New York Arts > skyscrapers
One draws cities for practical and for visionary reasons. Whatever they may draw as preparation, usually builders are preoccupied with cities that can be built and lived in. As in New York, where there is not much difference between the drawings of Hugh Ferriss and the Chrysler or Empire State buildings, in Paris the difference between the visionary city and the one which exists is less clear than in other places. Haussmann’s projects were, for better and worse, the personal dreams of an imagination pierced by perfect boulevards. The Haussmannian approach was a response to practical needs which nonetheless expressed a very particular aesthetic, more even than the projects completed by Robert Moses in New York. The transformations which took place in Paris under the Second Empire, or even some of the grands travaux of the 1980s, were not far from the drawings of a visionary such as Marcel Storr. Consider the Bibliothèque François Mitterand, a strange building all the stranger for pretending to be rationalist. Once built these projects show us the joys and perils of visionary urbanism.