Parisian architecture is not just alluring for its romantic nostalgia of old Europe; but is also complemented by the large Haussmann boulevards that ceaver through the cityscape. The Haussmann movement encompassed all aspects of urban planning within and around Paris. Parks, sewers, water, streets, boulevards and regulations imposed on facades resonated much larger social implications suggesting the dominance of the bourgeoisie class.
M9C sits on the industrial edge of Le Gare district, its relationship to the Parisian architectural proportions does not hinder in its modern typological interpretation of materiality and function. Besides its five floors for housing, underneath lies a school a movie theater, a parking garage and a railroad. The differing programs could be labeled as plus programs to housing project but, in plan and section not only does the circulation dichotomize each program but also points of access within and around the site. Hence the circulation does not foster for the residence to be included within any of the distributed programs.
It is arguable to say the M9C's designers wanted the programs to speak larger larger than the building itself, offering the low income occupants the leisure lifestyle of a bourgeoisie home. In juxtaposition to the high contrast programs, the exterior poses itself through the architectural uniformity of the facade.Because the facade is not treated independently but rather restricted to coherence and harmony within the rest of the building. The brutalist porous aluminum shutters in itself is the essence of Haussmann architectural conventions.
The aesthetic tactics of M9C blur any visual sense of what could be happening underneath the skin. The shutters are defined as a boundary buffer for the balcony that is in threshold of the units. This could be thought of as double wrapping. This double wrapping plays itself out in a variety of conditions. The theater wrapped within the parking garage, the residential circulation separated from the courtyard, the school separated from the residence, the faceted canopies and the porous shutters all suggest a quarantine of space. The quarantine can be thought of on multiple scales to the greater urban context or even to the closet within a unit. But, M9C perhaps is a complete illusion. It appears to feed into an idealistic vision of socialized mixed program housing but the illusion is only as good as pen and paper. M9C is an anomaly to the proletariat and a quarantine to the occupant. In conclusion, the occupant must not be seen by the bourgeoisie social class and this is successful by its cover up of architectural nostalgia.