Alain-Charles Perrot

The Speaker

A graduate of the Ecole spéciale d'architecture (Special School of Architecture), the Centre d'études et de conservation des monuments anciens (Center for the Study and Preservation of Ancient Monuments), Alain-Charles Perrot was named Architect in Chief of historical monuments in 1985 -one of about fifty such positions that exist in France. This is a very demanding position which is filled by a competitive exam administered by the Ministry of Culture testing both architectural abilities and knowledge in art history and the history of techniques.

In addition to his work as Architect in Chief of historical monuments, Alain-Charles Perrot is the General Inspector of historical monuments in Corsica, Nord-Pas-de-Calais and Ile-de-France, a monitoring and advisory assignment mission concerning all of the restoration work on historical monuments in these regions.

Among his main restoration works in Paris are: the Opéra Garnier, the Grand Palais, the Théâtre de l’Odéon, the Comédie Française, the Sainte-Chapelle, the Hôtel Matignon, and the Palais Royal.
In Brittany he worked for: the Palais du Parlement in Rennes, the Rennes and Saint-Brieuc cathedrals, the Vitré and Fougères châteaux, and also the Arles Roman arenas and various private properties.
He also works on office and apartment buildings.

Alain-Charles Perrot is a member of the International Council for Monuments and Sites (ICOMOS) and the French Archeology Society (SFA).

He is a Knight of the Legion of Honor and Officer of Arts and Letters.

Lectures

The Garnier Opera, The Grand Palais and the Odéon Theatre: What’s at stake in the City of Light in terms of Historic Paris and the modernization of cultural heritage.

Three buildings set the tone for cultural life in Paris in the twenty-first century.  By virtue of their innovative style and the stamp that they have left upon the capital’s cultural and social life, these building have made their mark on history since the day they were first built.

These three great buildings have undergone major improvements in order to conserve their historic and symbolic value, as well as their role in this cultural life, that being their response to the needs and the technological and living standards of our century.

For each of these magnificent buildings, Alain-Charles Perrot will discuss the history of their construction and their development across the centuries and right up to our own day. He will then discuss the various problems relating to their restoration and the definition of the program most likely capable of addressing the compromise between spirit and century, cultural heritage, ethical rules and values dictated by international codes (UNESCO) and the imperatives of functionality associated with modern and daily use of the structures.

After completing an exhaustive historical study and analysis of the overall state and condition of the buildings, the architect then immerses him or herself in the inner workings of the structure, looking into its very soul, with the knowledge gleaned from its history and architecture and with a humanist approach to understanding the whole. In some ways, it is this initial period of data collection that allows for later development of a restoration project that takes on the structure as a whole. The work to be done is then divided up into parcels according to the type of craftsmanship required.  The artisans are then contacted, including specialists in restoring bronze, wood work or gilded furnishings and architectural embellishments. Through this process of trying to preserve the building, the artisans’ expertise is preserved as well. Recognizing the talents and knowledge of these workers is something that is unfortunately not done often enough in France.

The Grand Palais (1900 Universal Exposition): Closed in 1993, the restoration involved replacing the glass and window panes and the facades, as well as shoring up the foundations. These modifications made it possible to restore the rhythms of the structure of the glass throughout the building, giving it a whole new vibration of light throughout.  In this type of work, “freedom” is the key word in terms of providing a new view of the building. The interiors adapt themselves to the evolving needs of the people who use the building. Restoration of the interiors and exteriors was accomplished by Jean-Loup Roubert. The work included bolstering metallic structures, replacing the glass throughout the nave and restoring of all the facades.

The Odeon (1779), also known as the Theater of Europe: from its first days, l’Odéon has been a place for renewal. Peyre and Wailly understood this and Beumarchais brought “Le Mariage de Figaro” to light here. While emphasizing and enhancing the aspects of the original building, Alain-Charles Perrot also made sure that the equipment and infrastructure were such that the building could host productions of contemporary theatrical works. He also kept in mind the comfort and security of twenty-first century audiences. Complete restoration of the theater; modifications to house structures and interior layout.

The Garnier Opera (1875):  In architecture, Charles Garnier sought the expression of a dream such as one finds in lyrical works for the opera.  Reinstating this spirit was the vein in which Alain-Charles Perrot took on this restoration, concentrating on restoring the multi-colored plays of light in the gilded embellishments of times past, including the treatment of wall hangings and furnishings in the spirit of the luxury and splendor of their original state. Restoration of the Grand Hall, restoration of the facades.

Cultural Heritage Preservation Policy: A French Specificity?
If cultural heritage preservation policy is no longer a French specificity today, the very idea of heritage, of historical heritage probably has its origins in France as well as the idea of a policy for preservation of historical monuments.  

This is not out of idealism but in response to an urgent need, which is particular to France – the demolition and disappearance of our heritage after the period of the French Revolution in 1789.
The founding events will be outlined and then presented: the great names (Alexandre Lenoir, Ludovic Vilet, François Guizot, Prosper Mérimée, Viollet Le Duc).

The origins of the department and its formation during the 19th century will be outlined as well as the 20th century department of historical monuments: the destruction of the two World Wars; the establishment of the Ministry of Culture by André Malraux ; the evolution of the idea of cultural heritage and the decline in the department in the 21st century.

Next, he will discuss the specificity of the organization implemented to apply this policy – the Architects in Chief of historical monuments and the idea of monitoring – and the content of this cultural heritage preservation in France today: the idea of cultural heritage and its evolution; economic demand; the reutilization and the presentation of the monument.

Links

http://www.alaincharlesperrot.com/
http://www.linternaute.com/savoir/grands-chantiers/06/dossier/odeon/diaporama1/interview-alain-charles-perrot.shtml
http://www.lemonde.fr/savoirs-et-connaissances/article/2004/10/07/alain-charles-perrot-construction-et-renovation-du-grand-palais_382163_3328.html
http://www.nytimes.com/2009/10/08/world/europe/08lambert.html

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