Podcasts about haussmann

New episode: Let's take a deeper dive into the 17th arrondissement of Paris. You've hopefully already heard the previous episode, where Tom Vickers shared his thoughts on the 17th Kingdom.  In this brand new episode, I kept exploring the 17th with my wife (and our new intern Victoria Hughes). Relevant places to find:  Musée national Jean-Jacques Henner 43 avenue de Villiers, 75017 A beautiful 19th-century townhouse museum dedicated to the dreamy, atmospheric paintings of Alsatian artist Jean-Jacques Henner (1829–1905), tucked into the elegant Plaine Monceau neighbourhood. www.musee-henner.fr Claude Debussy & the 17th Debussy lived in the 17th for many years and composed some of his most celebrated works here, including Pelléas et Mélisande and Clair de Lune. The neighbourhood honoured him with both a street and a conservatoire bearing his name.  25 Rue de Chazelles: Where the Statue of Liberty Was Built The workshop where Bartholdi and Eiffel assembled the Statue of Liberty before shipping it to New York. 25 rue de Chazelles, 75017 Inform Café A top specialty coffee shop and brunch spot with two locations in the 17th, one of them inside the striking Cité de l'Économie building (11 bis rue Georges Berger, 75017), and the original at 25 rue des Acacias. www.informcafe.com Square des Batignolles A classic Haussmann-era English-style garden with a grotto, waterfall and pond, it's the heart of the village-y Batignolles neighbourhood. 11 place Charles-Fillion, 75017  Parc Martin Luther King (Parc Clichy-Batignolles) A vast, modern 10-hectare park built on former railway land, full of biodiversity, cherry trees. 147 rue Cardinet, 75017  Station Service Batignolles A tiny, warm neighbourhood coffee shop serving specialty coffee, fresh juices and homemade cakes - a perfect local gem. 3 rue Brochant, 75017  This episode is brought to you by The Earful Tower Tours. Come join us in Montmartre, the Marais, or the Latin Quarter. Our Walking Tours are now award winning, and are the best way to experience this podcast in real life.  The Earful Tower exists thanks to support from its members. For just $10 a month you can unlock almost endless extras including bonus podcast episodes, live video replays, special event invites, and our annually updated PDF guide to Paris.  Membership takes only a minute to set up on Patreon, or Substack. Thank you for keeping this channel independent.  For more from the Earful Tower, here are some handy links: Website  Weekly newsletter  Walking Tours Music: Pres Maxson's take on Debussy's Claire de Lune. 

As Variações Canônicas (BWV 769) são uma composição para órgão formada por cinco cânones, que são curtas peças contrapontísticas - ou seja, músicas em que duas ou mais vozes se entrelaçam. Compostas em 1747, em Leipzig, no leste do território alemão, elas estão baseadas num hino de Natal do reformador alemão Martim Lutero, intitulado Vom Himmel hoch da komme ich her (“Do alto céu eu venho aqui”) e publicado em 1539. A obra de Bach compõem-se de cinco variações desse hino de Lutero, todas em forma de cânone. “Apesar da formidável exibição de lógica e consumado saber, essa obra é basicamente uma peça de música lírica impregnada do espírito do Natal”, resume o musicólogo austríaco Karl Geiringer no livro Johann Sebastian Bach - O Apogeu de Uma Era. Esta edição de Manhã com Bach exibe as Variações Canônicas, além da cantata Geist und Seele wird verwirret, "Espírito e alma ficam espantados" (BWV 35). A origem das Variações Canônicas está ligada à entrada de Bach na Correspondierende Societät der musicalischen Wissenschaften, a Sociedade Correspondente de Ciências Musicais. Em 1746, ele aceitou convite para se tornar membro dessa sociedade. Para isso, teve que fornecer à sociedade um retrato de si mesmo - que ele encomendou ao pintor alemão Elias Gottlob Haussmann - e duas composições. Uma é o Cânone Triplo a Seis Vozes (BWV 1076) e a outra, as Variações Canônicas. O retrato de Bach produzido por Haussmann e o Cânone Triplo a Seis Vozes foram tema da edição passada de Manhã com Bach (ouça aqui). A Sociedade Correspondente de Ciências Musicais foi fundada pelo crítico musical Lorenz Christoph Mizler em 1738. Ela funcionava através de correspondências trocadas entre seus membros, que nunca se reuniram para uma assembleia geral ou outro evento. A sociedade também tinha um órgão oficial, a revista Musikalische Bibliothek, “Biblioteca musical”, que já era publicada por Mizler antes da fundação da sociedade e que circulou com periodicidade irregular entre 1736 e 1754. Até hoje, essa revista é uma importante fonte de informações sobre a música do período barroco na Europa. A sociedade chegou a ter 26 membros, entre eles os compositores Georg Philipp Telemann e Georg Friedrich Händel. Bach foi o 14º integrante do grupo. Ouça o podcast no link acima. Este podcast reproduz o programa Manhã com Bach, da Rádio USP (93,7 MHz), transmitido nos dias 16 e 17 de maio de 2026. Dedicado à divulgação da música do compositor alemão Johann Sebastian Bach (1685-1750), Manhã com Bach vai ao ar pela Rádio USP (93,7 MHz) sempre aos sábados, às 9 horas, com reapresentação no domingo, também às 9 horas, inclusive via internet, através do site da emissora. Às segundas-feiras ele é publicado em formato de podcast no site do Jornal da USP. As edições anteriores do podcast Manhã com Bach estão disponíveis neste link.

No mais famoso retrato de Johann Sebastian Bach - produzido pelo pintor alemão Elias Gottlob Haussmann (1695-1774) -, o compositor segura na mão direita uma partitura. Nela está escrito o Cânone Triplo a Seis Vozes (BWV 1076), que é exibido nesta edição de Manhã com Bach. O programa apresenta ainda outros sete cânones de Bach, além da cantata Man singet mit Freuden vom Sieg, "Cante-se com alegria pela vitória" (BWV 149). O retrato foi pintado por Haussmann em 1746 por encomenda de Bach. O compositor havia aceitado um convite para se filiar à Correspondierende Societät der musikalischen Wissenschaften (Sociedade Correspondente de Ciências Musicais), de Leipzig, dirigida pelo crítico de música alemão Lorenz Christoph Mizler. Para entrar nessa sociedade, havia a exigência de que cada novo membro fornecesse a ela um retrato de si mesmo. Em 1748, Haussmann produziu uma cópia do mesmo retrato. A obra original, de 1746, se encontra no Museu de História da Cidade de Leipzig, na Alemanha, desde 1913. Ela está danificada por restaurações malsucedidas e repinturas realizadas na segunda metade do século 19. Já a cópia feita em 1748, que está em ótimo estado, tem uma história curiosa. Após a morte de Bach, em 1750, o quadro foi herdado por um dos filhos do compositor, Carl Phillipp Emanuel Bach, que o repassou para o compositor alemão e ex-aluno de Bach Johann Christian Kittel. No início do século 19, o quadro foi adquirido por uma família de origem judaica, os Jenke, da cidade de Breslau, a atual Wrocklaw, na Polônia. Nos anos 30 do século 20, a família Jenke, fugindo do nazismo na Alemanha, se transferiu para a Inglaterra. Ali, para evitar que o quadro fosse destruído por bombardeios na Segunda Guerra Mundial, um descendente dos compradores da obra, Walter Jenke, entregou o quadro à família Gardiner, que possuía uma propriedade rural em Dorset, na costa do Canal da Mancha, onde a obra ficou guardada. Curiosamente, um dos membros da família Gardiner era um menino que se tornaria um dos maiores especialistas em Bach, o maestro inglês John Eliot Gardiner. Em 1952, um milionário de Princeton, nos Estados Unidos, chamado William Scheide, comprou o quadro num leilão. Quando Scheide morreu, em 2014, aos 100 anos de idade, a obra foi transferida dos Estados Unidos para o Museu Bach de Leipzig, onde se encontra hoje, conforme o milionário determinou no seu testamento. O tipo de música que aparece no retrato de Bach - o cânone - é uma composição contrapontística, ou seja, uma obra musical em que duas ou mais vozes se sobrepõem. Nele, uma voz principal é seguida pelas outras vozes, em intervalos de tempo diferentes, causando um intrincado entrelaçamento de vozes. Por isso, esse tipo de composição é visto também como um exercício de harmonização vocal. O cânone serve ainda como uma espécie de jogo ou exercício intelectual, em que o compositor oferece enigmas para o intérprete resolver. São os chamados cânones-enigmas, como os cânones de Bach apresentados nesta edição de Manhã com Bach. Ouça o podcast no link acima. Este podcast reproduz o programa Manhã com Bach, da Rádio USP (93,7 MHz), transmitido nos dias 9 e 10 de maio de 2026. Dedicado à divulgação da música do compositor alemão Johann Sebastian Bach (1685-1750), Manhã com Bach vai ao ar pela Rádio USP (93,7 MHz) sempre aos sábados, às 9 horas, com reapresentação no domingo, também às 9 horas, inclusive via internet, através do site da emissora. Às segundas-feiras ele é publicado em formato de podcast no site do Jornal da USP. As edições anteriores do podcast Manhã com Bach estão disponíveis neste link.

Modern Paris is often hailed as a capital of urban infrastructure. Baron Georges-Eugène Haussmann's rebuilding of Paris in 1853–1870, branded “Haussmannization,” helped define urban modernity for cities worldwide. But even as infrastructures expanded and modernized, some Parisians were left behind: as late as 1928, 18 percent of houses still lacked direct sewerage. Haussmannization often hid infrastructures behind walls and floors, under streets, or in peripheral districts. In the forty years after 1870, a period that Dr. Peter Soppelsa calls “secondary Haussmannization,” Parisians inverted them—revealed their hidden components to scrutinize their workings and costs for society, environment, and health—and in turn politicized them. Drawing on French government archives, engineers' maps, the illustrated press, and a collection of over 100 photographic postcards, in Paris After Haussmann: Living with Infrastructure in the City of Light, 1870–1914 (U Pittsburgh Press, 2026) Dr. Soppelsa charts the diverse embodied, emotional, and everyday experiences of living with expanding urban infrastructures—streets, housing, tramways, subways, the water supply, sewers, and rivers—in Paris from 1870 to 1914. Parisians learned that infrastructures were not simply technical solutions for the social and environmental problems of city life but could also bring about new dangers and dependencies. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Modern Paris is often hailed as a capital of urban infrastructure. Baron Georges-Eugène Haussmann's rebuilding of Paris in 1853–1870, branded “Haussmannization,” helped define urban modernity for cities worldwide. But even as infrastructures expanded and modernized, some Parisians were left behind: as late as 1928, 18 percent of houses still lacked direct sewerage. Haussmannization often hid infrastructures behind walls and floors, under streets, or in peripheral districts. In the forty years after 1870, a period that Dr. Peter Soppelsa calls “secondary Haussmannization,” Parisians inverted them—revealed their hidden components to scrutinize their workings and costs for society, environment, and health—and in turn politicized them. Drawing on French government archives, engineers' maps, the illustrated press, and a collection of over 100 photographic postcards, in Paris After Haussmann: Living with Infrastructure in the City of Light, 1870–1914 (U Pittsburgh Press, 2026) Dr. Soppelsa charts the diverse embodied, emotional, and everyday experiences of living with expanding urban infrastructures—streets, housing, tramways, subways, the water supply, sewers, and rivers—in Paris from 1870 to 1914. Parisians learned that infrastructures were not simply technical solutions for the social and environmental problems of city life but could also bring about new dangers and dependencies. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/environmental-studies

Modern Paris is often hailed as a capital of urban infrastructure. Baron Georges-Eugène Haussmann's rebuilding of Paris in 1853–1870, branded “Haussmannization,” helped define urban modernity for cities worldwide. But even as infrastructures expanded and modernized, some Parisians were left behind: as late as 1928, 18 percent of houses still lacked direct sewerage. Haussmannization often hid infrastructures behind walls and floors, under streets, or in peripheral districts. In the forty years after 1870, a period that Dr. Peter Soppelsa calls “secondary Haussmannization,” Parisians inverted them—revealed their hidden components to scrutinize their workings and costs for society, environment, and health—and in turn politicized them. Drawing on French government archives, engineers' maps, the illustrated press, and a collection of over 100 photographic postcards, in Paris After Haussmann: Living with Infrastructure in the City of Light, 1870–1914 (U Pittsburgh Press, 2026) Dr. Soppelsa charts the diverse embodied, emotional, and everyday experiences of living with expanding urban infrastructures—streets, housing, tramways, subways, the water supply, sewers, and rivers—in Paris from 1870 to 1914. Parisians learned that infrastructures were not simply technical solutions for the social and environmental problems of city life but could also bring about new dangers and dependencies. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/science-technology-and-society

Modern Paris is often hailed as a capital of urban infrastructure. Baron Georges-Eugène Haussmann's rebuilding of Paris in 1853–1870, branded “Haussmannization,” helped define urban modernity for cities worldwide. But even as infrastructures expanded and modernized, some Parisians were left behind: as late as 1928, 18 percent of houses still lacked direct sewerage. Haussmannization often hid infrastructures behind walls and floors, under streets, or in peripheral districts. In the forty years after 1870, a period that Dr. Peter Soppelsa calls “secondary Haussmannization,” Parisians inverted them—revealed their hidden components to scrutinize their workings and costs for society, environment, and health—and in turn politicized them. Drawing on French government archives, engineers' maps, the illustrated press, and a collection of over 100 photographic postcards, in Paris After Haussmann: Living with Infrastructure in the City of Light, 1870–1914 (U Pittsburgh Press, 2026) Dr. Soppelsa charts the diverse embodied, emotional, and everyday experiences of living with expanding urban infrastructures—streets, housing, tramways, subways, the water supply, sewers, and rivers—in Paris from 1870 to 1914. Parisians learned that infrastructures were not simply technical solutions for the social and environmental problems of city life but could also bring about new dangers and dependencies. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/french-studies

Modern Paris is often hailed as a capital of urban infrastructure. Baron Georges-Eugène Haussmann's rebuilding of Paris in 1853–1870, branded “Haussmannization,” helped define urban modernity for cities worldwide. But even as infrastructures expanded and modernized, some Parisians were left behind: as late as 1928, 18 percent of houses still lacked direct sewerage. Haussmannization often hid infrastructures behind walls and floors, under streets, or in peripheral districts. In the forty years after 1870, a period that Dr. Peter Soppelsa calls “secondary Haussmannization,” Parisians inverted them—revealed their hidden components to scrutinize their workings and costs for society, environment, and health—and in turn politicized them. Drawing on French government archives, engineers' maps, the illustrated press, and a collection of over 100 photographic postcards, in Paris After Haussmann: Living with Infrastructure in the City of Light, 1870–1914 (U Pittsburgh Press, 2026) Dr. Soppelsa charts the diverse embodied, emotional, and everyday experiences of living with expanding urban infrastructures—streets, housing, tramways, subways, the water supply, sewers, and rivers—in Paris from 1870 to 1914. Parisians learned that infrastructures were not simply technical solutions for the social and environmental problems of city life but could also bring about new dangers and dependencies. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices

Modern Paris is often hailed as a capital of urban infrastructure. Baron Georges-Eugène Haussmann's rebuilding of Paris in 1853–1870, branded “Haussmannization,” helped define urban modernity for cities worldwide. But even as infrastructures expanded and modernized, some Parisians were left behind: as late as 1928, 18 percent of houses still lacked direct sewerage. Haussmannization often hid infrastructures behind walls and floors, under streets, or in peripheral districts. In the forty years after 1870, a period that Dr. Peter Soppelsa calls “secondary Haussmannization,” Parisians inverted them—revealed their hidden components to scrutinize their workings and costs for society, environment, and health—and in turn politicized them. Drawing on French government archives, engineers' maps, the illustrated press, and a collection of over 100 photographic postcards, in Paris After Haussmann: Living with Infrastructure in the City of Light, 1870–1914 (U Pittsburgh Press, 2026) Dr. Soppelsa charts the diverse embodied, emotional, and everyday experiences of living with expanding urban infrastructures—streets, housing, tramways, subways, the water supply, sewers, and rivers—in Paris from 1870 to 1914. Parisians learned that infrastructures were not simply technical solutions for the social and environmental problems of city life but could also bring about new dangers and dependencies. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices

Helge Heynold liest: Von ei'm fließenden Brunnen - von Valentin Haussmann.

Watch Video Version: https://www.youtube.com/watch?v=sTtf5DMA7ms&t=1769s Jackson&co substacK: https://substack.com/@jacksonandco $27 a month, unlimited data, 100+ countries = pangia pass Use my link for 10% off: https://pangiapass.com/a/bold Find Me Here: https://linktr.ee/bold.perceptions Travel / Lifestyle Consultation, DM Me On Instagram: bold_perceptions #travel #travelblogger #france #eurolife #europe #travelblogger #travel #podcast #france #paris #doomer #solotravel Summary Al of episode - Nick (Bold Perceptions) sits down in Paris with his friend Ben Jackson, meeting in person for the first time after connecting online three years ago. Ben moved from New York to France a year ago with his French wife, settling in Paris after six months in Normandy. The two smoke cigars by the Seine and compare notes on Paris, pushing back hard against the social media narrative that the city has gone downhill — both find it cleaner, friendlier, and more affordable than expected, with Nick estimating that $5,000/month in Paris buys a comparable or better lifestyle to what that same budget gets you in Latin America's major cities. The conversation drifts into European lifestyle, travel, and geopolitics — covering train systems (Italy wins), the high-trust Nordic social model, gun ownership myths in Europe, and whether Europe's comfortable lifestyle is sustainable without American military protection footing the bill. They also riff on history, tracing Napoleon's obsession with Rome, Caesar's breakdown at the statue of Alexander the Great, and how the entire Western tradition — from Washington D.C. to Haussmann's Paris — is essentially a Roman copy chain ending in plastic. The back half centers on men's style and Ben's Substack publication Jackson & Co., which he launched as a response to GQ and Esquire becoming unrecognizable. Ben argues that a generational rebellion is underway — Gen Z rejecting their athleisure dads and swinging back toward timeless, classic menswear — pointing to Ralph Lauren's 25-30% sales surge and suit retailers like Suitsupply unable to build stores fast enough. Nick ties this into broader cultural swings: young men going back to church, the "old money" aesthetic as a synonym for intentional living, and the Italian concept of sprezzatura — looking effortlessly put-together — as the gold standard. -

Pour la planche à mixer du mois d'avril, Bénédicte Schmitt reçoit Mélissa Laveaux pour décortiquer et se replonger dans la conceptions de son dernier album "At my softest, I am most dangerous", Angela Simonyan, autrice-compositrice, violoniste et chanteuse franco-arménienne.

Vous aimez notre peau de caste ? Soutenez-nous ! https://www.lenouvelespritpublic.fr/abonnementUne conversation entre Alexandre Gady, historien de Paris et Philippe Meyer, enregistrée au studio l'Arrière-boutique le 17 octobre 2025.PARIS ET SON HISTOIRE, AVEC ALEXANDRE GADYPhilippe Meyer :Bonjour, merci de nous avoir rejoints pour ce Nouvel Esprit Public consacré à Paris, à Paris aujourd'hui, mais aussi à son histoire. J'ai la chance d'avoir avec moi Alexandre Gady. Si vous deviez présenter vos lettres de créance personnelles et professionnelles pour être admis à Paris, que diriez-vous de votre rapport avec cette ville ?Alexandre Gady :Pour un petit banlieusard qui n'était jamais monté à la capitale avant ses 18 ans, parce que ses parents détestaient la foule parisienne, l'arrivée à Paris a été un choc. Je venais du sud des Yvelines, près de Rambouillet, une banlieue encore assez rurale. Et cette ville m'a pris dans ses bras. Très vite, j'ai eu envie de travailler sur cette masse d'architecture, d'urbanisme et de beauté qui contrastait si fortement avec ce que j'avais connu, et qui m'intriguait.À l'époque – je parle des années 85-86 – la littérature sur Paris était beaucoup moins abondante qu'aujourd'hui. J'avais donc beaucoup de questions et peu de réponses. Et comme on écrit souvent les livres qu'on n'a pas trouvés, je me suis lancé à corps perdu dans la recherche de cette histoire de Paris. Même si ma spécialité d'historien est le XVIIème siècle, travailler sur Paris oblige à devenir multicarte. On ne peut pas comprendre la ville sans son substrat antique, son héritage médiéval, ni bien sûr l'époque classique. Mais il faut aussi s'intéresser à Haussmann et Napoléon III. Et puis, comme simple citoyen et piéton, je vis comme tout le monde les transformations contemporaines, même si mes compétences dans ce domaine sont plus modestes.Chaque semaine, Philippe Meyer anime une conversation d'analyse politique, argumentée et courtoise, sur des thèmes nationaux et internationaux liés à l'actualité. Pour en savoir plus : www.lenouvelespritpublic.frHébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Vous aimez notre peau de caste ? Soutenez-nous ! https://www.lenouvelespritpublic.fr/abonnementUne conversation entre et Philippe Meyer, enregistrée au studio l'Arrière-boutique le 17 octobre 2025.PARIS ET SON HISTOIRE, AVEC ALEXANDRE GADYPhilippe Meyer :Bonjour, merci de nous avoir rejoints pour ce Nouvel Esprit Public consacré à Paris, à Paris aujourd'hui, mais aussi à son histoire. J'ai la chance d'avoir avec moi Alexandre Gady. Si vous deviez présenter vos lettres de créance personnelles et professionnelles pour être admis à Paris, que diriez-vous de votre rapport avec cette ville ?Alexandre Gady :Pour un petit banlieusard qui n'était jamais monté à la capitale avant ses 18 ans, parce que ses parents détestaient la foule parisienne, l'arrivée à Paris a été un choc. Je venais du sud des Yvelines, près de Rambouillet, une banlieue encore assez rurale. Et cette ville m'a pris dans ses bras. Très vite, j'ai eu envie de travailler sur cette masse d'architecture, d'urbanisme et de beauté qui contrastait si fortement avec ce que j'avais connu, et qui m'intriguait.À l'époque – je parle des années 85-86 – la littérature sur Paris était beaucoup moins abondante qu'aujourd'hui. J'avais donc beaucoup de questions et peu de réponses. Et comme on écrit souvent les livres qu'on n'a pas trouvés, je me suis lancé à corps perdu dans la recherche de cette histoire de Paris. Même si ma spécialité d'historien est le XVIIème siècle, travailler sur Paris oblige à devenir multicarte. On ne peut pas comprendre la ville sans son substrat antique, son héritage médiéval, ni bien sûr l'époque classique. Mais il faut aussi s'intéresser à Haussmann et Napoléon III. Et puis, comme simple citoyen et piéton, je vis comme tout le monde les transformations contemporaines, même si mes compétences dans ce domaine sont plus modestes.Chaque semaine, Philippe Meyer anime une conversation d'analyse politique, argumentée et courtoise, sur des thèmes nationaux et internationaux liés à l'actualité. Pour en savoir plus : www.lenouvelespritpublic.frHébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Im Auftrag des Kaisers macht er Paris heller, weiter, kontrollierbarer. Als rücksichtsloser Stadterneuerer. Am 11.1.1891 stirbt Georges-Eugène Haussmann. Von Andrea Klasen.

Nuestro podcast viajero nos lleva a Ribadavia, la villa orensana con historia y belleza, y también a Lyon, la tercera ciudad más grande de Francia. El podcast El Placer de Viajar, con Carmelo Jordá y Kelu Robles, nos transporta esta semana a dos destinos con rica historia. El primero es Ribadavia, una pequeña localidad gallega que fue capital del Reino de Galicia en 1065 pero durante solo seis años. Situada al oeste de la provincia de Orense y conocida como el corazón de la denominación de origen Ribeiro, la villa ofrece un concentrado de la esencia gallega. Su aspecto medieval se aprecia en una Plaza Mayor porticada, sus estrechas callejuelas y casas antiguas. Un castillo, aunque no bien conservado, y secciones de la muralla aún se mantienen, junto con la Casa de la Inquisición y una notable judería, parte de la Red de Juderías de España, que cuenta con un Museo Sefardí que narra la historia de los judíos gallegos. La Iglesia de Santo Domingo, de estilo gótico puro, y el Museo del Vino de Galicia son otros puntos de interés destacados. Este último, ubicado en un antiguo priorato dedicado a la elaboración de vino, es una institución autonómica que explora la historia y los métodos tradicionales de cultivo en la región, incluyendo un impresionante lagar antiguo. Por último, no hay que olvidar que la gastronomía en Ribadavia, como era de esperar en una tierra de vinos, es de muy alto nivel, ofreciendo carnes, pescados y mariscos, con propuestas como las del hotel rural Casal de Armán. El segundo destino es Lyon, la tercera ciudad más grande de Francia, ubicada en el sureste del país y fácilmente accesible. Su urbanismo se asemeja al estilo parisino, con amplias calles y edificios de piedra clara, una estética influenciada por el Barón Haussmann. La ciudad está atravesada por los ríos Ródano y Saona, que encierran la Presqu'île, y esconde el Viejo Lyon con sus calles medievales y empedradas. El transporte público incluye un métro fluvial que recorre el río Saona, ofreciendo una forma única de explorar la ciudad, especialmente por la noche para admirar la iluminación de sus monumentos. Lyon es reconocida como la capital gastronómica de Francia, con más de 5.000 restaurantes y 20 con estrella Michelin. Destacan los Bouchons, restaurantes tradicionales que ofrecen cocina local, inspirada en las entrañas que comían los trabajadores de la seda. El postre por excelencia es el Praliné, que consiste en realidad en una forma local de almendras garrapiñadas. La ciudad también esconde los Traboules, antiguos pasadizos secretos utilizados por los mercaderes de seda y, posteriormente, por la Resistencia durante la Segunda Guerra Mundial. La subida a la colina de Fourvière en funicular revela el teatro romano y la imponente Basílica de Notre-Dame de Fourvière, de estilo ecléctico e historicista, que ofrece vistas espectaculares de la ciudad, junto con la purista Catedral de Saint-Jean-Baptiste en el Viejo Lyon. Escríbenos, explícanos qué te gusta más y si hay algo que no te gusta tanto de El Placer de Viajar, dinos de qué destinos quieres que hablemos y si quieres que tratemos algún tema y, por supuesto, pregúntanos lo que quieras en el correo del programa: elplacerdeviajar@libertaddigital.com.

Dez anos após os atentados terroristas que abalaram a França em 2015, Paris transforma o luto coletivo em memória viva. Duas grandes instituições francesas, o Museu Carnavalet e os Arquivos de Paris, apresentam exposições que reúnem objetos, cartas, desenhos e obras deixados pela população nos locais dos ataque. Os testemunhos, carregados de emoção, formam, ao lado de obras, um retrato poderoso da dor e da solidariedade que traduzem valores republicanos que catalisam a sociedade francesa. As iniciativas se inscrevem em uma longa tradição francesa de valorização da memória coletiva, especialmente em relação a eventos traumáticos da história nacional. A partir dos anos 1990, o país passou a adotar de forma mais sistemática o que ficou conhecido como “dever de memória” — uma noção que ultrapassa o simples registro histórico e se transforma em compromisso cívico com o reconhecimento e a transmissão dos acontecimentos do passado. O conceito foi amplamente difundido por intelectuais como Pierre Nora, autor da obra monumental Les Lieux de Mémoire (Os Lugares da Memória), que propôs a ideia de que certos espaços, objetos e rituais funcionam como âncoras simbólicas da identidade coletiva. Foi também nesse contexto que o então presidente Jacques Chirac, em 1995, tornou-se o primeiro chefe de Estado francês a reconhecer oficialmente a responsabilidade da França na deportação de judeus durante a ocupação nazista. Esse gesto marcou uma virada na política memorial do país, que passou a investir em museus, arquivos e cerimônias públicas como formas de reparação simbólica e de construção de uma memória compartilhada. Desde então, o “dever de memória” tornou-se um princípio estruturante das políticas culturais e educacionais francesas, especialmente diante de tragédias contemporâneas como os atentados terroristas de 2015. Béatrice Herold, diretora dos Arquivos de Paris, lembra que o impulso inicial para a coleta desses testemunhos partiu do sociólogo Jérôme Truc. “Ele escreveu para a prefeita de Paris dizendo que era preciso fazer algo diante desses testemunhos deixados pela população”, conta. A partir daí, o então diretor dos Arquivos, Guillaume Naon, mobilizou equipes para recolher os objetos nos locais dos atentados, em parceria com os agentes da direção de limpeza urbana. “Eles recolhiam os documentos à medida que os meses e as semanas passavam. Ao mesmo tempo, os agentes de limpeza removiam as flores murchas e as velas apagadas e reconstituíam os memoriais para que eles permanecessem o tempo necessário para esse luto coletivo”, explica Herold. Leia tambémFrança dá início às homenagens pelos 10 anos dos atentados terroristas de 13 de novembro em Paris Homenagem espontânea da população A homenagem espontânea da população durou vários meses. A coleta principal ocorreu entre novembro de 2015 e janeiro de 2016, mas uma última campanha foi realizada um ano depois. Ao todo, foram 17 ações de coleta. “Hoje, todos esses objetos estão nos arquivos. Uma parte está nos Arquivos de Paris — tudo o que é testemunho escrito, desenhos, cartas, pequenos bilhetes. E outra parte está no Museu Carnavalet, que se encarregou dos objetos de maior dimensão”, detalha a diretora. Entre os testemunhos escritos, destaca-se a reafirmação do apego a Paris, à França e aos valores da República. “É muito, muito recorrente. A população precisa expressar, em um ato de comunhão social, o apego a esses valores”, observa Herold. Ela também chama atenção para a quantidade de desenhos feitos por crianças, muitos deles produzidos em escolas da França e do exterior. “É impressionante ver que professores em Paris, mas também nos Estados Unidos, na Bélgica ou no mundo, fizeram seus alunos do ensino fundamental trabalharem através do desenho logo depois, para que expressassem algo sobre a liberdade, a liberdade de expressão, a paz”, diz. "Elas trabalharam com seus professores o ano todo para trabalhar a memória dos ataques. Dado que essas crianças têm cerca de 10 a 11 anos, na verdade elas não eram nascidas ou eram bebês na época dos eventos trágicos. Elas convidam a transmitir essa memória dos ataques em relação ao futuro", diz, sobre os desenhos de crianças parisienses. No Museu Carnavalet – História de Paris, a diretora Valérie Guillaume apresenta uma seleção de 60 objetos expostos no percurso permanente da instituição. “Coletamos, graças aos Arquivos de Paris, 192 objetos. Na coleção, também contamos com numerosas fotografias de Laurence G e de Nicolas Argirolo, cerca de 50 ou 60 fotografias”, explica. Ao todo, a coleção relacionada aos atentados de 2015 reúne entre 250 e 270 itens. Entre os objetos mais marcantes estão guitarras, sapatos, livros — como o tratado de Voltaire sobre a tolerância — e, sobretudo, o símbolo da Torre Eiffel estilizada dentro de um círculo, evocando o espírito peace and love dos anos 1960 e 70. “Esse tema é muito recorrente em todos os documentos e nos objetos. Ele foi desenhado e reproduzido por muitas pessoas”, afirma Guillaume. Arte urbana A exposição também inclui obras de artistas urbanos como Marc Aurel, Grim Team e o coletivo C215. Um dos destaques é a instalação de Marc Aurel Vion, erguida na Place de la République logo após os atentados. Trata-se de uma cerca de 12 metros adornada com o lema de Paris, reatualizado por Haussmann no Segundo Império: Fluctuat nec mergitur — “O barco é sacudido pelas ondas, mas não afunda”. “Essa força do evento, que convida a população a se reunir e a defender justamente os valores fundamentais comuns, é expressa aqui através dessas letras, a força dessas letras, colocadas em branco sobre fundo preto”, descreve a diretora. "Há também esse afresco realizado pelo grafiteiro C215 em homenagem a Ahmed Merabé, que foi morto, assassinado, durante os ataques de janeiro de 2015 do Charlie Hebdo, no Boulevard Richard-Lenoir", lembra. "Ahmed Merabé era um policial. Ele foi assassinado no momento do ataque contra o Charlie Hebdo. É uma obra interessante. Reconhecemos a assinatura de C215 em um cubo à direita. A obra representa um retrato sorridente desse policial assassinado, em toda a sua humanidade, com suas cores fortes [azul, branco, vermelho, as cores da bandeira francesa] que estão muito presentes", diz. As duas exposições, abertas ao público até dezembro, não apenas preservam a memória das vítimas, mas também reafirmam o papel da cultura como espaço de resistência e reconstrução coletiva, valores ancorados profundamente na tradição contemporânea francesa.

« Communication à caractère publicitaire »Les supports en unités de compte présentent un risque de perte en capital partielle ou totale dépendant en particulier de l'évolution des marchés financiers et/ou immobiliers.CARDIF ASSURANCE VIE SA au capital de 719 167 488 € - Immatriculée sous le n°732028154 RCS Paris. Siège social : 1, boulevard Haussmann - 75009 Paris. Bureaux : 8,rue du Port - 92728 Nanterre CEDEX - Tél. : 01 41 42 83 00. Entreprise régie par le Code des assurances.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Episode: 2523 Georges-Eugene Haussmann Reshapes Paris.  Today, a city redone.

Meet Charles Pappas - Mr World Fair. Charles likes nothing more in the world than a Universal Exhibition, especially if it's one of the seven that were hosted in Paris. In fact, he's written the book on the topic.  I met him on a road-side terrace at Harvest cafe in the 11th arrondissement to talk Paris, Haussmann, coffee, and of course, World Fairs.  His new book is: Nobody Sits Like the French: Exploring Paris Through Its World Expos, a historical guidebook on how these World Expos, held between 1855-1937, transformed the city of Paris forever. The music in this episode is from Pres Maxson. *********** The Earful Tower exists thanks to support from its members. From $10 a month you can unlock almost endless extras including bonus podcast episodes, live video replays, special event invites, and our annually updated PDF guide to Paris.  Membership takes only a minute to set up on Patreon, or Substack. Thank you for keeping this channel independent.  For more from the Earful Tower, here are some handy links: Website  Weekly newsletter  Walking Tours

The Cat's Kev Watson spoke with Max Clay, of the Nantwich Players, who will direct their their new production "The Last of the Haussmann" - a play written by Stephen Beresford. Max discusses the play, the cast and the playwright .Nantwich Players 17th - 25th October, 2025.

Ce week-end, votre podcast vous emmène dans les coulisses des Galeries Lafayette.Entre le rachat de La Redoute à prix d'or, la fermeture de boutiques en province et un paquebot Haussmann rénové à grand frais, le groupe fait le tri. Capital a enquêté. Hébergé par Audion. Visitez https://www.audion.fm/fr/privacy-policy pour plus d'informations.

REDIFF - Au 19ᵉ siècle, Paris n'est qu'un labyrinthe de ruelles insalubres. Mais un homme va réinventer la capitale : c'est le baron Haussmann. Sous le règne de Napoléon III, il détruit des quartiers entiers, trace des avenues majestueuses et fait naitre le Paris moderne que nous connaissons aujourd'hui. Visionnaire pour les uns, tyrannique pour les autres, Haussmann a laissé une empreinte indélébile. Découvrez l'histoire de cet urbaniste controversé qui a fait entrer Paris dans la modernité. Crédits : Lorànt Deutsch, Christophe Dard Tout l'été, retrouvez l'inimitable Lorànt Deutsch pour vous révéler les secrets des personnages historiques les plus captivants !Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

REDIFF - Au 19ᵉ siècle, Paris n'est qu'un labyrinthe de ruelles insalubres. Mais un homme va réinventer la capitale : c'est le baron Haussmann. Sous le règne de Napoléon III, il détruit des quartiers entiers, trace des avenues majestueuses et fait naitre le Paris moderne que nous connaissons aujourd'hui. Visionnaire pour les uns, tyrannique pour les autres, Haussmann a laissé une empreinte indélébile. Découvrez l'histoire de cet urbaniste controversé qui a fait entrer Paris dans la modernité. Crédits : Lorànt Deutsch, Christophe Dard Tout l'été, retrouvez l'inimitable Lorànt Deutsch pour vous révéler les secrets des personnages historiques les plus captivants !Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Die Bundeskanzler-Helmut-Kohl-Stiftung befasst sich mit dem politischen Wirken und der Lebensleistung des „Kanzlers der Einheit“. In Berlin errichtet die Stiftung eine zeitgeschichtliche Dauerausstellung. Dafür sammelt sie derzeit Interviews mit bedeutenden Zeitzeugen und Weggefährten Helmut Kohls. Unter ihnen ist auch der damalige Wirtschaftsminister, der Bad Uracher Ehrenbürger Helmut Haussmann. | Videos in der RTF1 Mediathek: www.rtf1.tv | RTF1 - Wissen was hier los ist! |

Quand on observe le plan de Paris, la succession des vingt arrondissements trace une spirale compacte, si parfaite qu'on la surnomme « l'escargot ». Contrairement à la légende, cet enroulement n'a rien d'esthétique : il résulte de deux opérations de découpage que la capitale a connues, d'abord sous la Révolution française, puis sous Napoléon III, chacune répondant à des impératifs très prosaïques.Le 11 octobre 1795, la Convention thermidorienne supprime les anciennes paroisses héritées de l'Ancien Régime et répartit Paris en douze arrondissements. Le principe retenu est celui d'une lecture « en zigzag » : on commence au Palais-Royal, on longe la Seine vers l'ouest, puis on remonte vers le nord jusqu'aux Buttes-Montmartre, avant de redescendre vers l'est. Ce système, calqué sur la façon dont on tourne les pages d'un livre, suffisait tant que la ville restait contenue à l'intérieur du mur des Fermiers généraux.Or, à partir de 1852, Napoléon III engage le préfet Haussmann dans un vaste projet d'embellissement. Pour aérer la ville, il faut annexer les faubourgs qui se sont densifiés de l'autre côté des fortifications de Thiers. Le décret du 1ᵉʳ janvier 1860 agrandit Paris et absorbe onze communes voisines : Passy, Auteuil, Belleville, La Villette, entre autres. En conséquence, la capitale passe de douze à vingt arrondissements ; il devient impossible de garder la vieille numérotation sans bouleverser des milliers d'adresses déjà gravées dans la pierre.Haussmann se met donc en quête d'un schéma qui limite les changements. Avec l'ingénieur Alphand, il décide de prendre le Louvre comme point de départ, symbole central du pouvoir, puis d'attribuer les numéros en tournant dans le sens des aiguilles d'une montre : on balaye la rive droite jusqu'à la barrière d'Ivry, on traverse la Seine au Jardin des Plantes, et l'on achève la boucle sur la rive gauche pour revenir vers Passy. Ce mouvement continu forme une spirale, maintient presque intacte la numérotation du centre et immortalise, par le simple dessin d'une coquille, les priorités sociales et la hiérarchie spatiale voulues par le Second Empire.Rapidement, Charivari et Le Monde illustré repèrent cette forme et la baptisent « l'escargot parisien ». Le surnom reste : il suffit de suivre la coquille pour se repérer, du Louvre (1ᵉʳ) à Belleville (20ᵉ). La logique est si ancrée qu'en 2020, lors des débats sur la fusion administrative des quatre premiers arrondissements, la Ville a préservé la numérotation historique pour ne pas briser la spirale. Ainsi, si les arrondissements de Paris forment un escargot, c'est parce que la capitale a cherché, en 1860, le compromis le plus efficace : économiser les plaques, ménager les riches, intégrer de nouveaux quartiers et offrir au promeneur l'un des plans urbains les plus reconnaissables du monde. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Pauline me fait découvrir la toute nouvelle Renault R5 électrique alors que nous rentrons de notre déjeuner chez Coda. Du boulevard Haussmann jusqu'à l'avenue de la Grande armée, nous discutons des avantages de l'électrique en ville, des réactions des passants et de cette voiture iconique qui fait son grand retour. Un épisode qui mélange conversation et découverte automobile dans les rues de Paris. Les abonnés avec notes sont invités à partager la liste des 10 mots ou expressions nouveaux découverts grâce à cette épisode. N'hésitez pas à nous rejoindre! www.onethinginafrenchday.com   #FrenchPodcast #LearnFrench #ElectricCar #RenaultR5 #ParisLife #FrenchConversation #CarVocabulary #ModernFrench #DailyFrench #FrenchListening

Hello Interactors,Cities are layered by past priorities. I was just in Overland Park, Kansas, where over the last 25 years I've seen malls rise, fall, and shift outward as stores leave older spaces behind.When urban systems shift — due to climate, capital, codes, or crisis — cities drift. These changes ripple across scales and resemble fractal patterns, repeating yet evolving uniquely.This essay traces these patterns: past regimes, present signals, and competing questions over what's next.URBAN SCRIPTS AND SHIFTING SCALESAs cities grow, they remember.Look at a city's form — the way its streets stretch, how its blocks bend, where its walls break. These are not neutral choices. They are residues of regimes. Spatial decisions shaped by power, fear, belief, or capital.In ancient Rome, cities were laid out in strict grids. Streets ran along two axes: the cardo and decumanus. It made the city legible to the empire — easy to control, supply, and expand. Urban form followed the logic of conquest.As cartography historian, O. A. W. Dilke writes,“One of the main advantages of a detailed map of Rome was to improve the efficiency of the city's administration. Augustus had divided Rome into fourteen districts, each subdivided into vici. These districts were administered by annually elected magistrates, with officials and public slaves under them.”In medieval Europe, cities got messy. Sovereignty was fragmented. Trade replaced tribute. Guilds ran markets as streets tangled around church and square. The result was organic — but not random. It reflected a new mode of life: small-scale, interdependent, locally governed.In 19th-century Paris, the streets changed again. Narrow alleys became wide boulevards. Not just for beauty — for visibility and force. Haussmann's renovations made room for troops, light, and clean air. It was urban form as counter-revolution.Then came modernism. Superblocks, towers, highways. A form that made sense for mass production, cheap land, and the car. Planning became machine logic — form as efficiency.Each of these shifts marked the arrival of a new spatial calculus — ways of organizing the built environment in response to systemic pressures. Over time, these approaches came to be described by urbanists as morphological regimes: durable patterns of urban form shaped not just by architecture, but by ideology, infrastructure, and power. The term “morphology” itself was borrowed from biology, where it described the structure of organisms. In urban studies, it originally referred to the physical anatomy of the city — blocks, plots, grids, and streets. But today the field has broadened. It's evolved into more of a conceptual lens: not just a way of classifying form, but of understanding how ideas sediment into space. Today, morphology tracks how cities are shaped — not only physically, but discursively and increasingly so, computationally. Urban planning scholar Geoff Boeing calls urban form a “spatial script.” It encodes decisions made long ago — about who belongs where, what gets prioritized, and what can be seen or accessed. Other scholars treated cities like palimpsests — a term borrowed from manuscript studies, where old texts were scraped away and overwritten, yet traces remained. In urban form, each layer carries the imprint of a former spatial logic, never fully erased. Michael Robert Günter (M. R. G.) Conzen, a British geographer, pioneered the idea of town plan analysis in the 1960s. He examined how street patterns, plot divisions, and building forms reveal historical shifts. Urban geographer and architect, Anne Vernez Moudon brought these methods into contemporary urbanism. She argued that morphological analysis could serve as a bridge between disciplines, from planning to architecture to geography. Archaeologist Michael E. Smith goes further. Specializing in ancient cities, Smith argues that urban form doesn't just reflect culture — it produces it. In early settlements, the spatial organization of plazas, roads, and monuments actively shaped how people understood power, social hierarchy, and civic identity. Ritual plazas weren't just for ceremony — they structured the cognitive and social experience of space. Urban form, in this sense, is conceptual. It's how a society makes its world visible. And when that society changes — politically, economically, technologically — so does its form. Not immediately. Not neatly. But eventually. Almost always in response to pressure from the outside.INTERVAL AND INFLECTIONUrban morphology used to evolve slowly. But today, it changes faster — and with increasing volatility. Physicist Geoffrey West, and other urban scientists, describes how complex systems like cities exhibit superlinear scaling: as they grow, they generate more innovation, infrastructure, and socio-economic activity at an accelerating pace. But this growth comes with a catch: the system becomes dependent on continuous bursts of innovation to avoid collapse. West compares it to jumping from one treadmill to another — each one running faster than the last. What once took centuries, like the rise of industrial manufacturing, is now compressed into decades or less. The intervals between revolutions — from steam power to electricity to the internet — keep shrinking, and cities must adapt at an ever-faster clip just to maintain stability. But this also breeds instability as the intervals between systemic transformations shrink. Cities that once evolved over centuries can now shift in decades.Consider Rome. Roman grid structure held for centuries. Medieval forms persisted well into the Renaissance. Even Haussmann's Paris boulevards endured through war and modernization. But in the 20th century, urban morphology entered a period of rapid churn. Western urban regions shifted from dense industrial cores to sprawling postwar suburbs to globalized financial districts in under a century — each a distinct regime, unfolding at unprecedented speed.Meanwhile, rural and exurban zones transformed too. Suburbs stretched outward. Logistics corridors carved through farmland. Industrial agriculture consolidated land and labor. The whole urban-rural spectrum was redrawn — not evenly, but thoroughly — over a few decades.Why the speed?It's not just technology. It's the stacking of exogenous shocks. Public health crises. Wars. Economic crashes. Climate shifts. New empires. New markets. New media. These don't just hit policy — they hit form.Despite urbanities adaptability, it resists change. But when enough pressure builds, it breaks and fragments — or bends fast.Quantitative historians like Peter Turchin describe these moments as episodes of structural-demographic pressure. His theory suggests that as societies grow, they cycle through phases of expansion and instability. When rising inequality, elite overproduction, and resource strain coincide, the system enters a period of fragility. The ruling class becomes bloated and competitive, public trust erodes, and the state's ability to mediate conflict weakens. At some point, the social contract fractures — not necessarily through revolution, but through cumulative dysfunction that demands structural transformation.Cities reflect that process spatially. The street doesn't revolt. But it reroutes. The built environment shows where power has snapped or shifted. Consider Industrial Modernity. Assuming we start in 1850, it took roughly 100 years before the next regime took shape — the Fordist-Suburban Expansion starting in roughly 1945. It took around 30-40 years for deregulation to hit in the 80s. By 1995 information, communication, and technology accelerated globalization, financialization, and the urban regime we're currently in — Neoliberal Polycentrism.Neoliberal Polycentricism may sound like a wonky and abstract term, but it reflects a familiar reality: a pattern of decentralized, uneven urban growth shaped by market-driven logics. While some scholars debate the continued utility of the overused term 'neoliberalism' itself, its effects on the built environment remain visible. Market priorities continue to dominate and reshape spatial development and planning norms. It is not a wholly new spatial condition. It's the latest articulation of a longer American tradition of decentralizing people and capital beyond the urban core. In the 19th century, this dynamic took shape through the rise of satellite towns, railroad suburbs, and peripheral manufacturing hubs. These developments were often driven by speculative land ventures, private infrastructure investments, and the desire to escape the regulatory and political constraints of city centers. The result was a form of urban dispersal that created new nodes of growth, frequently insulated from municipal oversight and rooted in socio-economic and racial segregation. This early polycentricism, like fireworks spawning in all directions from the first blast, set the stage for later waves of privatized suburbanization and regional fragmentation. Neoliberalism would come to accelerate and codify this expansion.It came in the form of edge cities, exurbs, and special economic zones that proliferated in the 80s and 90s. They grew not as organic responses to demographic needs, but as spatial products of deregulated markets and speculative capital. Governance fragmented. Infrastructure was often privatized or outsourced. As Joel Garreau's 1991 book Edge City demonstrates, a place like Tysons Corner, Virginia — a highway-bound, developer-led edge city — embodied this shift: planned by commerce, not civic vision. A decade later, planners tried to retrofit that vision — adding transit, density, and walkability — but progress has been uneven, with car infrastructure still shaping much of daily life.This regime aligned with the rise of financial abstraction and logistical optimization. As Henry Farrell and Abraham Newman argue in Underground Empire, digital finance extended global capitalism's reach by creating a networked infrastructure that allowed capital to move seamlessly across borders, largely outside the control of democratic institutions. Cities and regions increasingly contorted themselves to host these flows — rebranding, rezoning, and reconfiguring their form to attract global liquidity.At the same time, as historian Quinn Slobodian notes, globalism was not simply about market liberalization but about insulating capital from democratic constraint. This logic played out spatially through the proliferation of privatized enclaves, special jurisdictions, and free trade zones — spaces engineered to remain separate from public oversight while remaining plugged into global markets.In metro cores, this led to vertical Central Business Districts, securitized plazas, and speculative towers. In the suburbs and exurbs, it encouraged the low-density, car-dependent landscapes that still propagate. It's still packaged as freedom but built on exclusion. In rural zones, the same logic produces logistics hubs, monoculture farms, and fractured small towns caught precariously between extraction and abandonment.SEDIMENT AND SENTIMENTWhat has emerged in the U.S., and many other countries, is a fragmented patchwork: privatized downtowns, disconnected suburbs, branded exurbs, and digitally tethered hinterlands…often with tax advantages. All governed by the same regime, but expressed through vastly different forms.We're in a regime that promised flexibility, innovation, and shared global prosperity — a future shaped by open markets, technological dynamism, and spatial freedom. But that promise is fraying. Ecological and meteorological breakdown, housing instability, and institutional exhaustion are revealing the deep limits of this model.The cracks are widening. The pandemic scrambled commuting rhythms and retail flows that reverberate to this day. Climate stress reshapes assumptions about where and how to build. Platforms restructure access to space as AI wiggles its way into every corner. Through it all, the legitimacy of traditional planning models, even established forms of governing, weakens.Some historians may call this an interregnum — a space between dominant systems, where the old still governs in form, but its power to convince has faded. The term comes from political theory, describing those in-between moments when no single order fully holds. It's a fitting word for times like these, when spatial logic lingers physically but loses meaning conceptually. The dominant spatial logic remains etched in roads, zoning codes, and skylines — but its conceptual scaffolding is weakening. Whether seen as structural-demographic strain or spatial realignment, this is a moment of uncertainty. The systems that once structured urban life — zoning codes, master plans, market forecasts — may no longer provide a stable map. And that's okay. Interregnums, as political theorist Christopher Hobson reminds us, aren't just voids between orders — they are revealing. Moments when the cracks in dominant systems allow us to see what had been taken for granted. They offer space to reflect, to experiment, and to reimagine.Maybe what comes next is less of a plan and more of a posture — an attitude of attentiveness, humility, and care. As they advise when getting sucked out to sea by a rip tide: best remain calm and let it spit you out where it may than try to fight it. Especially given natural laws of scale theory suggests these urban rhythms are accelerating and their transitions are harder to anticipate. Change may not unfold through neat stages, but arrive suddenly, triggered by thresholds and tipping points. Like unsuspectingly floating in the warm waters of a calm slack tide, nothing appears that different until rip tide just below the surface reveals everything is.In that sense, this drifting moment is not just prelude — it is transformation in motion. Cities have always adapted under pressure — sometimes slowly, sometimes suddenly. But they rarely begin anew. Roman grids still anchor cities from London to Barcelona. Medieval networks persist beneath tourist maps and tangled streets. Haussmann's boulevards remain etched across Paris, shaping flows of traffic and capital. These aren't ghosts — they're framing. Living sediment.Today's uncertainty is no different. It may feel like a void, but it's not empty. It's layered. Transitions build on remnants, repurposing forms even as their meanings shift. Parcel lines, zoning overlays, server farms, and setback requirements — these are tomorrow's layered manuscripts — palimpsests.But it's not just physical traces we inherit. Cities also carry conceptual ones — ideas like growth, public good, infrastructure, or progress that were forged under earlier regimes. As historian Elias Palti reminds us, concepts are not fixed. They are contingent, born in conflict, and reshaped in uncertainty. In moments like this, even the categories we use to interpret urban life begin to shift. The city, then, is not just a built form — it's a field of meaning. And in the cracks of the old, new frameworks begin to take shape. The work now is not only to build differently, but to think differently too.REFERENCESDilke, O. A. W. (1985). Greek and Roman Maps. Cornell University Press.Boeing, Geoff. (2019). “Spatial Information and the Legibility of Urban Form.” Journal of Planning Education and Research, 39(2), 208–220.Conzen, M. R. G. (1960). “Alnwick, Northumberland: A Study in Town Plan Analysis.” Institute of British Geographers Publication.Moudon, Anne Vernez. (1997). “Urban Morphology as an Emerging Interdisciplinary Field.” Urban Morphology, 1(1), 3–10.Smith, Michael E. (2007). “Form and Meaning in the Earliest Cities: A New Approach to Ancient Urban Planning.” Journal of Planning History, 6(1), 3–47.West, Geoffrey. (2017). Scale: The Universal Laws of Life, Growth, and Death in Organisms, Cities, and Companies. Penguin Press.Turchin, Peter. (2016). Ages of Discord: A Structural-Demographic Analysis of American History. Beresta Books.Garreau, Joel. (1991). Edge City: Life on the New Frontier. Doubleday.Farrell, Henry, & Newman, Abraham. (2023). Underground Empire: How America Weaponized the World Economy. Henry Holt.Slobodian, Quinn. (2023). Crack-Up Capitalism: Market Radicals and the Dream of a World Without Democracy. Metropolitan Books.Hobson, Christopher. (2015). The Rise of Democracy: Revolution, War and Transformations in International Politics since 1776. Edinburgh University Press.Palti, Elias José. (2020). An Archaeology of the Political: Regimes of Power from the Seventeenth Century to the Present. Columbia University Press. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit interplace.io

Paris har väl alltid varit Paris? Jo, förvisso har staden sedan de romerska kejsarnas tid legat där mitt i Europa och sett viktig ut. Men det Paris där Solkungen huserade eller där hans efterföljare hamnade i giljotinen var en förvuxen medeltida soptipp. Underbar och kaotisk. Levande och motbjudande. Gammal.Att Paris fick sin moderna skepnad har vi två män att tacka: den enväldige kejsaren Napoleon III och hans drivne tjänsteman Georges-Eugène Haussmann. Boulevarder, parker, hus, operor och kloaker anlades i en takt som nog aldrig sedan dess har överträffats. På 15 år blev staden större, öppnare och stramare.Det ligger nära till hans att tänka på efterkrigstidens omstöpning av de svenska orterna. Rivningen av Klarakvarteren och byggandet av stora gråa Domus-hus. Men inte ens svenska socialdemokrater man mäta sig mot haussmannifieringen av Paris.Alla ska till Paris! Mycket nöje.——Läslista:• Christiansen, Rupert, Ljusets stad: hur det moderna Paris skapades, Bokförlaget Daidalos, Göteborg, 2019• Wilson, Ben, Metropolis: historien om mänsklighetens största triumf, Första utgåvan, Natur & Kultur, Stockholm, 2021• Steinick, Karl ”Visionär gav oss älskat Paris” Svenska Dagbladet 2009-03-27• Schneider, Wolf, "Det började i Babylon", 1960• Lans, Karl ”Medeltidens Paris – Europas huvudstad” Populär historia 4/2008 Lyssna på våra avsnitt fritt från reklam: https://plus.acast.com/s/historiepodden. Hosted on Acast. See acast.com/privacy for more information.

In this episode, we celebrate the reopening of the Grand Dame of Paris by strolling in the shadow of the great Cathedral Notre Dame, looking at narrow medieval streets on the Island of the City which survived the great upheaval of Haussmann renovations. We talk about rue Chanoinesse--where there is a surprisingly beautiful police garage! And we walk down the unbelievably tiny rue des Chantres. For photos, please check out my website. Thanks as always to Bremner Fletcher for technical expertise and general know-how. The Improbable Walks theme music is performed by David Symons, New Orleans accordionist extraordinaire. 

Au 19ᵉ siècle, Paris n'est qu'un labyrinthe de ruelles insalubres. Mais un homme va réinventer la capitale : c'est le baron Haussmann. Sous le règne de Napoléon III, il détruit des quartiers entiers, trace des avenues majestueuses et fait naitre le Paris moderne que nous connaissons aujourd'hui. Visionnaire pour les uns, tyrannique pour les autres, Haussmann a laissé une empreinte indélébile. Découvrez l'histoire de cet urbaniste controversé qui a fait entrer Paris dans la modernité. Crédits : Lorànt Deutsch, Christophe Dard. Du lundi au vendredi de 15h à 15h30, Lorànt Deutsch vous révèle les secrets des personnages historiques les plus captivants !

Comment Paris est devenue ce qu'elle est aujourd'hui grâce au baron Haussmann, l'une des affaires criminelles les plus marquante de l'histoire de France sous le règne de Louis XIV, ou encore un hommage à une chanson de Michel Sardou... Découvrez le programme à venir de la semaine du 9 au 13 décembre 2024. Chaque dimanche, retrouvez Lorànt Deutsch dans un podcast inédit, au micro de Chloé Lacrampe. Découvrez le programme de la semaine à venir dans "Entrez dans l'histoire", du lundi au vendredi, de 15h à 15h30 sur RTL.

Este miércoles, la Unesco inscribió el oficio de los techadores y ornamentalistas parisinos del zinc en su lista del patrimonio cultural inmaterial, en reconocimiento de que estos artesanos de los tejados de París. En qué consiste su trabajo? Escuche el reportaje que lo lleva a visitar lugares de la capital francesas que se miran sin que se observen, qué son tan comunes que se vuelven banales, pero, que si se contemplan permiten transportarse a otra época.  Desde la terraza de Galeries Lafayette los turistas se aventuran a describir el panorama, como Felipe, visitante ecuatoriano: “estos techos son totalmente diferentes a los techos que se ven en América Latina, desde aquí ves un vértice bajar en dos ejes. También llama la atención las ventanitas en los techos y las chimeneas”.A los que están de paso les impresiona y los viven bajo esos techos no se acostumbran, asegura Michelle, estudiante colombiana en la Universidad Sorbona: “son más bien cuadrados, la arquitectura es más bien rústica, muy uniforme y también algo en parte histórico porque me explicaban, la primera vez que los vi, que esas ventanitas pequeñas son cuartos chiquitos a los que se les llama chambre de bonne [también buhardillas] donde antes vivían quienes trabajaban en las casas de esos edificios. Es como que tú ves eso en la ciudad en general y aprendes de historia y costumbres”. Toda la historia de la ciudad, que tiene más de 2.000 años, puede leerse en sus palacios, iglesias, hoteles, plazas y casas. Construcciones de la época galo romana que sobreviven entre construcciones góticas, neoclásicas, modernas y contemporáneas visibles cuando se osa perderse entre las calles parisinas, sin embargo cuando se ve en su conjunto desde arriba, a nivel de los tejados, un único estilo se impone.Corinne Ménégaux, directora de la Oficina de Turismo de París: "Esta arquitectura es un verdadero testimonio de la historia, del patrimonio, de nuestra cultura parisina así que son muy simbólicos. Representa un pasado y al mismo tiempo es un sello de cierta modernidad porque aprendimos a renovarlos con los mismos materiales cuya imagen es indisociable de la imagen que tenemos de París".Para tener una vista a sobre esos famosos techos existen las azoteas con acceso gratuito como las de Lafayette, Printemps o el Instituto del Mundo Arabe, también hay unos 20 bares y restaurantes ubicados en el último piso de los edificios. Otra opción es visitar los puntos más altos de la ciudad: Montmartre o el parque de Belleville en el distrito 20, noreste de París.200 años de zinc y pizarraEstos techos que tanto aprecian los turistas permiten relatar los últimos 200 años de historia parisina.  El barón Georges-Eugène Haussmann, prefecto del Sena a mediados del siglo XIX, supervisa una serie de proyectos de obras públicas necesarias para la salud, el transporte y la vivienda de la creciente población de la época. Ayuda a la reconstrucción de la ciudad bajo las órdenes del emperador Napoleón III. Desde 1853 hasta 1870, Haussmann instala nuevas tuberías de agua y alcantarillado, surgen las estaciones de tren así como los amplios bulevares reconocibles por los edificios de apartamentos color crema a lado y lado de las avenidas.Las fachadas repiten patrones de construcción. Su color se debe a la piedra caliza luteciana de origen local, uno de los materiales más utilizados en la capital francesa donde viven 2.165.423 personas según datos del Instituto Nacional de Estadística y de Estudios Económicos de Francia. Apur es una asociación creada en 1967 que documenta, analiza e imagina la evolución urbana y societal de París y su región. En la base de datos de Apur se cuenta París tiene 128.000 tejados de los cuales “en el 79% predomina el zinc u otros materiales” como la pizarra que es una roca metamórfica de origen sedimentario que data de hace 550 millones de años, muy utilizada en la construcción desde los antiguos egipcios. La pizarra utilizada para la renovación de los techos de París es extraída del norte de España. Se estima que casi el 90% de la pizarra natural que actualmente se utiliza en la construcción sale del país ibérico, que es el que tiene las mayores reservas de pizarra tectónica del mundo.Patrimonio de la UnescoEstos techos tan particulares necesitan techadores especializados en zinc. A este oficio creado hace dos siglos se le llama couvreurs-zingueurs es actualmente ejercido por unos 1.500 obreros, que pretenden que su forma de trabajar sea protegida y perpetuada gracias a la Unesco. “Es una profesión especial que desaparecerá si no la protegemos. Hoy en día es difícil contratar, por eso es importante poner el foco en nuestro oficio para ayudarnos a encontrar techadores, y también creo que París es zinc, es un material emblemático de una época, de la edad de oro de París, y de una habilidad de construcción más bien única”, defiende Cyril Venturini, director de La Louisianne S.A. empresa especializada en techos, fontanería, impermeabilización y climatización, figura entre los grandes nombres de la profesión. Después de pasar 30 años sobre los tejados Cyril baja a nivel de la calle su oficio en una tienda llamada Les Toits Parisiens, es español Los Techos Parisinos.Couvreurs-zingueurs, los techadores de ParísEstos techos son abuhardillados de cuatro lados, tienen una inclinación pronunciada con un ángulo de 45°. Albergan pequeñas habitaciones de unos 10m², reconocibles por sus pequeñas ventanas de marco blanco.En uno de estos espacios pasa sus primeros años de vida Frédéric Cordier. “Tuve la suerte de crecer en un ático parisino así que literalmente siempre estuve acompañado de zinc, miraba por la ventana y lo primero que veía era zinc. Muchas veces me regañaron por subir al tejado con amigos a jugar policías y ladrones, imitando las películas de acción de Jean-Paul Belmondo. Esos tejados fueron mi infancia y mi adolescencia por eso también cuando debí elegir un oficio estaba seguro que quería ayudar a conservarlos”, recuerda Frédéric hoy jefe de obra, es decir que es responsable de la construcción, mantenimiento y reparación de cubiertas de todo tipo de edificios. París con sus tejados de mil matices de azul y gris también inspiran a pintores, poetas y cantantes. Muchos personajes de más de 15 películas, dos videojuegos y dos tiras cómicas han cabalgado sobre ellos y es gracias a la mirada de propios y extraños que se perpetúa su existencia. 

50 Prozent Erfolge, 50 Prozent Misserfolge. So beschreibt der Regisseur Leander Haußmann heute seine Karriere, die er als Schauspielschüler in der DDR begann. Mit dem Fall der Mauer standen ihm dann plötzlich alle Bühnen offen.  

This episode explores Baron Haussmann's transformative renovation of Paris in the mid-19th century, which restructured the city into a modern urban landscape. Under Emperor Napoleon III, Haussmann's initiatives included the creation of wide boulevards, improved sanitation, and urban parks, reshaping Paris's infrastructure and aesthetics. Despite facing criticism for the social and economic impacts of his projects, Haussmann's legacy endures as a blueprint for urban planning worldwide.

Si Paris a gagné sa place parmi les plus belles villes du monde, elle le doit en grande partie au baron Haussmann. Sous le Second Empire, le préfet remodèle la capitale pour en faire une ville idéale au cours d'une campagne de travaux d'une ampleur démesurée, qui dure plus de 20 ans ! Un récit inédit de Virginie Girod, en partenariat avec Le Livre de Poche qui publie Les Nuits de la peur bleue d'Éric Fouassier, le troisième tome de la série du bureau des affaires occultes. Lorsque Louis-Napoléon Bonaparte arrive au pouvoir en 1851, Paris n'a pas grand-chose à voir avec aujourd'hui. Les rues sont très étroites, boueuses et jonchées d'immondices. Les égouts sont encore loin d'être la règle, ce qui favorise la diffusion des maladies. D'autant plus que la population ne cesse de grossir sous l'effet de la révolution industrielle. En 1832, une épidémie de choléra a fait près de 20 000 victimes dans la capitale. Améliorer la situation représente un défi considérable que Napoléon III rêve de relever. Son champion sera l'inflexible baron Haussmann. C'est le profil idéal : ancien préfet de Gironde, il a largement contribué à moderniser le territoire dont il avait la charge. Nommé préfet de la Seine, le baron agrandit d'abord Paris en annexant les communes limitrophes, rase l'essentiel du bâti pour remodeler entièrement la voirie. De larges axes, au bout desquels se trouve toujours un monument, remplacent les rues tortueuses. La circulation en ville est fluidifiée : dans les années 1860, en grimpant dans un omnibus à cheval, on peut traverser Paris en 20 minutes ! La ville doit aussi être belle : les vieilles maisons sont remplacées par les fameux immeubles "Haussmannien" et de nombreux espaces verts sont aménagés. Le résultat est grandiose, mais tout cela a un coût, celui du budget annuel pour toute la France ! Thèmes abordés : urbanisme, Second Empire, Haussmann, Napoléon III, hygiène, Paris, épidémie "Au cœur de l'histoire" est un podcast Europe 1 Studio- Auteure et Présentatrice : Virginie Girod - Production : Caroline Garnier- Réalisation : Nicolas Gaspard- Composition de la musique originale : Julien Tharaud et Sébastien Guidis- Edition et Diffusion : Nathan Laporte- Coordination des partenariats : Marie Corpet- Visuel : Sidonie Mangin À lire : Les Nuits de la peur bleue d'Éric Fouassier. Le Bureau des affaires occultes, Tome 3 Ressources en ligne https://www.youtube.com/watch?v=r9jcCi2UC3Y https://www.napoleon.org/histoire-des-2-empires/tableaux/lattentat-dorsini-devant-la-facade-de-lopera-le-14-janvier-1858/ https://www.napoleon.org/jeunes-historiens/napodoc/napoleon-iii-empereur-des-francais-1808-1873/ https://www.napoleon.org/enseignants/documents/document-les-comptes-fantastiques-dhaussmann-de-jules-ferry-commentaire-et-extraits/ Découvrez l'abonnement "Au Coeur de l'Histoire +" et accédez à des heures de programmes, des archives inédites, des épisodes en avant-première et une sélection d'épisodes sur des grandes thématiques. Profitez de cette offre sur Apple Podcasts dès aujourd'hui !

Preview of premium episode with Justin Bell about Haussmann's renovation of Paris. Subscribe here: http://www.patreon.com/ItsJustBanter

« Paris mâchait les bouchées à ses deux millions d'habitants. » Émile Zola décrivait le ventre de Paris comme « un grand organe central jetant le sang de la vie dans toutes les veines ». Eh ouais les gars, le S, c'est Zola qui l'a inventé, pas Jul. Il parle de quoi ? Zola parle du marché des Halles, dans son livre le « ventre de Paris » publié en 1873. Le ventre de paris n'existe plus, du moins, il est parti s'exiler à Rungis mais pourquoi ? Eh bien, je vais le dire dans ce podcast. Les halles datent de la fin du XIXe siècle, un projet né dans un Paris qui se transforme avec sa grande modernisation opérée par Haussmann et voulue par Napoléon III. Les halles Baltard, du nom de l'architecte à l'oeuvre, ce sont 12 pavillons répartis sur plus de 30 hectares. À chaque pavillon sa spécialité. L'un pour les volailles, l'autre pour les fruits et légumes, le fromage, les gibiers, les pains, on trouve de tout et dans des quantités gargantuesques. Plus de 5 000 personnes y travaillent. Ca grouille de monde et de vie, 24h sur 24. Les cafés restent ouverts de jour comme de nuit. Un siècle après sa construction, les halles sont bondées, insalubres. Il est temps de partir. En 1969, le général de Gaulle signe le déménagement du ventre de Paris et inaugure le marché international de Rungis. Les halles sont détruites pour laisser place à une station de métro de l'enfer. À Rungis, c'est une tout autre échelle. On parle du plus grand marché de produits frais au monde. On passe des 33 hectares parisiens à plus de 230. 3 millions de tonnes de marchandises y transitent en 2022. Ce marché international est réservé aux professionnels du secteur.  Le marché de Rungis n'a plus rien à voir avec les halles parisiennes mais a su conserver une petite tradition, celle de la soupe à l'oignon. D'ailleurs son autre nom, c'est la gratinée des halles. On la mange au début d'une longue journée de travail qui démarre souvent très tôt pour se réchauffer et désormais, on la consomme dans toute bonne fin de soirée qui se respecte. Learn more about your ad choices. Visit megaphone.fm/adchoices

For the better part of a millennium, the city of Paris was more or less the same. A crowded, Medieval city of narrow, twisting streets and people living virtually on top of one another, it was, by the 19th Century, mired in rampant crime and disease and was in desperate need of an overhaul. But who would rise up to accept such a monumental task? Find out in this week's episode! --- Support this podcast: https://podcasters.spotify.com/pod/show/historylovescompany/support

8 Minute History เอพิโสดนี้ ยังคงอยู่กับเรื่องราวของจักรพรรดินโปเลียนที่ 3 แห่งสาธารณรัฐที่ 2 ของฝรั่งเศส ครั้งนี้มาย้อนดูความรุ่งโรจน์ที่ส่งผลถึงความรุ่งเรืองในปัจจุบัน ตั้งแต่โครงการพัฒนาอุตสาหกรรม อภิมหาโปรเจกต์ Haussmann และการออกรบเคียงบ่าเคียงไหล่เหล่าทหาร แต่สุดท้ายบุคคลที่ประชาชนโหวตให้อย่างถล่มทลาย กลายเป็นถูกกดดันจนต้องยอมสละอำนาจบางส่วน ก่อนหน้านั้นเกิดอะไรขึ้นบ้าง แล้วเหตุใดจึงลงเอยเช่นนี้ ติดตามต่อกันได้เลย!

8 Minute History เอพิโสดนี้ ยังคงอยู่กับเรื่องราวของจักรพรรดินโปเลียนที่ 3 แห่งสาธารณรัฐที่ 2 ของฝรั่งเศส ครั้งนี้มาย้อนดูความรุ่งโรจน์ที่ส่งผลถึงความรุ่งเรืองในปัจจุบัน ตั้งแต่โครงการพัฒนาอุตสาหกรรม อภิมหาโปรเจกต์ Haussmann และการออกรบเคียงบ่าเคียงไหล่เหล่าทหาร  แต่สุดท้ายบุคคลที่ประชาชนโหวตให้อย่างถล่มทลาย กลายเป็นถูกกดดันจนต้องยอมสละอำนาจบางส่วน ก่อนหน้านั้นเกิดอะไรขึ้นบ้าง แล้วเหตุใดจึงลงเอยเช่นนี้ ติดตามต่อกันได้เลย!

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2 hour and 34 minutes The Sponsors Thank you to Underground Printing for making this all possible. Rishi and Ryan have been our biggest supporters from the beginning. Check out their wide selection of officially licensed Michigan fan gear at their 3 store locations in Ann Arbor or learn about their custom apparel business at undergroundshirts.com. Our associate sponsors are: Peak Wealth Management, Matt Demorest - Realtor and Lender, Ann Arbor Elder Law, Michigan Law Grad, The Phil Klein Insurance Group, Winewood Organics, Human Element, Venue by 4M where we recorded this, and The Nose Bleeds, which is the Sklars Bros' reboot of Cheap Seats on UFC Fight Pass. 1. Offense vs Rutgers Starts at 1:00 Traditionally, this podcast has always started without Lou Holtz, but we challenge him to come here. JJ kept the ball a lot, it felt like Michigan took this game seriously. We're starting to get worried about Donovan Edwards' run game, he's leaving yards on the field. Blake Corum looks like he's all the way back, though, the offensive line will probably grade out well overall. LaDarius Henderson was playing on and off. It feels like we're at the floor at tackle as far as preseason expectations go, we're in game four and don't know who the starters are. JJ's first few throws were questionable or inaccurate, but then he leveled out. When's the last time they threw a tunnel screen? Semaj Morgan looked good but he's small out there. We think the cyan worked? The flea flicker was from Super Tecmo Bowl. Get Trente Jones the ball! The amount of times JJ ran felt about right also, good that he always got out of bounds. Max Bredeson's blocking has been great.  [The rest of the writeup and the player after THE JUMP]   2. Defense vs Rutgers Starts at 39:34 Rod Moore lets a 69 yard touchdown get by and then gets benched for a bit, Quentin Johnson came in and looked pretty good again. Rutgers got the edge a couple times. The only other time they were able to move the ball was when Wimsatt was possessed by the ghost of Unstoppable Throw God Trevor Siemian for half a drive. Rutgers couldn't move the ball against the starting defensive line but were able to push the backups around. Linebackers played great, Mike Barrett looked like a fully weaponized middle linebacker. Haussmann had a really good game, Junior Colson is just not making mistakes in the run game. Mike Sainristil absolutely dump trucked Junior Colson during his interception. Everyone thinks the play is dead except Mike Sainristil and Kenneth Grant, who is impossibly fast for his size here. Michigan defeats the number one thing Rutgers had, which was a running back lead block for the quarterback. Rutgers felt like a much more functional football team this year.  3. Hot Takes, Game Theory, and Special Teams Starts at 1:00:38 Brian's Hot Takes voice was actually just a Ryan Day impression this whole time. Aussie punters are annoying, we don't like it. Thaw needs to get to that ball, someone else should be spotting it. Tommy Doman kicked a punt that still hasn't landed yet. The officials had a day, good thing it was a Ref Day in a game where it didn't matter. The Loveland first down was really bad, they marked a clear 3rd and 1 from Donovan Edwards short, they called a pass interference after a receiver gave up on the route. Why do you hate Michigan, KYLE?! They've been slow out of the huddle and had to call timeouts twice. Kalel Mullings could very well be the starter next year, and maybe even take some carries away from Edwards this season.  4. Around the Big Ten with Jamie Mac Starts at 1:27:45 Ohio State - 17 Notre Dame - 14 Defensive battle with a lot of drives that end on 4th down. Notre Dame bottles up Ohio State's passing attack and short yardage runs. Sam Hartman throws every possible 4 yard pass en route to 175 yards. The ending was wild and is discussed. JTT and Sawyer look like they haven't developed at all but Notre Dame has two great tackles. Notre Dame puts 10 guys on the field for the final two plays. The way Ohio State runs this game is how they lose to Michigan. The bad half Ryan Day was referring to was not even the one we were thinking of. The Lou Holtz thing is even funnier in context.    Nebraska - 28 Louisiana Tech - 14 Nebraska's QB had more rushing yards than passing yards. They've discarded the forward pass, as God intended. Nebraska has a 330 lbs defensive tackle that wears zero. This next game will be a test for Michigan's rush offense, Nebraska may give Michigan some answers about where they are.    Maryland - 31 Michigan State - 9 George Blaha said what?? Michigan State turned it over FIVE times, even though they outgain Maryland. There were some positive signs that they might be able to hang with some of the middle to lower tier big ten teams but we also saw what happened against Washington. It might be a worse sign for Maryland.    Penn State - 31 Iowa - 0 Cade McNamara, 5-14 for 42 yards. Iowa's running backs combine for 27 yards. Penn State runs almost 60 more plays. It's about if Kirk Ferentz is getting fired at this point, not just Brian Ferentz. Four first downs to four turnovers, the stats just keep getting worse. Not sure you can extrapolate much from Penn State's defense in this. Penn State ground game was bottled up, passing game seemed fine.   Indiana - 29 (4OT) Akron - 27 Indiana's safeties are terrible. Akron outgains Indiana 474-282. Indiana has combined for 8 rushing first downs against three FBS teams this season. Akron is a bad MAC team.    Illinois - 23 Florida Atlantic - 17 Illinois outgains FAU 510-353. Still a little skeptical of this Illinois team but they looked a lot better in this game, even got out of a scoring hole. They're not good but they don't seem dire.    Northwestern - 37 (OT) Minnesota - 34 Northwestern comes back from a 21 yard deficit and gains 492 yards. AJ Henning has a game tying touchdown. These are the games Minnesota usually takes care of and helps them eek out 8 wins. Doesn't look like that will be the case this year. Wisconsin - 38 Purdue - 17 Tanner Mordecai had 13 rushes that weren't sacks. Wisconsin is probably going to sleepwalk to the division title because nobody else is even trying in the West. MUSIC: “Bug Like An Angel”— Mitski “Rock 'n Roll With Me”— David Bowie “Let's Go Out On The Town”—  Cut Worms “Across 110th Street”

H is for Haussmann - Baron Haussmann that is. He was the urban planner behind the redesign of Paris under Napoleon III.  But what is a Haussmannian building? Who was Haussmann, really, and why was his work so important? Where can you find it in Paris? And what's his legacy? All those questions are answered in this episode, with help from tour guide Boris Petrovic from Paris in Person (find his Haussmannian Paris tour here). Do you like this podcast? Become a Patreon member of The Earful Tower here to support this show and get extras. The music in this episode is from Pres Maxson.

durée : 00:34:59 - Les Nuits de France Culture - par : Albane Penaranda - "Marcel Proust : souvenirs retrouvés" est le titre d'une conférence donnée en 1971 par Louis Gautier-Vignal, dans laquelle il partage ses souvenirs de l'écrivain, qu'il a bien connu. Dans ce témoignage précieux, on l'entend évoquer la figure attachante de l'auteur d'"A la Recherche du temps perdu". En 1971, dans la série des "Grandes conférences", l'écrivain Louis Gautier-Vignal partage avec les auditeurs de France Culture ses souvenirs de Marcel Proust. Dramaturge, poète, auteur de nombreuses biographies, d'Érasme, Machiavel et Pic de la Mirandole notamment, on doit à Louis Gautier-Vignal un Proust, connu et inconnu paru en 1976. Dans cette conférence, enregistrée à la mairie du 16ème arrondissement de Paris, il décrivait l'ami, l'écrivain tel qu'il l'avait connu à partir de 1914, menant, depuis quelques années déjà, dans son appartement du 102 boulevard Haussmann, une existence de reclus entièrement vouée à l'écriture de son ouvre monumentale : À la Recherche du temps perdu. Louis Gautier-Vignal commence ainsi sa conférence : "Peu nombreux sont maintenant les anciens amis de Proust capables d'apporter sur lui leur témoignage. Ayant été de ses amis, je pense vous intéresser davantage en évoquant son souvenir plutôt qu'en tentant d'analyser tel ou tel aspect de son ouvre. Je vais tenter d'évoquer pour vous l'étrange et attachante figure de l'auteur de La Recherche du temps perdu." A propos de sa rencontre avec Marcel Proust : "Je n'ai connu Proust qu'en 1914. A l'époque où je l'ai connu, Proust ne quittait guère la chambre de son appartement du boulevard Haussmann. Cette chambre, seule pièce de l'appartement qu'il habitait et où il a écrit son ouvre, a été maintes fois décrite, mais souvent par des biographes de Proust qui n'y sont jamais allés. Peut-être dois-je à mon tour vous la décrire puisque j'y ai passé d'innombrables heures en compagnie de l'écrivain." Il évoque aussi la personnalité incontournable de Céleste Albaret, la gouvernante de Proust : "Céleste Albaret vit toujours et habite à Montfort-l'Amaury, la maison de Maurice Ravel, dont elle est la gardienne. Céleste a joué un rôle important dans la vie de Proust. Intelligente, discrète, dévouée, elle s'était attachée à l'écrivain dont elle savait la valeur et dont elle appréciait la beauté. Elle l'a aidé à supporter sa misérable existence de malade et lui a permis de mener à bien son ouvre." Les grandes conférences - Marcel Proust : Souvenirs retrouvés par Louis Gautier-Vignal 1ère diffusion le 15/06/1971 sur France Culture Edition web : Documentation Sonore de Radio France Archive Ina-Radio France Retrouvez l'ensemble de "La Nuit rêvée de Daniel Defert", proposée par Albane Penaranda.

Stéphane Bern, entouré de ses chroniqueurs historiquement drôles et parfaitement informés, s'amuse avec l'Histoire – la grande, la petite, la moyenne… - et retrace les destins extraordinaires de personnalités qui n'auraient jamais pu se croiser, pour deux heures où le savoir et l'humour avancent main dans la main. Aujourd'hui, le baron Haussmann.

Historiquement Vôtre réunit des personnages qui ont fait un pari : Blaise Pascal, tout à la fois philosophe et mathématicien, penseur et physicien, qui a fait son "pari sur le problème de l'éternité" comme une allégorie du principe de précaution, en disant que, si Dieu existe ou n'existe pas, autant croire en lui pour être sûr de gagner sa place au paradis, si paradis il y a ! Puis, lui aussi a fait un pari, à la demande de Napoléon III : le baron Haussmann qui a accepté le défi d'embellir Paris, avec ses parcs, ses squares, ses fontaines, ses grands boulevards et ses immeubles en pierre de taille pour un pari… de taille lui aussi ! Et des humoristes qui ont fait un pari, "Le Pari" même au cinéma : Les Inconnus.

Welcome to the Join Us in France Travel Podcast, where we explore the rich history, architecture, and culture of France's most iconic cities and regions. In today's episode, we'll be focusing on Georges-Eugène Haussmann and the transformation of Paris in the 19th century with Elyse Rivin of Toulouse Guided Walks. About Baron Haussmann and the Transformation of Paris Haussmann, commonly referred to as "Baron Haussmann," was appointed by Emperor Napoleon III to modernize Paris. His extensive urban renewal project aimed to address the city's issues, such as overcrowding, unsanitary conditions, and inefficient transportation. In this episode, we'll examine Haussmann's key contributions to urban planning, the controversies and criticisms of his methods, and the long-term effects of his work on Paris. We'll also discuss how Haussmann's efforts influenced the development of other cities around the world. Join us as we uncover the story of Baron Haussmann and the significant impact he had on shaping modern Paris, right here on the Join Us in France Travel Podcast. Magazine Part of the Podcast Renew your passport early! When do you need to reserve restaurants in Paris? Table of Contents for this Episode Today on the podcast: Haussmann and the Transformation of Paris Podcast supporters Newsletter Magazine Part of the Podcast Haussmann and the transformation of Paris Opera Garnier Medieval Paris Haussmann's ancestors Haussmann becomes the Sous-Préfet of Paris Napoleon's plans to clean up, to beautify, to enlarge and to modernize Haussmann becomes Prefet of Paris Napoleon wants a small park in every arrondissement Rue de Rivoli, first boulevard to be finished Haussmann's rational aesthetic The Human Cost of the Haussmann Transformation of Paris What Emile Zola and Jules Ferry thought of these changes Some of Haussmann's projects Did he design wide streets so the military could get around? Considering the huge costs Haussmann is fired Haussmann's influence outside of Paris Renovations would have happened no matter what Thank you patrons Video about cooking mushrooms Driving in France video Your next journey to France – Personal Itinerary Consultant VoiceMap app tours US Passports Travel Question of the Week – Do you need to reserve Restaurants in Paris? Share the podcast trailer Next week on the podcast Copyright

La semaine dernière, Marilyne et moi vous avions emmenés faire un tour aux Grands magasins dans le quartier entre Saint-Lazare et Opéra. Nous avions fait un tour au Printemps, le grand magasin créé en 1865 par Jules Jaluzot, puis chez Lafayette Gourmet où nous avions goûté les pâtisseries de Jeffery Cagnes. Aujourd'hui, nous allons aux Galeries Lafayettes, le grand magasin à la coupole de verre, créé trente ans après le Printemps, par deux cousins venus des Vosges, Théophile Bader et Alphonse Kahn. Les Galeries Lafayette se trouvent dans le prolongement du Printemps, sur le boulevard Haussmann, en direction de l'Opéra Garnier.  www.onethinginafrenchday.com