Skopje [Urban Change] 1963 - 2013

One of this months covers.
Design by Aleksandar Ares, layout by K.K.W.
Dress design & Photo courtesy of Katerina Mikrut.

Urban Change in Skopje - Rise Of The Young Ones. By K.K.W

"Skopje doesn't have a straight forward narrative. A friend once told me that Skopje was '...shabby, but charming!...'. Let me try to scratch under the surface and maybe reveal one or two things about what makes the city what it is - a place of many intertwined small worlds, different yet compact."

(Tanja Stoimenovska)

This article is meant to give an over-view of the major changes to Skopje's urban landscape for the visual art project Rise Of The Young Ones. And while info about the city is available, there's only so much online, & few books here in NYC, to string together in complete exactness, all changes. 

Post card from possibly circa 1950.
Image courtesy of Matej Bogdanovski

"Any Major changes to a city's landscape / layout,  reflects either the concious or subconcious of the populace, or predates it. This is usually through the actions of one or more person (s) in conjuction with those in power (its educated and or dominant classes).  Along with this, War, Natural disasters, and Economics can often play a great role. And although its generally for the good of the city, its people and greater civic harmony, as an equation its never balanced."  (Aleksandar Ares)

Skopje center. Image by Meglena Visinska

Unlike New York City, and Bucharest for that matter, Skopje's urban landscape has two aspects - the rise of its modern architecture & its retro-antique buildings, with monumental-nationalistic statues [Skopje 2014 project]. This re-vamping of the capital, to make it more like other major European cities, has given RISE to a serious rift within the city & perhaps the country: 54% pro & 46% con [give or take a few #'s]. However, to understand something of the cities present and future, we need to go back to its recent past.

Skopje circa 1950  - The Old railway station

Skopje circa 1950's was a very different
place from the city of today.

After the earthquake of July 1963

After the earthquake of July 1963

One of the major factors of urban change in Skopje was a 6.1 earthquake on July 26, 1963 (when the country was a part of Yugoslavia). About 80 percent of the city was destroyed. Along with aid from the international community, a limited competition for the redevelopment  of the city was created. In 1965 the Japanese architect firm Kenzo Tange won 60% of the prize with 40%  going to the Yugoslav team. Tange's plan would have the city bound together with the symbolic concepts of its "gate" and "wall", serving both as programmatic features and metaphors for the urban form. The City Gate was characterized by the convergence of all traffic  systems, while the railway terminal was designed as an underground structure. Pedestrian zones, transit terminals, automobile parking decks would occupy different levels above it. 

The Kenzo Tange architect team -
circa 1965

Model for reconstruction of Skopje - Kenzo Tange
architect firm

"The transportation center would be joined by a central business district known as City Gate Center, to form the city main axis. Along the axis were clusters of buildings and include a number of office towers, a library, banks, exhibition halls, cinemas, hotels, shops and restaurants - all connected to the railway and bus terminals with elevated motorway's" (1. from the tumblr post by TSTSTSSS ).

Model for reconstruction of Skopje - Kenzo Tange
architect firm

Along with the redevelopment period, "Towards the middle of the 1960s, a group of Skopje-educated architects was formed, a new generation which marked its presence with a number of modern buildings inspired by contemporary architectural theory. Among this post-earthquake group are Ljubinka Malenkova, Georgi and Janko Konstantinovi, Petar Mulickovski, Blagoja Kolev, Trajko Dimitrov, Ljuben Najdenov, Radomir Lalovic, Kiril Muratovski, Zivko Popovski, and Zivko Gelevski; later joined by Vladimir Nikolovski, Ilija Gerasimovski, Miroslav Sidovski, N. Bocieva, Kiril Zarov, P. Mitkov, S. Hadzievi, M. Hadzhievi, V. Nikolikjeva, Nikola Kartasev, Mihail Grankov, T. Paskali, V. Zarcevi, D. Zarcevi, and P. Balabanov."

(From Macedonia Yesterday and Today by Jovan Pavlovski & Misel Pavlovski)

The  Glavna Posta - The Central Post Office of Skopje

Image courtesy of Robert Nate.

After this redevelopment period and the 1960's, Skopje would be classified by Brutalist architecture [started by Le Corbusier - which is an offshoot of the international style], which gives the city a retro-futuristic, fortress feel and look. Its also  In many ways I think this is a physical representation of what the people wanted, a sense of power & strength, which gives a feeling of security. In addition to this the style was in many ways cost effective. Of course, many critics consider (& still do) this form of architecture to be cold and problematic, which led to its falling out of use and favor.

Brutalist architecture. Image courtesy of Robert Nate.

Brutalist architecture. Image courtesy of Robert Nate

Like many other cities Skopje too embraced the revival of Bauhaus & the International Style, adding yet another powerful feature to its urban landscape that would help to redefine its cities. Much of this would happen before and after the Yugoslav Wars (which caused the break-up of Yugoslavia) A few major example is a modernist style government building in the center of Skopje, designed by architect Peter Mulichkoski (1970). Also the  News Publishing Agency -"Nova Makedonija" building (no longer in use by the agency), the  Glavna Posta - The Central Post Office of Skopje,  MRT Center (the national TV broadcast station, 1984) located in central Skopje.  

 the  News Publishing Agency -"Nova Makedonija" building 

(no longer in use by the agency). Image courtesy of Robert Nate

MRT Center (the national TV broadcast station, 1984)

 located in central Skopje. 

Image courtesy of Robert Nate

Modern architecture in Skopje circa 2000's.
Photo by Meglena Visinska

Modern architecture in Skopje circa 2000's.
Photo by Meglena Visinska

Modern architecture in Skopje circa 2000's.
Photo by Meglena Visinska

A government building in the modernist style,
with its facade now redesigned via the Skopje 2014 project.
Image courtesy of Robert Nate.

After the declaration of independence in 1991 with the push towards a more free-market economy would come further changes to the urban landscape. New seemingly radical designs would rise in opposition to the country's socialist past. With the country trying to propel itself into prominence & speak to the growing nationalism came the announcement, in 2010,  of the Skopje 2014 Project by the VMRO-DPMNE (ruling party, of which the President & Prime Minister are members). The project would see the rise of retro-antique buildings, with monumental-nationalistic statues and public art as well.

"The facade on this building will be changed, at a cost of 10 million Euro dollars, from classic 1970 – to a faux, or fake, neoclassical style facade. Personally, I see this as tragic. In my own city of Perth, Australia – a building from the 1960′s which holds the local government council was once considered the “ugliest” in the city, and plans were made to demolish it. Now, the same building is one of the favourites in the whole city. You only get one chance to retain your architectural heritage. " [Robert Nate - from his post on Yomadic].

Porta Macedonia - part of the Skopje 2014 project.
Image courtesy of Wikipedia.

This re-vamping of the capital, to make it more like other major European cities, has given rise to a serious rift within the city & perhaps the country: 54% pro & 46% con [give or take a few #'s]. It has been criticized by some outside the country as well, not only for what is perceived as Kitschy, but also for what seems to be excessive spending (I.E - 10 million Euros for the re-modeling of one of the modernist government buildings in Skopje). And while its understandable why the government is done this, many feel the changes are robbing the city of some of its greatness.

Skopje 2014 Project. Image courtesy of Wikipedia.

"I live in Skopje, and I must say with a great sadness in my heart, all that you saw is being brutally changed, and the face of the buildings is covered with some really bad “BAROQUE” style by the government. Skopje was never baroque! We were deep under the Ottoman influence. There were maybe 3, 4, maybe 5 buildings in “baroque”,  but those were the houses, or residential apartments for the European ambassadors. This is way so wrong what they are doing to this city. But the people that live in Skopje, can’t do anything!!!" [Goce - from the post on Yomadic by Robert Nate]

"I was there this summer...The fountain with Aleksandar the Great looks nice on the square..." [Pijlmans - Amsterdam]

Statue of Alexander The Great,
Macedonia Square - center of Skopje.
Image courtesy of Wikipedia. 

Aside from the urban changes, the project is aimed at re-vamping the perception of the country's identity with nationalistic statues  of Alexander  the Great, his father Philip II,  and others who feature heavily in the regions history. "historians are attempting to prove that there are historical links between the ancient state of Alexander the Great’s, Tsar Samuel, who was a ruler in the Medieval Balkans, and the modern Macedonia....Majority of Macedonians support the reformation process of Macedonian ethnic identity. Not surprisingly, thanks to his nationalistic statements on the issue, Prime Minister Nikola Gruevski managed to win the early elections and preserve the coalition partnership in the new term..." [Dr. Erhan Türbedar].

Computer model of Cevahir Towers,
to be completed in 2016.
The 4 towers will be the tallest in the city.
Image courtesy of Wikipedia

"Neo-Ottoman Turkey is using its soft and economic power to re-occupy Macedonia and the rest of the Balkans. Macedonians are generally blind and accept cash from anyone. Think long-term, Macedonia. Macedonians will regret the construction of these buildings." (Rob - comment from the article Macedonia's Tallest Towers Arise In Skopje on Balkan Insight)

"We managed to persuade the company to invest thanks to our low taxes, favorable construction land price and simple administrative procedures,” Prime Minister Nikola Gruevski, who attended the ground-breaking ceremony, said.(Macedonia's Tallest Towers Arise In Skopje on Balkan Insight)

"I don’t find it amusing, but merely a logical step forward. Amusing, would be Macedonia forbidding trade and investments with Turkey because of past Ottoman conquests and thereby rule, even though the Ottoman empire hasn’t existed for almost 100 years. Other notable examples one can draw upon, to an extent, are country relations and forward momentum, given the wars with Germany and Japan." (John. A- comment reply to 'If only' from the article Macedonia's Tallest Towers Arise In Skopje on Balkan Insight)

"Amusing how Macedonians like Turkish money and investment, yet disavow and despise their Turkish Ottoman past by referring to it as an 'occupation'. One often wonders had the Balkans remained part of Turkey, we too might have benefited from a powerful, democratic and viable state that Turkey has once again become." (If only - comment about the article Macedonia's Tallest Towers Arise In Skopje on Balkan Insight)

There's no doubt that Skopje is becoming a more interesting city with passing year,

due to the major urban changes its undergoing [Rise Of The Young Ones]. However, it remains to be seen the long-term effects of these changes. 

If you would like to know more, go to:http://www.balkaninsight.com/en/article/construction-starts-of-macedonia-s-tallest-towers, or:http://www.balkaninsight.com/en/gallery/skopje-2014, or:http://studiophoenix.blogspot.com/2011/11/see-it-now-skopje-in-autumn-blues.html. "Art is the reason, art is the way"

R.O.T.Y.O - Urban Change [Germany]

This months cover by K.K.W,
with layout by Aleksandar Ares

Urban Change - Germany [Rise Of The Young Ones]

By K.K.W & Aleksandar Ares.

From the late 19th to the mid 20th century the major factors of urban change has been war, technology, social revolution & class struggle. All of which are influenced by politics and economic factors. One of the two main epicenters of these changes are France and Germany via Baron Haussmann & Walter Gropius.  Both would leave its  mark on history and influence many other cities throughout the world. 

However, Germany lagged behind France & the other industrial leaders, though not for long. The introduction of sugar beets, turnips, and potatoes would yield a higher level of food production, which allowed a surplus rural population to move to industrial areas. The textile industry would be the beginnings of their industrial revolution, facilitated by the elimination of tariff barriers through the Zollverein starting in 1834. As Napoleon III [who hired Baron Haussmann to renovate Paris] modeled Paris' green spaces  based on those in Britain, so would Germany import their engineering and hardware from Britain to improve and expand their railways. This would in turn would give RISE to the steel industry, a major aspect of Modern architecture. 

March Revolution - 1848 Berlin.
Image courtesy of Wikipedia.

As with France, social dissatisfaction rose with the factors of Urbanization & industrialization: the need for pan-Germanism, increased political freedom, liberal policies, democracy, freedom from censorship, etc. The new middle class elements were committed to liberal principals while the working class sought radical improvements to their working and living conditions. This would result in the "March Revolution" [1848] with in the German states, which was an offshoot of the revolutions that started in Paris that spread to other parts of Europe. Though unlike Paris, theirs in Germany did not last long and achieved few if any permanent  changes [especially in form of government & uniting the states]. However, by 1870 unification would happen via Otto Von Bismarck with the creation of the German Empire [second German Reich]. And though the empire was authoritarian, freedom of speech, association, and religion were guaranteed by the constitution. 

Berlin - 1912 by Paul Hoeniger Spittelmarkt.
Image courtesy of Wikipedia. 

 A major difference between France & Germany is that [in Germany] unification in 1870 stimulated consolidation, and nationalization into state-owned companies and further rapid growth. Coal, steel, chemicals, and  dyes were chief aspect of its industries. The nation became a world leader because of it's corporatist mentality and strong bureaucratic tradition. Germany's middle class grew exponentially in the cites, but despite being the new rich [displacing many of the nobles],  it would take much longer to gain political power as those in France, Britain, or the U.S.  By the early 20th century, German industries was at a high output. As with other areas of Europe, these seemingly radical changes within society would create the ideals of modernism, which would have an immense impact on art & architecture.

German Soldier, WWII.
Image courtesy of Wikipedia. 

As the First World War loomed there was  mounting tension and unease with the social order, already seen in the Russian Revolution of 1905. Radical parties also helped to push the general agitation and manifest itself in every medium which radically simplified or rejected previous practice.  Picasso & Matisse rejecting traditional perspective, Kokoschka was writing Morder, Hoffnung der Frauen (Murderer, Hope of  Women), the first expressionist play. The birth of the machine age changed the conditions of life, and war. By the end of WW1 Germany would be in economic / social ruin, which would give RISE to the "Silver Prince" - Walter Gropius and Bauhaus [house of construction / school of building]. The school would have an enormous influence on art, architecture, graphic design, interior design, industrial design, and typography. The architectural design elements of Bauhaus would be most useful after WWII - when most of the German cities were leveled by allied bombings.

Bauhaus, Dessau 1926.

The founding elements of Bauhaus were anti-bourgeois [though most of those involved & who taught at the school were from that class], democratic - socialism, and  modernism [make it new - strip away the unnecessary of the past]. As for its architectural design: radical simplicity, linear & geometric patterns, flat roofs, glass, steel and expressed structures. Oddly enough the school did not offer classes in architecture until 1927.

Walter Gropius 

Bauhaus school, Dessau [designed in 1926].

c.i_image#117 by Kerwin Williamson.
Rise Of The Young Ones [Skopje].
The geometric glass pattern [modern architecture]
merges with Skopje's overtly nationalistic
statues & older architecture.

c.i_image#110 by Kerwin Williamson.
Rise Of The Young Ones [NYC].
Modern architecture rising awkwardly
against older predecessor.   

Modern architecture in NYC.
Radical simplicity, glass, steel, & geometric
linear design. 

If you would like to know more, go to:https://www.facebook.com/RiseOfTheYoungOnes

R.O.T.Y.O - Inside the project, part 1

This months cover by K.K.W,
with layout by Aleksandar Ares

Rise Of The Young Ones - inside the project, part 1. By K.K.W

"Any Major changes to a city's landscape / layout reflects either the concious or subconcious of the populace, or predates it. This is usually through the actions of one or more person (s) in conjuction with those in power (its educated and or dominant classes). And although its generally for the good of the city, its people and greater civic harmony, as an equation its never balanced."  (Aleksandar Ares)

March Revolution - Berlin, Germany 1848.
Image courtesy of Wikipedia. 

From the late 19th to the mid 20th century the major factors of urban change has been war, technology, social revolution & class struggle. All of which are influenced by politics and economic factors. One of the two main epicenters of these changes are France and Germany, via Baron Haussmann & Walter Gropius.  Both would leave its  mark on history and influence many other cities throughout the world.

Berlin, 1912. Paul Hoeniger Spittelmarkt.
Image courtesy of Wikipedia.

Bauhaus, Dessau Germany. Built in 1926.
Image courtesy of Wikipedia.

German Soldier, WWII. Image courtesy of
Wikipedia.

With this 2nd part [Rise Of The Young Ones] to the original project (In The Shadow Of the Young Ones) I wanted to reach back and examine the reasons  that gave rise to modern urban change;  leading to the cities we're living in today. At the same time, visually exploring our changing urban landscape through, digital photography, splicing the images together with others [about religion, people, class & political struggle, etc] to show what our urban landscape projects about us. And given that human nature is the same throughout the world, what one city projects you would find aspects of this & similarities in others. 

Downtown NYC 2012, by Kerwin Williamson.
From the 1st part of the project -
In The Shadow Of The Young Ones.

4th Ave, near Union Square [Manhattan].
By Kerwin Williamson.
From the 1st part of the project -
In The Shadow Of The Young Ones. 

c.i_#80 by Kerwin Williamson 2012

In a way, one could say the imbalanced equation that is New York City, physically speaking, is a representation of its people. The city projects our tastes, wants, inconsistencies, shallowness, depth of our cultural richness, greed, love, need for commercial consumption, simplicity, order & almost religious obsession with space. Visually expressing this, through digital abstract art, is the result of exploring the contrasting aspects of modern architecture, public space and its predecessors. What's found is in fact aspects of our society, and connects us to each other despite distance of miles or culture. 

c.i_#99, by Kerwin Williamson. 2013

The most difficult aspect of the project [from a visual art standpoint] was how to create art that encompasses what I came to realize about modern architecture visually, changes in society that gave rise to it, along with aspects of the people. During the 1st part I began to think about the death of older buildings, and how it would be great if musicians played a requiem for them (how to show this visually in an interesting way). I opened a file with photos I took of a violinist (Miranda Cuckson), and began trying to merge one of them (via photoshop) with a photo of a old hospital that was being gutted. From this first 'c.i' [composite image] came many more, and another way of creative expression for the project.  

Splicing multiple digital photographs in a layering process, an alternate landscape & world is created. Order and control is lost and becomes redefined through extreme visual drama, representing our subconscious fear, and who we are; creatures that need change though resist it because we have little control over it. 

c.i_#1 [Requiem for Brooklyn], with
violinist Miranda Cuckson.

c.i_#33 [Requiem for Skopje],
 with violinist Miranda Cuckson.

R.O.T.Y.O Bklyn Ad image #1.
By Kerwin Williamson. 

This is a solo project that has many aspects which make it very difficult, although extremely enjoyable and important. At current, urban change in New York City is leading towards many social changes that will have a lasting effect. I think its important to be aware of this and examine the key factors that cause it.   

If you would like to know more, go to the project page on FB:https://www.facebook.com/RiseOfTheYoungOnes. 'Art is the reason, art is the way' 

Paris: Late 19th century urban change

This months cover by K.K.W,
with layout by Aleksandar Ares

Urban change / urban renewal in 19th Century Paris. By K.K.W

"Any Major changes to a city's landscape / layout reflects either the concious or subconcious of the populace, or predates it. This is usually through the actions of one or more persons in conjuction with those in power (its educated and or dominant classes). And although its generally for the good of the city, its people and greater civic harmony, as an equation its never balanced."  (Aleksandar Ares)

Larmartine in front of the Town Hall of Paris
rejects the red flag on 25 February 1848.
By Henri Felix Emmanuel - image courtesy of Wikipedia.

From the late 19th to the mid 20th century the major factors of urban change has been war, technology, social revolution & class struggle. All of which are influenced by politics and economic factors. One of the two main epicenters of these changes are France and Germany via Baron Haussmann & Walter Gropius.  Both would leave its  mark on history and influence many other cities throughout the world. 

The industrial revolution changed the methods of production, and indirectly caused the demise of most other opposite means of production in textiles, printing, metal, etc. This would cause huge population shifts from rural to urban centers. 

 Louis Philippe I (the bourgeois Monarch)

In France this would eventually lead to social imbalances between the working class, bourgeoisie [petite, financial & industrial], the nobility & aristocracy due to economic recession and lack of proper participation in government. This was still old Paris;  narrow / irregular,  poorly-lit streets, with no sidewalks for the most part, and an out-dated sewer system. Most of the areas were over-crowed, quite dirty and dangerous. Ever since the revolution of 1789 the lower classes had a taste for reform & revolt quickly realizing how to build defenses in the streets to hold off the soldiers (who were use to fighting in open fields not urban environments).

At the time Louis Philippe I (the bourgeois Monarch) sat at the head of a moderately liberal state, controlled mainly by educated elite's (the July Monarchy ), starting in 1830. He was quite the businessman and had, before becoming head of state, become one of the richest men in France. As he thought of himself as a small businessman (petite bourgeoisie), he and his government did not look favorable on big business. Though, he did support the bankers, stock exchange magnates, railroad barons, owners of coal & iron ore mines and large landowners. 

Portion of a map of Paris before  major changes in 1860.
Image courtesy of Wikipedia

Louis Philippe was, for the most part indifferent to the needs of society. By 1846 the country was griped by a financial crisis and bad harvests, with the following year seeing a depression. At this point  estimates show that  1/3 of Paris was on the dole (a form of welfare). Those in business who felt outside the favor the the new regime began to side with the middle & working class. Meanwhile campaign & political banquets (intended to circumvent the government restrictions on political gathering & meetings - which were outlawed) were happening to raise funds for opposition against the current regime.

However,  by February 1848 all of these were outlawed, which caused a large amount of the people to revolt. Feb 22nd saw crowds of Parisians flooding out into the streets. Paris was soon a barricaded city via omnibuses  and thousands of felled trees, fires were set as angry citizens began converging on the Royal Palace. This would lead to the establishment of the Second Republic, started by the liberal opposition on Feb 26th 1848. The governments  2 main problems were unemployment and universal male suffrage (the right to vote). The creation of the National Workshops  did help, employing 100,000 and on March 2nd 1848 universal male suffrage was enacted.

Job seekers from all over France came to Paris for work in the National Workshops, causing the population to balloon. In order to help  pay for this the government placed new taxes on land. This would alienate the land-classes from the provincial government,  further worsening the situation. And as the taxes were widely ignored in the rural areas, the government became financially strapped for cash. 

  

Georges Eugene Haussmann
(A.K.A Baron Haussmann)
Image courtesy of Wikipedia

Mean while the conservative element of french society were quickly organizing against the government, around the need for order (earning them the name "The party of order").  And having become the dominant member of the government, they closed the National workshops on June 21 1848 - leading to another armed revolt (The June uprising) by the working class (abut 170,000) in Paris. It took a force of 120,000  soldiers lead by General Louis Eugene Cavaignac 2 days to suppress the uprising, given that the rebels knew how to blockade and use the narrow irregular streets to their advantage. Despite the fact that during the Feb uprisings the petite bourgeoisie and working class were united, the bourgeoisie politicians abandoned them. The "Party of order" quickly moved to consolidate the reaction forces in the government and elect Cavaignac as head of the french state (June 28 1848). This of course, until elections were held on Dec 10th 1848, where Louis Napoleon Bonaparte  was elected (by popular vote of the peasantry).

By  Dec 2nd 1851 Louis Napoleon Bonaparte would, with popular support and that of the army, seize dictatorial powers and be crowned Napoleon III on Dec 2 1852. It was during this time he took strong measures to modernize Paris, based on what he had seen in London during his exile there in 1840. A major aspect the design decisions were taken in order to prevent future uprisings, from taking advantage of the small medieval streets to form barricades. A modern sewage system would be built to improve health, new housing with larger apartments for the masses, green parks all over the city, with large thoroughfares and broad avenues. Most, if not all of this was directed by Baron Haussmann, a man who would be both loved and hated much like his emperor.  

Louis Napoleon Bonaparte
(Napoleon III)
Image courtesy of Wikipedia

The main lines created or transformed
between 1850 & 1870 in the centre of Paris.
Image courtesy of Wikipedia.

The original 12 Arrondissements of Paris.
Image courtesy of Wikipedia

The buildings, along with the avenues and thoroughfares would be of a uniformed design and look  - aspects that would become common to most other major cities in 20th & 21st century ("...geometry and graphic design play a more important role than architecture itself..." Baron Haussmann). A fusion of residential buildings with retail space on the ground floors would become the norm, features that would become common  around the world. What started as a need for serious urban change and renewal, actually reflected the concious or subconcious of the populace (though perhaps not the poor and those who were evicted from sections marked for demolition). The renovations of the city-centre provoked a major rise in rents, forcing the poorer families towards Paris' outer arrondissements. 

Paris 1889. Image courtesy of Wikipedia 

Originally there were only 12 arrondissements before 1860, these were rearranged with 8 more added. No eastern neighborhood in Paris benefited from the renovations the way the western neighborhoods did. The poor became concentrated in arrondissements neglected by the renovations.  Prior to these renovations one could find bourgeoisie on the second floor, civil servants and employees on the third & fourth,  low-wage employees on the fifth, house staff, students and the poor under the eaves (this of course varied from quarter to quarter). This feature would disappear in its majority after the renovations. If one thinks about, a scattered community will find it harder to unite and so will pose less a threat to the established order. To Parisians and the French in general working-class people were still the dangerous classes, and the zonage that was established still dominates today: from the centre to the west, offices and wealthy neighborhoods; from the east and outer rim, poorer housing and industry.

Despite negative outcome of Haussmann's renovations to Paris

it did bring about many great things; Disease epidemics (save tuberculosis) ceased, traffic circulation improved and new buildings were better-built and more functional than their predecessors. The Second Empire renovations left such a mark, that all subsequent trends and influences were forced to refer to, adapt to, or reject it.      

The Arrondissements after the major
urban changes of 1860, 8 added to the original 12.
Image courtesy of Wikipedia. 

View from over the 7th Arrondissement.
Image courtesy of wikipedia.

Boulevard Haussmann.
Image courtesy of wikipedia.

Paris @ night from the top of the Tour Montparnasse.
Image courtesy of Wikipedia.

If you would like to know more, go to:http://en.wikipedia.org/wiki/Haussmann%27s_renovation_of_Paris, or:http://en.wikipedia.org/wiki/French_Revolution_of_1848
"Art is the reason, art is the way"