Go underground on a tour of the Paris Métro 一个英国人游巴黎地铁

 
Metro station "Palais Royal", Paris

一个英国人的巴黎地铁游记, 有点夸张。英国人多少还是哈法的...They just love the French touch!

Go underground on a tour of the Paris Métro

By Andrew Martin

Published by FT: April 3 2010 01:55 | Last updated: April 3 2010 01:55

The French have a more grown-up attitude than the British towards sex, drinking and railways. Regarding the latter, the approach is that French trains work, and so they should, given the amount of public money put into them. This leaves little room for the underdog trainspotter on the British model, a self-consciously marginal figure who presents himself shambolically in emulation of a shambolic network. But a more refined and worldly kind of rail enthusiast does exist, and one such is Julian Pepinster, whose special subject is the Paris Métro.

I first met the Anglo-French Pepinster, 37, some years ago over dinner. He was working in insurance while running a society known by the acronym Ademas (www.ademas-assoc.com), and dedicated to appreciation of an early Métro train engineer, Frank Julian Sprague, who gave his name to the classic Métro stock phased out in the early 1980s: pretty yet spartan trains with hard wooden seats and sparks flying out from underneath.

Pepinster now works for the security department of the Métro, and has collaborated on a new book about the system, Paris Métro Style, with Mark Ovenden, author of the international bestseller (yes, really), Metro Maps of the World. Pepinster – who often travels on the Métro in his spare time “just to relax” – offered me a tour, beginning at Gare du Nord on Line 4.

The train came in after about 30 seconds. I have never waited more than two minutes for a Métro train, or been stuck in a tunnel. This is because the Métro was, in the French way, planned (rather than arising haphazardly from the schemes of speculators, as with the Tube). There’s none of that Edgware/High Barnet nonsense seen on London’s Northern Line. The Paris lines are simple. The trains go to the end, then come back.

Line 4 is one of those featuring trains with tyres. Pepinster is ambivalent about these. “They were brought in to make the trains look more like cars.” But the tyres mean faster braking. There’s a pleasing terseness to the Métro: the train stops quickly; the nearest passenger to the door flips the catch – the loqueteau – and the doors bang open. I always fantasise that I am chasing a suspect, or being chased, in a French policier when I do this.

I mentioned to Pepinster that, for all this briskness, I felt more relaxed on the Métro than the Tube, and he suggested that this was partly because Métro tunnels are not tubular, but vault-shaped: “They remind you of the wine cellar of a château, which is a pleasant thing to be reminded of.” The shape is dictated by the method of construction. A narrow hole was dug in the street, then widened out below. The tunnels were lined in white tiles with bevelled edges, “which means they sparkle”.

At Châtelet, we changed to Line 1, and went to Louvre-Rivoli station, where subtle lighting displays pieces of statuary, replicas of those in the museum above. This is one of a dozen themed stations on the Métro, and in these (again, that French severity) advertising is not allowed. My favourite is the one at Arts et Métiers. It’s lined with riveted copper, like the inside of Captain Nemo’s submarine.

We exited the station, and crossed the Rue de Rivoli towards the entrance of Palais Royal station, which looks like a bejewelled bird cage. It was created by Jean-Michel Othoniel for the Métro centenary of 2000. It’s small for a station entrance but then Métro entrances are usually small. Paris, the creators of the Métro acknowledged, was beautiful, and the street scenes ought not to be disrupted. Attention would be drawn to the system by the beauty of the entrances, not their size, hence the sinuous, green, art nouveau ironwork of Hector Guimard, which survives at a third of the 273 stations. For years after the opening of the Métro in 1900, entrances didn’t even proclaim the station name.

As we roved around the network Pepinster talked constantly, but never boringly. He does the same on the nocturnal tours of closed-down Métro stations sometimes operated by his group, Ademas. As these tours depart, Pepinster reads a Latin quote from Fulgence Bienvenüe, chief engineer of the Métro at the time of its construction: “Jovis erepto fulmine per inferna vehitur Promethei genus”, which means something like, “Prometheus’s children are transported in the underground inferno with the power of Jupiter.” The tours finish at dawn in a depot beneath Gare du Nord, with a chance to walk along an inspection pit underneath a Métro train while drinking kir royale.

We were now at Oberkampf station on Line 5. In the 1960s, it was decided that white tiling was boring – “People said, ‘Why must our stations look like bathrooms?’” – so something more psychedelic was tried in a few cases: orange tiling. The Line 5 platforms at Oberkampf are the most orange on the network. The effect is queasy, and the orange is now regarded as a mistake, as was fitting steel panelling into certain stations to accommodate advertising hoardings. (We saw an example at Trinité-d’Estienne d’Orves on Line 12). This was called “carrossage”, and it disrupted the purity of the vault, just as false ceilings or boarded-over fireplaces were beginning to spoil historic houses of the time. But a current renovation programme will restore the original purity: white tiles, white station names on blue backgrounds.

For the grande finale, Pepinster took me to Gare d’Austerlitz, where the Métro station, far from being underground, is excitingly incorporated into the glass roof of the mainline station. The line then crosses over the Seine, giving glorious vistas. Pepinster pointed out the sights, including that of the Paris Morgue on the right bank. Naturally enough, all the other Parisians in the carriage continued to read their newspapers.

‘Paris Métro Style’ is published by Capital Transport Publishing
法国人对于性、酒和地铁的态度较之英国人更为成熟。说到地铁，他们的态度是法国的地铁还不错，鉴于其中投入的公共资金数量，这是应该 的。《猜火车》 中颓废失意的英国人在这里几乎没有用武之地——那是一个具有自我意识的边缘人形象，他的好胜心在混沌的铁路网络中，浑浑噩噩地自我表现着。不过，确实存在 着较为优雅且入世型的铁路爱好者，其中之一便是朱利安·佩平斯特(Julian Pepinster)，他的钟情对象是巴黎地下铁。

我在几 年前的一次晚宴上初识37岁、英法混血的佩平斯特。他当时从事保险业，同时经营着一个缩写为Ademas的社团(www.ademas- assoc.com)，而且沉湎于对早期地铁列车工程师弗兰克·朱利安·史普拉(Frank Julian Sprague)的激赏之中。20世纪80年代初被淘汰的经典地铁列车就曾以这位工程师命名，那是一种木质硬座、可爱但简朴的列车，开动时车轮下火花飞 溅。

佩平斯特如今为巴黎地铁的安全部门工作，正与马克·欧文顿(Mark Ovenden)合作，写一本有关这一世界的新书——《巴黎地铁风尚》(Paris Métro Style)。欧文顿是国际畅销书《世界地铁地图》(Metro Maps of the World)的作者（是的，货真价实的畅销书作者）。佩平斯特常常在空闲时间乘坐地铁，“仅仅为了消遣”，他邀我一游，行程始于四号线的火车北站 (Gare du Nord)。

列车大约30秒后进站。我等巴黎地铁的时间从未超过2分钟， 也从未有过被堵在隧道中的经历。因为巴黎地铁是 以法国方式规划的（而不是伦敦地铁纸上谈兵凭空而起的设计）。这里绝没有伦敦北线埃奇威尔(Edgware)/高巴涅(High Barne)站那样的不可理喻的景象。巴黎的轨道线简单平实。列车从头开到尾，然后再返回。

4 号线属于拥有带轮胎列车的线路之一。佩平斯特 对此颇为矛盾。“引进轮胎是为了让列车看上去更像汽车。”但轮胎意味着刹车速度更快，这对巴黎地铁来说产生了一种令人愉悦的简洁之美：列车迅速停止，最靠 门的乘客敲打着把手（按钮），车门嘭地打开。我这么做的时候，总是幻想我正在追踪嫌犯，或正被一个法国警察追踪。

我向佩平斯特提到，虽然感 觉形色匆匆，但我仍觉得法国地铁比伦敦地铁更让人放松。他表示，部分原因在于巴黎地铁的隧道不是管状而是拱形的：“它们让你想起城堡里的酒窖，这是一种美 好的回忆。”这种形式是由建筑方式造成的。从街面上打一个窄洞，然后从下面挖宽。隧道以带斜面的白色瓷砖为墙面，“这意味着它们显得熠熠生辉。”

我 们在夏德莱(Châtelet)站换乘1号线前往卢浮宫-瑞沃利站(Louvre-Rivoli station)，那里，精美的灯光中展示着雕塑作品（地铁站上面博物馆里的复制品）。这是10个主题地铁站之一，在这些站点不允许发布广告（再次体现了 法式的苛刻）。我最喜欢的一个车站是工艺博物馆站(Arts et Métiers)。铜质铆钉的墙面让人如犹如置身尼莫船长(Captain Nemo)的潜艇内。

我们离开车站，穿过瑞沃利大街朝王宫站(Palais Royal station)入口而去，地铁入口犹如一个珠光宝气的鸟笼。这是由让-米歇尔·欧托尼耶(Jean-Michel Othoniel)于2000年为地铁100周年纪念而创作的。这对于一个地铁入口来说有点小，不过这里的地铁入口通常都很小。地铁创始人认为，巴黎是美 丽的城市，街道景观不应被割裂。地铁系统引入注意的应该是入口处的美感而不是其大小，正因为如此，273座地铁站中的三分之一保留了赫克托·吉马德 （Hector Guimard）的绿色盘曲状新艺术主义铁艺作品。在1900年地铁开通后的数年中，地铁入口甚至没有标注站名。

我们流 连于地铁网络之中，佩平斯特不停地讲述，但从不让人觉得乏味。有时，同样的行程被安排成夜间游，在地铁关闭时，由他的Ademas社团组织。在这些游览出 发时，佩平斯特会朗读一段拉丁文，出自巴黎地铁建造时的总工程师费尔杰斯·比耶维涅(Fulgence Bienvenüe）：“Jovis erepto fulmine per inferna vehitur Promethei genus”，大意是，“普罗米修斯的孩子们在地狱里以朱庇特的神力穿行。”行程于黎明时分在北火车站的一个站点结束，在那里你有机会喝着皇家基尔 (kir royale)，沿着列车下的检查平台到处走走。

现在，我们到了5号线的奥贝肯夫 站(Oberkampf station)。20世纪60年代，人们认为白色瓷砖的方式过于单调——“人们说，‘为何我们的车站一定要弄得像浴室？”于是一些更为怪诞的尝试在某些 车站出现了，那就是橙色墙面。奥贝肯夫5号线站台的橙色最为醒目。效果令人作呕，如今橙色被看成是一个错误，因此在这些车站安上钢板护墙作为广告围栏，我 们在12号线的特里尼泰-德帝安纳·多尔韦级站(Trinité-d'Estienne d'Orves)就看到了这样一个例子。这被称为“曲面”，它破坏了拱顶的纯净，就像假房顶或壁炉上的横梁开始糟蹋具有历史意义的房屋一样。不过一个正在 进行的整修项目将恢复原有的纯净：白色墙面，蓝底白字的站名。

作为盛大的结尾，佩平斯特带 我去了奥斯特里兹车站(Gare d'Austerlitz)，在那里，远离地下的地铁车站惊心动魄地融入主干线车站的玻璃屋顶。轨道线随后跨过塞纳河，形成壮丽的景观。佩平斯特指点着外 面的风景，其中包括右岸的巴黎太平间(Paris Morgue)。很自然，车厢里其余的巴黎人继续看他们的报纸。

Premier jour de neige de l'hiver 2009 à Paris

Le 17 décembre, premier jour de neige de l'hiver 2009 à Paris.
在flickr网上挑的几张照片。

King of His Castles: The art of collecting and renovating châteaux 当你拥有自己的城堡...

* * *
By LENNOX MORRISON (WSJ)
French impressionist Yves Lecoq talks about renovating châteaux

Essonne, France

 
Roland Beaufre

Yves Lecoq's Château de Maisonseule in the Ardèche

Behind massive wrought iron gates extends a golden autumnal avenue, positioned to deny the passer-by a view of Château de Villiers. The gates swing open electronically and, deeper into the grounds, I finally come upon an imposing Louis XIII edifice. Inside, in the oak-panelled and tapestry-hung winter drawing room, within a mantel of veined ox blood marble, logs crackle behind an embroidered screen. On a circular wooden table, beneath a chandelier, a bottle of Krug champagne nestles next to a box of Lenôtre chocolates from which someone has already plucked his favorites.
The scene has been set by owner Yves Lecoq who, despite employing a maître d'hôtel, makes me midmorning coffee. When I comment on the flavor he switches from French to English and, in George Clooney's voice, says, "It's Nespresso -- what else?"

Jean Cazals
At Château de Villiers Yves Lecoq enjoys the peace of the countryside.


The uncannily good impersonation is no surprise. As France's leading impressionist, Mr. Lecoq has a repertoire of 200 voices, from Woody Allen to Zidane Zinedine. Not to mention his controversial takeoff of the nation's first jogging president, Nicolas Sarkozy.
What's less well known about our host is that thanks to more than 30 years of show business success and a French fiscal regime that deals kindly with owners of officially classified historic properties, he has become a collector of châteaux. Since 1975, when he was 29 years old, he has purchased five, all in states of disrepair.
"There's a sort of love affair between myself and these buildings. When I first discover them it's like love at first sight," says Mr. Lecoq, whose lavishly illustrated book, "Fou de châteaux" ("Crazy about Châteaux"), is published this month by Editions du Chêne.
His main home at Villiers-le-Bâcle is in a pretty countryside 30 minutes drive south-west of central Paris. Set within wooded 40-hectare grounds where deer and wild boar roam, the 40 rooms are furnished in a finely judged mix of period style and modern comfort (central heating, flat-screen TVs concealed behind framed Louis XIV tapestries.)

Roland Beaufre

The manor house at Chambes near river Charente in western France

Having rescued the property from Sleeping Beauty dilapidation, Mr. Lecoq plays tour guide with great courtesy. Were he in a more reclusive mood, however, he could retreat to Château de Maisonseule, his fortified medieval manor secluded deep within the rugged mountain ranges of the Ardèche in south-central France.
"There's silence there and a great sense of well-being," says Mr. Lecoq. "It's a place where, when I encounter disappointments, I can go and recharge my batteries and get back on track."
Should he hanker for a rustic riverside idyll, he could head to Chambes, his 16th-century manor in Charente Limousine, western France.
"Villiers is about my everyday existence," he says. "At Chambes, I get away from it all. I feel very much at peace there."

Corbis
The interior of Château de Maisonseule.

Far from being born into grandeur, Mr. Lecoq is the son of a navy officer turned sales rep for agricultural equipment and was raised the youngest of five children in a cramped attic apartment within the grounds of a 17th-century mansion in Paris. As a boy he peered down longingly at the magnificent residence below and followed the comings and goings of the marquess who lived there.
From his maternal grandmother, an antique dealer, Mr. Lecoq inherited a love of art and of architectural beauty. Through her marriage to a baron he is entitled to the surname Lecoquierre-Duboys de La Vigerie. When I ask him why he doesn't use it every day, he says simply, "It's unpronounceable." Nevertheless, at 63, with his height, well-cut features and clear blue gaze, Mr. Lecoq has a naturally aristocratic appearance, coupled with great warmth.
Ironically, Mr. Lecoq can indulge his château habit because of money earned imitating -- and often making fun of -- the rich and famous. At six, he entertained his family by singing like French songsters Gilbert Bécaud and Juliette Greco. By 18, his repertoire included Cliff Richard and Sacha Distel. School friends nicknamed him "Juke Box."

 

Jean Cazals

Hunting trophies from bygone days at Château de Villiers.

After gaining a degree in art history and archaeology at the Sorbonne, he took over his grandmother's shop and worked as an antique dealer and interior decorator. However, at 28 -- with acclaimed debuts on television, radio and stage -- his show-business career took off.
Today, the TV show he is best known for introduces a cold blast of irreverence into the often unhealthily cosy relationship between French politicians and the media. Inspired by British television's "Spitting Image" series of the Thatcher years, "Les Guignols de l'info" presents spoof newscasts featuring latex puppets of anyone who's anyone in French politics and also foreign leaders such as Barack Obama.
Running for more than 20 years, the primetime series on Canal+ attracts three million-plus viewers each weeknight. Lately, the sketches sending up a pint-sized Nicolas Sarkozy and the meteoric ascent of his student son (both voices courtesy of Mr. Lecoq) are said to have stirred presidential displeasure.
The first house Mr. Lecoq bought, at 27, was a restoration project on a modest scale -- a suburban villa with garden, but without heating or bathroom. It was when he began thinking of a half-timbered farmhouse in the country that his agent handed him the French property bible, "Indicateur Bertrand," saying, "For the same budget, why not buy a château?"

Jean Cazals

In the 18-meter-long gallery at Château de Villiers, a hand forged door handle is one of the details in which Mr. Lecoq takes delight.

Which is how, before turning 30, Mr. Lecoq acquired Château d'Hédauville in northern France, an 18th-century construction with classic stone and red brick façades but also a leaking roof and gardens turned to cattle pasture. He reinstated its original glory and furnished it with antiques gleaned when touring the country with his own stage show.
When burglars struck he lost many treasures but the insurance payout and then sale of Hédauville helped fund the purchase of an even more spectacular property nearby -- Château de Suzanne, a turreted Louis XIII edifice, renovated during the reign of Napoleon III with a grand marble staircase and painted ceilings reminiscent of Versailles. On this palatial scale, builders and decorators were busy for 18 years.
Not in the ranks of the super-wealthy, Mr. Lecoq borrows money to realize his dreams. Villiers, he says, he expects to "earn its keep," mostly by rentals to film crews. When the likes of Michelle Pfeiffer take over the master bedroom -- as she did for the filming of Stephen Frears's "Chéri" last year -- Mr. Lecoq decamps to the presbytery on the grounds.
Financial considerations forced him to sell Suzanne. By then, however, he'd acquired Maisonseule and Villiers and last year he fell for Chambes, a two-tower country house with water mill, close to where one of his ancestors served as administrator in the days of Louis XIV. (He also has a traditional style white-walled villa in Tunisia with direct access to the beach at Hammamet and an unimpeded view of the Ottoman fortress.) No wonder estate agents continue to call Mr. Lecoq with fresh propositions.

Jean Cazals
Two veteran horses roam the grounds at Château de Villiers.

As with all previous restoration projects, Mr. Lecoq is often on site at Chambes and acts as his own interior designer, taking equal delight in picking up a hand-forged period door handle in a flea market as in more ambitious schemes. At Maisonseule, he had a walled stone enclosure built overlooking the valley. From below, it looks like an ancient annex but it actually conceals an outdoor swimming pool with a breathtaking mountain panorama.
Mr. Lecoq considers the time and money invested in his properties as his contribution to the national heritage. I ask whether his homes make him feel like a true lord of the manor.
"It's a term I don't like to hear because everyone knows that I'm the curator and the project manager," he replies. "There are fleeting moments, like today when I'm sitting at the fireside, or I'm in the middle of a dinner, when I have a sense of playing lord of the manor. After nearly 40 years of restoration projects I think I'm entitled to feel like that from time to time. But it's not the real life of a lord of the manor. That belongs to another age."

—Lennox Morrison is a writer based in Paris.

Les meilleures stations thermales en France 6家法国最著名、风景最优美的温泉疗养站

Personne ne sait très bien qui, des Chinois, des Egyptiens ou des Romains, peut revendiquer la paternité des premières cures thermales. Améliorée au fil du temps, cette médecine plusieurs fois millénaire est restée fidèle à son principe fondateur : traiter par les eaux minérales.
Il existe en France plus de 1 200 sources d’eaux bienfaisantes. Leur composition chimique particulière leur confère des vertus thérapeutiques reconnues par l’Académie de Médecine.

Ce statut leur donne des obligations, puisqu’elles doivent être délivrées pures, dans l’état où elles se trouvent à l’émergence. Les eaux minérales sont classées en cinq grandes catégories – bicarbonatées, sulfatées, sulfurées, chlorurées et oligo-métalliques faiblement minéralisées – et sont utilisées dans douze orientations thérapeutiques. 

 

自古以来，人们就懂得利用温泉水疗伤。在法国，这一养生方法可追溯到高卢罗马人时期。法国是欧洲的第三大温泉国，位居德国和意大利之后，115个温泉站每年都会接待大约57万名疗养者，其中80％的人受到风湿或呼吸系统疾病的困扰。

法国的所有温泉站都拥有国家部委颁发的许可，可治疗一项或多项疾患。因此，温泉疗养可享受社会健康保险。 
　　让氤氲的温泉浴给您带来健康的体魄和愉快的心情。

6家法国最著名和风景最优美的温泉疗养站
  
　　格雷坞温泉疗养站（Gréoux-les-bains） 
　　格雷坞温泉疗养站位于法国阿尔卑斯山区风光如画的凡尔登峡谷。这里四季阳光明媚、空气清新，且保留着普罗旺斯地区最传统的风俗。因此它不仅适合强身健体，还为了解普罗旺斯的风土人情提供了一扇窗口。 
　　格雷坞温泉站的疗养池修建在一座由花园和喷泉环绕的高卢罗马风格的建筑中，水温在42摄氏度左右。它富含微量元素和镁，而且水中的硫化物和钙对治疗呼吸系统疾病和风湿病有很好的效果，因此几千年来有不少人慕名而来，古罗马人还曾在这里修建过温泉池。
　　温泉站提供为期6天、每天4次的个性化疗养套餐，在医生的指导下，游客们得以很快恢复强健的体魄和充沛的精力。 
　　格雷坞温泉站所在的村庄见证了中世纪以来的风云变幻，周边保留有不少历史名胜，如Templiers城堡及其弯曲的巷道和宽阔的广场等等。这些遗产建筑大多已被改造为画廊、展览馆或演出场所。地处凡尔登自然公园中心位置的格雷坞更是凭借它的美景成了健行者们的天堂，无论步行、骑马还是骑自行车，都有一大批拥埠者。 
　　地点：靠近马诺斯克市，在德拉吉尼昂和迪涅之间。距离埃克斯－昂－普罗旺斯57公里，马赛85公里。离马诺斯克火车站15公里。
　　更多信息请查询www.greoux-les-bains.com网站。 
　　高特莱温泉疗养站（Cauterets） 
　　高特莱温泉疗养站位于比利牛斯山区，如同一个小小的天堂，闻名遐尔。雨果、夏多布里昂、莎拉·伯恩哈特等名人都曾造访过这里。将传统的温泉疗养与最新养生科技相结合是这个疗养站的最显著特点。 
　　高特莱温泉疗养站是让人彻底忘却压力、恢复活力的理想之地。恺撒温泉池于1999年重修后，人们得以领略温泉带来一切好处。如今高特莱温泉站已被正式列为法国著名疗养健身地。这里的水出自两个天然温泉孔，富含硫、钠，而且清澈无比。水温在45到60摄氏度之间，丰富的矿物质中含有大量微量元素和二氧化硅。 
　　高特莱的每个季节都有无穷的魅力，可以进行各种室外活动。冬天最受青睐的当数滑雪，但球类运动、登山和溜冰也不错。好天气到来之后，人们纷纷选择钓鱼、游泳或打网球、骑自行车越野……周围地区的文化活动和展览也很多，在比利牛斯国家公园远足更是令人心驰的享受。 
　　地点：靠近卢尔德市和塔布市，距离巴黎899公里，波尔多319公里，图卢兹217公里。离卢尔德火车站30公里。 
　　更多信息请查询www.cauterets.com网站。 
　　康波温泉疗养站（Cambo-les-bains） 
　　康波温泉疗养站位于法国南部的巴斯克地区腹地，距离西班牙国境线只有15公里，所在的村庄有5000名居民。疗养站地处比利牛斯山脚下，位于山海之间，可谓将健身疗养与风光旅游完美地结合在了一起。 
　　康波的温泉区位于村庄东部的尼芙河边，被一个漂亮的公园环抱着，内中的泉水富含硫、铁和镁，治疗呼吸系统和关节疾病最为有效，而且大人、孩子均能享用，因而盛名远扬。温泉的水温在22摄氏度左右，来此的游客多为治疗风湿病或耳鼻喉科疾患。 
　　巴斯克地区的高山和尼芙河河谷给康波温泉疗养中心带来了得天独厚的地理环境，这里的温泉水和宜人的地区小气候早在12世纪就远近闻名了。下康波（Bas Campo）是个温馨的小村庄，具有典型的巴斯克特色，绝对值得游览，其中最不应当错过的是康波教堂。尼芙河的对岸，中世纪的古老建筑则展示着另一种风情。 
　　地点：靠近巴荣讷市，距离比阿里茨25公里。乘火车在康波温泉疗养站或巴荣讷下车。 
　　更多信息请查询www.cambo-les-bains.net网站。 
　　维泰尔温泉疗养站（Vittel） 
　　地处孚日平原的维泰尔温泉站宁静而纯洁，优美的风光吸引了一批又一批的游客。在每年4月至12月的疗养站开放期间，人们来到这里健身、调养，获得由内而外的健康。维泰尔的天然矿泉水富含硫、碳酸氢盐和镁等，可用来帮助病后康复、补充精力、塑身、美容和产后恢复。疗养站为顾客提供了多种健身方案，如5日套餐、周末套餐、温泉项目自由组合和当日推荐项目等等。某些身体机能障碍也能在这里治愈。
　　维泰尔温泉展周围环绕着700公顷的公园和森林，为喜欢散步的人营造了一个绿色天堂，它将健康、生活艺术和浪漫氛围完美结合在了一起。运动中心提供高尔夫球、网球和游泳等运动项目，甚至还有赛马、园艺和骑马课。总之，在维泰尔温泉站令人放松和全部露天的环境里，人们将会各得其乐。 
　　地点：靠近厄比纳尔，在南锡和贝藏松之间。距巴黎车程约3小时15分钟，距里昂约3小时。火车站为维泰尔。 
　　更多信息请查询www.thermes-vittel.com网站。 
　　维希温泉疗养站（Vichy） 
　　自17世纪以来，维希温泉便开始服务于科学研究和大众健康。这里的泉水有使人身心放松和补充精力的功效，是一种生活的艺术和高质量生活的保证。温泉站沐浴在柔和舒适的自然光线和令人愉悦的色彩里，水中富含微量元素、矿物质和稀有气体，给人们带来最健康和快乐的体验。 
　　为了达到完美的健身与修体效果，维希温泉站还提供营养搭配合理的食疗，使人们建立正确的饮食习惯，避免健康隐患。 
　　维希城内保留有大量历史文化遗产，在城区漫步、到水边享用晚餐，或去1900年“新艺术”时期修建的歌剧院欣赏歌剧……都浪漫无比。此外，离维希市中心不远的地方有个专门的体育场，提供各种专业设施，适合不同水平的体育爱好者。 
　　地点：位于阿利埃省，靠近克莱蒙费朗。从巴黎至维希有A71高速公路，里昂至维希有A72高速公路，蒙柏利埃至维希有A75高速公路。
　　更多信息请查询www.vichy-thermes.tm.fr网站。 
　　莫利池温泉疗养站（Molitg-les-bains） 
　　莫利池是比利牛斯山区的一个小村庄，名字来源于矗立村口的那架大风车。它位于半山腰，全村只有200名居民。这里的气候偏干燥，常年阳光普照，因此是呼吸疾病患者的理想疗养地。 
　　莫利池温泉站的水水质滑腻，其中富含温泉浮游生物，是皮肤病的良药。它还能有效缓解风湿病和呼吸系统疾病。该疗养站隶属于太阳温泉连锁集团，非常适合举家光临，每个家庭成员都可得到量身定做的服务。 
　 　莫利池温泉站是比利牛斯山区和地中海沿岸的一片绿洲，这个依山傍水的村庄提供的是最简单、健康的生活方式。人们可以骑车、步行甚至骑驴到周边漫游，而且 一年四季都可以在导游的带领下登山。莫利池保留有不少修道院，还有非常值得参观的几处现代艺术场馆。它传统的一面主要体现在节日期间和每年举办的滚球比赛 上。烤蜗牛配蒜泥蛋黄酱和新出炉的面包绝对值得品尝。 
　　地点：靠近佩皮尼昂。火车站为佩皮尼昂或普拉德。距离佩皮尼昂－利夫萨尔特机场约45公里。 
　　更多信息请查询www.molitg.com网站

La Tour Eiffel fait la fête tous les soirs 艾菲尔铁塔120年庆生

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Tour Eiffel offrira chaque soir quatre spectacles lumineux : après les 5 minutes de scintillement habituelles, une séquence d’éclairage dynamique évoque l’extraordinaire chantier de la construction de la Tour il ya plus de 120 ans. Suivent une pluies de lumière, découpages par strates, par facettes, effets stroboscopiques, respirations, mélanges de couleurs, soit 12 minutes de magie.

Pour la première fois, grâce à un dispositif de projecteurs à leds dernière génération, la façade côté Trocadéro va s’animer de couleurs, mouvements, modulations pour offrir un spectacle totalement surprenant et magique. Le spectacle est présenté quatre fois chaque soir jusqu'au 31 décembre: 20h, 21h, 22h et 23h.

Après les 5 minutes de scintillement habituelles, le spectacle d’une durée de 12 minutes, commence par une séquence d’éclairage dynamique évoquant l’extraordinaire chantier de la construction de la Tour.
Puis, pluies de lumière, découpages par strates, par facettes, effets stroboscopiques, respirations, mélanges de couleurs…. rendront hommage à la Tour et à la magie architecturale et festive qu’elle incarne. Durant tout le spectacle l’éclairage des autres faces du monument varie accompagnant le scénario. Des projections d’images animent le parvis.

Cette animation est possible grâce à l’équipement de toute la face Trocadéro de la Tour de plus de 400 projecteurs à diodes électroluminescentes (leds) en trichromie. Outre les effets de lumière multiples et innovants qu’apporte cette technologie, cette dernière offre des performances énergétiques particulièrement intéressantes qui permettent de réduire la consommation d’électricité par rapport à l’illumination traditionnelle de la Tour.

Le spectacle est conçu par Bernard Schmitt et Jacques Rouveyrollis, et réalisé par Citelum avec Magnum. Citroën, partenaire historique des illuminations de la tour Eiffel (1925-1934), contribue cette fois encore à l’habillage lumineux de la Tour. La fondation d’entreprise Eiffage est mécène des 120 ans de la tour Eiffel

巴黎最后的一个葡萄园熟了 Fête nostalgique à Montmartre

La Fête des Vendanges se déroule jusqu'à dimanche. Dégustations, jeux et concerts sont au programme.

Les vignes de Montmartre

Photo : AFP

Le vieux Montmartre se réveille ce week-end à l'occasion de la 76e édition de la fameuse Fête des vendanges. Les animations rendent hommage aux Trois Baudets, salle de concerts mythique qui a rouvert en février dernier et à son fondateur, Jacques Canelli.

Des dégustations. Les visites guidées des vignes du Clos Montmartre sont complètes. En revanche, il est possible de déguster le vin. Vendredi, de 10 à 22 heures, samedi de 9 à 23 heures et dimanche de 9 à 19 heures, un "parcours du goût" est proposé sur l'ensemble de la butte. Rue Azaïs, un "village des Régions" présente des productions viticoles régionales. On peut aussi manger, rue Saint Eleuthère, rue du Cardinal Guibert et sur le parvis du Sacré-Coeur, grâce au "village des marchés".

Des concerts. Dans les bars de la butte, au centre Barbara (Goutte d'Or) et sur l'ensemble du XVIIIe, des groupes proposent vendredi soir et samedi, de 18h30 à 20 heures, des concerts gratuits. Les Trois Baudets proposent vendredi soir, dès 20h30, un concert slam-hip-hop (15 euros). Vendredi soir et samedi, de 22 heures à 2 heures, "Jazz à Montmartre" s'invite au restaurant Autour de midi… et minuit (8-12 euros). Dimanche, à 16h30, un spectacle réunira au Trianon théâtre François Morel, Anne Roumanoff, Jeanne Cherhal ou encore La Grande Sophie (18 euros).

碧姬·芭铎：七十五年风情展 Expo à Paris : Brigitte Bardot se met à nu pour ses 75 ans

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Elle n'est pas la française que je préfèrerais mais c'est une parisienne qui, indéniablement, a été un vrai phénomène.

她也许不是最漂亮的法国女人，但的确曾经是诠释法国女人魅力的现象级明星代表。

----Vulcanus

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Icône parmi les icônes, BB souffle sa soixante-quinzième bougie. L'occasion d'inaugurer une toute première exposition. Ce sera chose faite à Boulogne-Billancourt le 29 septembre. A voir jusqu'au 31 janvier 2010.

Libre, sensuelle, insolente, BB est devenue un sex-symbol

Comment Brigitte Bardot est devenue BB, un mythe, un sex-symbol, libre, sensuel et insolent ? Comment, dans les années 1950-1960, une jeune fille de la bourgeoisie s'est métamorphosée en une icône universelle ?Comment tout a commencé ? C'est à ces questions qu'ont voulu répondre deux admirateurs secrets de la belle blonde. Le député-maire de Boulogne-Billancourt, Pierre Christophe Baguet, et son adjoint en charge de la culture, Pascal Fournier, ont décidé de rendre hommage à celle qui est devenue un mythe. Une première. Jamais une star de cinéma a eu droit à une exposition d'une telle ampleur de son vivant. Celle qui fut vingt ans durant une star internationale et un symbole de la France des années 50-60 fêtera ses 75 ans. BB, c'est une carrière riche de 48 films et de plus de 80 chansons qui riment avec Nouvelle Vague et yéyés, pour devenir le fantasme des années 1950 et 1960. Si elle a quitté le cinéma en 1973, elle n'a pas cessé de se battre avec sa fondation pour les animaux. Alors l'exposition n'oublie pas la passion animalière de celle qui est devenue militante active. Petit plus de l'expo : "Brigittez-vous" dans le photomaton mis à disposition du public : vous repartirez avec le sourire, et un portrait de vous en BB !

Infos pratiques :

Exposition : "Brigitte Bardot Les années insouciance", du 29 septembre au 31 janvier 2010.
Du mardi au dimanche, de 11 heures à 18 heures.
Espace Landowski, 28 avenue André-Morizet, 92 100 Boulogne-Billancourt.
Tarif : 11 euros (8 euros pour les Boulonnais).

http://www.expobrigittebardot.com/