Le Mont-Saint-Michel is a tidal island and mainland commune in Normandy, France. The island is located about one kilometer off the country’s northwestern coast, at the mouth of the Couesnon River near Avranches and is 7 hectares in area.
The original site was founded by an Irish hermit, who gathered a following from the local community. Mont-Saint-Michel was used in the sixth and seventh centuries as an Armorican stronghold of Gallo-Roman culture and power until it was ransacked by the Franks, thus ending the trans-channel culture that had stood since the departure of the Romans in 460. From roughly the fifth to the eighth century, Mont Saint-Michel belonged to the territory of Neustria and, in the early ninth century, was an important place in the marches of Neustria.
When Louis XI of France founded the Order of Saint Michael in 1469, he intended that the abbey church of Mont Saint-Michel become the chapel for the Order, but because of its great distance from Paris, his intention could never be realised.
The wealth and influence of the abbey extended to many daughter foundations, including St. Michael’s Mount in Cornwall. However, its popularity and prestige as a centre of pilgrimage waned with the Reformation, and by the time of the French Revolution there were scarcely any monks in residence. The abbey was closed and converted into a prison, initially to hold clerical opponents of the republican regime. High-profile political prisoners followed, but by 1836, influential figures—including Victor Hugo—had launched a campaign to restore what was seen as a national architectural treasure. The prison was finally closed in 1863, and the mount was declared a historic monument in 1874. Mont Saint-Michel and its bay were added to the UNESCO list of World Heritage Sites in 1979, and it was listed with criteria such as cultural, historical, and architectural significance, as well as human-created and natural beauty.
Throughout, the attention to detail is meticulous: mosaic floors of mythical beasts; intricately painted ceilings of interlocking wooden beams. The walls of the Andron, traditionally the male quarters of an ancient Greek household, are streaked with three types of Tuscan marble: ochre Siena, mauve Fleur de Pêcher, and grey-white Carrara. In Mrs Reinach’s bathroom, an immense bathtub weighing one tonne is balanced on two lion paws. Above its ornamental bronze taps, a low-relief frieze depicts the chariot of Demeter. From every window stretches a panorama of glittering blue.
“THE GREEK SPIRIT WAS FOR HIM BOTH DREAM AND REALITY, MEMORY AND PRESENT…”
The descent is steep, winding, and impossibly verdant for mid-winter. It is a clear blue day in the aptly named Beaulieu-sur-Mer, a pastel-hued seaside village on the outskirts of Nice. The road is lined with climbing vines and succulents, the air redolent of pine trees in the heat. Then, after a short drive alongside a golden bay, it appears, perched atop a promontory, jutting defiantly from the Côte d’Azur.
An exceptional Burgundy is not only well crafted and well balanced, it also must have essential qualities reflecting its own terroir as well as those unique to the particular vintage, distilling the very essence of the vine itself and the earth from which it springs.
Essential reading for all fine wine aficionados, whether curating a dream cellar or selecting the best Burgundy wines to experience with friends and family, The 100 Burgundy: offers a fresh perspective by a dedicated professional who visits the region regularly and recognizes the best it has to offer.
For wine enthusiasts discovering Burgundy—and those already smitten with the region’s seductive wines—The 100 Burgundy: is the first guide of its kind to the region’s best wines and makers, detailing the domaines and highlighting each chosen wine with tasting notes. Considering factors such as a wine’s quality, its ability to evolve and improve over time, and its ability to evoke emotion, Master of Wine Jeannie Cho Lee invites readers to explore 100 memorable Burgundy wines of the Côte d’Or, from benchmark domaines to rising stars.
With a foreword by Lalou Bize-Leroy, owner of Domaine Leroy and co-owner of Domaine de la Romanée-Conti, this enlightening volume is a journey through the countryside of Burgundy, capturing the context, people, and history that inspire the creation of these masterful wines.
Jeannie Cho Lee is the first Asian Master of Wine (MW), an award-winning author, wine critic, judge, and educator. Currently a professor at Hong Kong Polytechnic University, where she helped launch the Master of Science program in International Wine Management, she is also a consultant for Singapore Airlines since 2009.
Ranked among the most beautiful villages in France, Vogüé takes place in the Auvergne-Rhône-Alpes region, in the department of Ardèche. Located in a limestone cliff, the town is today an important tourist site appreciated by visitors. English subtitles.
The legend of St. Tropez starts with a dog, a rooster, and a martyr; and it leads to movie stars, world-renowned artists and distinguished writers. Located on the sparkling French Riviera, St. Tropez has enjoyed the spotlight for more than half a century, for better or worse, with celebrities flocking to this idyllic locale for its beaches and a dose of Mediterranean sun.
A picturesque oasis, St. Tropez has served as inspiration for a who’s who of notable writers from Françoise Sagan to Colette; as well as renowned artists Paul Signac and Henri Matisse; and even filmmakers. However, St. Tropez would not be the same without then belle du jour Brigitte Bardot, her films and lovers and many other famous couples including Annabel and Bernard Buffet and Bianca and Mick Jagger.
St. Tropez Soleilguides the reader through its storied past and ever-evolving present. Featuring annual mainstays such as Les Bravades and the Les Voiles de Saint-Tropez as well as exclusive events like a Chanel fashion show at the quintessentially Tropezian Sénéquier café and the White Party at Nikki Beach begun by Naomi Campbell. But despite all that changes, the spirit of St. Tropez remains the same and this volume is an ode to the unique joie de vivre that keeps everyone coming back.
Simon Liberati is an award-winning French writer and journalist. He has worked for publications such as Purple, Numéro, and 20 Ans and he frequently collaborates with Vogue. He has written ten books including Jayne Mansfield 1967 (2011), which won the prix Femina, and the best-selling Eva (2015).
Excerpts from a Wall Street Journal online review (Feb 25, 2020):
Masson, a founding Surrealist, saw the movement as an immersion “into what the German romantics call the night side of things.” However, “towards 1930,” Masson wrote, “a formidable disaster appeared in its midst: the demagogy of the irrational.” “Midnight in Paris” touches on Surrealism’s highs and lows, its darkness, poetry, beauty and banalities, reminding viewers—at the heart of the Dalí Museum, no less—that the movement is much, much more than melting watches.
In 1920s Paris, Surrealist revolution and transgression were in the air, but not everyone agreed on how to make Surrealist works or what they should look like. “Midnight in Paris: Surrealism at the Crossroads, 1929,” an exhibition of 80 paintings, prints, sculptures, drawings, collages, photographs, films and documents at St. Petersburg’s Dalí Museum, proposes to examine Surrealism’s rich visual fabric, conflicts and rivalries during the movement’s heyday in the City of Light. Organized by Didier Ottinger, deputy director of the Musée national d’art moderne at the Centre Pompidou, and William Jeffett, chief curator of special exhibitions at the Dalí, it focuses on the moment just before Surrealism burst onto and began to dominate the world stage.
Paris, City of Dreams traces the transformation of the City of Light during Napoleon III’s Second Empire into the beloved city of today. Together, Napoleon III and his right-hand man, Georges Haussmann, completely rebuilt Paris in less than two decades—a breathtaking achievement made possible not only by the emperor’s vision and Haussmann’s determination but by the regime’s unrelenting authoritarianism, augmented by the booming economy that Napoleon fostered.
Acclaimed historian Mary McAuliffe vividly recaptures the Paris of Napoleon III, Claude Monet, and Victor Hugo as Georges Haussmann tore down and rebuilt Paris into the beautiful City of Light we know today.
McAuliffe follows the lives of artists such as Edouard Manet, Berthe Morisot, and Claude Monet, as well as writers such as Emile Zola, Gustave Flaubert, and the poet Charles Baudelaire, while from exile, Victor Hugo continued to fire literary broadsides at the emperor he detested.
McAuliffe brings to life a pivotal era encompassing not only the physical restructuring of Paris but also the innovative forms of banking and money-lending that financed industrialization as well as the city’s transformation. This in turn created new wealth and lavish excess, even while producing extreme poverty. More deeply, change was occurring in the way people looked at and understood the world around them, given the new ease of transportation and communication, the popularization of photography, and the emergence of what would soon be known as Impressionism in art and Naturalism and Realism in literature—artistic yearnings that would flower in the Belle Epoque.
Napoleon III, whose reign abruptly ended after he led France into a devastating war against Germany, has been forgotten. But the Paris that he created has endured, brought to vivid life through McAuliffe’s rich illustrations and evocative narrative.
Mary McAuliffe holds a PhD in history from the University of Maryland, has taught at several universities, and has lectured at the Smithsonian Institution, the Barnes Foundation, and the Frick Pittsburgh. She has traveled extensively in France, and for many years she was a regular contributor to Paris Notes. Her books include Clash of Crowns, Dawn of the Belle Epoque, Twilight of the Belle Epoque, When Paris Sizzled, and Paris on the Brink. She lives in New York City with her husband.
“After 96 years on this earth, Yona has moved up to build a Spatial City and install some Space Chains in the sky. The Fonds de Dotation Denise and Yona Friedman, which he founded last year, will continue his work.”
From an Instagram post (02/21/20)
Yona Friedman (5 June 1923 – 21 February 2020) was a Hungarian-born French architect, urban planner and designer. He was influential in the late 1950s and early 1960s, best known for his theory of mobile architecture.
In 1958, Yona Friedman published his first manifesto : “Mobile architecture”. It described a new kind of mobility not of the buildings, but for the inhabitants, who are given a new freedom.
Mobile architecture is the “dwelling decided on by the occupant” by way of “infrastructures that are neither determined nor determining”. Mobile architecture embodies an architecture available for a “mobile society”. To deal with it, the classical architect invented “the Average Man”. The projects of architects in the 1950s were undertaken, according to Friedman, to meet the needs of this make-believe entity, and not as an attempt to meet the needs of the actual members of this mobile society.
The teaching of architecture was largely responsible for the “classical” architect’s under-estimation of the role of the user. Furthermore, this teaching did not embrace any real theory of architecture. Friedman proposed then teaching manuals for the fundamentals of architecture for the general public.
The spatial city, which is a materialization of this theory, makes it possible for everyone to develop his or her own hypothesis. This is why, in the mobile city, buildings should :
touch the ground over a minimum area
be capable of being dismantled and moved
and be alterable as required by the individual occupant.
The Spatial City is the most significant application of “mobile architecture”. It is raised up on piles which contains inhabited volumes, fitted inside some of the “voids”, alternating with other unused volumes, making it look aesthetically pleasant. The basis of its design is that of trihedral elements which operate as “neighbourhoods” where dwellings are distributed without a price.
This structure introduces a kind of merger between countryside and city (compare to Paolo Soleri’s Arcology concept) and may span:
certain unavailable sites,
areas where building is not possible or permitted (expanses of water, marshland),
areas that have already been built upon (an existing city),
above farmland.
This spanning technique which includes container structures ushers in a new development in town-planning. Raised plans increase the original area of the city becoming three-dimensional. The tiering of the spatial city on several independent levels, one on top of the other, determines “spatial town-planning” both from the functional and from the aesthetic viewpoint. The lower level may be earmarked for public life and for premises designed for community services as well as pedestrian areas. The piles contain the vertical means of transport (lifts, staircases). The superposition of levels should make it possible to build a whole industrial city, or a residential or commercial city, on the same site. In this way, the Spatial City forms what Yona Friedman would call an “artificial topography”. This grid suspended in space outlines a new cartography of the terrain with the help of a continuous and indeterminate homogeneous network with a major positive outcome: this modular grid would authorize the limitless growth of the city.
The spaces in this grid are rectangular and habitable modular “voids”, with an average area of 25–35 square meters. Conversely, the form of the volumes included within the grid depends solely on the occupant, and their configuration set with a “Flatwriter” in the grid is completely free. Only one half of the spatial city would be occupied. The “fillings” which correspond to the dwellings only actually take up 50% of the three-dimensional lattice, permitting the light to spread freely in the spatial city. This introduction of elements on a three-dimensional grid with several levels on piles permits a changeable occupancy of the space by means of the convertibility of the forms and their adaptation to multiple uses.
In Yona Friedman’s own words “The city, as a mechanism, is thus nothing other than a labyrinth : a configuration of points of departure, and terminal points, separated by obstacles”.