AS PART OF THE Greater Paris Project, the plan to create a sustainable and creative metropolis by absorbing the suburbs and redeveloping the city centre, RATP, the Paris mass transit authority, is gradually extending the Métro lines further out into the Parisian suburbs.
This development has prompted me to create a new strand in my Paris Soundscapes Archive, which I’ve called the ‘End of the Line’. The idea is that I will visit the end of each Métro line and collect sounds not only from within the last station on each line but also from the surrounding area outside each station.
Since most Paris Métro lines begin and end at the periphery of the city this will not only be a fascinating way to discover new places but also new sounds. In my experience, the sounds at the periphery of the city often differ markedly from those at the centre so my ‘End of the Line’ strand seems a good way to explore more of these peripheral sounds.
From time to time I will share some of these ‘End of the Line’ explorations on this blog beginning with: ‘End of the Line – Les Courtilles’
The Métro station Les Courtilles, or to give it it’s proper name, Asnières – Gennevilliers – Les Courtilles, is the terminus of the north-western branch of Métro Line 13, the longest line on the Paris Métro network. Situated under the Avenue de la Redoute on the border of the communes of Asnières-sur-Seine and Gennevilliers, the station was opened in 2008 upon completion of the extension of Line 13 from the previous terminus, Gabriel Péri.
In November 2012, Tramway T1 was extended to terminate at Les Courtilles. Between the Métro station and the Tramway, an impromptu African market appears each day together with its characteristic sounds.
As I said, the Métro station Les Courtilles is on the border of the communes of Asnières-sur-Seine and Gennevilliers, with Gennevilliers being to the north-east of the station. Looking out over Gennevilliers from the Métro station, the view is dominated by the tourist-free zone, Le Luth, a huge social housing complex.
Shortly after I arrived at Les Courtilles so did the rain so, although Le Luth is well within walking distance from the station, I took the tram and travelled one stop to the heart of the complex.
Designed by the architects Auzolle and Zavaroni and completed in 1978, Le Luth is typical of many major residential projects built between the 1950s and the 1970s.
An aerial view of Le Luth via Wikipedia
Le Luth was built both to replace existing sub-standard housing and to provide accommodation for an expanding population and when it was completed it was considered a success.
But with the deindustrialisation of the 1980s and 1990s, companies in the area like Chausson, Carbone Lorraine and General Motors began to shed workers and the area began to decline.
“General Motors France se prépare à supprimer 280 postes de travail d’ici à juillet en raison de l’arrêt de la fabrication d’un système de freinage dans son unité de Gennevilliers.
GM France emploie environ 2.000 personnes à Gennevilliers (sur 5.200 en France) réparties dans trois unités spécialisées dans les freins, les systèmes électriques et les pots catalytiques.
LES ECHOS | LE 05/03/1993
Since 2006, Gennevilliers and Le Luth have been undergoing redevelopment. Efforts have been made to attract new economic activity and public spaces are being re-imagined. Roads have been cut through the undulating housing blocks, old buildings are being renovated or in some cases replaced with smaller housing units, and the extensions to Métro Line 13 and Tram Line T1 are part of this process.
Sounds of Métro station Les Courtilles, the tramway and Le Luth:
The ‘End of the Line’ strand in my Paris Soundscapes Archive is designed to capture the atmosphere in and around the terminus stations on the Paris Métro.
I collected over three hours of sound in and around Les Courtilles Métro station and Le Luth housing complex all of which has been consigned to my archive. For this post though I have distilled those sounds down to a fifteen-minute sonic snapshot, which I hope you find still gives a sense of the atmosphere of these places on a wet Tuesday afternoon.
This sound piece begins with my arrival at Les Courtilles Métro station and the ride up the escalator out onto the street. Then come the African voices in the market outside the station and on the tram ride to Le Luth and finally some sounds I discovered around L’espace Aimé Césaire, the cultural and social centre at the heart of Le Luth.
And what about the name ‘Le Luth’, where does that come from?
One explanation might be that the name derives from the Celtic root, luto- or luteuo-, which means ‘marsh’ or ‘swamp’. After all, Julius Caesar named the predecessor of present-day Paris ‘Lutetia’.
A more simple explanation though might be that, when viewed from the air, the housing complex has a shape similar to the musical instrument, the lute: ‘Luth’ is the French word for ‘lute’.
For me, the most interesting thing about listening to and studying urban soundscapes is not simply listening to the sounds themselves, fascinating as they often are, but rather it is going to new places to find new sounds and then discovering and understanding the historical, social, cultural and political context that surrounds the sounds.
Exploring the ‘End of the Line’ at Asnières – Gennevilliers – Les Courtilles has taken me to a place that I would probably never have visited had I not been hunting for new sounds for my archive. And although I haven’t written about it in great depth here, I am richer for having explored the context in which those sounds occur.
THE ENTRANCE TO the Métro station Varenne in Boulevard des Invalides in the 7th arrondissement lies right at the heart of the seat of power. Behind the wall alongside the station entrance with the iron defences on the top are several French government ministries and just round the corner at N° 57 rue de Varenne is the Hôtel Matignon, the official residence of the Prime Minister of France.
Métro station Varenne takes its name from the nearby rue de Varenne and it’s on Métro Line 13 which connects the western part of Paris to the suburbs of Saint-Denis, Asnières, and Gennevilliers in the north and to Châtillon and Montrouge in the south.
Image: Paris Métro Line 13 – plan by Otourly – based on an RATP file
The sounds inside Métro station Varenne:
Trains run frequently through this station and their sounds, their rattling and sighing, interspersed with the very clear station announcements make for a lively sonic ambience. Of course, following the recent Charlie Hebdo attacks, Paris is still on a state of high alert and this is reflected in the sounds of the station with the repetitive, multi-lingual, security announcements.
The frequency of the trains passing through the station to Châtillon in the south and to Saint-Denis, Asnières, and Gennevilliers in the north, means that you seldom have to wait very long for a train.
However, there is one person sitting in this station who appears to have been waiting for a train for a very long time.
In fact this is one of the twenty or so castings made from the original ‘Le Penseur’ or, ‘The Thinker’, by Auguste Rodin, considered to be one of the most important sculptors of the 19th century.
Along with a Rodin sculpture of the novelist and journalist Honoré de Balzac, which sits at the other end of the station platform, these pieces have been here since 1978. Originally they were accompanied by other Rodin pieces along with a display case of photographs and drawings but these have since been removed. Today, only the Thinker and Honoré de Balzac remain.
Honoré de Balzac by August Rodin
Rodin’s Thinker is perhaps his best known monumental work, first conceived around 1880–1881 as a depiction of poet Dante Alighieri (1265-1321), author of the epic poem, the Divine Comedy. The image evolved though until it no longer represented Dante, but all poets.
The work was designed to occupy the centre of the tympanum of The Gates of Hell, which were intended to be a portal of a new Musée des Arts Decoratifs in Paris. The Thinker was designed as an independent figure almost from the time the Gates of Hell were composed and was exhibited in Paris in 1889 at the Exposition Monet-Rodin at the Galerie Georges Petit. A bronze cast dated 1896 at the Musée d’Art et d’Histoire in Geneva reproduces the original twenty-seven inch version. The first over-life-size enlargement was exhibited at the Paris Salon of 1904. At this time a subscription was begun for the most famous cast of it, the one for the city of Paris, which was placed in front of the Pantheon.
If you want to see the original over-size version of Rodin’s Thinker you have to leave the Métro station Varenne and walk a few steps to Rue de Varenne and the Musée Rodin.
The Musée Rodin – Rue de Varenne
Dedicated to the works of Auguste Rodin, the Musée Rodin was opened in 1919. The museum occupies two sites, one at the Hôtel Biron and surrounding grounds in central Paris and the other just outside Paris at Rodin’s former home, the Villa des Brillants at Meudon (Hauts-de-Seine). The museum collection includes 6,600 sculptures, 8,000 drawings, 8,000 old photographs and 7,000 objets d’art.
Image via Wikipedia
Sitting waiting for a train at the Métro station Varenne (I actually waited much longer than was necessary because I was so captivated by the soundscape around me), I was struck by the contrast between Rodin’s introspective Thinker sitting silently and immoveable, and the trains, which seemed to be so alive, extrovert and constantly expressing themselves.
Some might consider sitting in a Métro station for longer than is necessary a waste of time but, as Rodin said, “Nothing is a waste of time if you use the experience wisely”.
The Thinker in The Gates of Hell at the Musée Rodin
Image via Wikipedia