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What makes walking in Paris so wonderful is wandering its grand boulevards and exploring its elegant 3)arcades. 4)Amble about for an hour and you’ll understand how Paris gave birth to the 5)flâneur, a stroller fascinated with street life, for whom 6)sauntering the city was the best way to experience it.
Depicted in the paintings of 7)Édouard Manet and the poetry of 8)Charles Baudelaire, and analysed exhaustively by 9)Walter Benjamin in The Arcades Project, the flâneur was considered “a botanist of the sidewalk” for whom shop windows merited as much attention as museum paintings.
Now, while we have no interest in wearing10)cravats or 11)promenading turtles on 12)leashes, as the 13)flamboyant nineteenth century 14)dandies did, we’ve decided to take to the footpaths and passages of Paris to learn more about the city, and who better to guide us than our friend, Bernard?
We meet Bernard Zirnheld at Place Colette. Refreshingly, American-born Bernard is not a 15)Francophile, although he admits to having grown fond of the city. Holding degrees in French Literature and Fine Arts, he moved to Paris to do a doctoral 16)dissertation on architecture and urban planning. He is the ideal man to lead us on a17)mosey around the city.
We begin on Rue de Rivoli, where, as we take in the elegant 18)edifices stretching all the way to Place de la Concorde, Bernard vividly sets the scene for the four of us doing his walk today: “Imagine: in 1801 Napoleon III wants to create a majestic boulevard, a uniform street of elegant 19)neoclassical 20)façades and arcades, a monumental setting for the Louvre; he wants very particular businesses and luxury shops and he goes as far as banning bakeries so there are no smells… this becomes Paris’ first boulevard, intended as a ceremonial centre, inspired by Imperial Rome, that will connect important 21)nodes around the city…” Things start to make sense already.
Ten minutes into our walk and we’re already thinking differently about a street that Julian and I have strolled dozens of times. We head into the pretty gardens of the Palais Royal, one of our favourite spots in Paris, and sit on a bench under a shady tree, as Bernard reveals how Cardinal 22)Richelieu built Palais Cardinal in 1629 as his private palace, and how the 23)Duc d’Orléans opened it to the public after having it redesigned in 1784, transforming it into Paris’ first shopping centre and entertainment complex, with a market and 140 shops, salons, museums, cafés, theatres, and casinos. All levels of society 24)kicked back under these arcades, from intellectuals to 25)aristocrats, while all kinds of activities took place here, from prostitution to political intrigue. Bernard sums it up as “an organized setting in a city of chaos.” Even now its tranquil gardens 26)belie the bustle of the 27)rue outside.
We cross Rue des Petits Champs to visit elegant Galerie Vivienne, which in 1823 marks Paris’ first wave of development of the 28)passages couverts de Paris. Bernard points out the classical 29)reliefs and marble 30)mosaic floors that we’ve walked across dozens of times but barely noticed, the neoclassical details encouraged by “Emperor” Napoleon to evoke classical times.
For the next couple of hours, like flâneurs we leisurely saunter the broad boulevards. We stroll to Place de L’Opera to take in the extravagant Opera Garnier, the centrepiece of a symbolic space. We wander around to Boulevard 31)Haussmann and duck into Société Générale to admire the majestic iron and glass interior and sneak down to the basement to 32)gawk at the gigantic bank vault. We drop into the gorgeous late 19th century department store, Galeries Lafayette, to gaze up at its breathtaking 33)Art Nouveau glass dome, and we continue our mosey along Boulevard Haussmann.
All the time Bernard points out architectural details which he situates within an historical context, vividly bringing the past into our present, and really making the period come alive. By the time we arrive at the beginning of Rue Réaumur, the focus of Bernard’s research, we’re rather pleased to realise our senses are so heightened to the city that surrounds us we can now easily spot the changes in architectural styles and 34)discern the dramatically different streetscape ahead of us.
We cross Rue Réaumur and conclude our walk on narrow Rue Dussoubs, one of the remaining lanes of the old city. “This is typical of the 35)pre-Haussmann era architecture,” Bernard tells us, pointing to the medieval stone. “The bottom stories were shops that opened to the street and tiny passages led to the living quarters at the back, so social and economic life was tied here. These were the homes of the rebellious people, the ones who were pushed out of the city by Haussmann to the edges of Paris. They were highly unhygienic places, people lived in 36)appalling conditions, but there was a social life here, and these were people’s homes.”
In a few hours, we’ve learned how Paris changed so radically and so rapidly and on a scale unprecedented, resulting in a chaotic medieval city becoming a very rational modern one.
Benjamin’s flâneur may have been highly perceptive but he was a distant observer, yet if anything by the end of our three-hour walk, we feel closer to the streets of Paris than we ever have before. 37)Merci Bernard.
行走于巴黎街头之所以让人心情如此愉悦，是因为你能够在它宽阔的林荫大道上闲庭信步，并一探其雅致的拱廊商街。只要漫步上一个小时，你就能明白为什么在巴黎街头会诞生“都市漫游者”，他们是一群痴迷于街头生活的漫步者，对于他们来说，徒步闲逛就是体验这个城市的最佳方式。
这些都市漫游者不仅在爱德华·马奈的画作和夏尔·波德莱尔的诗篇中被描绘过，还在沃尔特·本雅明的著作《拱廊计划》中被全面透彻地分析过，他们被视为“街头植物学家”，对于他们来说，商店的橱窗同博物馆里的画作一样值得关注。
如今，虽然我们对于像十九世纪浮华的花花公子们那样戴着男士领巾或牵着皮绳溜乌龟的行为毫无兴趣，我们也决定要到巴黎的人行小径和廊巷走走，深入了解这个城市；至于导游人选，则非我们的朋友贝尔纳莫属了。
我们在高莱特广场见到了贝尔纳·齐尔内尔德。出生于美国的他并不是一个“亲法”的人，这让我们感到有点意外，但他也承认自己越来越喜欢这座城市了。拥有法国文学和美术学位的他搬到巴黎来撰写关于建筑和城市规划的博士论文。他正是带领我们漫游这个城市的理想人选。
我们从李维利大街开始，在那里我们看到一栋栋优雅的大型建筑一直延伸到协和广场，旁边的贝尔纳则绘形绘色地为今天随他而行的我们四人作背景介绍：“想象一下：在1801年，拿破仑三世想要修建一条宏伟的大道，一条风格统一，两旁全是优雅的具有新古典主义外立面和拱廊建筑的大道，作为卢浮宫的雄伟布景；他希望街道上都是精致特别的商家和高级奢华的店铺，他甚至还禁止面包店在那里经营，以防气味散逸其中……这就成为了巴黎的第一条大道，拿破仑三世想仿效罗马帝国将这里打造为庆典中心，并与整个城市的各个重要地点相连接……”一切已经开始变得明朗起来。
步行了十分钟以后，对于这条朱莉安和我曾经漫步过数十次的街道，我们已然有了大为不同的看法。我们走进了精致的皇家花园——我们在巴黎最喜欢的其中一个地方——坐在有大树遮荫的长椅上听着贝尔纳向我们讲解：原来红衣主教黎塞留于1629年建造枢机主教宫作为他的私人宫殿，奥尔良公爵则在1784年请人重新设计了这座建筑，把它改造成巴黎第一家综合性购物娱乐中心——里面有一个市场和140家商铺、以及众多的沙龙、博物馆、咖啡馆、戏院和赌场——并对公众开放。社会各阶层的人，从知识分子到贵族，都能在这些拱廊下轻松休闲，各式活动也在这里进行着，从卖淫嫖娼到政治阴谋，一应俱全。贝尔纳将其简述为“一座混乱城市里的一片井然有序的乐土”。即使是现在，其静谧的花园依然能把外面街道的嘈杂喧闹掩盖住。
我们穿过小场街去参观雅致的薇薇安廊巷，其建于1823年，标志着巴黎拱廊商街的第一波发展浪潮。贝尔纳指出了那些我们行走过无数次却没怎么留意的古典浮雕作品和大理石拼花地板，以及拿破仑“皇帝”倍加推崇的，用以唤起古典时期回忆的那些充满新古典主义风格的建筑细节。
在接下来的几个小时里，我们就像城市漫游者们一样，悠闲地在宽阔的大道上闲逛。我们信步来到剧院广场一睹奢华的巴黎歌剧院，这是一块具有象征意义之地的焦点所在。我们在奥斯曼大道上徘徊，随后进入法国兴业银行去欣赏其内部宏伟的钢铁和玻璃装饰，然后再溜进负一层仰望那银行的巨型拱顶发呆。我们还顺便去了建于19世纪晚期那华美的百货商店老佛爷百货，凝望其震撼人心的新艺术风格玻璃圆顶，然后我们继续沿着奥斯曼大道漫游。
贝尔纳一路上都在为我们指出建筑上的细节，并将历史背景融入其中，将过去的时光生动地带到了当下，也确实让那些时代变得鲜活起来。当我们到达荷慕尔路的起点（贝尔纳研究的重点）时，我们相当开心地发现，我们对身处的这座城市的感知力大大地提高了，现在我们也能够轻松地分辨出建筑风格的变化，察觉到我们前方街景的显著不同之处了。
我们穿过荷慕尔路，在狭窄的迪苏路，也是旧城尚余的其中一条小巷，结束了我们的行程。“这是典型的前奥斯曼时代的建筑，”贝尔纳指着那些中世纪的砖石对我们说，“最底层是临街的商铺，小过道通向后面的生活区，就这样，社会和经济生活在这里交汇。这些曾经是起义民众的住所，他们被奥斯曼驱逐出城，赶到了巴黎的边缘。这些地方过去非常不卫生，人们的生活条件很恶劣，但这里也有社会生活，这里也是人们的家园。”
在几个小时之内，我们就了解到了巴黎是如何彻底而迅速地发生了空前的转变，从一座混乱的中世纪城市变成了一座非常规整的现代城市。
本雅明笔下的都市漫游者也许对这座城市进行过非常敏锐的观察，但他也只是一个远远的旁观者罢了。而如果说这三个小时的漫游结束后给我们留下了什么的话，那就是我们感到自己对巴黎的街道有了一种前所未有的亲近感。谢谢你，贝尔纳。
Depicted in the paintings of 7)Édouard Manet and the poetry of 8)Charles Baudelaire, and analysed exhaustively by 9)Walter Benjamin in The Arcades Project, the flâneur was considered “a botanist of the sidewalk” for whom shop windows merited as much attention as museum paintings.
Now, while we have no interest in wearing10)cravats or 11)promenading turtles on 12)leashes, as the 13)flamboyant nineteenth century 14)dandies did, we’ve decided to take to the footpaths and passages of Paris to learn more about the city, and who better to guide us than our friend, Bernard?
We meet Bernard Zirnheld at Place Colette. Refreshingly, American-born Bernard is not a 15)Francophile, although he admits to having grown fond of the city. Holding degrees in French Literature and Fine Arts, he moved to Paris to do a doctoral 16)dissertation on architecture and urban planning. He is the ideal man to lead us on a17)mosey around the city.
We begin on Rue de Rivoli, where, as we take in the elegant 18)edifices stretching all the way to Place de la Concorde, Bernard vividly sets the scene for the four of us doing his walk today: “Imagine: in 1801 Napoleon III wants to create a majestic boulevard, a uniform street of elegant 19)neoclassical 20)façades and arcades, a monumental setting for the Louvre; he wants very particular businesses and luxury shops and he goes as far as banning bakeries so there are no smells… this becomes Paris’ first boulevard, intended as a ceremonial centre, inspired by Imperial Rome, that will connect important 21)nodes around the city…” Things start to make sense already.
Ten minutes into our walk and we’re already thinking differently about a street that Julian and I have strolled dozens of times. We head into the pretty gardens of the Palais Royal, one of our favourite spots in Paris, and sit on a bench under a shady tree, as Bernard reveals how Cardinal 22)Richelieu built Palais Cardinal in 1629 as his private palace, and how the 23)Duc d’Orléans opened it to the public after having it redesigned in 1784, transforming it into Paris’ first shopping centre and entertainment complex, with a market and 140 shops, salons, museums, cafés, theatres, and casinos. All levels of society 24)kicked back under these arcades, from intellectuals to 25)aristocrats, while all kinds of activities took place here, from prostitution to political intrigue. Bernard sums it up as “an organized setting in a city of chaos.” Even now its tranquil gardens 26)belie the bustle of the 27)rue outside.
We cross Rue des Petits Champs to visit elegant Galerie Vivienne, which in 1823 marks Paris’ first wave of development of the 28)passages couverts de Paris. Bernard points out the classical 29)reliefs and marble 30)mosaic floors that we’ve walked across dozens of times but barely noticed, the neoclassical details encouraged by “Emperor” Napoleon to evoke classical times.
For the next couple of hours, like flâneurs we leisurely saunter the broad boulevards. We stroll to Place de L’Opera to take in the extravagant Opera Garnier, the centrepiece of a symbolic space. We wander around to Boulevard 31)Haussmann and duck into Société Générale to admire the majestic iron and glass interior and sneak down to the basement to 32)gawk at the gigantic bank vault. We drop into the gorgeous late 19th century department store, Galeries Lafayette, to gaze up at its breathtaking 33)Art Nouveau glass dome, and we continue our mosey along Boulevard Haussmann.
All the time Bernard points out architectural details which he situates within an historical context, vividly bringing the past into our present, and really making the period come alive. By the time we arrive at the beginning of Rue Réaumur, the focus of Bernard’s research, we’re rather pleased to realise our senses are so heightened to the city that surrounds us we can now easily spot the changes in architectural styles and 34)discern the dramatically different streetscape ahead of us.
We cross Rue Réaumur and conclude our walk on narrow Rue Dussoubs, one of the remaining lanes of the old city. “This is typical of the 35)pre-Haussmann era architecture,” Bernard tells us, pointing to the medieval stone. “The bottom stories were shops that opened to the street and tiny passages led to the living quarters at the back, so social and economic life was tied here. These were the homes of the rebellious people, the ones who were pushed out of the city by Haussmann to the edges of Paris. They were highly unhygienic places, people lived in 36)appalling conditions, but there was a social life here, and these were people’s homes.”
In a few hours, we’ve learned how Paris changed so radically and so rapidly and on a scale unprecedented, resulting in a chaotic medieval city becoming a very rational modern one.
Benjamin’s flâneur may have been highly perceptive but he was a distant observer, yet if anything by the end of our three-hour walk, we feel closer to the streets of Paris than we ever have before. 37)Merci Bernard.
行走于巴黎街头之所以让人心情如此愉悦，是因为你能够在它宽阔的林荫大道上闲庭信步，并一探其雅致的拱廊商街。只要漫步上一个小时，你就能明白为什么在巴黎街头会诞生“都市漫游者”，他们是一群痴迷于街头生活的漫步者，对于他们来说，徒步闲逛就是体验这个城市的最佳方式。
这些都市漫游者不仅在爱德华·马奈的画作和夏尔·波德莱尔的诗篇中被描绘过，还在沃尔特·本雅明的著作《拱廊计划》中被全面透彻地分析过，他们被视为“街头植物学家”，对于他们来说，商店的橱窗同博物馆里的画作一样值得关注。
如今，虽然我们对于像十九世纪浮华的花花公子们那样戴着男士领巾或牵着皮绳溜乌龟的行为毫无兴趣，我们也决定要到巴黎的人行小径和廊巷走走，深入了解这个城市；至于导游人选，则非我们的朋友贝尔纳莫属了。
我们在高莱特广场见到了贝尔纳·齐尔内尔德。出生于美国的他并不是一个“亲法”的人，这让我们感到有点意外，但他也承认自己越来越喜欢这座城市了。拥有法国文学和美术学位的他搬到巴黎来撰写关于建筑和城市规划的博士论文。他正是带领我们漫游这个城市的理想人选。
我们从李维利大街开始，在那里我们看到一栋栋优雅的大型建筑一直延伸到协和广场，旁边的贝尔纳则绘形绘色地为今天随他而行的我们四人作背景介绍：“想象一下：在1801年，拿破仑三世想要修建一条宏伟的大道，一条风格统一，两旁全是优雅的具有新古典主义外立面和拱廊建筑的大道，作为卢浮宫的雄伟布景；他希望街道上都是精致特别的商家和高级奢华的店铺，他甚至还禁止面包店在那里经营，以防气味散逸其中……这就成为了巴黎的第一条大道，拿破仑三世想仿效罗马帝国将这里打造为庆典中心，并与整个城市的各个重要地点相连接……”一切已经开始变得明朗起来。
步行了十分钟以后，对于这条朱莉安和我曾经漫步过数十次的街道，我们已然有了大为不同的看法。我们走进了精致的皇家花园——我们在巴黎最喜欢的其中一个地方——坐在有大树遮荫的长椅上听着贝尔纳向我们讲解：原来红衣主教黎塞留于1629年建造枢机主教宫作为他的私人宫殿，奥尔良公爵则在1784年请人重新设计了这座建筑，把它改造成巴黎第一家综合性购物娱乐中心——里面有一个市场和140家商铺、以及众多的沙龙、博物馆、咖啡馆、戏院和赌场——并对公众开放。社会各阶层的人，从知识分子到贵族，都能在这些拱廊下轻松休闲，各式活动也在这里进行着，从卖淫嫖娼到政治阴谋，一应俱全。贝尔纳将其简述为“一座混乱城市里的一片井然有序的乐土”。即使是现在，其静谧的花园依然能把外面街道的嘈杂喧闹掩盖住。
我们穿过小场街去参观雅致的薇薇安廊巷，其建于1823年，标志着巴黎拱廊商街的第一波发展浪潮。贝尔纳指出了那些我们行走过无数次却没怎么留意的古典浮雕作品和大理石拼花地板，以及拿破仑“皇帝”倍加推崇的，用以唤起古典时期回忆的那些充满新古典主义风格的建筑细节。
在接下来的几个小时里，我们就像城市漫游者们一样，悠闲地在宽阔的大道上闲逛。我们信步来到剧院广场一睹奢华的巴黎歌剧院，这是一块具有象征意义之地的焦点所在。我们在奥斯曼大道上徘徊，随后进入法国兴业银行去欣赏其内部宏伟的钢铁和玻璃装饰，然后再溜进负一层仰望那银行的巨型拱顶发呆。我们还顺便去了建于19世纪晚期那华美的百货商店老佛爷百货，凝望其震撼人心的新艺术风格玻璃圆顶，然后我们继续沿着奥斯曼大道漫游。
贝尔纳一路上都在为我们指出建筑上的细节，并将历史背景融入其中，将过去的时光生动地带到了当下，也确实让那些时代变得鲜活起来。当我们到达荷慕尔路的起点（贝尔纳研究的重点）时，我们相当开心地发现，我们对身处的这座城市的感知力大大地提高了，现在我们也能够轻松地分辨出建筑风格的变化，察觉到我们前方街景的显著不同之处了。
我们穿过荷慕尔路，在狭窄的迪苏路，也是旧城尚余的其中一条小巷，结束了我们的行程。“这是典型的前奥斯曼时代的建筑，”贝尔纳指着那些中世纪的砖石对我们说，“最底层是临街的商铺，小过道通向后面的生活区，就这样，社会和经济生活在这里交汇。这些曾经是起义民众的住所，他们被奥斯曼驱逐出城，赶到了巴黎的边缘。这些地方过去非常不卫生，人们的生活条件很恶劣，但这里也有社会生活，这里也是人们的家园。”
在几个小时之内，我们就了解到了巴黎是如何彻底而迅速地发生了空前的转变，从一座混乱的中世纪城市变成了一座非常规整的现代城市。
本雅明笔下的都市漫游者也许对这座城市进行过非常敏锐的观察，但他也只是一个远远的旁观者罢了。而如果说这三个小时的漫游结束后给我们留下了什么的话，那就是我们感到自己对巴黎的街道有了一种前所未有的亲近感。谢谢你，贝尔纳。