which elements leave room for interpretation.
William D. Drewer, AIA, LEED AP, a Principal with Quinn Evans Architects in Washington, DC, passed away Saturday 23 January 2010. He was best known for architectural design centered around sensitivity and appropriateness to context in historical settings. Over the course of Bill's 18 year career at QEA, he left his mark on cultural heritage projects stretching from South Florida to coastal Maine. As a firm leader, he was committed to the mentorship and continued education of aspiring architects and young professionals.
His experience included the design of renovations, rehabilitations and new buildings within historically-sensitive surroundings. His portfolio focuses on museums and interpretive centers, including Gari Melchers’ Home and Studio at Belmont, Tryon Palace Historic Sites and Gardens and the Chesapeake Bay Maritime Museum.
In his own words: "Aiming for the Next Level"
"As an architect, I work to create buildings that meet or exceed the expectations of the client and, at the same time, represent QEA as a quality firm. More importantly, I strive to create buildings that inspire and enlighten people.
"In my quest for this goal, I try to improve with each design and build upon my experiences, continually striving to reach the next level of design excellence. Each day, I get to come to work and design buildings — and that’s an opportunity for which I am profoundly thankful.
"Even more special is that I get to work with museums which, to my way of thinking, represent the epitome of cultural heritage preservation. Because museums preserve and interpret artifacts that represent our collective heritage, I have no greater sense of satisfaction than when I am working with a museum institution."
Bill was the "beloved husband of Sharon Darlington Drewer. Devoted father of Ava Darlington Drewer. Son of Milton L. Drewer, Jr. and Elizabeth C. Drewer (deceased). He is survived by his two brothers Milt and Alan, and one sister, Carol. ... In lieu of flowers, the family requests that contributions be made to the Ava Darlington Drewer Trust Fund. Checks should be payable to College America FBO Ava D. Drewer, and mailed to Hopwood Financial Services, 10135 Colvin Run Road, Suite 210, Great Falls, VA 22066. (Washington Post, 25 January 2010)
His is and will be greatly missed.
His experience included the design of renovations, rehabilitations and new buildings within historically-sensitive surroundings. His portfolio focuses on museums and interpretive centers, including Gari Melchers’ Home and Studio at Belmont, Tryon Palace Historic Sites and Gardens and the Chesapeake Bay Maritime Museum.
In his own words: "Aiming for the Next Level"
"As an architect, I work to create buildings that meet or exceed the expectations of the client and, at the same time, represent QEA as a quality firm. More importantly, I strive to create buildings that inspire and enlighten people.
"In my quest for this goal, I try to improve with each design and build upon my experiences, continually striving to reach the next level of design excellence. Each day, I get to come to work and design buildings — and that’s an opportunity for which I am profoundly thankful.
"Even more special is that I get to work with museums which, to my way of thinking, represent the epitome of cultural heritage preservation. Because museums preserve and interpret artifacts that represent our collective heritage, I have no greater sense of satisfaction than when I am working with a museum institution."
Bill was the "beloved husband of Sharon Darlington Drewer. Devoted father of Ava Darlington Drewer. Son of Milton L. Drewer, Jr. and Elizabeth C. Drewer (deceased). He is survived by his two brothers Milt and Alan, and one sister, Carol. ... In lieu of flowers, the family requests that contributions be made to the Ava Darlington Drewer Trust Fund. Checks should be payable to College America FBO Ava D. Drewer, and mailed to Hopwood Financial Services, 10135 Colvin Run Road, Suite 210, Great Falls, VA 22066. (Washington Post, 25 January 2010)
His is and will be greatly missed.
La Grande Roue de Paris, December 2009
The second half of the fellowship began today. For the next three weeks, I will be in Paris at the office of Pierre-Antoine Gatier, Architect en Chef and Inspecteur Général des Monuments Historiques -- and the first French recipient of the Richard Morris Hunt Fellowship. His office has developed a special expertise in the restoration of 20th century masterpieces.
This is the final week of my first three months in France. By week's end, I will be at the mid-point of the fellowship, something that is hard for me to believe! I am getting used to wine with my daily lunch and dinner, am gradually learning the names and locations of the 22 regions and 95 departments, and have increased my architectural vocabulary in French thanks to my mini-Dicobat, a pocket architectural dictionary. Being short on time before the holidays, here's a brief recap of my 13th week.
Monday I was delighted to talk with Michèle Prats, ICOMOS France, the largest and most active section of the International Council on Monuments and Sites. As the adminstrative leader of ICOMOS, Michèle is on top of the current historic preservation issues, particularly for "patrimoine quotidien", or everything that is not a historic monument. One of their working groups deals with "Normes et Économies d'énergie", and they are beginning to develop a 2-day seminar for fall 2010. About a year ago, they held a seminar on "Patrimoine Bâti et Developpement Durable" (Built Heritage and Durable Development), resulting in a publication to be published in January or February 2010. [This publication is now available for purchase; click for link.]
Tuesday I was honored to meet Françoise Choay, a leading thinker on the philosophy of heritage. At the age of 84, her latest book, called "Le Patrimoine en Question: Anthologie pour un combat" (Heritage in Question: an Anthology for a battle) was just published; it is a collection of texts, with an introductory essay written by Mme Choay. Diego Rodriguez, RMHF2008, kindly introduced us. Mme Choay expressed concern that the current western system of "protecting" historic monuments has taken the life out of them. She posed perhaps it's better to let the people who live with the particular monuments decide how they should evolve.
The remainder of the week I have spent in the office of Benjamin Mouton, Architect en Chef and Inspecteur General des Mouments Historiques and Honorary FAIA. This time has been technically based, learning about non-destructive structural testing methods at the Hôtel des Invalides, experiments with glass in historic windows, color decisions in a 19th century interior, and various methods of cleaning stone facades. The work is also philosophically rooted. A class at the Institut du Patrimoine reinforced the base of the Charter of Venice and the Charter of Athens, as the basis of preservation decisions in France, as the Secretary of the Interior Standards are in the USA.
Many thanks to Michèle Prats, Françoise Choay, Diego Rodriguez, and Benjamin Mouton and all in the Agence Mouton for their warm welcome and open exchange.
I plan to add more photos and text, particularly of my time on the French west coast, over the holidays in the USA. I'll be returning to France January 18, 2009. Happy Holidays!
Monday I was delighted to talk with Michèle Prats, ICOMOS France, the largest and most active section of the International Council on Monuments and Sites. As the adminstrative leader of ICOMOS, Michèle is on top of the current historic preservation issues, particularly for "patrimoine quotidien", or everything that is not a historic monument. One of their working groups deals with "Normes et Économies d'énergie", and they are beginning to develop a 2-day seminar for fall 2010. About a year ago, they held a seminar on "Patrimoine Bâti et Developpement Durable" (Built Heritage and Durable Development), resulting in a publication to be published in January or February 2010. [This publication is now available for purchase; click for link.]
Tuesday I was honored to meet Françoise Choay, a leading thinker on the philosophy of heritage. At the age of 84, her latest book, called "Le Patrimoine en Question: Anthologie pour un combat" (Heritage in Question: an Anthology for a battle) was just published; it is a collection of texts, with an introductory essay written by Mme Choay. Diego Rodriguez, RMHF2008, kindly introduced us. Mme Choay expressed concern that the current western system of "protecting" historic monuments has taken the life out of them. She posed perhaps it's better to let the people who live with the particular monuments decide how they should evolve.
The remainder of the week I have spent in the office of Benjamin Mouton, Architect en Chef and Inspecteur General des Mouments Historiques and Honorary FAIA. This time has been technically based, learning about non-destructive structural testing methods at the Hôtel des Invalides, experiments with glass in historic windows, color decisions in a 19th century interior, and various methods of cleaning stone facades. The work is also philosophically rooted. A class at the Institut du Patrimoine reinforced the base of the Charter of Venice and the Charter of Athens, as the basis of preservation decisions in France, as the Secretary of the Interior Standards are in the USA.
Many thanks to Michèle Prats, Françoise Choay, Diego Rodriguez, and Benjamin Mouton and all in the Agence Mouton for their warm welcome and open exchange.
I plan to add more photos and text, particularly of my time on the French west coast, over the holidays in the USA. I'll be returning to France January 18, 2009. Happy Holidays!
