A hundred years ago, the city of Paris held a yearly contest, brought to a halt by the first world war. The contest chose the six best building facades built in a given year.
This was a brilliant contest. By celebrating the facade –what a passerby sees, from the street– the city celebrated citizens as much as architects. By critiquing the facade, the city also addressed, indirectly, ongoing social patterns: urbanization; democratization; social classes and disparities of wealth; tradition versus novelty. Since the time of Baron Haussmann, Paris building facades were regulated strictly; architects in 1900 used a limited vocabulary in surprisingly innovative and challenging ways. By choosing six winners, the city allowed for diverse schools and interpretations to shine.
The spirit of these years and of this contest is captured by an observation from the city of Paris:
No one disputes that Paris is the most beautiful capital in the world. It owes this supreme glory not only to the magnificence of the Seine, its avenues, its parks, its gardens, its squares –whose aspects are in all points admirable– not only to the varity and number of its sumptuous monuments; but also to the felicitous line of its broad streets, which offer profound perspectives that give it the cachet of opulent originality, for which there is no equivalent, anywhere abroad.
The quotation is from a publication by the city of Paris, Les concours de façades de la ville de Paris, 1898-1905, published in Paris by the Librairie de la construction moderne (the quoted passage is on p. 23; the translation is mine). The passage struck me, partly because it’s so triumphantly chauvinist, but especially because it places the heart of what makes a city great and beautiful at and in the street.
Les concours de façades de la ville de Paris was published in two volumes, one for the years 1898-1905, the other for the years 1906-1912. I located and read a copy at the historical library of the City of Paris. The contest offered a public reward and recognition for architects, and I regret that the slender volumes have gone out of print. The contest reports, and the drawings or photographs of award-winning facades, are priceless. In the coming days, I’ll comment on some of the winners that especially marked me.