François Schuiten – Page 5

Brüsel by Schuiten & Peeters

The Palace of Justice, Brussels.

Brüsel (1992) by François Schuiten and Benoît Peeters follows La route d’Armilia as the next major work concerning the Cités Obscures. As with La Tour, this is a longer story where it isn’t immediately apparent that we’re in the Obscure World at all, although Brüsel is clearly an alternate version of our Brussels. The unfinished Palace of the Three Powers in the city centre is modelled on the Palace of Justice in Brussels, and both buildings share architects by the name of Joseph Poelaert.

The Palace of the Three Powers, Brüsel.

Brüsel is a “small man” tale of Constant Abeels, a would-be shopkeeper preparing to launch a business selling a new and modern innovation: plastic flowers. Abeels suffers from a persistent cough, and it’s a combination of his health problems and business problems—the water for the shop is disconnected—that causes him to become enmeshed in schemings to radically transform the city, and the resistance to those plans. The tale is also a satire on the overly-optimistic march of progress of the late 19th and early 20th century, with all the problems of trying to impose sudden architectural change on a change-averse community. Inhabitants of Brussels have a long history of sudden architectural change, the huge Palace of Justice being constructed only after residents of the area had been forcibly evicted. In the 1950s and 60s, the flattening of old quarters in order to build New York-style office blocks was so destructive that the French coined the term “Brusselisation” to describe a brutal remodelling of a city against the wishes of its citizens.

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La route d’Armilia by Schuiten & Peeters

Ferdinand and Hella look down on the skyscrapers of Brüsel.

La route d’Armilia (1988) by François Schuiten and Benoît Peeters is the next substantial story in the Cités Obscures series after La Tour; there was also a book about transportation in the Obscure World, L’Encyclopédie des transports présents et à venir, published the same year. La route d’Armilia is the book where Schuiten and Peeters’ Jules Verne influence comes to the fore, with the story of a young boy whose name is derived from Verne characters, Ferdinand Robur Hatteras, undertaking an airship journey to Armilia at the Obscure World’s northern pole. As with the earlier L’archivist, this is mainly an excuse for Schuiten to demonstrate his prodigious architectural invention and draughtsmanship, although the story this time is more of a piece. The journey takes us from the city of Mylos—a dismal place of factories, chimneys and smoke, like one of the polluted cities of the early Industrial Revolution—over the cities of Porrentruy, Mukha, Brüsel, Bayreuth, Calvani, Genova and København. Each city is substantially different from the last, and one of the pleasures is seeing what the next stop along the way will be like.

left: the airship passes through the canyon streets of Porrentruy; right: in Brüsel a woman hangs perilously from a ledge. Acrobatics or accident, we never discover which.

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La Tour by Schuiten & Peeters

La Tour (1987) by François Schuiten and Benoît Peeters is the third story in the Cités Obscures series, although it’s the fourth volume if you want to be strictly canon about things, L’archivist, a guide to places in the Obscure World, having preceded it.

Carcere Oscura by Piranesi (1750).

This is another book where Schuiten and Peeters’ interests tick a list of my own obsessions, being a tale which seems to originate in the question “What would it be like if you crossed Piranesi‘s Prisons etchings with Bruegel’s Tower of Babel?” The protagonist of La Tour, Giovanni Battista, has his name borrowed from Piranesi’s forenames and his appearance taken from Orson Welles’ Falstaff in Chimes at Midnight. The story owes something to Kafka, although it lacks Kafka’s drift towards paradox, concerning a colossal building referred to throughout as The Tower, a structure we only ever see in close-up—and then mostly from the inside—but whose height must reach several thousand feet.

Battista (above) is one of the Keepers, a group of men charged with maintaining small sections of the Tower whose structure suffers continual decay and collapse. Tired of years spent in complete isolation, and concerned that other Keepers aren’t doing their job, Battista goes in search of the Tower’s feared Inspectors, only to discover that the lack of maintenance is endemic and few of the Tower’s scattered residents have any idea of the origin or purpose of the vast building where they’ve spent their lives, never mind a concern for its upkeep. There are no Inspectors, and while Battista is worried at the beginning about vines in the stonework, we later see small forests growing among the ruins. Kafka resonances come with the mention of the mysterious Base, and the equally mysterious Pioneers, those builders and engineers who went ahead years or even centuries before, climbing skyward.

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La fièvre d’Urbicande by Schuiten & Peeters

La fièvre d’Urbicande (1985) by François Schuiten and Benoît Peeters is the second volume in the Cités Obscures series. This was the one which captured my attention the most when I first saw it. The book opens with a foreword by the central character, Robick, chief architect of the city of Urbicande, in which he discusses his plans to unify the city’s separate halves by extending the design of the city’s southern half into the chaotic northern section.

Urbicande is built on the steeply-sloped banks of a wide river. The rational, rectilinear southern bank is exposed to the sun while the northern bank is a place of shadow and mists; traffic between the two halves is strictly controlled by the administrators of the south who fear the chaos the north represents. The style of the southern region is a superb imagining of an Art Deco metropolis, the physical and psychological opposite of the north bank which is revealed as an older place of winding lanes and dishevelled buildings. In Robick’s foreword he refers to former “masters” who happen to be people from our world: architect Étienne-Louis Boullée and architectural renderer and theorist Hugh Ferriss. Mention of Ferriss was a surprise since he isn’t so well-known outside the architectural sphere. I’ve previously discussed his Metropolis of Tomorrow which is an evident influence in the style of some of Schuiten’s skyscrapers.

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Les Murailles de Samaris by Schuiten & Peeters

The Obscure World.

Les Murailles de Samaris (1983) by François Schuiten and Benoît Peeters is the first of the stories which explores the world of Les Cités Obscures, a “counter-Earth” on the opposite side of our Sun with a continent of separate city-states, each with their own distinct architectural style. Having discovered these stories first in their French editions it wasn’t immediately apparent how much the Obscure World was supposed to be connected to our own; a number of the books contain references to people or places in our world, while the city of Brüsel, subject of the book of that name, is a kind of parallel Brussels. The counter-Earth explanation isn’t given in the early books but seems to have evolved later, as does Schuiten and Peeters’ introduction of portals between the worlds which imply a two-way leakage of influence. Writer and artist encourage readers of the series to suggest or “discover” new portals to the Obscure World.

A view over Xhystos.

The distant city of Samaris is the mysterious destination of Les Murailles de Samaris (The Walls of Samaris). The story begins in the city of Xhystos whose style is fully Art Nouveau in a manner reminiscent of the celebrated Belgian architect Victor Horta, if Horta had been allowed to design a city where every building is decorated with wrought-iron curves and glass-canopied roofs, and where trams go by on elevated roads several storeys high. The narrator, Franz, is informed by the city authorities that he’s been chosen to go on a perilous mission to discover whether rumours about the nature of Samaris are true or not. Previous explorers have failed to return so Franz’s friends and girlfriend regard his acceptance of the mission as suicidal. What follows is a journey by steam train out of the city into a surrounding zone of lawless ruins, then a journey by “altiplane” and “aerophele”, the latter being a kind of multi-winged sand yacht.

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