Brandon Donnelly

Daily insights for city builders, delivered every morning at 6 AM ET. I’m Brandon Donnelly — a Toronto-based real estate developer and founder of Globizen. I’ve been writing here since 2013.

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Tag: paris

  • Louis Vuitton, Frank Gehry, the Impressionists, and NFT art

    La Foundation Louis Vuitton (which is housed in a building designed by Frank Gehry) has an exhibition on right now that displays the art collection of two brothers: Mikhaïl Abramovitch Morozov (1870-1903) et Ivan Abramovitch Morozov (1871-1921). The collection contains mostly early modernist work from the late 19th century and includes pieces by Cézanne, Van Gogh, Renoir, Monet, Matisse, Picasso, as well as others, including some Russian avant-garde work. We went through the exhibition last week when we were in Paris. Partially to see the collection and partially to see the architecture, which is, you know, very Frank Gehry. See above photo.

    As I was going through the exhibition I was reminded of how much I like the Impressionist movement. I like the work, but I also really love the story. The Impressionist movement started in Paris in the late 1800s and many consider it to mark the beginning of modern art. It broke free of tradition and violated the rules of what was considered to be proper art work at the time in France.

    Because of this, the Impressionists were heavily criticized at the outset. So much so that they were routinely rejected from exhibiting in the traditionally accepted art venues in Paris. The annual Salon de Paris was the big and most prestigious one as I understand it. This forced the group to organize their own exhibitions and circumvent the incumbents in order to get their work out into the world, which is pretty much what any “startup” has to do. Obviously the rest is history and now people to go to museums like La Foundation Louis Vuitton to look at Impressionist art work and talk amongst their friends about how we don’t make art like they used to back in the late 19th century.

    I mention all of this because of what is happening today in the world of NFTs. Non-fungible tokens and their application to digital art feels to me like history is repeating itself. We are at the dawn of something new and a lot of people seem to think that what’s happening today is pretty stupid: Why pay thousands or even millions for a JPEG? I can just download a copy to my computer for free. This is not art. How do you even display it? I don’t get it.

    I am sure that most of the NFTs that people are buying today will go to $0 in value; just like a lot of the paint that has gone onto canvasses over the years hasn’t created much value. Art is a funny thing. But that doesn’t mean that cultural value will not be created over time. When people are talking and they think what you’re doing is dumb, you may actually be on to something. The Impressionists taught us this important lesson well over a century ago.

    Photo: La Foundation Louis Vuitton

  • A few observations from Paris

    The last time I was in Paris was in 2006. That’s a long time ago and so it was great to be back in the city earlier this week. I don’t know the city as well as I do many other cities, but I speak enough French to be dangerous and we spent a good amount of time on this trip just exploring. On average, we clocked about 20,000 steps a day. So here’s a list of some of the things I was reminded of or learned of on this visit. If any of you are more familiar with the city, please feel free to speak up in the comment section below.

    • I love Paris.
    • The Parisian art of people watching is alive and well. One of my favorite things about Paris is how so much of the cafe seating faces out toward the street. That’s what you’re supposed to be watching: urban life.
    • Most cities have a clear message. In Los Angeles, it’s probably that you should be more famous. In Boston, it’s arguably that you should be smarter. And in New York, it is perhaps that you should be richer. In Paris, the message feels loud and clear: You should be more fashionable.
    • Compared to Toronto, the center of Paris feels far more static. Less construction. Less change. Less that is new. That’s not such a bad thing given how beautiful the city is. But in my view, cities are about balancing preservation and progress. From what I could tell, a lot of the new construction seemed to be happening in the suburbs and in the outskirts of the city.
    • That said, COVID feels much further along in Paris. The city was very open and everyone seemed to be back in the office. Locals said that the city was operating at maybe 80%. It felt busy.
    • Dress shoes are dead in Paris. Everyone wears cool sneakers no matter how young or old. Think business suits with Nike Air Maxes. My hypothesis is that it’s just far more practical given how much people walk in Paris. I plan to adopt this strategy immediately.
    • In addition to walking, everyone seemingly bikes and/or uses an electric scooter. Again, it didn’t seem to matter how young or old. Paris also seems to have solved the scooter clutter problem, as has many other cities. There are designated spots (painted lines next to on-street car parking) and that’s where you’ll find the scooters. Toronto needs to get on board.
    • Traveling at 300 km/h on a train is a highly civilized way to move between urban centers.
    • There’s nothing wrong with having a picnic and drinking a bottle of wine (or two) in a park. In fact, it is probably something that should be celebrated. Let people be grown-ups.
    • When you purchase a baguette, you should immediately take a bite out of it to see how fresh it is.
    • The Eiffel Tower, much like the CN Tower, looks far better when illuminated.
    • Balconies of any size can be wonderful. We had a small Juliet balcony off of our hotel room in Nice and we used it every day for croissant eating and to dry our bathing suits. In a more permanent situation, I am sure we would have started growing things on it.
    • Midrise buildings do indeed create nice urban street walls. But it’s important to keep in mind that Paris’ midrise blocks are also deep and dense and with lots of courtyard conditions. That’s how the city is able to house so many people at such low building heights.
    • Facing conditions between buildings is less of a concern when you employ less glass. Smaller punched windows allow you to better manage privacy. I would go so far as to argue that if Paris were an all-glass city, much of its current built form would be fairly unlivable.

    What did I miss in this list?

    Photo by Alexander Kagan on Unsplash

  • 👒 Jardin du Palais-Royal

  • 🏀 Through the fence

    Playground Duperré, Paris

  • 🧢 Burger Joint

    Le Marais, Paris

  • 🙌 La Bovida

    Paris 1e

  • 🖼 Le Café Marly

    Louvre, Paris

  • ✈️ Off to France and trying something new

    Neat B and I are off to France for the next two weeks. We optimistically booked this trip at the beginning of the year and assumed that the world would be fairly normal and well-vaccinated by now. While there remains uncertainty, things are at least better than they were last winter when we were all caved at home.

    Regular readers of this blog will know that I aim to post 365 days a year, regardless of what may be going on in my life. And that will remain the case for the next two weeks. But I have decided to challenge myself and try something new.

    I’m going to exercise my photography passion a little and instead post a single photo each day. On some days it may have a caption or a short description, but on other days there may be no accompanying text at all. The plan is to shoot entirely on my Fujifilm X-T3. Or at least that’s the thinking right now.

    I’m sure that there will end up being some great content for those of you who are interested in the built environment (architecture, design, planning, real estate). But if travel and beautiful photos aren’t your thing, feel free to check back in two weeks for our regularly scheduled programming.

  • Paul Smith on being “childlike”

    British designer Paul Smith was recently interviewed by Monocle on Design about his recent collaboration with BMW and Mini. If you like Mini cars, you’ll probably like the episode. But he also raises two interesting points about his business and about how he approaches design.

    The first is that his business is a balancing act. In the front, he wants it to be pioneering, flashy, and self-indulgent. But in the back, he keeps the lights on by selling lots of navy blue suits and polo shirts. Both are important, because if you stop pioneering then you stop being relevant.

    The second point he makes is about how he approaches design. Paul Smith’s London studio is famously cluttered. He likes to collect a lot of stuff. Some might call it hoarding. But for him, the space helps him think laterally and also remain “childlike.” (Where we work apparently matters.)

    Children, as we know, are honest, curious, and free in a way that adults aren’t. They don’t have the same reference points and that can be very empowering. Forget the way that things are currently done and challenge yourself: “What if?” I like that a lot.

    To listen to the Monocle on Design episode, click here.

    Photo by Boris YUE on Unsplash

  • Built form and climate impact

    Building height and density are not one and the same. You can have tall buildings configured in a low-density way (think post-war towers in the park). And you can have low/mid-rise buildings configured in a high-density way (think Paris and Barcelona). This is one of the reasons why it is important to decouple density and tallness when thinking about our cities.

    This line of thinking is the approach that a recent study took when trying to determine the optimal built form for minimizing climate impact. In the study they define four building typologies: 1) high density, high-rise, 2) low density, high-rise, 3) high density, low-rise, and 4) low density, low-rise.

    What they found was that taller environments tend to have higher life cycle GHG emissions, but that lower-density environments are (obviously) far more land consumptive. To determine life cycle GHG emissions they looked at both embodied and operating emissions, which is why the taller stuff didn’t score as well under their methodology. There’s typically a lot of concrete and steel in tall buildings.

    This lead the team to conclude that if you want to optimize around climate impact, you should probably aim for that perfect middle ground: dense, but not super tall.

    But as Joe Cortright (City Observatory) rightly pointed out in his email newsletter, one of the big limitations of this analysis is that it does not consider transportation-related impacts. And since we know that transportation is one of if not the largest source of GHG emissions and that how we get around is heavily dependent on land use patterns, it is probably an important piece to consider.

    Photo by Alfons Taekema on Unsplash