In the latest issue of City Journal, Theodore Dalrymple laments the degraded state of Parisian architecture, particularly the post-1945 monstrosities visible from the Boulevard Périphérique, celebrated in a recent New York Times article by David McAninch:
Philharmonie at the Parc de la Villette, Paris.
Photo by Zairon via Wikimedia Commons.
What is startling about McAninch’s description of his tour is its non-mention of what was perfectly obvious to my visitor on first glance, and which never fails to appall me each time I take the B.P., as regrettably often as I do: namely, that practically everywhere the eye looks beyond the confines of central Paris, it is greeted by a modernist mess of gargantuan proportions, and that every occasional building that is not a total eyesore was built before 1945. In other words, there has been a total and utter collapse of aesthetic ability, judgement, and appreciation in France, a country with one of the world’s greatest architectural heritages, extending back many centuries.
McAninch acts as a kind of handmaiden or praise-singer to this collapse, perhaps from fear of making an unequivocal judgment that might cause him to be labelled conservative, backward-looking, or naive. His article commences with a picture of the new philharmonic hall, built at a pharaonic cost, which resembles nothing so much as a vulgar Brobdingnagian silver lamé dress crumpled on the floor after a night of debauchery, as clear an example of modern architectural psychopathy as I know.
The article is full of equivocations, such as “I gazed in awe at some of the most ugly-beautiful Brutalist buildings I’d ever seen” and “I stared open-mouthed for a long while at the modular-looking Neo-Brutalist structure housing the Centre National de la Danse. Designed as a municipal building in 1972 by Jacques Kalisz, the gray concrete behemoth somehow radiated childlike exuberance and dystopian menace at the same time.”
The brutalist buildings at which the author stared in awe (horror would have been a more appropriate reaction) are not ugly-beautiful; they are just ugly, without any possible aesthetic qualification, and grossly dysfunctional, to boot. And anyone who can see childlike exuberance in the building by Jacque Kalisz is capable of seeing the milk of human kindness in a Nuremberg Rally.
The Centre national de la danse in Pantin (Seine-Saint-Denis), designed by Jacques Kalisz.
Photo by Cinerama14 via Wikimedia Commons.
