A planted promenade high above the hustle and bustle of
street traffic has become the backbone of the 12th arrondissement. The walkway starts out high above ground level
near the historic Place de la Bastille, offering strollers
unusual city views, before descending into an embankment.
If Napoleon III had not granted the Strasbourg railroad
company a 17-kilometer right of way slicing through the city,
Parisians and visitors would not be enjoying this elevated
promenade today. The train line was decommissioned in 1969
after a century of use, and sold to the city in 1986.
Four and a half kilometers of the railway have been preserved
and turned into a sunsplashed overhead walkway starting at
the Avenue Daumesnil. The long, narrow promenade on the viaduct,
which has been renamed the Viaduct of the Arts, is over 9
meters above street level, is lined with linden and cherry
trees, and dotted with pergolas and flower-bedecked trellises.
The dense, tightly-knit vegetation suddenly becomes light
and clear at the point where the promenade overlooks the stepped
terraces of the Hector-Malot garden designed in 1995. Twenty
maples trees, whose leaves turn crimson in the autumn, shade
an upper-level terrace with red brick paving. The waters of
intersecting canals and fountains spring out into three small
gardens on the lower level.
Back on the planted promenade, a bridge decorated with shrubs
and jardinières spans the Boulevard Diderot, where the promenade
widens to accommodate a reflecting pool fringed with lavender.
Working-class neighborhoods, rundown, graffiti-covered buildings,
vacant lots and recent structures put up as part of a neighborhood
urban renewal plan spread out left of the viaduct. The right
side is more upscale and full of Haussmanian architecture.
The police station at the corner of the rue de Rambouillet
features monumental sculptures based on Michaelangelo's slaves,
and a craft and home decorating center built in 1995 stands
where the viaduct and the former Rambouillet-Montgallet meet.
The roof supports the promenade's last overhead section. Two
buildings whose facades echo the viaduct's curve mark this
section at both ends.
Back on the ground after walking 1.4 kilometers above it,
strollers reach the Reuilly garden located on the site of
a former freight and switching yard. A huge sundial shaped
like a butterfly or a star that has fallen from the sky has
two inscriptions that read, "Le temps passe, passe le bien"
("Time passes, spend it well") and "Le soleil luit pour tous"
("The sun shines for all"). In the summer months, the sun
does indeed shine on all those lying on the central lawn's
cushy grass, while others stroll through gardens of euphorbia,
sedums, ferns, bamboo and aquatic plants. Some visitors sit
in gazebos shaded by flowering apple trees admiring statues
of female nudes by Naoum Aranson and Raymond Delamarre. This
lively area features a grotto, a water stairway and playgrounds
with jungle gyms based on a railroad theme. Children scamper,
gardeners lovingly watch the climbing roses bloom and old
Parisians gossip about the neighborhood.
The promenade continues across the footbridge over the lawn
before reaching the Allée Vivaldi mall. On the right, a new
garden with common tree species is in front of the former
Reuilly train station. This is where the bike trail begins.
At the end of the mall, the Reuilly tunnel opens out onto
a natural area with a maze of bowers at the end. Here the
city's sounds are muffled, the scent of humus wafts through
the air and birds chirp. This is a wilder part of the promenade.
The path becomes less monotonous, winding through lush vegetation
that was originally planted to prevent the embankment's soil
from eroding when this was still a working railway. A musical
sculpture jingles in the wind as the path stretches to Charles
Péguy Square, which is named after the poet who left for the
front during World War One from the nearby Bel Air train station
and never came back. Near the end, the path is lined by laurel
and prune trees and reaches the bed of the disaffected Petit
Ceinture railway that encircles Paris. It passes under the
Boulevard Soult before reaching the city limits. Plans are
under way to extend the promenade to Lake Daumesnil in the
Bois de Vincennes.
This bucolic walkway, designed by the architect Mathieux
and the landscape architect Vergely, beckons Parisians and
visitors alike to discover another way of experiencing the
city. Paris seems far away. Strollers have the feeling that
they are somewhere else. The city vanishes and reappears in
the blink of an eye, but it looks different.
Restoration work on the viaduct began in 1992. The 72 orange-red
brick arches with cream-colored stone trim are crowned by
Gothic-style machicoliation recalling Vincennes castle. Today,
craftspeople and contemporary designers have moved into 60
renovated vaults, carrying on a tradition that began in 1198
when cabinet-makers settled in the area around the Saint Antoine
abbey. Since then, the 12th arrondissement has
boasted a long history of craftsmanship. The viaduct has become
a showcase of know-how to help these craftspeople, who symbolize
French culture, tradition and innovation, and to preserve
the neighborhood's soul. Silversmiths, brassworkers, gilders,
sculptors, embroiderers, milliners and musical instrument
makers quietly ply their trades, offering an unusual glimpse
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The Bassin de l'Arsenal was excavated in 1806 on the site
of the moat of the former Charles V wall that once enclosed
the city. Originally built to serve the inland port and bring
water from the Seine to the Bastille, today it is a marina
bordered by terraces, pergolas and a rose garden. A tunnel
at one end leads to the Saint Martin canal.
Property developers have spoiled the banks with ugly glass
and concrete apartment buildings, but this is still a lovely
place to come in October, when dead leaves pile up in the
fading, straw-colored autumn light. Teeming factories, bustling
workshops, docks loaded with plaster, bargemen's bistros and
penniless girls once lined the quays from Stalingrad to Bastille.
The straight, 4.5-kilometer canal, which split the city between
middle-class quarters on the west and working-class neighborhoods
to the east, was built by hand in 1825.
Napoleon had ordered the artificial waterway dug to supply
Paris with water and provide a shortcut that would avoid navigating
a long, circuitous bend in the Seine. By the 1960s, traffic
had dwindled to a trickle and the canal narrowly escaped being
filled in and paved over for a highway. Then it was turned
into a pleasure canal where Parisians and visitors enjoy leisurely
boat rides, sailing through the heart of Paris from one lock
to the next.
Steve Zade, a 53-year-old British-born "gastronomic refugee",
is a guide aboard the Canotier, which sets out with
international tourists from La Villette every day. Cars on
the rue de Crimée, which bisects the canal, must often wait
for the drawbridge to close as it lets his boat through. Steve
entertains his passengers with an endless flow of funny commentary.
"Why are Spanish tourists on the bateaux-mouches always straining
their necks and looking back at monuments two kilometers upstream?",
he asks. The passengers are stumped. "Because by the time
they hear the Spanish translation, the landmark being described
is already two or three bridges behind!" The tourists burst
into laughter, certain they have made the right choice about
how to spend their day.
Once a small village, in the nineteenth century La Villette
became France's fourth-busiest port. A walled-up warehouse
on the basin nobly stands across from a 30-story skyscraper.
The warehouse was built in 1885 to store sugar, grain and
wine that bargemen unloaded from their boats. On the opposite
side, a vacant lot marks the spot where the warehouse's twin
stood until it burned down in 1990.
At the Jaurès lock, the first of nine that compensates for
the 29-meter difference in altitude from one of the canal
to the other, the waterway really seems to enter Paris. The
Rotonde de la Villette, a former 18th-century customs
house designed by Nicolas Ledoux that once formed part of
the wall around the city, stands a little further away. The
names of other former customs houses are engraved in the stone.
The canal did not exist yet when the sinister, medieval
Mont Faucon gallows that inspired the poet François Villon
to write Ballade des pendus (Hanged Men Walking)
stood at the intersection of the rue de la Grange-aux-Belles,
the Saint Martin's lock, the Quai de Jemmapes and the rue
Louis Blanc. A series of graceful, lacy, openwork steel bridges
surrounded by lush greenery spans this stretch of the canal.
The Hotel du Nord, which is famous for being the setting of
Marcel Carné's classic 1930s film of the same name, stands
near the Récollets lock.
The canal passes under the swing bridge on the rue Dieu
and through the Temple lock before flowing underground to
the Bastille. Skylights piercing the tunnel's ceiling cast
an eerie greenish glow as the canal passes beneath the Boulevard
Richard-Lenoir for two kilometers until flowing into the Seine
at the Bassin de l'Arsenal.
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Except for the 12th arrondissement, which includes
the Bois de Vincennes, the 14th has the highest
amount of park acreage in Paris, ranging from the tiny Papillon
garden off the little rue de Châtillon to the 16-hectare Parc
Montsouris. Those are the spaces open to the public. Then
there are the private courtyards, villas and cobblestone,
verdant dead ends. The sisters of Saint Joseph de Cluny still
grow their own tomatoes on the rue Méchain. The ring road
is greed and red, with the red of the brick apartment houses
lining the Boulevard Brune mixing with the green of many gardens.
The 14th arrondissement is also home to all the
major hospitals of Paris as well as the Santé prison, the
only house of detention still inside the city limits. The
population of the residential Montsouris quarter has been
declining, but in the Plaisance neighborhood it is increasing.
The "three mounts" - Montparnasse, Montsouris and Montrouge
- have always been crowded: they were home to the laboring
classes and workshops, factories and street trades before
artists, painters and writers moved in. The china menders
and bougnats - cafes that originally sold coal - are
gone, and the carters now drive vans. But in winter, a glazier
and a grinder still make their rounds in this neighborhood,
which seems like a link to happier times.
The 14th arrondissement actually led a double
life. During the week, the neighborhood was fairly quiet,
with retirees straight out of a Balzac novel shuffling around
in their slippers in the morning. And then came Friday, when
all Paris seemed to flock to Montparnasse until Sunday night.
That has not changed, although the neighborhood has a lot
more antique shops than it used to. Many of them specialize
in bric-a-brac, small furniture and china The area around
the rue de l'Ouest, the rue Raymond-Losserand and the rue
du Château is changing, with old buildings coming down and
new ones going up, but they will be lower than the ones in
the 13th arrondissement.
The rue du Château leads to the neo-classical Place de Catalogne
designed by Ricardo Bofill based on a Greek temple and a Roman
arena. Nearby is the Place de Séoul and the Hôtel de Massa,
an eighteenth century "folie" that once stood on the Champs
Elysées. In 1927, it was threatened with demolition and moved
to its present location. Every stone, beam, panel and floorboard
was carried across the Right Bank and faithfully rebuilt to
house the Société des Gens de Lettres.
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