프랑스 파리, 42층 빌딩 건설로 거센 논란 중 Paris: glass triangle looms large on horizon of a city caught between past and future

Paris: glass triangle looms large on horizon

of a city caught between past and future

프랑스 파리, 42층 빌딩 건설로 거센 논란 중

 

A computer image of the planned Triangle Tower, now the centre of intense debate.

Photograph: AP‘타워 트라이앵글’의 컴퓨터 이미지. 헤르조그 앤 드 뫼롱 제공 | AP연합뉴스

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프랑스 파리가 180m 높이, 42층 규모의 고층빌딩 건설을 두고 거센 논란에 휩싸였다.   파리는 도시 미관을 위해 17세기부터 건물 고도를 엄격하게 제한해왔다. 이 때문에 다른 대도시와 달리 파리는 도심에서 고층빌딩을 찾을 수 없다.   랜드마크 에펠탑(324m)을 제외하면 지금까지 파리 도심에 들어서 있는 고층빌딩은 1973년 지어진 몽파르나스 타워(210m)뿐이다. 이마저도 프랑스인들의 미움을 한몸에 받고 있다. “몽파르나스 타워를 폭파해버린 벨기에 사람을 무엇이라 부를까? 답은 ‘국민 영웅’”이라는 농담도 있다.   하지만 파리시는 2010년 경기침체 타개책으로 도심 외곽의 일부 지역에 180m 높이의 고층빌딩을 지을 수 있도록 규제를 완화하고, 파리 남서부에 180m짜리 업무용 건물 ‘타워 트라이앵글’을 세우기로 했다.   이 건물이 완공되면 에펠탑, 몽파르나스 타워에 이어 파리에서 세 번째로 높은 건물이 된다. 파리시는 이 건설 프로젝트가 5억유로(약 6718억원)의 투자를 유치하고 일자리 5000개를 창출할 것으로 보고 있다.   파리 시민들은 “타워 트라이앵글이 건설되면 파리 스카이라인의 아름다움이 훼손될 것”이라며 반대 운동에 나섰다. 다른 한편에서는 “도시는 박물관이 아니다”라며 융통성을 발휘해야 한다고 반박하고 있다.   타워 트라이앵글 건설 안건은 지난달 파리 시의회에서 부결됐지만, 안 이달고 파리 시장은 투표 과정에 문제가 있었다고 주장하며 건설을 계속 추진하겠다고 밝힌 상태라 논란은 계속될 것으로 보인다. 경향신문 남지원 기자 somnia@kyunghyang.com

 

The landmarks Parisians love were all derided in their time.

Now a skyscraper plan is the focus of arguments about renewal and preservation

Kim Willsher Parisians used to joke that the view from the rooftop terrace of the Centre Georges Pompidou was the best in the city. It was not what you could see – the Eiffel tower in one direction, Notre Dame in another and the ethereal dome of Sacré Coeur over a vast expanse of roofs. It was what you could not see: the Centre Georges Pompidou itself, with its inside-out, colour-coded architecture once described as having all the charm of an oil refinery.   Today the joke has worn thin. Like Gustave Eiffel’s once-derided iron “monstrosity”, the Pompidou, commissioned by the French president of the same name, has gone from eyesore to icon in the public mind. A new generation of city officials, led by the Socialist mayor, Anne Hidalgo, wants to change the view from the Pompidou, calling for ideas to “reinvent” the cityscape. However, plans for a skyscraper, known as the Triangle Tower, have divided Parisians and prompted a wave of protests that the city’s cherished skyline is about to be violated.   That skyline is protected by regulations banning most high-rise buildings, to the extent that Unesco has described Paris as one of those rare “horizontal cities”. Jean-Louis Missika, deputy mayor in charge of urban planning, told the Observer: “If we build something like the Triangle Tower, it has to be an exception, a signature building.” However, the City Hall is facing fierce opposition from conservatives who remain fiercely protective of their city. The Canadian-American architect Frank Gehry’s massive glass Cloud – recently opened by the Louis Vuitton Foundation in the Bois de Boulogne to mostly rave reviews – continues to divide opinion.   And when the city authorities proposed to build a 180-metre, 42-storey glass Triangle Tower near the Porte de Versailles in the south-west of the capital – Paris’s first skyscraper in more than four decades – the reaction was predictably hostile. The plans were barely off the drawing board when residents set up a protest group and hung “Non à la Tour Triangle” banners from the balconies of their flats. Patrice Maire, president of the protest group, argued that the Triangle would have a “devastating impact” on the skyline and described it as “irresponsible”.   The Eiffel tower and the Pompidou Centre are often cited in Paris as symbols of how a city can move with the times while retaining its historic soul, but they are far from alone. On a rainy winter’s day, tourists running from coaches into the Louvre still stop under the drizzle to marvel at its illuminated, multifaceted glass pyramid entrance sparkling in the gloom. Surrounded by three wings of the classic building, the pyramid, completed in 1989 after being commissioned by another president, François Mitterrand – who detractors accused of having a “pharaonic complex” – was no less controversial. Today no one but diehard traditionalists would argue that it has not been a popular addition to the historic palais.   A short walk away are the Colonnes de Buren, the once equally controversial black-and-white striped columns of varying heights in the Cour d’Honneur of the Palais Royal. The brainchild of former Socialist culture minister Jack Lang, the columns – which were derided as sticks of rock unsuitable for such a lofty historic landmark – have gained a grudging acceptance in the last 20 years.   It was ever thus. Baron Haussmann, Napoleon III’s architect, faced fierce opposition to his plans to replace swaths of the city – including what Voltaire described as the filthy, narrow, infected streets around the Louvre worthy of “Goths and Vandals” – with airy boulevards, parks and squares. Critics described Haussmann’s Paris as a “triumph of vulgarity … and awful materialism”. To describe a building as Haussmannian in the 19th century was an insult. Today it adds tens of thousands to the sale price.   view of Paris at sunset from the Montparnasse tower, looking north-west across the Champ de Mars, the Eiffel tower, the Bois de Boulogne and beyond. Photograph: Alamy    Parisians used to joke that the view from the rooftop terrace of the Centre Georges Pompidou was the best in the city. It was not what you could see – the Eiffel tower in one direction, Notre Dame in another and the ethereal dome of Sacré Coeur over a vast expanse of roofs. It was what you could not see: the Centre Georges Pompidou itself, with its inside-out, colour-coded architecture once described as having all the charm of an oil refinery.   Today the joke has worn thin. Like Gustave Eiffel’s once-derided iron “monstrosity”, the Pompidou, commissioned by the French president of the same name, has gone from eyesore to icon in the public mind. A new generation of city officials, led by the Socialist mayor, Anne Hidalgo, wants to change the view from the Pompidou, calling for ideas to “reinvent” the cityscape. However, plans for a skyscraper, known as the Triangle Tower, have divided Parisians and prompted a wave of protests that the city’s cherished skyline is about to be violated.   That skyline is protected by regulations banning most high-rise buildings, to the extent that Unesco has described Paris as one of those rare “horizontal cities”. Jean-Louis Missika, deputy mayor in charge of urban planning, told the Observer: “If we build something like the Triangle Tower, it has to be an exception, a signature building.” However, the City Hall is facing fierce opposition from conservatives who remain fiercely protective of their city. The Canadian-American architect Frank Gehry’s massive glass Cloud – recently opened by the Louis Vuitton Foundation in the Bois de Boulogne to mostly rave reviews – continues to divide opinion.   And when the city authorities proposed to build a 180-metre, 42-storey glass Triangle Tower near the Porte de Versailles in the south-west of the capital – Paris’s first skyscraper in more than four decades – the reaction was predictably hostile. The plans were barely off the drawing board when residents set up a protest group and hung “Non à la Tour Triangle” banners from the balconies of their flats. Patrice Maire, president of the protest group, argued that the Triangle would have a “devastating impact” on the skyline and described it as “irresponsible”.   The Eiffel tower and the Pompidou Centre are often cited in Paris as symbols of how a city can move with the times while retaining its historic soul, but they are far from alone. On a rainy winter’s day, tourists running from coaches into the Louvre still stop under the drizzle to marvel at its illuminated, multifaceted glass pyramid entrance sparkling in the gloom. Surrounded by three wings of the classic building, the pyramid, completed in 1989 after being commissioned by another president, François Mitterrand – who detractors accused of having a “pharaonic complex” – was no less controversial. Today no one but diehard traditionalists would argue that it has not been a popular addition to the historic palais.   A short walk away are the Colonnes de Buren, the once equally controversial black-and-white striped columns of varying heights in the Cour d’Honneur of the Palais Royal. The brainchild of former Socialist culture minister Jack Lang, the columns – which were derided as sticks of rock unsuitable for such a lofty historic landmark – have gained a grudging acceptance in the last 20 years.   It was ever thus. Baron Haussmann, Napoleon III’s architect, faced fierce opposition to his plans to replace swaths of the city – including what Voltaire described as the filthy, narrow, infected streets around the Louvre worthy of “Goths and Vandals” – with airy boulevards, parks and squares. Critics described Haussmann’s Paris as a “triumph of vulgarity … and awful materialism”. To describe a building as Haussmannian in the 19th century was an insult. Today it adds tens of thousands to the sale price.   Parisians used to joke that the view from the rooftop terrace of the Centre Georges Pompidou was the best in the city. It was not what you could see – the Eiffel tower in one direction, Notre Dame in another and the ethereal dome of Sacré Coeur over a vast expanse of roofs. It was what you could not see: the Centre Georges Pompidou itself, with its inside-out, colour-coded architecture once described as having all the charm of an oil refinery.   Today the joke has worn thin. Like Gustave Eiffel’s once-derided iron “monstrosity”, the Pompidou, commissioned by the French president of the same name, has gone from eyesore to icon in the public mind. A new generation of city officials, led by the Socialist mayor, Anne Hidalgo, wants to change the view from the Pompidou, calling for ideas to “reinvent” the cityscape. However, plans for a skyscraper, known as the Triangle Tower, have divided Parisians and prompted a wave of protests that the city’s cherished skyline is about to be violated.   That skyline is protected by regulations banning most high-rise buildings, to the extent that Unesco has described Paris as one of those rare “horizontal cities”. Jean-Louis Missika, deputy mayor in charge of urban planning, told the Observer: “If we build something like the Triangle Tower, it has to be an exception, a signature building.” However, the City Hall is facing fierce opposition from conservatives who remain fiercely protective of their city. The Canadian-American architect Frank Gehry’s massive glass Cloud – recently opened by the Louis Vuitton Foundation in the Bois de Boulogne to mostly rave reviews – continues to divide opinion.   And when the city authorities proposed to build a 180-metre, 42-storey glass Triangle Tower near the Porte de Versailles in the south-west of the capital – Paris’s first skyscraper in more than four decades – the reaction was predictably hostile. The plans were barely off the drawing board when residents set up a protest group and hung “Non à la Tour Triangle” banners from the balconies of their flats. Patrice Maire, president of the protest group, argued that the Triangle would have a “devastating impact” on the skyline and described it as “irresponsible”.   The Eiffel tower and the Pompidou Centre are often cited in Paris as symbols of how a city can move with the times while retaining its historic soul, but they are far from alone. On a rainy winter’s day, tourists running from coaches into the Louvre still stop under the drizzle to marvel at its illuminated, multifaceted glass pyramid entrance sparkling in the gloom. Surrounded by three wings of the classic building, the pyramid, completed in 1989 after being commissioned by another president, François Mitterrand – who detractors accused of having a “pharaonic complex” – was no less controversial. Today no one but diehard traditionalists would argue that it has not been a popular addition to the historic palais.   A short walk away are the Colonnes de Buren, the once equally controversial black-and-white striped columns of varying heights in the Cour d’Honneur of the Palais Royal. The brainchild of former Socialist culture minister Jack Lang, the columns – which were derided as sticks of rock unsuitable for such a lofty historic landmark – have gained a grudging acceptance in the last 20 years.   It was ever thus. Baron Haussmann, Napoleon III’s architect, faced fierce opposition to his plans to replace swaths of the city – including what Voltaire described as the filthy, narrow, infected streets around the Louvre worthy of “Goths and Vandals” – with airy boulevards, parks and squares. Critics described Haussmann’s Paris as a “triumph of vulgarity … and awful materialism”. To describe a building as Haussmannian in the 19th century was an insult. Today it adds tens of thousands to the sale price. theguardian

 

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