Bunker Archeology | Paul Virilio
Observation post on a channel island (detail)
‘Barbara’ firing control tower on the Landes
Observation post on a channel island
Observation post on a channel island
Observation post on the English Channel
The Watten bunker – V2 launching site: the first of huge works designed to harbor stratospheric arms
The ‘Todt front’: The overhung solid mass complements the vertical gradings of the embrasure
Observation post with flattened angles
Observation tower camouflaged as church belfry
Close to death, one no longer sees it,
and you gaze steadily ahead,
perhaps with an animal’s gaze.
– R. Rilke
The discovery of the of the sea is a precious experience that bears thought. Seeing the oceanic horizon is indeed anything but a secondary experience; it is in fact an event in consciousness of underestimated consequences.
I have forgotten none of the sequences of this finding in the course of a summer when recovering peace and access to the beach were one and the same event. With the barriers removed, you were henceforth free to explore the liquid continent; the occupants had returned to their native hinterland, leaving behind, along with the work site, their tools and arms. The waterfront villas were empty, everything within the casemates’ firing range had been blown up, the beaches were mined, and the artificers were busy here and there rendering access to the sea.
The clearest feeling was still one of absence; the immense beach of La Baule was deserted, there were less than a dozen of us on the loop of blond sand, not a vehicle was to be seen on the streets; this had been a frontier that an army had just abandoned, and the meaning of this oceanic immensity was intertwined with this aspect of the deserted battlefield.
But let us get back to the sequences of my vision. The rail car I was on, and in which I had been imagining the sea, was moving slowly through the Brière plains. The weather was superb and the sky over the low ground was starting, minute by minute, to shine. This well-known brilliance of the atmosphere approaching the great reflector was totally new; the transparency I was so sensitive to was greater as the ocean got closer, up to that precise moment when a line as even as a brushstroke crossed the horizon : an almost glaucous gray-green line, but one that was extending out to the limits of the horizon. It’s color was disappointing, compared to the sky’s luminescence, but the expanse of the oceanic horizon was truly surprising: could such a vast space be void of the slightest clutter? Here was the real surprise: in length, breadth, and depth the oceanic landscape had been wiped clean. Even the sky was as divided up by clouds, but the sea seemed empty in contrast. From such a distance there was no way of determining anything like foam movement. My loss of bearings was proof that I had entered a new element; the sea had become a desert, and the August heat made that all the more evident – this was a white-hot space in which sun and ocean had become a magnifying glass scorching away every relief and contrast. Trees, pines, etched-out dark spots; the square in front of the station was at once white and void – that particular emptiness you feel in recently abandoned places. It was high noon, and the luminous verticality and liquid horizontality composed a surprising climate. Advancing in the midst of houses with gaping windows, I was anxious to set foot on my first beach. As I approached Ocean Boulevard, the water level began to rise between the pines and the villas; the ocean was getting larger, taking up more and more space in my angle of vision. Finally, while crossing the avenue parallel to the shore, the earth line seemed to have plunged into the undertow, leaving everything smooth, no waves and little noise. Yet another element was here before me: the hydrosphere.
When calling to mind the reasons that made the bunkers so appealing to me almost twenty years ago, I see it clearly now as a case of intuition and also as a convergence between the reality of the structure and the fact of its implantation alongside the ocean: a convergence between my awareness of spatial phenomena – the strong pull of the shores – and their being the locus of the works of the “Atlantic Wall” (Atlantikwall) facing the open sea, facing out into the void.
Organized by the Center for Industrial Creation and presented at the Museum of Decorative Arts in Paris from December 1975 through February 1976.
The pictures were taken by Paul Virilio from 1958 to 1965.
Princeton Architectural Press