Professional Documents
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Aureli Pier Vittorio - Brussels A Manifesto
Aureli Pier Vittorio - Brussels A Manifesto
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Brussels - A Mar1ifest,o
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Introduction
015
Europe as Patter r1
026
Europe as Project
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Capital City
055
Brussels
067
The Political
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The Formal
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Mundaneum
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The Gate
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Edited by
Pier Vittorio Aureli
Bernardina Borra
Joachim Declerck
Agata Mierzwa
Martino Tattara
Tom Weiss
Thinking Europe
Mario Tronti
1 85
205
Brussels-Europe: An Aporia?
Gery Leloutre and lwan Strauven
225
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007
I r1troductior1
007
1. 1
Future
007
1.2
Present
007
1.3
Conjecture
009
1.4
Architecture
01 1
1.5
City (Brussels)
011
1 .6
I dea (Europe)
013
1.7
015
Europe as Pattern
015
2. 1
Pattern
015
2.2
Archipelago
017
2.3
Empire
019
2.4
Network
019
2.5
I nfinite
021
2.6
Enclaves
023
2.7
Plan
025
2.8
Fortress
026
Europe as Project
026
3.1
Struggle
027
3 .2
Borders
029
3.3
War
030
3. 4
Peace
031
3.5
Urbanity (Europe)
033
033
4.1
034
4.2
035
4.3
City Composition
035
4.4
Access as Citizenship
037
4.5
041
4.6
Archipelago
043
5.1
Capital City
043
5.2
National Capital
045
5.3
Cultural Capital
047
5.4
Social Capital
049
5.5
Total Capital
051
5.6
Archipelago Capital
053
5.7
TheTwenty-First-Century Capital
Capital City
043
055
Brussels
055
6.1
Europes' Crucible
057
6.2
061
6.3
Today (Trauma)
063
6.4
Legacies
065
6.5
Political Metropolis
065
6.6
Capital Complex
067
6.7
Capital of Europe
067
067
7.1
Ago11isn1
068
7.2
Against Smoothness
069
7.3
071
7.4
Communitarian Class
071
7.5
Constitutionalism versus
Gradualism
7.6
073
073
City Consciousness
The Formal
073
8.1
Form
074
8.2
Inside-Outside
074
8.3
Architectural Form
075
8.4
Simple Forms
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Class
LIBRARY
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The Manifesto di Ventolene ( A ltiero S p i n e l li, Ernesto Rossi, E u genio Colorni, 1 941)
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atthe t i 1ne of August u s , 1 527)
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ft1tt1 1e i11 C<)11tir1 t1 i t)1 \Vi tl1 its 1) c1l itic1l e:1ncl t1 rb,111 1:-11 st. We n1 t1st ''ie\i\'
tl1 e EL11c>pea 11 U11 i <) 11 n <)t e:1 s ' 'c1. 11 <>1--g c.1 s111ic i 11evita l)ili ty",. It ca11 11ot
l1 <1 ppe11 111tt1 ta l l 1 Tl1e feder,1 1 U11 ic)11 of Etlf()pe is 1 h i stor. icc.1 1 process,
e:1 pc) l itic1 l r.r l)ject tl1 a t b,1s L1ee11 defi ned '1 11d choe11, an(i which h<:1 s its
idec>l ogicc.11 r<)t>ts i11 the '' idea of Et1rt)pe ''. Tl1e idec.1 of Euic)pe does
r1c)t coincide witl1 a l inear 11 istory of tl1e co11ti11er1t, f1on1 its origins to
the present. Rc.1 the1, the idea o f Eu1ope as a politicc1l proj ect - its con
vincing pathos - l ies in tl1e s heer strt1 ggle between t1 n ity and m t1 lti
pl icity tl1at has been embod ied d i fferently by each political vision tl1at
<.1 ddressed it.
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Tl1e '1 1c l11pelc.1 g<> represc11t e:1 111 t1l riplicit)1 iii \vl1 icl1 tl1e 111e:1 11 i fold
(or m t1ltiJ..1 l icity itelf) i 11ot dispe1sed, l1 t1t prese11ted i 11 its cc)11ceptt11 l
esse11ce <1S ar1 ll1c)l t1te e11tity an1c)ng part , lJy co111pari so11 1uxtap<> i
tion a11d cou11te1-positi<J11 . The 1 1cl1 i pelt:1go city iep1.. ese11 ts a11 e11se111 ble of disti nct p1rts that together con t1i l1t1te to a p lace t1 nderstood as
co1n111on sedes ( seat ) . The sedes i s no a bsol ute a ffir1natio11 of a ce11 tre
0 1 the e1nergence of a t1 niqL1e reference poi nt, bL1t we may say tl1 a t
"'In the 1nc)bile and changing space of coord inatio11 and co-J1 a b i ta
tion, whicl1 is a l so t l1e se11se of pole1nos (struggle ) , the singularities
of tl1e a1chipelago belo11g to one another. Si11ce the centre is trt1 l y
noth ing except an impett1s that obliges each.part to,transcend itself,
not one part possesses its ow11 centre; a l l p arts navigate towards the
otl1ers, e:1 11d a l l of tl1e m towards the absent fatherland."
( Massimo Cacciari, 1 9 9 7 )
Empire
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E n c lave: harmony and cooperation (a drawing from Robert Owen's Report, 1817)
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111c)St 1eli 1L1le, l)Li t i 11 l1 i s pc) l i ric,1 1 1l1 i l c)s<)pl11 t11e ""S()\'C1eig11 , i .a11
(1 l1s<>1L1te gover11 111e11t" \v l1etl1e1 i 111c>111 1cl1, <:1 1 e pL1l1Jic, 01 ever1 1
d e111OC1'"<1: C)7
Tl1e co11 cept of ,1 L1sol ute g<1ve111 111e11t is deeply e111l)edded i11 tl1e
l1a1oqt1e period as the e11comp<:1 ssi11g way to 110 J d co1nplexity iii 1111ity:
the h L1man knowledge ()f t11e ti111e reacl1ed sucl1 a level that i t sta1ted
to become clear to i11tell ectuals t11at tl1e amou 11 t of d i fferent fields
and the degree of depth each req t1 i red made i t necessa ry to find 11ew
111 ea ns with whicl1 to l1a11 d l e and .rep1esen t them. Th 1 s sort of fear
a l so nL1 rtt1red ba roq ue u rbanism, which sought to build the absol u te
city: perspecti ves, u rban a xes and geometrica l n1oclels d rawing on
scientific tl1eories. M usic and symmetrical compositions structured
the legibil ity of the city fabric, in order to be one with the infinite.
u n folded l ayers of sense and representation of the world and i ts
socjery. The city struggled to be accessible and recognizable to the
people, as deeply as their unde1standing cou l d dive i nto un iversal
meani ngfulness.
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Struggle
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and E11l ighten 111e11t, and it doe 11ot 11ece (ltil)' '"1gree \\1itl1 tl1e i 11. tiru
tio11al co11seqt1e11ces of t1cl1 ide11tit)1 ( the st1te, de111c)c11cy, plt1 ra li s ni ) . St i l 1 its pres e 11 ce and eve 11 its <) b j ec ti <) 11 to Europe is the 111 i 1 1 <) r
in wl1 icl1 Et1 rope ce1: 11 recogn ize itself.
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War has formed Eu rope (the academy of M unich in ruin after the bombing, Herbert Li st, 1 946)
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l1er1sio11 <>1 C<)t1cer11, l1 L1t t< > t1se l1t)1ciers i s e:1 11 i 11st1t1 111e11t c>f c L1 lt.t1ra l '
prog1es a rid a starti11g poi 11t for tl1e i 11ventic>11 <)f ne\v 1ep1ese11t,1ti o11
<Jf tl1e ci ty.
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sr les tl1t:1 t celebrates Eur()pe(1 11 11ess C=l S e;1 ge11 e1ic pl1tf<)1111, tl1e11 tl1e
11e\\' 111 011 u 111e11te:1 l ity pr<)posed l1) t)lt t pr<)jecr for B 1t1ssels as Capitc1 J
t1f f t1rope is tl1e 1eve1se a tten1pt to i 1nple111e11t the idea of E t1 rope
th1-ot1gh e1: si111 1)le l) tl t recogn iza l)le fc11111a l gr1 111 111ar. A1cl1 itectL1 re
as 1 symbolic <:1 1ena is the new entry p<>int to the P roject of Et1 rope.
1 11 01de1 to reartict1 l a re the inte 1action betwee11 a 1..ch itectti re a11d the
idea of Eu rope in st1cl1 a way, we mt1st first rewrite the idea of the
city i tsel f.
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To be den10!1shed! (the pres ent arcl1 i t ectu re of the EU - St rasb ourg , L L1xem bL1rg , Fran kfur t and Brus sels )
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Tl1e 111a 11 11e1 i 11 \vl1 icl1 tlie i11stitL1rions of tl1e E t1 1c)pea n U11io11 have deve1 oped is clearly in ir1ored
l1y tl1eir cu 1rent physical t:1 ppeara11ce a 11 d spatial config11 ratio11 i n
Brt1ssels and tl1e other cities hosting .Et1ropean i 11 stitutior1s. From
tl1e fo rmati o11 of the Unio11 in r 9 5 r ., witl1 the foL1 ndation of the E C S C ,
l bsol utely 110 official plan and nq debate has ever existed 1ega 1d ing
11ow to represent the i 11 stitutions of the E U u rbanistically and archi
tectura l l y. It is t1 nmista l<ably visible that, in. the abence of clear
intentions abot1t the iepresentation of i nstitutions., for tl1e most
part purely econo m ic tl1oug11ts became th e domina11 t force i n the
i nstal lation of tl1ese i nstituti ons within the city.
For a l ong tin1e, the physical development and expansion of
the Eu ropean institutions ( Parl iament, Co1nmissi on, Cot1nc i l ) was
11a 11dled as a si mple matter of square met1es of office space. In this
context, beginning in the 1 9 80s, a process of subu rba11 i zation was
initiated whereby the pre1n ises of the Eu ropean instituti on were
dislocated from the city centre to the periphery, thereby fol lowing
the syndicate offices of tl1e finance and insu rance compan ies - a
process clearly visible i n Luxem bourg on the I< i rch berg platea u .
Optin1a l access i b i l i ty, flexi bil ity for growtl1 scena rios and security
were the primary issues, which inade peripheral locations prefera l)le
to tl1ose in tl1e city centre ( examples include tl1e Eu ropean Court of
Ju stice, the Com1n ission's Jean-Mon net Building and tl1e Cou rt of
A t1 d i tors ) . The cu rrent planned d islocatio11 of the E uropea11 Ce11 tra l
Banl< from tl1e ce11tre of Frankfu rt to the eastern suburbs can be con
sidered a recent example of this phenomenon . The pu b l is hed render
ing of the winni ng competition entry paradigmatical ly visuali zed the
separation of the i nstitt1tion fro111 the city, connected only by n1eans
of in frastructu re.
Over the years, with the expansion of the E U , the Brussels Capital
Region became a relevant part of tl1e EU-wide rea l-estate market.
S ince then the u rban pla11ning and a rchitectura l appearance of
Brussels and the E U has been left to the rea l-estate market, and profit
oriented deve lopers. While in constant competiti on with the other
potentia l '' capita l cities'' ( incl uding Strasbourg, Luxembourg,
Frankfurt), i n order to settle as many economica l ly attractive institu
tional bodies as possi ble, the governments of Brussels and Belgium,
as the responsil1le planning autl1orities, have been w i l l i ng to mainta i n
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ii1 tegre:1 tt <)ll 1 <.1 prc)ject f< >1 tl1e city <>f B1t1 sse1s.
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\\1 e1e 111ti<)t11 l i rs \ 11 <1 l1el ieved F 1<:1 11ce sl1c>t1 I d lee:1d de,relc>p111 ent
i 11 EL1 1ope -Pt-1 1is sl1c>t1 ld l1e tl1e ct:1 pital c>f tl1e \'\'01ld, tl1c l1 ei1- c>f
1 11cie11 t Rc>111e.
D t1 1i11g the p1efectL1re of H 1 L1ss111c.1 11 11, <:1 11 L1r1 1iv(1l led l1 t1 rld i 11g
ancl st1eet 1egt1 l ,1 1ization p1og1,1 111111e \V<.1 S i;la1111ed a 11d i 111ple111ented.
Tl1e i;Ja11 11ing of tl1e cit)' was c1 pprot-1 ched e:1 s 1 ln 1ge-scale transporte:1 tion pr<)blem. An i 11vento1y o'f streets was cond t1cted, co11sidering
the1n one l)y one and creati 11g 11ew streets by c11 tti11g tl1rough city
blocks. Expropriation peaked in J 8 66 wl1e11 8 4 8 p rope1ties were
den1olished. By cutti11g 11ew st1eets throt1gh the inte1io1s of city
b locks, it was possi ble to create new buildings on l:Joth sides, as sim
ply widen i ng an existi ng street wou l d n1ean that the old b u i l d i 11gs on
one side would be retained, lowering the value of the new properties
on the other side. There was no overal l master plan, yet this s i ngle
oppottu11 istic strategy fi 11a l ly s t1mn1arized, in a common urban
design, the di fferi ng i nterests of l andowners, pol ice officets and
the need for urban decor. 1 11 addition, many p t1 bl ic b t1 i 1 d i ngs were
erected and a number o f remarkable parks created . P t1 b l ic garden i ng
asst1 med S tich a 11 impo1ta11ce tl1at, begi n 11 ing from very l ittle green
space i n r 8 5 0, t l1e city advanced to a park system tl1at was unpara l
leled with i 11 continental E t1 rope by r 8 7 0.
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l) LI i 1 t 1 de() l o g i L e1: I e:1 et s . 0 11 ce a g<.l i 11 e:1 t , l 11 s IL1 ti< J i111fJ e , i p 1 c> ve d tJ1 1 t
the C<)11st1n1 pti()Il <1f 1e111 1 1ka l1le t1 1 l)ar1 <1 cl1i eve111 et1ts fro111 tl1e p<1st
p1ovide eter11e:1 l 1l1eto1ic to atl)' ideology, a fe\v n1ea11 i 11gft1 l sl1 i ft
i11 url1c1 11 fcJr111 to sl1ow the adv ent <)f tl1e 11ew powe1 are a l l "th<1: t is
necessa 1y - costi 11g l i ttle effort l nd acl1 ieving a 11 C:1 p pa 1ently in1 p1essi ve effect.
Su pposed ly tl1 e te1nporal power of the c l1 t1 rch l1ad been averted
for good, and tl1e construction C)f tl1e enormot1s e1n bel l i s l1ed monu
ment to Vittorio Eman Ltele I I by Giuseppe Sacconi ( 1 8 8 5 r 9 1 l ) was
tl1e only relevant gestL1 re, a ritL1 a l act of sym bol is1n. Its pastic l1e style
cl umsi ly tried to estab l isl1 and demonstrate an obvibus l i n l< to Roman
ideals., but the monument was bruta l l y pl aced at the point where
the o]d Rome toucl1ed the new one, and its position u 11dermined tl1e
inte l l igence of the pl ace: the Piazza del Popolo can be seen from a fa r.,
from the entire Via del Corso, and i t sits on the border between the
roman fora, tl1e medieva l and the baroque city, p l acing itsel f right
beside tl1e Capitolium, where tl1e struggle between secular and ten1pora l power took p lace - swa l l owing past glories and frictions.
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a11d \1<:1 1iot1 s or]1er sl1ops e:1 11d er\1ices \Ve1e lc)c,1 ted. A <lpJ-1osed .
t(l <>tl1e1 te11e111e11t blocks, tl1e pcJor t1se of space \V<:1 s rej ected i 11
favot1 r of '' propc1gande:1 aichitectu re'' . The political i 11st1u111 e11ta l ity
of the new b u i ldi ngs lay in the 5ocial democrats, deci sion toJ a l l ow tl1e
p1eviot1sly established 01der - a bl<)Ck strt1ctu re defi 11ed by the u1ba11
plan - to coexi st with the new 011e, by means of its dimensions,
typology and its speci fic and very recognizable style characterized
l)y elements such as porta l s, courtyards, balcon ies and wi11dows.
The complex is an eloq uent masterpiece - a n1 ighty fortress
where the major faade i s a proud, dark banner of socialist sol idarity.
Its powerful shapes on the exterior combined with those much more
gently articulated i n i ts garden cou rtya1ds, historica l ly c u lm inate
and bring the special Viennese tradition o f Otto Wagner and h i s
school to a social cl imax. The co1nplex acts as a grand-scale gesture,
commt1 nicating a concern towards social issues as a specific politica l
representation.
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A rchip e lago Capital ( b u i lt and u n b u i l t projects by Karl Fried rich Schi nkel in the centre of Ber l i 11, 1816 - 1840)
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l1<)(iic \\1e1e est1 l1li 'l1ed . A 1cl1 itectt1 1e bec<:1 111e e:1 t<>c>I t<J e ta bli sl1
l(iecJlogic1 l d i 1ecti\1es; '1 11d tl1 e l.l. st1 l1jectiv it)' "" t>f tl1i""' pc>l1tic1 l itl\'Ol\ e111e11t C(:l n not l1e pt1 rel)' rege:1 1ded i 11 11ega ti,,e te1111 . Accc)1d i11g to
l(<:1 ga11<.) vicl1 - inspired l1)' Ma1x, E11gel and Le11 i 11 - tl1 ree q t1estio11s
had t<) 11 e add 1 es s e cl : fi 1 st, t 11 e oc i <1: l is t t 1 a 11 for 111 c.1 ti o 11 of t 11 e way
of l i vi ng; second, the ir1te1nal pla11 n i ng of the city; a 11d third, tl1e
exp1nsion of existing c1 11d 11ew constructio11, prevenri11g the a bolisl1 111ent of tl1e cont1ast betwee11 city and count1yside. To l(aga.n ovich
cities sl1ot1 l d l1e neither s1na l J et1 tities nor gigantic A1ne1"ican typus.
V. L. Seme11ov became the 11ew principle-a rcl1 i tec;t and laid out
a transformation plan l1ased 011 the decentra.l ization of tl1e existing
system. A col lecti ()n of ' city complexes'' wou l d s t1 rrot111d tl1e centre,
eacl1 with its own econo1nic and adn1 i ni strative autono111y and en
closed wi tl1 recreati onal green spaces. The Qitartalys were a 11 a rche
type provi ded with di fferent i 11 f1astructt1 ral services; each contai ned
abot1t 1 5 11a and was a s111e:1 l l city within tl1e city. Tl1ey were d i st1ib
t1ted i 11 the city to regt1 l ate and define eq t1a l density and d istribution
of se1v ices. Complementary to this were a set of le:1 rge-sca l e public
a 11 d adn1 i nistrative b t1 i l dings as free standing ce11tres, the new n1agzs
tralys (wide roads), ofte11 themed, the reconstructio 11 and n1a inte11ance of tl1e radiocentic strt1cture, a syste111 of city parks a 11d green
corri dors, tl1e design of tl1e rive1, and tl1e creatio11 of a p u b l ic trans
po1tation networl< . Tl1 i s coll ective g7a11deur forged tl1e city and was
idea l l y 111 ea 11 t to help the t()tal itarian state to d ispossess the individual
of l1 is property rigl1ts and co1npensate them by the comm11nal use of
tl1e symbolic arcl1 i tectu re of tl1e city.
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.. cl1 i 11],el' 1 rch i 1Jel ,1gt) 11ali a 1e111 :i 1 kal1le i 11 fl t1e11l:e 011 tl1e prc>j ect fcl1
l3erl i 11 iii Cities Witl1i11 the Cit)' l)y Oswt:1 l d Matl1 i c.1 s U11ge1s, Re111
I". <)01 11<:1 '1, H a 11 s I C)l l1off, and otl1e1s. Co 111 1oseci 1n r 9 7 7 , tl1is i rl1e
le:1 st 111a11ife to C ) tl tl1e Et1 1<)pea 11 city. S 1 11ce tl1en Il <) otl1er p101ect with
sL1cl1 physica l , for111a 1 , politica l , t:1 11d ideol ogic<.1 1 i11 tensit)' has bee11
formt1 l ated . Stressing the condition of Berlin at tl1at ti 1ne, a fragn1ented a 11d t1 nder-popu lated city, they reinvented the idea of Berlin as a n
archipel ago of city-commt1 nities i 1n mersed in a sea of green space.
Here too, another project by Schi11 kel - tl1e Sch loR K lein Gl ienicke provided i 11spiration to Ungers and tl1e otl1ers. The parl< design by
Sch i nkel and Le11ne was seen by the a rcl1 i tects as aitmodel where land
scape and arch i tectu re wot1 l d merge as a powerful representation a r1d
a n intell igent man ner to counter tl1e '' decline'' of Berli n .
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Brt1ssels i tsel f 1ep1ese11ts a ste:1 re111e11t C>11 t11e ft1 tt1 1e c>f tl1e E U : i ts.
f1,1 g111e11ta tio11 11a <.> pe1l1<:1 ps l1ecl)111e tl1e tLI 111 i 11g p<)i i1 t \\. 11ere l1r the
e11gage111ent C)f tl1e Et1 roi1ea11 l 11stitL1 tio11s i 11 it p<1tit:1 l 01g1nization
i':> '-1 111ea11s to e11act rl1e p1oj ect of Et1 ropee:1 11 ge< >p<>l iticc.1 1 i ntegrati o 11
i ntc> t11e space of tl1 e ci t)' i tsel f., to a ppoi11t tl1e ci t)' <.l s ve1ita b le ca pital
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L i n k i n g (ma p d rawn by the Ass ocia tion for the Cen tral Stat ion, 1 855)
64
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Political Metropolis
6.6
Capital Complex
65
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66
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Agonism
67
Against Smoothness
68
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Against the Creative Class
69
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City Consciousness
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8.I
Form
It is for this reason that we see architectural form as the medium with
which to address the city that will represent Europe.
The struggle for Europe is the struggle to define its form - its
ideological and cultural boundary - in order to make the interaction
between Europe as '' itself'' and the ''other'' even tually possible and
intelligible. Accordingly, the struggle for the city is a struggle about
the definition of its form - its ideological, cultural, and physical
boundaries - to make the interaction between its institution and the
fabric possible and as intelligible as the very image of the city itself.
8.2
Inside-Outside
8.3
Architectural Form
Architectural Form is a construc
tive and theoretical apparatus whose '' public-ness '' , in most cases,
is less exclusive than that of art. Simply by being, architectural form
is manifesting a definition of public space, by delimiting it and thus
74
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B ru s s e ls a s a rc h ip e la g o of a rt e fa
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76
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77
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090
C o n st it u t i o n of the P.roj et
9.1
C om po s i t i o n
9 . 2 Central ity
9 . 3 S y m m etry
9.4
The M i r ror C ity
9.5
D e m o I it i o n
090
9.6
081
081
086
086
087
The I n st i t u t i o n a l Promenade
9.7
C u l t u re and E d ucat i o n
9.8 H o u s i ng
9 .9 Access i b i I ity
9 . 1 0 The M etro C i rc u i t
9 . 1 1 Utopia
091
092
093
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095
1 06
1 20
C
D
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1 32
1 40
1 46
1 52
G
H
1 58
1 64
1 68
Te E u ropean Q u a rter
The E u ro pean Par l i a m e nt
T h e C a n a l Q u arter
The Carrefo ur de l ' E u rope
The E u ropean U n i versity Centre
M u nd a n e u m
The J osaphat Q u a rter
T h e Bockstael H o u s i n g Po l e
T h e G ate
01
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80
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81
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Center (Pentagon) and Region. A difficu lt relatio nship : i n need of a n interm edi ate syste m of centra l ities
82
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1
2
3
4
5
Topography
D i v ide (canal)
Tota l access i b i l ity
Vacant city
Leopold 1 1 structure
83
C hoosing
A selection of the problematic sites of
the city as potent ial new central it ies.
1
2
3
4
5
6
7
8
9
Leopo ld Quarter
Turn &Taxis A rea
Beco Basin and Porte de Ni nove
Carrefour de ! ' Europe
Delta Station
West Station
Josaphat Station
Bockstael Rai I way Trench
Schaerbeek Formation Station
8/
\9
41
._ ,
Mergi ng
New centralities and the "old"
i ncomplete axes of Leopol d
l l 's Brussel s
Composing
A new ritual promenade for the
city: proposal for a metro circuit
that l i nks the selected sites
and reorga nizes the existing
accessi bi I ity to the city
From negative to positive, transforming the vacant city i nto an arch ipelago
84
-----I
1
2
3
4
5
6
7
8
9
A rchipelago: the n i n e new centra l ities and the 19 municipa l ities of Brussels
.
85
Centra lity
9.3
Symmetry
86
9 .4
The Mirror City
87
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3/4
5/6
7/8
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88
1
2
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4
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7
8
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Housing
LILLE I LONDON
WEST
Commission
Parliament
EAST
KOLN
U n i versity
Mundaneum
South Station
Forest
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Mirror City
89
9.5
Demolition
9.6
90
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91
Housing
92
9.9
Accessibility
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93
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DELTA UNIVERSITY
llla.1
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BRAIN[ lf CC>t.&Tl
NIVRLES
VIUERS LA VILLF.
Public Transport as Public Ritual. The proposa l for the new metro c i rcuit,
the new centra l it i e s and the existing public transpo rt network
94
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LEUVEN
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Utopia
95
1
2
3
4
5
6
8
9
10
11
12
13
,I
II.I
An Incomplete Project. Besme's arch ipelago of public parks focuses on the eastern part of Brussels
.
96
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At the western extreme of the Institu
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the European Union is constructed in
the Tour & Taxis area, a former goods
train station. The now vacated area is
extremely wide and empty and has
formed a large isolated hole in the city
fabric since the very beginning of its
development. Situated along the canal,
between the Royal Palace in Laken and
the axis to the Koekelberg Cathedral,
the area is surrounded by activities
related to the port of Brussels. This
project aims to see the construction
of the institution that accommodates
the gatherings of the representatives
of more than 400,000,000 Europeans
as a means to reinsert this area into
the city without erasing the potentials
offered by its vastness. A new, big
building will be used as a ''tool'' that
is able to show the dimensions of the '
area and to give these dimensions back
to the city. We imagine an extremely
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an irregular cross, able to measure the
distances and the different conditions
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structure. The flat building literally
crosses the area, trying to define new
links with the neighbouring regions.
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For more than a century, the very cen
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subject (and victim according to many)
of radical architectural and urban
speculation. Regardless of the success
or failure of these grand projects, we
cannot negate the concrete impact of a
bold belief in modernity and progress
in the city of Brussels. Among the
many speculations and built ideas, the
'Jonction Nord-Midi' can rightly be
named e project of the century. The
construction of the underground con
nection between the former northern
and southern terminal railway stations
through the historical pentagon is the
project that best symbolizes the early
ambitions of Belgium as a nation-state.
The supposedly 'derelict' medieval
quarters on the trajectory have been
demolished to allow a dramatic mod
ernization of the city centre: close to
the Grand Place, Victor Horta de
signed the new Central Station, while
on top of the entire scar of the railway
tunnel, a sequence of national repre
sentative monuments 11as bee11 con
structed, starting with the 'National
Administrative City' on the northern
edge, the National Bank, the Telex
Building, tl1e headquarters of the
former national airlines company,
tl1e Sabena Building (equipped with a
check-in lobby from which a direct
access to a reserved platform in the
Central Station brought passengers
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This project of culture and education
in the west of Brussels refers to tl1e
project that Paul Otlet and Henri
Lafontaine started in 1 9 1 9 : the crea
tion of a Mundaneum in Brussels'
Cinquantenaire Area. The ambition
was to create a centre of centres, or
a world database of k nowledge - ''a
temple devoted to knowledge, educa
tion and fraternity among people'',
''a representation of the world and
what it contains''. To be able to collect
and archive this knowledge, Otlet de
veloped a standard classification sys
tem based on referential cards. This is
the Universal Decimal Classification
system that would simplify scientific
research by establishing links between
different forms and areas of knowl
edge. It is the first database, which also
formed the basis for hypertext. Otlet's
and Lafontaine's initiative was not
an isolated case: at the same time,
] orge Luis Borges' imagined the
Library of Babel as a place that con
tains t'all the possible combinations
of the twenty-odd orthographical sym
bols . . . the translation of every book
in all languages, the interpolations of
every book in all books''. The intellec
tual position of these ideas is directed
towards universalism rather tl1an glo
balization. Universalism is seen as a
new tendency that tries to recuperate
the universal as a concept for radical
political needs, closer to the welfare
state. Besed on the idea of Paul Otlet
i n I 9 28 , Le Corbusier designed the
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The' Bockstael
Housing Pole
The existing railway entrenchments
parallel to the canal - two strong
linear features of Brussels' western
morphology - will foster a new city
housing district in the vicinity of
the European Parliament, as the
western complement of the Josaphat
Quarter (the pendant of the European
Quarter). The route of the railway lines
west of the canal, running from the
Mundaneum to the north, is conceived
as the symmetrical counterpart of the
unchieved second ring of the city. The
project will highlight this trace, form
ing a strong figure embedded in a new
urban geography, as the ideal counter
balance for the bow figure in the east,
ranging from the European University
Centre, the Pare du Cinquantenaire
and the European quarter, to the
Josaphat Quarter.
Unlike tl1e east, throughout the en
tire western part of the city, infrastruc
tural trajectories are open air scars that
cut the urban fabric apart. We propose
to reverse this sitL1ation by exploiting
the existing scar of the railway corridor
for the construction of a new residen
tial quarter that will enhance the
strong charisma and urban visibility of
this part of the city. The urban scar will
not be healed by building in the exist
ing void. Nevertheless, a sequence of
bridge buildings will establish simple
connections across the railway lines.
The buildings create an urban scenog
1 64
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B r u s s e l s- E u rope: A n Apo r i a ?
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Europeans!
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and in different phases. But that was the only force with an inteFna-'
tionalist vocation. It opposed the opening of the age of wars. And
partly for this reason it was overwhelmed in the West after the First
World War, but victorious in Eastern Europe. Then i t becqme difficult
to talk about Europe in the midst of the European civil wars.
The working-class movement after the Second World War suffered from the tragic division. of Europe into two hostile camps. Its
internationalism was the first victim of the Cold War: it was reborn
from below in the anti-imperialist struggles, but Europe remained
divided between East and West. The end of the opposed blocs does
not seem to have led to a major repositioning. Witp a serious Social
Democratic Party, Germany was able to become the locus of a new
stage of the experiment, a reunification not only of states, but of
movements of struggle and organization. The European left should
have started again from this. Today it is too weak as a political
subject to cope with the force of the structural processes orientating
European unity. Despite a so-cal led Party of European Socialists,
the political left-wing groups are still very national, certainly more
national than their respective capitalisms. The only elite that could
have founded a European people, by internationalizing the labour
forces on the basis of capitalistic globalization, was the left that was
the heir to the working-class movement.
The drama is that there is no pol itical Europe, either constituted
or constituent, capable of exercising cultural hegemony amid the
present balances/imbalances of world capitalism. The fanfare that
has accompanied the signing of the Constitutional Treaty has not
given the drama a happy ending. The reasons for Europe's absence
from the world are the same reasons for the a bsence of the left from
Europe. The left is speechless because it is thoughtless: this is the
problem.
We need to be careful. It's not j ust politicians who wax rhetorica l
a bout Europe; intel lectuals have a rhetoric of their own. This is the
thesis, peculiar to the '' politically correct'' , that Europe is a continent
whose distinctive trait is to be a mosaic of differences. This is a banal
idea. On this terrain, Europe seems unable to compete with the
American melting pot. This vocation for openness to others does not
exactly seem to be confirmed by our h istory, either recent or remote.
In addition, other cultures today have so many faces, some reassuring
and others terrifying, that at the very least we need to make distinc
tions. And the land of mediation, between north and south as social
worlds and between west and east as cultural traditions, might well
,
181
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Roland Barthes defined ''critical verisimil itude'' as that which is not expressed in the declarations
of principle and that moves within ''a certain aesthetics of the public''. ''Consisting in what appears
obvious,'' wrote Barthes, ''the verisimilar critique remains detached from any method in particular
because, on the contrary, method is the act of doubt with which we interrogate ourselves on events
or on nature . . . the verisimilar critic prefers evidence.'' From: Roland Barthes, Critica e Verita
(Turin, 1 9 6 9 l 2002 ] ) , r 9 ( author's translation).
1 85
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that links the existing struggle of Brussels as a city in its own terms to
the constitutional aspirations of a supranational entity clearly. identi
fiable also as an institutional and real place. We don't pretend to
make any naive translation of political constitution into a '' political
architecture''; we mean to emphasize the necessity of a proactive engagement through the urban .p roject. Instead of attempting to record
all possible complexities and contradictions within the city, a proac
tive attitude takes the risk to project a conjecture, not merely as a so
lution of a matter of facts, but rather as a disputable and sharp object
that involves people's concerns.
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be seen as autonomous hubs, detached from the city, but as the . '
city itself. This particular situation helped us to refuse both the now
fashionable indifference towards the positioning of institllions with
in the fabric of the city and the recent obsession with security that
promotes the isolation and suburbanization of political institutions .
The aim of the project is to br.i ng back ''emblematic ns.titutions''
such as political seats, housing sections, educational poles and infra
structural hubs in close and orchestrated proximity with the centre
of the city. Within this proposition, the first move of the project was
the search for the dimension of the centre that would be neither the
actual historical Pentagon nor the Brussels Urban Ilegion, but rather
the still-unrecognized scale of the city that emerges by the selection
and composition of the many vacant sites that today characterize the
civic fabric of Brussels. It might be charming and, eventually, politi
cally correct to romanticize the image of Brussels as ''vacant city''
or terrain vague, however, the proj ect attempts to transform the en
tropic nature of the vacant sites into urban artefacts: recognizable ur
ban parts that through the architectural scale are intelligible as new
metropolitan city sections. To establish such an approach means to
question and defy one of the most popular formats of architectural
contribution to the contemporary city: the landmark.
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Both the urban artefact and the landmark share the property of being
conceived through the architectural scale. But if the landmark reduc
es architecture to a monolithic shape that marks its representation
only through a skyline spectacle, the urban artefact is a concentrated
section in which representation is produced by the experience of the
section itself. Unlike the landmark, the urban artefact identifies itself
with the attributes of the normal city, and helps the city to avoid a
frustrating open-ended j uxtaposition of individual accidents. Urban
artefacts help the city establish the frame within which its emblems
can occur i n such a way that the city itself remains at the centre and
not at the periphery of the frame. For tl1is reason, urban artefacts
should aim to conquer and sustainably maintain the possibility for
large-scale interventions within the city without useless utopian
megastructural enthusiasm or gigantic gestures of architectural par
/ante. Urban artefacts should provide conditional opportunities for
development so that this impetus is not legi ble merely as an image-
191
Form as action
In the last decades, the idea of form has been removed from the
realms of architecture and urbanism. Due to the massive changes that
took place within the contemporary urban condition, the traditional
tasks of these disciplines (to give form to the city) were considered in
adequate tools with which to meet emerging pressures and seemingly
insoluble new complexities. As a result, sub-disciplinary fields of re
search and application were promoted, such as programming, brand
ing, mapping, marketing (and research itself) and were thought to be
successful and operative alternatives. The instrumentality of form in
the construction of the contemporary city was not only seen as out
dated, even more than the presumably ineffective relevance of form,
the idea itself of mak ing the city became a moral non sequitor: since
the city was conceived as evolving from uncontrollable and unintel
ligible social and economic forces, architects were forced to consider
it as an unknown entity - a mere nature - representable only through
simulacra of reality-as-found and those of an ever-growing accumu
lation of complexities and contradictions. These twin dynamic condi-
1 92
--
Tl1e culture of sprawl has defined two opposite scenarios: on one l1and the space-endlessness of tl1e
new global-regional dimension of the city, and on the other tl1e irreducible itemization produced by the
attention to the domestic microdimension. One can see this concordia oppositoritt11 in the success of
disciplines such as geography and interior design.
1 93
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project for the Centro D i rezionale in Tu rin by G. Polesel lo, A . Rossi and L. Meda, 1962)
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or the Problem of Dimension
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We can affirn1 tl1at Rem Koolhaas's ''Bigness'' , Aldo Rossi's ''Urban Fact'', Robert Venturi's ''Strip'',
Kenneth Frampton's \'Megaform'' and Oswald Mathias Ungers' '\Grossfortn'' are concepts related
to the problem of the design intervention and its dimensions (l iteral a11d phenomenologica l) witl1in
the condition of the contemporary city. In spite of tl1eir different positions, tl1ese 11orions share tl1e
awareness of urban design as tl1e prime contributor to the form of the cit}.
1 97
The space of appearance (Celebration at the Seagram Plaza, A l ice Wood, New Yo rk 1 972)
1 98
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of concrete facts, it follows that the urban project must be a crui ble
within which its original datum - the form of the city - is borne out.
Mea nwhile, the aware11ess of dime11sion for the urban intervention is
not lim ited to techn ical questions. Starting from within the Cliscipline
itself (the immanence of the urban project) it inevita bly ql.lestions
society, politics and power on the level of their material organization,
whi le at the same time being at the service of these practices - a crucial paradox to be understood critically. Ultimately, the idea of di
mension implies a commitment to .the proj ect as an instrument of for
mal and material responsibility, meaning a departure - and a move
forward - from the laissez faire rhetoric of flexibilitf, indeterminacy,
na rrative, programming, content, hybridity and immateria lity.4
Here is the idea of the project's concreteness as its ''logical construction'', ince re ea rch and design
tl1eory are 11ow victim of an intolerable mi Lt e of narrative and merapl1ors. Instead of investing in tl1e
unrelial1le and ofte11 demagogic abstraction of the ''1nise e1z Sl-ene'', the urban project mLtst redi cover
its niaterial im1nanence if it is to constitute itself as the real a11d tangible ''metapl1or of change''.
1 99
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state itself, part of tl1e Flemish Diamond ( the most densely urbanized
region in the world togetl1er with the Randstad and the Ruhrgebiet) ,
the capital of Belgi um, one of the cities that define tl1e Centra l Ca pital
City Area ( together with Amsterdam a nd Cologne) and, above all,
the capital of Europe. Its role as capital simultaneously defines
Brussels on a global scale a nd at the scale of its form .. This seems to
particularly address the dramatic incongruence between 'the future
role of the city, its politica l intelligence, and its consistency as a repre
sentational form. Brussels is in diamatic need of a new vision that can
overcome the outrageous medi ocrity of its recent European urban
devel opment and at the same time resolve th imrr1inent expectation
of Brussels to _pe1for1n as the permanent site for the idea of the
E uropean Union to be shown, at once and in one p lace.
Rep1esentati on
How to give form to a l l of thi s ? How to represent this form within
the necessarily reductive nature of an architectural project and, above
all, how to construct a form of representation that is a-iconic and yet
fully expressive in its own abstract terms?
To answer this q uestion, we have chosen to investigate the nature
of urban artefacts as l imited form-objects that, before being images,
are formal and spatial experiences expressed in terms of the composi
tion and configuration of form. The representation of this experience
is directly expressed in the artefact itself, in its compositional nature
which is not determined by any matter of fact algoritl1mically extrud
ed from the research, but deliberately based on the research's matters
of concern . These matters of concern a re related to our selective
interpretation of Eu ropean urbanity as a thing in itself and as a
phenomenological analogue of u11ited discreteness that the idea of
Federalism entails. Beyond a political scenario, this is an idea of an
entity as an object in itself and yet bot1nd as part of an intelligible
whole. Therefore, the language of the project refers to this idea not
through an iconographic m imesis, but through a common, passion
ate utterance of its features in the form of elements, including the
infrastructural organization of the new centrality, the reasoned
disposition of the projects across this centrality, the definition of the
priorities of programmes that by their orchestrated location a re able
to enact a sense to the metropolitan experience ( knowledge, hous
ing), the configuration of the buildings themselves according to the
recognition of common urban principles (flatness, low-rise density,
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(Ch igago: Tl1e U11iversity of Cl1 icago Press, i 9 9 8 ) .
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Crossroads of Eu1ope
1
Omer V<.1 n[ludenl1ove, BrLtxelles, C1rref<)11r (le /'Oc:cide11t, fo11ds des roi1tes ( M in i'>tcre de TrJv<.1 t1'\.
Public et de la Recon tructio11, 1 9 5 6 ) , 9 5 .
.,
The gc>''cr11n1e11t's policies 011 acces to l101ne <)wner l1 i p a l lc)\Vcd for tl1e acqui ition of si11gle-fe:1 111 i l )1
hon1es by gran ti11g premium to candida re L1t1 i lder . Put i11 place in 1 9 22 wi tl1 the brief experin1ent of
rl1e Moyer oen Act, but LI pended i11 r 9 24 due to the econo111ic cri i , the sy ten1 tc)ok <)11 a genLtine
scope \virl1 rl1e r 94 8 adoptio11 of tl1e legi la ti on pro po ed b rl1c C,1 rl1ol ic mini rer A I fred De T1 )'e.
U11der rl1e e 111ea ure , linked re> the stin1ulared den1ocratizatio11 of tran port (st1l)sidized ra ilway ticket
Lrbscriptions and develc> p111e11t of the road 11et\vork), tl1e con trt1ctio11 of private dwc l l i11gs in rl1e
peri pl1cry, i 11i tia 11)' reserved for rl1e tipper middle cl<.1 s, progre si vel y extended to every stra tu111 c>f tl1e
popt1 lati<)11. ee Guy Bt.1ete11, A11d re Spi tl1ove11 c1nd Loui Albrecl1tc;, Mobiliteit, lt.111dscl1c1p va11 111acJ;t
e11 or1111ac/Jt ( Le u ven/Amer foort: Acco, 2000, fl rsr edition 1 9 9 7 ) .
3
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In r 840, faced with the expansion of Brussels into the territories of varioL1s peripheral municipalities,
the Belgian state created the post of roadways inspector. A veritable organ of guardiansJ1ip over the
111unicipalities, its task was to coordinate tl1e main roadways within and around the capital. Besme
held this post during the reign of Leopold 1 1 and translated the urbanist vision of the monarch by
means of his plan for the expansion and improvement of the Brussels agglomerations, the various
versions of which would continue to serve as a base of negotiations witl1 both private investors and
municipal authorities in creating the monumental Brussels of tl1e n ineteentl1 century that marks the
Ltrban tructure to t11is day.
6
The organic legislation of 1 9 62 provides for a nationwide planning on four levels: national, regional
(more or less per province), by sector and, final ly, m u n icipal urban designs. Only the sector plans,
still in force today, \.Vere ever ela borated. The preliminary study for the sector plan for the Brussels
agg10111eration was entrusted, as was often the case, to a private urban design firm, in this instance the
Groupe Alfa, by the administration, w h ich su bsequently took charge of making it conform to legal
requirements. See, for instance, Pierres et rues, Bruxelles: croissance i1rbaine 1 7 80 - 1 9 80, catalogue
for tl1e exhibition organized by the Societe Generate de Banque tl1e Sint-LL1kas Archives and G. Abeels
( Brussels, I 9 8 2 ) .
7
Tl1e construction of urban motorways traversi11g the existing city was seen as an opportunity to
regenerate neighbourhoods which were considered dilapidated or which '' present[ ed] defective
infrastructures and [were] an obstacle to urban development'' . The roadway thus became a driving
element for urban development, which, beyond transforming the ci ty, also stim ulated the urbanization
of more peripheral zones. The obsolescence criteria for neighbourhood were limited to the state of
built structures and never took socia I consequences into account. In Aron, Le tour11a11t de l'urbanis1ne
bruxellois, op. cit. ( note 3 ) , 8 5 .
8
Evert Lagrou '' La politique d't1rban isatio11 dans le pentagone brL1xellois depuis la fin de la gL1erre'',
in: Pierres et rues, op. cit. ( note 6), 3 2 9 .
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City of Brussels and the Phi lips Tower were l i nked to a traffic exchange for buses and two underground metro l ines
210
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each 100 m high, because two 400-m towers, as in New York, wou l d hinder air traffic over Brussels
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212
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of Brussels and the Phi l i ps Tower near the Pl ace de la Monnaie are
two harbingers of tl1is la1ge-scale rezoning of the city centre, which,
incidenta l ly, deviated from. the C IAM-esque compulsion to segregate
and instead championed the mixing of u1ban fu nctions. The a i rn was
to rebu i l d the entire Anspach Avenue up to the northern edge of the
pentagon-shaped central area alo11g these l i nes. Architecture was
once n1ore cal led upon - through its scal e and a typolo g}r adapted
to the infrastructure - to reso l ve the urban problem.
Paradoxical l y enough i t was oqtside the pentagon - the Tek hne
Pla11's planning area - a l beit sti l l within the l i m its of the city of
Brt1ssels, that the vision behind the plan wouJd achitve its most radi
cal real ization. With the idea of developing Brusse ls i nto one of the
most i mportant centres of the new, modern E urope in commerc i a l
terms as we l l , local p o liticians and buildi ng promoters concocted a
p lan to build tl1e European equ ivalent of New Yorl<'s World Trade
Center towers i n Brussels, a l i nk i n a worldwide network of com1nu
n ication and business centres.9 Once again the i nternational vocation
of Brussels was employed to generate an urban transformation using
an arch itectural concept - an elaborate i n frastructure and interna
tional architecture complex. The fate of the North Q ua rter was
sealed. The story of the demol itions that characterized the northern
section of Brussels for years i s wel l -known.
213
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ee Andre Barey (ed.) Declaration de Britxelles ( Brussels: AAM, 1 9 80). For the reconstruction of
the Laekensesrraat/Rue de Laeken on the sire where the so-ca lled Blt1e Tower once stood Forti and
the Fondation pour ! ' a rchitecture, in imitation of the ARAU, issued an 'Appeal to Young Eu ropean
Architects'. See i 9 89 - 1 9 95 De Wederopbouiu van een historische straat in Br1-tssel. Oproep aa1'1 de
jonge Europese architecten ( Brussels: Fondation pour l'architecrt1re, AG r 8 2 4 , 1 9 9 5 ) .
215
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Project for the relocation of European institutions to the site of the disused Schaerbeek-Josaphat Station, A . R.A. U . , 1 982.
Drawi ng by Brigitte Delft and A nne Gerard
216
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ln his thematic outline of the l1istory of Brussels urban plann ing, Evert Lagrou calls this the period
of populist L1rban design, in vv hich increased consciousness among citizens made the design of the city
a concern of the first order for local poJiticians. See Evert Lagrou, Welke Stedebouiu voor Brussel,
hoofdstad van Europa? ( Brussels: Vzw Sint-Lukaswerkgemeenschap, 1 9 8 9 ) .
1 2
ARAU, Quinze annees d 'action u1baine OU Britxelles vit pa1 ses habitants ( Brussels: ARAU/AFA, i 9 8 4 ) ,
64 - 67.
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i red to an issue of bL1 i l dings. To tl1e Belgian autl1ori ties, in the begi n
ning, it was eminently clear that the Europea11 presence wot1 l d be en
ti rely contained within tl1 e Berlaymont and Cha1le111agne Buildings,
which j ustified tl1e excavation of tunnels, underground car parks a 11d
a 1netro station. Tl1 i s level of th i n king did not evolve in su bsequent
yea rs. Tra pped in di plomatic si lence, unable to publicly claim the
status of European capital for Brussels, the Belgian state managed the
growth of the presence of Eu1opean institutions on an ad hoc basis.
When the i ssue of housing the Council of the European Union arose,
the state, too eager to recover the heavy investments i n infrastructure
agreed to at the foot of the Berlaymont, confined its inqui ries to
l ocating sufficient space a round the Sch t1man rounda bout.
Fol lowing a disastrous a rchitecture competition, a decision was
fina l l y made to gather a l l the competing architects into a single team,
the creative gen ius of which was synthesized in the construction of
the J ustus Li psi us Building. Crushed on one side by tl1 i s gigantic
edifice, the Mael beek Va l ley now saw the spectre of another mam
moth structure rising on the opposite ban k . In fierce competition
with Strasbourg and Luxem bourg to house tl1e seat of the E u ropean
Par l iament, the Belgian state decided to h ave an International
Congress Centre built by a consortium of banks and private develop
ers, a l l q uite happy to use this to pursue the j u icy development of the
tertiary sector in the Leopol d Quarter. 1 4 Fi fteen years of construction
l ater, the Parl iament Bt1 i l d ing, now officia l, undergoi ng continual
expansion, this whim of the gods, had imposed its gigantism without
its impla ntation ever having been submitted to public debate.
1 )
Patches
In a n a ttempt to stop the systematic demo l ition of the b l ocks of the
Schuman Quarter to accommodate administrative buildings, the
A R A U proposed rel ocating a l l of the E u ropean parl iamenta ry and
executive facilities to the vast Josaphat railway station i n Schaerbeek .
Linking i nstitutional buildings and cultural infrastructures as wel l
as housing, this was a veritable chunk of city, with a resol u tely neo
classical aspect, which aimed to provide a defin itive answer to the
continuous expansions of European institutions. A las, the time for
counter projects was over. The l ate 1 9 90s witnessed the completion
13
Phili ppe Laporta, ''De EEG in Bruss!. Verri j k i ng of verkrachting'', in A + , no. 9 1 , 1 9 8 6 , r 9 - 26.
14
Georges Tim1nerman, Main basse sur Bruxelles, argent, po11voir et betu11 ( Brussels: EOP, 1 9 9 1 ) .
218
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For a fu l l accoL1nt of thi epi ode in the history of the implantation of Europe in Brussels, see Vincent
Carton, ''Cinq ans de cooperation et d'a'ffrontement entre le actcurs natio11aux, regionaux et loce:1 u x
( r 9 9 9 2004 ) '' , i n : Carola Hein (ed.), I.es Cahiers de La Cambre Architecture no. 5 , Bruxelles
l'Europenne, capitale de qi1i? Ville de qi1i? ( Brt1ssels: La Lettre Volee, 200 6 ) .
-
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See Brt1ssels, Capital of Europe. Fi11al Report, October 2.00 1 , European Commis ion, Belgia11
Pre idency unpublished report, 200 1 . See a lso I wan Strauven, ''Koolhaas in Brus e l '' , A+, no. 1 7 6,
J u ne/J u l y 2002, 1 7 6 - r 7 7.
17
219
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it managed to go beyond the goal of a mere urban patch. The prema.ture 1esignation of the first min ister of tl1e Brussels Capita l Region
buried the proet> A mediator between tl1e E u ropea11 Un ion an the
various Belgian a 11d Brussels a L1thorities has since been appointed, a
kind of public foreman whose task w i l l be to coordi nate the whole of
the obj ectives of the E u ropean Quarter. Today, E u rope i s till an enterpri se, as good and as pertinent as i t may be, but not yet a project .
Surrea l ism! ?
There is somethi ng surreal i stic about the role Europe ha1s'p l ayed i n
the urban development of Brussels i n the second half of the twe11tieth
centL1ry. As an idea or dream it was, on the one hand, the driving
force behind a series of radical projects w itl1 metropolitan ambitions
out of a l l p roportion . As a real ity, i t behaved as a long-awaited guest
who'd been at the party all a long. The fragments of grandiose
projects came face to face with the amputated ambition of the great
project i tsel f.
Tl1e combination of dream a11d real i ty gave rise to an i mage
that can be described as surrealistic as wel l : an i mmense collage, a
j uxtaposition of conflicting i mages, scales and architecture i dioms.
An exciting spectacle of contrasts and paradoxes through which
Brussels, as an artefact, seems to apply the processes of surrealism to
its appearance. More than i n Paris - the undisputed cradle of surreal
ism - the su bconscious seems to have found expression i n the built
environment.
And as is so often the case, the cliche at some point builds u p so
m uch power that i t starts to lead a life of its own and i s elevated to
the level of a fo unding discourse. The merry chaos of contrasts and
paradoxes is perceived as an exciti11g quality and raised to the status
of a manifesto. In this way, the c liche gradual l y penetrates the under
lying l ogic of urban and architectu1a l production. Like the observed
'' beauty of t he ordinary'' , '' Belgian-sty le surrea lism '' becomes sud
denl y operative as a newly unveiled, unwritten law. In the best-case
scenario it offers a challenge to the contemporary designer worki ng
on the city; i n the worst, a n alibi to simultaneously cover u p tl1e me
d iocrity and the absurdity of_ urban design practice.
Shoul d Brussel s dare once agai n to ela borate l a rge-scale urban
projects, any attempt to erase the heterogeneity of the Brussels land
scape woul d represent a mi ssed opportunity. P l t1mbing the q u a lities
of the urban surrealism of Brussels and putting to use its spectacle of
221
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concern for the collecti ve and the reactivation of the public do1 a i 11
in which the l i fe of each member wi l l become an active and conscious
act of participation in a col lective way of living, s i 1nply beca use
without this menta l transformation, l i fe would become untena ble.
In such a scenario, the city, instead of being merely a geogra phic
place name, would rega in its eJ.ll i nence, not only as desira ble centre,
but, given tl1e application of an appropriate i deologica l, social
and environmental vision i t would become a real fo1m-pl ace of
unprecedented beauty.
I t is for this and similar scena rios that the a rchitect of today
should be prepared and begin to project the appro p"riate visions. The
self-indulgence of the contempora ry Star A rchi tect, only contributes
to the visual and environmental po l lution created by the current eco
nomic power of plu ralism, of which he i s only the slave.
I nstead of the present-day sel f-referentia] and narcissistic struc
tures that are emblems of the market - such as landmarl<s or what
today i s cal led '' Iconic Building'' - we should begin to propose large
sca l e architectural insta l lations of unprecedented size, punctual, lim
i ted and simple large-sca le urban forms - topographic acupun cture
with a big needle capa ble of a bsorbing the entire urbanization of
the sprawl . Simple monumentalities that make the i r intention clear
by means of their form (or the way their intention i s i nstil led by the
form ) and their strategic positioni ng, as logica l concl usions of the
topographic dynamic and the social geography of the l ocation (or the
way the l atent intelligence of each p l ace is capita l i zed upon - and
projected onto a future evolution ).
Remi n i scent i n scale of the a ustere and daring visions of the criti
cal radica ls of the 1 9 60s in E u rope, sucl1 as Superstu dio and Oswa ld
Mathias Ungers, these would be pro-active rather that representing
a utopia. Critica l visions such as the Continuous Mon ument ( 1 9 6 8 ) ,
Rossi 's Locomotiva 2 project for Torino of l 9 7 2, or Oswal d Mathias
Ungers' theoretical p rojects for Berl in ( 1 9 63 - 1 9 6 9 ) were not simply
a ffirm i ng the autonomy of architecture as a preconditi o n of engage
ment with the city, b ut especial ly the poss i b i l ity of using l a rge-scale
a rchitectura l i nterventions to po litically question the city, and the
forces that make it.
But above all, one thing has to be stressed that in the p resent need
for a vision - and i n this scenario, the utopia i s not about architec
tu re; i t is about po l itics. Thus the b ig needle i s req u i red to represent
both the p u b l ic ( institutiona l ) and the private (collective ) rea lms so
that the ensu ing project cou ld be buildable, today even, given the
231
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pol itical wi l l . And indeed they are a lready needed. But the l inge1'.. ing
q uestion remains: economics or politics ?
Thus, i n the case of Brussels, tl1e projects are add1essing a p o litical
rea l ity, not necessa rily so di fferent from tl1at of Belgi u m : they s imply
do not re ly only on the i dea of the market opportunity.
Tl1e projects engendered by this approach would .not attempt to
i nvent programmes; conceived as a system of formal acupuncture,
they woul d be i nserted strategically within the existing '' urban ''
pond. Architecture would be seen as a system of walls as strategi c
pa rtitions - whicl1 is its q u intessence: as s 11ch, i t would embody the
idea of the city and be occupied by any progr amme tl1at the citizens
will generate.
In short, while tak ing a deli berate position aga inst the cu1rent
political correctness of plura l ism, complexity and fragmentation,
we n1ust embrace the return to the big-scale proj ect within the cities
i n archi tecture: a project removed from aesthetics, located, once
more, i n the political domain. The big-scale proj ect, as a system of
punctual i nterventions that confront the given, i ndividual patterns
of the cities into which i t i s i nserted, can i n this way sharpen the ieal
vitality of political struggle: not a hybrid, but the confrontation be
tween collective decisions and individual actio11 . It i s a position that
must be proj ected as a general polemic about tl1e future inevita bil i ty
of a new monumental urban form and i ts appearance i n the post
urban world .
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P i er Vittorio Aure l i ( It a l y )
i s a11 architect a 11d ed ucator.
After gradua t i 11g from the l st i t uto
d i A rch itett ura d i Ve nezia, Au re I i
obta ined a doctorate i n u rban p l a n n i n g ,
a master's degree a t t h e Berlage I n sti
tute, a n d a P h D at the Berlage I nstitute/
De lft U n i v ersity ofTec hnol ogy. H i s
t l1eoret i ca I stud i e.s focus on the re I a t i o n s h i p bet we e n a r c 11 it e ct u r a I f o r 111 ,
po I i t i c a I t 11 i 11 k i n g a n d u r b a n h i st o r y.
Aurel i teaches at the Berlage I nstit ute
- w here he i s u n it professor a n d respo n
s i b l e for the ' research on the city'
programme. C u r rent l y he is a v i s iting
professor at the Archi tect u r a l A ssoc ia
t i o n i n London, C o l u m b i a U n i vers ity
i n NewYork, and Delft U n iversity
ofTec h n o l ogy. Aure l i has lectured
a n d p u b l i shed worldwide, a n d he i s
current l y wor k i n g on a book entitled
Tl1e Poss i b i l ity of A bs o l ute A rc h itec
t u re - a study on arch itectural form
frorn Brama nte to M ies.Toget her with
Mart i r1 0 Tattara he i s the cofou nder
of D O G M A , an architectural col l ect i ve
centred on the project of the city. Very
recent l y, D O G M A received the l akov
C h e r n i khov P r i z e for the best emerg i n g
arc h itectural practice.
C r i s t i n a Garcia Fo ntan ( S p a i n )
studied at the School of A rc h itectu re i n
A Corufia before attend i ng the Berlage
I nstitute, f rom w h i c h she grad uated
i 11 the summer of 2005. She i s currently
deve l o p i n g l1ou s i n g projects with
a focus on susta i n a b l e a rchitecture.
Garcia Fo ntan coord i nates a research
i nvest igation at the U n i v ersity of
A C o r u ii a conce r n i n g met ropol itan
areas a n d the evo l ut i o n of ur ban form i n
G a l i c i a and i s d o i n g a P h D i n Te rritorial
Org a n i zation at the U n iversity of
Santiago de C o m post e l a.
H i romJ_ H a r u k i (Japan)
worked at the office of ltami City
as a manager of the p u b l ic b u i l d i ng
process before atten d i ng the Berl age
I n stitute, from w h i c h she gr ad uated
i n the summer of 2005. S h e i s current l y
wor k i n g at a n a rch itectural office i n
Japan where she i s engaged i 11 the
d e s i g n of p u b l i c space. Her research
i nterests are i n the i nte ract ions of u n
specified people i n p u b l i c space and
how to encour age these dynamics
through d e s i g n .
Gery Lelout re ( B e l g i u m )
studied archi tecture at the Victor H orta
I nstitute i n Brussels a n d obta ined
h i s master's degree i n urban p l a n n i n g
a t t h e Cat holic U n i versity of Leuven,
B e l g i u m i n 2006. H e i s current l y work i n g
as a n arch itect i n Brusse l s , i s the as
sistant ed itor-in-chief of BrU ( B r usse l s
review of urban p l a n n i ng ) and teaches
urban p l a n n i n g at the La Cambre I nsti
tute i n Bruss e l s .
Weerapat C hokedeetaweeanan
(Th a i l a n d )
studied at S i l pakorn U n i versity before
atte n d i n g the Berl age I nstitute, from
w h i c h he g raduated i n the summer
of 2005. He is i nterested i n u rba11 a n d
subu rban phenon1ena, part i c u l a r l y
i n deve l o p i n g countries. H e current l y
works i 11 Bangkok.
236
P i e r Paol oTa m b u r e l l i ( I t a l y )
stud ied at the U n i versity of Genoa
before attend i ng the Berlage I nstit ute,
from w h i c h he graduated i n tl1e s u m m e r
of 2005. He now has a sma 1 1 office,
baukuh, based i n Genoa.
Mart i no Tattara ( I t a l y)
st udied architect ure a t t h e l . U . A . V.
i n Ven ice and at tl1e Berlage I nstit ute,
from wl1 i c h he g raduated i n 2005.
D u r ing h i s st udies at the Berl age
he par t i c i pated i n the research pro
gramme on capital c i t i es, i nvestigat i n g
Tirana and Br ussels. He i s c u rrently
a P l1 D c a n d i date i n U r b a n i s m a t t h e
1 . U . A . V. i n Ven i ce. He i s cof o u n d e r with
Pier Vittorio Aure l i of D O G M A .
M a r i oTronti (Italy)
i s a po l it i c a l t h i nker, p h i losopl1er,
and writer. I n the 1950s he joined the
I t a l i a n Co111 m u n i st Party. With Ran i ero
Pa n z i e r i he was the cofounder of the
po l i t i cal j o u r 11 a l Quaderni Rossi, after
w h i c h he became the d i rector of Classe
Operaia, and he was, among others,
a reg u l ar contri butor of the magaz i n e
Contropiano . l-le i s the autl1or of Ope1ai
e Capitale ( 1 966) - t l1 e s e m i n a l book
on the lta l i a11 Worke r i s m Movement
(Opera i smo) - Con le Spa/le al Futuro
( 1 992 ), La Politica a7 Tramonto ( 1 998),
and Politica e Destina (2006) .
c,
E l i a Zengheris ( G reece, B e l g i u m )
received h i s di ploma from the
A rch itectu r a l A ssoc iation School of
A rch itecture ( A A ) i n 1 961 and i n 1 975
he founded,, the Office for Metropolitan
A rch itecture w i t h Ren1 Kool haas, Zoe
Zeng h e l i s a n d Madelon V r ie sendorp
i n London. I n 1 987, with E l e n i G igantes,
h e est9bl i shed G i g antes Zenghe l i s
Arch itects based i n Athens and
B russels. He has taught at the Berl age
I n stitute for more than ten years and
has been a professor at the E T H Z o r i c h
and the D U sseldorf Academy of F i n e
A rts. F u rthe rmore, h e has taught at the
rc h itect u r a l Association i n London,
P r i nceton U n i versity, t l1e E PF L
Lausanne, and i s current l y professor
at the Accad e m i a d i A r c h ittetura d i
M e n d r isio.
Z h i Yi ( C h i na)
st u d i ed atTongj i U n i versity i n Shanghai
before att e 11 d i n g the Berlage l 11 st it ute,
f rom w h i c h he g raduated i n the s u m n1 e r
of 2005. He is now work ing at the St u d i o
of Hybrid Strategies i n S h a n g h a i . T h e
studio's research i nterests are i n the
prob lems and strateg ies related to
the rapid process of C h i nese u r b anity.
These research targets i nvolve col l a bo
rat ion with gove rnment agencies and
developers to affect real city practices.
Lo.
....
c
0
u
To m We iss (Switzer l a n d )
studied arch itect u re i n B i el - B i e n n e ,
Switzerland. P r i o r t o attending the
Berlage I n stitute he col lab orated with
architect u r a l fi rms based i n Germany
and Switzer l a n d . He graduated in the
s u m m e r of 2005 and i s c ur rently l i v i n g
and working i n Z u r i c h . H e i s a research
er and assistant teacher at the Z u r i c h
U n i versity of Applied S c i e n ces.
237
I l l ustration C redits
'
'
238
B r u s s e l s - A M a n ifesto
Towards t he Capital of E u rope
Tran s l a t i ons
.
P ierre Bo uv ier, Richard Sad leir
Copy editor
D ' La i 11e Camp
Graph i c Des ig
Karel & Aagje Martens
P u b I isher
Eelco v a n We l i e ( N A i P u b l i shers)
Co-publisher
I C ASD/C I A U D - A + Editions
A Vision for Brussels
C u rators
P i er Vittorio Au re I i ( Be r l age I nstitute)
Joac h i m Declerck (Berlage I n stitute)
Ex h i b it i o n coo rd i 11 at o rs
Roela11d D u d a l (Berl age I nstitute)
l wan Strauven ( A + Bazar)
Sympos i u m coordi ntor
lwan Strauven ( A + Bazar)
C u rato r i a l advisors
Stefan Devold ere (A+)
Veron i q u e Patteeuw ( N A i P u b l i shers)
-
Berlage I n s t i t u t e Research
Studio Brussels Capital of
E u rope
Coproduc.t ion
,
F i l m reject
Robin Ramaekers
E x h i b i t i o n model
Made by M i stake ( D e lft)
berlage i nstitute
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1 1 i son
Peter !
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1,
2006
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Cart ier- S n
be /la 278,
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Jean -Cla ude
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Fran ce Ma rage
A rlet te Verkr
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