Escolar Documentos
Profissional Documentos
Cultura Documentos
pa r i s i a n l i f e
ANNE WEI
01
Val dEurope is the copied
product that becomes reality. It is a
town entirely composed of life-sized
souvenirs of Paris insofar that the
town itself becomes the souvenir. The
purpose of the souvenir is to remember
the original through the form of a
physical representation. Visitors and
residents at Val dEurope are reminded
of Paris as they see the copied
Haussmannian faades lining the
streets of the town. In the process of
replication, however, memories of the
original become distorted and altered
to adopt a more pleasant and romantic
quality than they actually were as if to
satisfy a need for constant nostalgia.
Souvenirs then foster a false truth as it
reinforces a false memory of the original.
Overtime, these false memories will be
inadvertently taken as true and actual,
until eventually the fictitious becomes
the authentic past. In creating a town
entirely comprised of reproductions
Bottom:
Interior of the
Val dEurope
mall made to
look like a
Val dEurope functions like
an exhibition, as it specifically selects
a particular place and time to replicate
and display with the intention of
simulating the experience of traveling
back in the time. It provides an
environment directly created from the
precedent of the Parisian past and
filters the negative, unwanted qualities
of the city, only to leave behind what
is desirable and most representative of
the original form. Unlike the museum
and amusement park, Val dEurope is a
fully functional town instead of just mere
attraction and exhibition. The town
offers the opportunity to live in a tangible
form of nostalgia of Paris past, a past
that connotes glamour and idealism as
Lipovetsky notes. This overly romantic
remembrance of Paris is a distortion of
reality of the past and exists as a result
of its depiction in the media. It is only
in hindsight that Paris past is seen as
romantic and ideal and this fabricated
image of the past is increasingly
exaggerated with the function of
time.
Additional, the collective
society encourages the magnification
of nostalgia of Paris, which then
satisfies the imagination and yearning
for the ideal Parisian time and space.
Aesthetics
alone
has
influential power over the peoples
perception of reality and fantasy.
Val dEuropes reconstruction of
a Parisian past is motivated by
economic profitability in the buying
and selling of nostalgia through a
physical construction of the illusion.
The shopping mall at Val dEurope
condenses all iconic architectural
elements of Paris into one large space
of consumption and commerce. The
agglomeration of Parisian architectural
motifs in the shopping mall attempts
to recreate the experience of walking
down a street in Paris, as the interior is
design to physically mimic the Parisian
street, complete with street lamps
and decorative wrought-iron balconies
protruding about store fronts. The
second edition of the Val dEurope
brochure even highlights this fabricated
experience of the promenade of
shopping as an attractive quality of the
town, Inspired by 19th-century Paris,
the shopping centers architecture
encourages walking and socializing
as well as places to enjoy a leisurely
II
02
References:
Benson,
Sarah.
Reproduction,
Fragmentation,
and
Collection:
Rome and the Origin of Souvenirs,
Architecture
and
Tourism:
Perception, performance and place,
(Berg, New York, 2004), 15-36.
Herrman,
Michael.
Travesty:
Architecture
of
Distraction,
Hypercontextuality: The Architecture of
Displacement and Placelessness,
(CNR, Rome, 2009), 185-210.
Lipovetsky,
Giles.
The
Past
Revisited, Memory in the Age of
Hyperconsumption,
Hypermodern
Times,
(Polity
Press,
Cambridge, UK, 2005), 56-62.
Val dEurope Communications, Val
dEurope. New Enterprise, New
Society, New Ideas, 2005, 1-31.
Images:
Gustave Caillebotte. Paris Street, Rainy
Day, 1877. Art Institute of Chicago
w w w. p i c a s a w e b . g o o g l e . c o m
www.private-guides.com.
04