A Lifetime of Love for Paris

For nearly fifty years, I’ve carried a love of Paris. For a long time, I thought it was an inheritance—a gift from teachers, photographers, French cousins, and friends. But only recently have I realized that Paris now belongs to me.

The seeds were planted early by my very first French teacher, Mrs. Stewart in Pittsburgh, who always made me feel valued and welcome. She made French not just a subject but a joy—something expansive, a new world opening before me. Later, a college professor urged me to take my first trip to France—a visit that included meeting my French cousins, who graciously introduced me to the City of Light and its culture, followed by a month at the University of Aix-en-Provence.

In Paris, seeing the Eiffel Tower and the Champs-Élysées for the first time was overwhelming. I didn’t just see grandeur; I felt the weight of history that has transpired there. Standing on the Champs-Élysées, I was struck by the horror of Nazi Germany marching down it in victory on June 14, 1940, and the profound relief and pride of the American and French armies liberating Paris on August 25, 1944. The German occupation lasted just over four years, and the liberation, led by French and U.S. forces, was met by jubilant Parisians in the streets. That same day, Charles de Gaulle entered the city to proclaim, “Paris! Paris outraged! Paris broken! Paris martyred! But Paris liberated!” The following day, he marched triumphantly down the Champs-Élysées, embodying the spirit of France restored. The weight of those moments in history made me appreciate even more the resilience and beauty of the city I was discovering. I think of those events every time I see the Champs-Élysées.

Yet Paris was only the beginning of my French journey. In Aix, I met a teacher from the Flemish-speaking part of Belgium who shared my love of the country and its language. And I met Marica from Mexico, who was simply fun to be with. One day we rented a paddle boat on a lake in the south of France. We lost track of time, missed our bus back to Aix, and ended up laughing as a kind stranger gave us a ride to the train station so we could make our way home. It’s a small story, but one I treasure—a reminder of youth, friendship, and the kindness of strangers.

That same summer, I discovered the music of Véronique Sanson. I loved her then and still do now. I remember listening to her voice while visiting the calanques of Cassis, marveling at their sharp white cliffs and turquoise but icy water. Somehow, the beauty of those landscapes fused in my mind with the beauty of her songs. Even now, hearing her music carries me back to that summer.

After moving to Washington in 1979, I kept up my French. At Georgetown University and the Alliance Française de Washington, I found kind and influential teachers who nourished my love of France and its language and culture. Through them, Paris stayed alive for me, even when I was far away.

I wish I had photographs from my first trip to France. I’ve since learned that even imperfect photos are worth keeping because they hold memories words can’t always capture. Photography, for me, is a way to preserve what matters most.

It was my father who made these experiences possible, investing in my education and my first trips abroad, shaping me in lasting ways. My teachers opened doors, and friends gave me stories to carry.

Now, with my camera, I carry them all forward. Every photograph I take in Paris is a way of honoring those who helped me get to know the city. Paris is a presence that has grown inside me over a lifetime, stitched together by people, music, landscapes, and light. Just as I once linked Véronique Sanson’s songs to the calanques of Cassis, I now link my own photographs to the Paris I love. Paris lives in my memory, my images, and my heart.

Centre Pompidou — A Place I Came to Love

I first visited the Centre Georges Pompidou in 1977, the year it opened. The building felt shocking in its modernity. I had never seen anything like it — exposed pipes and bold colors, right in the heart of Paris. How could this belong in the same city as the Louvre or the Assemblée Nationale?

The idea for the Centre took shape in the late 1960s, when Paris was still unsettled by the protests and strikes of May 1968. President Georges Pompidou, who loved modern art, wanted to create a cultural center that would feel open, democratic, and alive. His vision was to combine a public library, a museum of modern art, and spaces for music and performance under one roof — a place where tradition and the avant-garde could meet.

In 1971, an international competition was launched, drawing more than 600 entries. The jury, chaired by French architect Jean Prouvé, chose the radical proposal of two young architects: Renzo Piano, born in Genoa in 1937, and Richard Rogers, born in Florence in 1933 to a British family. Their design turned architecture inside out. By pushing structure, escalators, and utilities to the exterior, they left the interior wide open and flexible. Prouvé admired their daring — it was exactly the step into a new era that Pompidou had hoped for.

Over the years, as I returned to the Pompidou, I grew to love it. The plaza in front of the museum always recharged me. Young people sprawled on the ground, laughing, playing music, filling the courtyard with life. That sense of openness was not an accident — Piano and Rogers wanted the Centre to be a crossroads of art and community.

I also remember riding the exterior escalator, climbing above the rooftops of Paris. From there, the city unfolded — Sacré-Cœur glowing on the horizon. It reminded me of Piano’s later projects, like the Shard in London and The New York Times Building in Manhattan, always searching for lightness and views. Rogers, for his part, went on to shape landmarks such as Lloyd’s of London and the Millennium Dome. Both would eventually win the Pritzker Prize — Piano in 1998, Rogers in 2007 — but here in Paris, their collaboration was at its boldest.

Now, the Pompidou is closed for renovations, with reopening planned for 2030. I don’t know when I will see it again. What I do know is that I will miss it.

The Pompidou began as something I thought was too modern, almost jarring, and became a place I adore. It carries with it the daring of its architects — one Italian, one British — and the conviction of a president and jury who believed Paris could take a step into a new era. For me, it became just that: a space of art, of community, of Paris itself, bold and alive.

The Tomb of William the Conqueror

In the heart of Normandy stands a monument to one of Europe’s most consequential rulers. Inside the Abbaye aux Hommes—the Men’s Abbey, also known as Saint-Étienne Abbey—in Caen, France, lies a simple marble tomb marking the final resting place of William the Conqueror.

Born around 1028, William rose from Duke of Normandy to become a formidable force in European history. His decisive victory at the Battle of Hastings in 1066 brought England under Norman rule, setting in motion sweeping changes to the kingdom’s language, law, and social order. He was the first Norman King of England, and his reign reshaped the destiny of a nation.

William founded the abbey as an act of penance, after marrying his cousin Matilda of Flanders against Church law. When he died in 1087, his body was brought here to rest within the walls of the church he had endowed. Yet his remains would not know peace. Over the centuries, his tomb was desecrated multiple times—most violently during the French Revolution. Today, only a single bone, believed to be a femur, is thought to remain.

The tomb we see now, adorned with flowers and lit by candles, is at once modest and monumental. It speaks to the paradox of William’s legacy: a man who conquered kingdoms and changed history, yet whose earthly remains were reduced almost to nothing. The stone slab is a reminder of ambition’s reach and mortality’s certainty—a place of quiet reflection on how even the most powerful lives can end in fragility.

The Reinvention of Riggs Bank: Washington Landmark Becomes the Milken Center

Across from the White House on Pennsylvania Avenue stands the former Riggs National Bank building—a fixture of Washington life for over a century. In 2015, the Milken Family Foundation acquired this landmark, along with adjacent properties, spending a combined $86.5 million to secure their presence at the heart of the nation’s capital. (Bisnow) $31 million went for the Riggs building at 1503–1505 Pennsylvania Avenue NW, while an additional $55.5 million covered the neighboring properties, including 1501 Pennsylvania Ave NW and 730 15th Street NW. (Bisnow)

This wasn’t just a real estate acquisition; it was a symbolic statement. The location—directly opposite the Treasury and a short walk from the White House—signals that the project goes beyond philanthropy. The decision to establish the Milken Center for Advancing the American Dream in such a prominent spot underscores a belief that the values of opportunity and aspiration are central to America’s civic life.

The original Riggs building, completed in 1899 and designed by York & Sawyer, held a storied history as “the Bank of Presidents.” Today, it’s being transformed into a cultural destination that will repurpose stability into inspiration—when the center opens this year, it will unite past and future in one of Washington’s most symbolic settings.

La Grande Arche de la Défense: A Modern Monument to Humanity

La Grande Arche de la Défense (“The Great Arch of the Defense”), originally called La Grande Arche de la Fraternité, is a monumental building in the business district of La Défense, in the commune of Puteaux, west of Paris. Usually referred to simply as La Grande Arche, the 110-meter-high (360 ft) cube is part of the historic axis that runs from the Louvre to the Arc de Triomphe. The distance between the two arches is about 4 km (2.5 miles). Built as one of President François Mitterrand’s Grands Projets, it stands as a symbol of modern France.

In 1982, a national design competition was launched at Mitterrand’s initiative. The winning entry, by Danish architect Johan Otto von Spreckelsen (1929–1987) and engineer Erik Reitzel (1941–2012), reimagined the Arc de Triomphe for the late 20th century. Instead of commemorating military victories, their design celebrated humanity and humanitarian ideals.

Construction began in 1985, led by French civil engineering company Bouygues. In 1986, Spreckelsen resigned and transferred his responsibilities to his associate, French architect Paul Andreu, best known for his work on Charles de Gaulle Airport. Reitzel remained involved until the monument was completed in 1989.

The structure takes the approximate form of a perfect cube, with a width, height, and depth of 110 meters. Some have suggested it resembles a hypercube—or tesseract—projected into three dimensions. Built with a prestressed concrete frame clad in glass and covered in white granite from Bèthel, Italy, the Arche has a striking, minimalist presence.

La Grande Arche was inaugurated in July 1989 during celebrations marking the bicentennial of the French Revolution, including a grand military parade that passed beneath its soaring frame.


Sources: Wikipedia | French moments


Father Pitt: A Public-Domain Photo Treasure of Pittsburgh

If you’re interested in Pittsburgh, the blog Father Pitt offers a wide-ranging collection of photographs of my hometown.

The author remains anonymous, but the site is maintained with care and updated regularly. Each photo is accompanied by thoughtful descriptions, and the entire collection is released to the public domain under a CC0 dedication—making it both a visual resource and a gift to the community.

The Institut de France: Guardian of Knowledge and the Arts

The Institut de France is a French learned society that brings together five académies, including the prestigious Académie Française, guardian of the French language. Founded in 1795 at the direction of the National Convention, it is housed on the Quai de Conti in the 6th arrondissement of Paris.

Today, the Institut oversees nearly 1,000 foundations, along with museums and châteaux open to visitors. It also distributes prizes and grants—amounting to more than €27 million annually in 2017—most of them awarded on the recommendation of the académies.

Faithful to the mission set for it in 1795, the Institut and its five académies continue “to contribute, on a non-profit basis, to the progress and influence of letters, sciences, and the arts; to honor useful inventions and discoveries; to recognize distinguished artistic achievements; and to reward noble deeds and the steadfast practice of civic and social virtues.”

Where Hitler’s Crowds Once Roared

Between 1933 and 1938, Nazi Germany staged massive rallies in Nuremberg. The former Nazi Party Rally Grounds remain the largest surviving complex of National Socialist architecture in today’s Germany. Designed by Hitler’s architect Albert Speer, the vast structures still convey the immense power of Nazi propaganda. Speer was later convicted of war crimes and crimes against humanity at the International Military Tribunal in Nuremberg. He served 20 years in prison and died in London in 1981.

The Zeppelinfeld (Zeppelin Field), shown above, is one of the most striking remains. Its massive grandstand, 360 meters wide, was modeled on the Pergamon Altar of ancient Greece, with square piers inspired by Franco-American architect Paul Philippe Cret. After Germany’s defeat in 1945, American forces famously blew the swastika from its top. The name “Zeppelinfeld” refers to the landing of Count Zeppelin’s airship (LZ6) here in 1909.

I visited in April 2024, on a cold and windy day, with my cousin from Nuremberg who graciously served as my guide. The site felt stark, desolate, and impossibly vast—its scale resisting any attempt to capture it in photographs. Only a handful of visitors were there, but the immensity of the place chilled me. I tried to imagine the grounds filled with uniformed followers of Adolf Hitler, roaring in unison. The thought sent a shiver down my spine.

How could this have happened in Germany—a country with such a deep tradition of culture, learning, and science? Could it happen again? Is it already happening? The pull of the far right has not disappeared; it is rising once more.

What happened here was not inevitable. It can happen again.

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The Beauty of the Peabody Library in Baltimore

The George Peabody Library in Baltimore is one of the most beautiful libraries I’ve ever stepped into. Walking through its doors feels like entering a cathedral of books — the kind of place that instantly slows you down and makes you look up.

It wasn’t always part of Johns Hopkins University. The library began as the library of the Peabody Institute of the City of Baltimore, founded in 1857 when Massachusetts-born philanthropist George Peabody dedicated the institute to the people of Baltimore in gratitude for their “kindness and hospitality.” Today, it’s part of the Special Collections Department of the Sheridan Libraries at Johns Hopkins, still serving the public as Peabody intended.

The building, which opened in 1878, was designed by Baltimore architect Edmund G. Lind, working with the Peabody Institute’s first provost, Dr. Nathaniel H. Morison. The moment you enter the stack room, your eyes are drawn upward to five tiers of intricate cast-iron balconies, all leading to a skylight 61 feet above. The ironwork, crafted by the Bartlett-Robbins Company, has the kind of fine detail you don’t see much anymore.

The library holds 300,000 volumes, mostly from the 19th century, covering everything from religion and British art to American history, literature, the history of science, and tales of exploration and travel. It’s easy to imagine 19th-century scholars hunched over these very books.

Between 2002 and 2004, the library underwent a $1 million restoration, and it still feels lovingly cared for. Best of all, it’s free and open to the public. If you find yourself in Baltimore, make time for it. It’s not just a place to see books — it’s a place to feel them, to stand in the quiet and be surrounded by the beauty of knowledge made visible.

The George Peabody Library, in keeping with Peabody’s original gift, is free and open to the public.


Sources: Johns Hopkins University | Wikipedia


Guided Tour of the U.S. Ambassador’s Residence, Paris

The residence of the United States Ambassador to Paris is at 41 rue du Faubourg Saint-Honoré in the 8th arrondissement. It is known as the Hôtel de Pontalba. It was built by Louis Visconti for the New Orleans–born Baroness Micaela Almonester de Pontalba between 1842 and 1855. Edmond James de Rothschild acquired the building in 1876.

During the German occupation of France, the mansion, then owned by Baron Maurice de Rothschild, was requisitioned as an officers’ club for the Luftwaffe. After the war, it was rented out to the British Royal Air Force Club, and then to the United States.

In 1948, the American government purchased the building, primarily for the United States Information Service. These offices were moved to the Hôtel Talleyrand as restoration was completed in 1971 during the tenure of Ambassador Arthur K. Watson. The building then became the official residence of the ambassador. This magnificent structure has only been the Ambassador’s residence for a little more than fifty years.

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