385:, assisted by Albert Louvet. Deglane had been an assistant to Dufert, the builder of the Palace of Machines. The new building contained an enormous gallery, whose arches converged to create a monumental glass dome. Though its visible iron framework made it appear very revolutionary and modern, much of its iron work purely decorative; the gothic iron columns which seemed to support the dome did not carry any weight; the weight was actually distributed to reinforced columns hidden behind the balconies. The facade was massive and neoclassical, with towering rows of columns supporting two sculptural ensembles. It served both to give a strong vertical element to balance the great width of the building, and to conceal the glass and steel structure behind. It was also designed to be in harmony with the historic buildings nearby, including the buildings around the Place de la Concorde and the 17th century church of Les Invalides on the other side of the Seine. The facade was greatly admired and widely imitated; a similar facade was given to the
1382:"should not make ugly or impede the public way around the stations; on the contrary, they should amuse the eye and decorate the sidewalks." Guimard, considered the most audacious architect of the period, won the competition. The unique style of his stations made them easily recognizable from a distance, one of the important requirements of the competition. He designed a whole series of different variations, ranging from small and simple railing of a stairway to a large pavilion for the Place de la Bastille. Guimard's entrances, with their color, material and form, were in harmony with the stone buildings of the Paris streets, and even, with their vegetal curves, fit well with trees and gardens. They were not used in certain locations, such as place de l'Opera, where they would have looked out of place next to the enormous monuments. The design and construction of the entrances was done by another architect, Joseph Cassien-Bernard (1848–1926).
1275:
260:
248:
1343:
1568:
1516:, or Gare d'Orleans, was inaugurated in 1843 and enlarged between 1846 and 1852. In 1900 the same company decided to build a new station, the Gare d'Orsay, closer to the center of the city and to the Exposition. It was the first station designed to accommodate electric trains, and it was intended to contain a hotel as well as a train station; the hotel was placed where the museum entrance is today. The original design for the station called for a Renaissance style facade similar to that of Haussmann's buildings on the boulevards. The City of Paris wanted something more monumental to match the grandeur of the Louvre across the Seine, but also wanted it to clearly express its function as a train station. The city required that a competition be held, which was won by
505:
1041:
575:(1867–1942). Guimard's building, built between 1895 and 1898, was called the Castel Beranger, and was located at 14 rue de la Fontaine in the 16th arrondissement. It contained thirty-six apartments, and each one was different architecturally. Guimard thought out and designed every aspect of the building himself, down to the door-knobs. He introduced an abundance neo-Gothic decorative elements, made of wrought iron or sculpted in stone, which gave it a personality different from any other Paris building. Guimard was also an expert at the new art of public relations, and he persuaded critics and the public that the new building heralded a revolution in architecture. Before long, based on his work and his publicity, he became the most famous of Paris
1359:
973:. The principal feature of the building is the Grand Amphitheater, at 47 rue des Écoles. Nénot placed the most striking features of the building in the interior, in the vestibule with its great arches and its two symmetrical stairways leading to the balconies and to the grand hall of the Council of the University, placed under a cupola completely open up to the second floor. He gave great attention to the secondary spaces, not just the main rooms, and to the different perspectives created as visitors climbed the stairways. A starkly modern skylight fills the amphitheater with light. The openness of the interior architecture also illuminates and highlights the murals which illustrate the history of the university.
1190:
954:
536:
370:
1505:(1852–1922) and the engineering firm of Denis, Carthault and Bouvard. Unlike the earlier stations, which had traditional neoclassical facades attached to the modern structure of the train shed. Toudoire chose to give the Gare de Lyon a facade different from other public buildings; it had a series of monumental arches with doorways opening to arcades within the station. The spaces between the arches were decorated with sculpture. Above that level was an even more unusual element; a strong horizontal band of windows. The tower with an enormous clock was another unusual feature, unlike any other train station or historical model in the city. The interior features included a buffet later named the
346:
358:
870:. Despite these developments in America, Paris architects and clients showed little interest in building tall office buildings. Paris was already the most densely populated city in Europe, it was already the banking and financial capital of the continent, and moreover, as of 1889 it had the tallest structure in the world, the Eiffel Tower. Beside the Eiffel Tower, The skyline of Paris presented the Arc de Triomphe, the dome of the Basilca of Sacre Coeur, the Arc de Triomphe, and numerous church domes, towers and spires. While some Paris architects visited Chicago to see what has happening, no clients wanted to change the familiar skyline of Paris.
428:
416:
1053:
339:. It was located at the opposite end of Champ-de-Mars from the Eiffel Tower. It was reused at the exposition of 1900 and then destroyed in 1910. At 111 meters, the Galerie (or "Machinery Hall") spanned the longest interior space in the world at the time, using a system of hinged arches (like a series of bridge spans placed not end-to-end but parallel) made of iron. It was used again in the 1900 Exposition. When the 1900 Exposition ended, the French government offered to move the structure to the edge of Paris, but the city government chose to demolish it in order to resell the building materials. It was torn down in 1909.
236:
1626:, the future Czar, in October 1896. The bridge combined the modern engineering of a single iron span bridge 107 meters long with classical beaux-arts architecture. The counterweights supporting the bridge are four massive masonry columns, seventeen meters high, which serve as the bases for four works of beaux-arts sculpture, representing the four "Fames"; the Sciences, the Arts, Commerce, and Industry. In the center, the sides of the bridge are decorated with two groups of river nymphs; the Nymphs of the Seine on one side, the Nymphs of the Neva on the other. A similar bridge, the Trinity Bridge, designed by
1548:
552:
1065:
688:
1263:
1766:
transformed by Perret into an entirely new style. The large lobby was particularly remarkable for the way that the form followed the function; The concrete beams of the ceiling and the supporting columns were immediately visible. It was both perfectly classical and surprisingly modern. The modern architectural critic Gilles Plum wrote, "the form seemed the pure consequence of the construction technique; that was the gothic ideal according to
Viollet-le-Duc." }. The interior was decorated by a remarkable collection of artists; besides Maurice Denis and Bourdelle, they included
989:
1701:
1520:. His winning design included a feature similar to the Gare de Lyon; he opened the side of the station facing the Seine with very high arches filled with windows, and the facade above the windows was decorated with sculptures and emblems. The huge clock became an integral part of the facade. The new station was inaugurated on July 4, 1900, just in time for the Exposition. As a train station it was not a commercial success, and was planned for demolition in 1971, but was saved and between 1980 and 1986, it was transformed into a museum of 19th century French art, the
20:
1009:
470:
1677:
942:
1174:
400:
716:
393:
Deglane and Louvet built a model of plaster and stucco on a metal frame, and then decided, to make it harmonious with the rest of the interior, to make it completely out of copper, highly ornamental and very expensive. Using iron in place of stone traditionally reduced building costs, but in the case of the Grand Palais, because of the enormous amounts of iron used, it actually increased the cost. The construction of the Grand Palais used 9,507 tons of metal, compared with 7,300 tons for the Eiffel Tower.
1029:
1146:
outside; its originality was expressed in the undulations of its vertical lines. The interior was slightly more decorative, with all the luminaries, brackets, iron railings and vegetal decoration designed by
Guimard himself. On the eve of Yom Kippur in 1941, during the German occupation, it was dynamited, along with six other Paris Mosques, badly damaging the facade, but was restored. The new facade, particularly the gable over the entrance, is slightly more curved and ornate than the original.
524:
930:
603:
1746:(1873–1932). The main principles of the stye were functionality, classicism and architectural coherence. The curved lines and vegetal patterns of art nouveau gave way to the straight line, simple and precise, and rectangles within rectangles. The preferred building material was reinforced concrete. The decoration was no longer part of the structure itself, as in the Art Nouveau; it was attached to the structure, often in sculpted bas-reliefs, as it was in the Théâtre des Champs-Élysées.
615:
1716:
1441:
490:
1536:
1158:
736:
843:
1422:
704:
977:
architectural features, such as the large sundial which decorated the facade central building on the courtyard. The facades were simplified and given a greater clarity and harmony, while preserving the essential spirit of the 17th century architecture. The Salle Saint-Jacques, the reading room of the
Sorbonne library, with its arched ceiling and walls decorated in the pure Beaux-arts style, was completed in 1897.
827:
874:
glass company built a new headquarters on Place des
Saussaies in the 8th arrondissement in the 1890s. Since the firm had been founded under Louis XIV in 1665, the facade of the building, designed by architect Paul Noël, was perfectly modern on the inside, but had architectural touches from the earlier century; colossal columns, a square dome, and beautifully detailed sculptural ornament.
1244:
627:
building was on a small site, but offered an exceptional view of Paris. To maximize the view, Perret built the house with large windows framed with ceramic decorative plaques made by
Alexandre Bigot, mounted on reinforced concrete, so that the facade of the building was almost entirely windows. The plaques were of a neutral color, to give the appearance of stone. By adding an
676:, a writer of librettos and musical editor. In addition to the traditional reception rooms, the ground floor included a room designed for musical auditions. It was inspired largely by the houses of the Italian Renaissance, but Girault added modern touches in the curving windows, the floral wrought-iron decoration, and a series of terraces in the rear facing the garden.
642:, who told him that the only aspect of nature that an architect should imitate was the curve of the stems of flowers and plants. Guimard had followed Horta's advice in the decor of Castel Beranger; in the Hôtel Guimard he followed this advice in the wrought-iron railings, the door and window frames and curves of the building itself, which seemed to be a living thing.
762:, using innovative new means of marketing and pricing, including a mail order catalog and seasonal sales. When Boucicaut took charge of the store in 1852, it had an income of 500,000 francs and twelve employees. Twenty years later it had 1,825 employees and an income of more than 20 million francs. In 1869 Boucicault began constructing a much larger store, with an
1114:. He was professor at the École de Chaillot, which trained the architects in the restoration of historical monuments, as well as professor of medieval architecture at the École des Beaux-Arts. In his project for the new church, he combined the gothic with the Art Nouveau. He commissioned some of the major artists of the Art Nouveau, including ceramics artist
599:
surrounded by ceramic sculpture, and upper floors were entirely covered with ceramic tile and decoration. The building also featured a novel construction feature; the walls were built of hollow bricks; iron rods were inserted inside, and the bricks were filled with cement. For the exterior decoration, Lavirotte commissioned a team of sculptors and craftsmen.
661:, and training architects who were skilled in both the arts and engineering. It was completed in 1911. The exterior was pure Louis XVI, inspired by the Petit Trianon and borrowing many architectural details from that building. The interior had the most modern technology available, including electric lighting and a very early use of indirect lighting.
766:, a central courtyard covered with a glass skylight, on the rue de Sèvres. The architect was Louis Boileau, who received some assistance from the engineering firm of Gustave Eiffel. After more enlargements and modifications, the building was finished in 1887, and became the prototype for other department stores in Paris and around the world.
1456:
1274:
1658:, architect of the Paris Opera, in 1886: "Paris should not be transformed into a factory; it should remain a museum." The bridge combined a graceful double arc anchored to four classical buttresses, and richly decorated with iron and stone sculptural details, to harmonize with the other monuments in the center of the city.
1757:. The original project was designed by Henri Fivaz. then by Roger Bouvard, and was intended to be in the gardens of the Champs-Élysées, but a change in the regulations of the gardens caused the theater to be moved to 13–15 avenue Montaigne. The owner, Gabriel Astruc, then commissioned the Belgian art-nouveau architect,
798:
rectangular metal framework of the exterior was entirely covered and brightened with floral designs. The original 1907 structure had two towers with domes and spires, like a
Chateau of the Loire; these were demolished when the store was enlarged toward the Seine in the 1920s. In the 1930s the architect
638:, on Avenue Mozart in the 16th arrondissement. He abandoned the colors and decorations of the earlier style, and replaced with a building made masonry and stone which seemed to have been sculpted by nature. Hector had been influenced by a meeting when he was young with the Belgian art nouveau architect
1321:
of Louis XVI, with one major exception; the walls were almost entirely of large sheets of plate glass, from the floor to the ceiling, in the style of the new Paris department stores. The diners inside could look out at the gardens, while those outside could watch the diners within. A 1909 painting
873:
The new office buildings of the Belle Époque often made use of steel, plate glass, elevators and other new architectural technologies, but they were hidden inside sober neoclassical stone facades, and the buildings matched the height of the other buildings on
Haussmann's boulevards. The Saint-Gobain
570:
was monotonous and uninteresting. Haussmann had required that apartment buildings have the same height, and that facades have the same general design and color of stone. In 1898, to try to bring more variety to the appearance of the boulevards, the City of Paris sponsored a competition for the best
1129:
Another original design was that of the Église-de-Notre-Dame-du-Travail in the 14th arrondissement, by architect Jules Astruc, built between 1897 and 1902. It replaced a smaller church in the parish, and was designed for the large numbers of construction workers who had come to Paris to work on the
964:
One of the most prestigious building projects of the Belle Époque was the reconstruction of a new building for the
Sorbonne, replacing the crumbling and overcrowded buildings of the old university, while preserving the spirit and tradition of the architecture of the 17th century. The competition in
645:
The architect Paul Guadet (1873–1931) was another pioneer in the use of reinforced concrete. He was the architect of several telephone exchanges for the
Ministry of the Post Office, remarkable for their clean lines and modern appearance. The Post Office was his employer from 1912 until his death.
1765:
and sculptor
Antoine Bourdelle. Auguste Perret was added to the project due to his expertise in the new material, reinforced concrete. Van de Velde and Perret were unable to degree on a design, resulting in the withdrawal of Van de Velde. The final basic design was that of Van de Velde, but was
1145:
at 10 rue de Paveé in the Marais neighborhood. It was built for the Union of Orthodox Jews, as a place of worship for the large number of Jewish refugees coming from Russia and eastern Europe at the turn of the century. Like his other late art nouveau buildings, it had very little ornament on the
877:
Dramatic glass domes became a common feature of Belle Époque commercial and office buildings in Paris; they provided abundant light when gaslight was a common fire hazard and electric lights were primitive. They followed the example of the central book storeroom of the Bibliothèque Nationale by
598:
was more a piece of sculpture than a traditional building. Unlike other Paris buildings, whose decoration was usually modeled a particular period or style, the Lavirotte Building, like the opera house of Charles Garnier, was unique; there was nothing else in Paris like it. The front entrance was
392:
The most prominent architectural feature inside the Grand Palais was the Grand Stairway of Honor, which overlooked the main floor, which at the 1900 Exposition contained an exhibition of monumental sculpture. It was perfectly classical in style. It was originally intended to be built of stone.
917:
The new entrance featured a striking rotunda with a glass dome over a floor of glass bricks, which allowed the daylight to illuminate the level below, and the three other levels below. The entrance was badly damaged by a fire in 1996; the rotunda was restored, but the only a few elements still
247:
1293:
as the station buffet when it opened in 1902. The lavishly decorated interior is in the style of the 1900 Exposition, the event for which the station was built. The light coming through the large arched windows out the facade on one side, and onto the platform from which trains depart on the
809:
Gas lighting and early electric lighting presented serious dangers of fire for early department stores; architects of the new stores used huge ornamental glass skylights whenever possible to fill the stores with natural light, and designed the balconies around the central courts to provide the
626:
used reinforced concrete to create a revolutionary new building at 25 bis on Rue Franklin in the 16th arrondissement. Reinforced concrete had been used before in Paris, usually to imitate stone. Perret was among the first to take full advantage of the new architectural forms it could make. The
797:
to create the huge inscription of the name of the store, against a floral background. He used an abundance of enameled tiles and a brightly colored interior and exterior, using yellow and orange panels to contrast with the vertical blue columns, which ended in a Gothic-inspired top story. The
976:
The first part of the project was carried out in the 1880s. The second part, in the 1890s, was creating new facades and an arcade around the great courtyard at 17 rue de la Sorbonne, which looked out on the chapel. Nénot preserved some of the motifs of the old buildings, and a few original
209:
and succeeded Art Nouveau as the dominant architectural tradition in the 1920s. Usually built of reinforced concrete in rectangular forms, crisp straight lines, with sculptural detail applied to the outside rather than as part of the structure, it drew from classical models and stressed
1122:. It was the first church in Paris to be built of reinforced concrete, and Some features, particularly the facades of the sides, were highly original. The result was a curious combination of the gothic and modernism. The leading figure of modernist architecture in the 1920s,
1665:, carries pedestrians and traffic on one level, and a Metro line, supported by slender iron pillars. It also artfully combined an original functional structure with sculpture and decoration. including groups of sculpture where the iron arches met the piers of the bridge,
1385:
The entrances were admired at first, but tastes changed, and in 1925 the entrance at the Place de la Concorde was demolished and replaced with a simpler, classical entrance. Gradually, almost all of the Guimard entrances were replaced. Today, there are only three original
259:
1189:
235:
1301:
in 1899 when he designed an intimate private dining room for the Café de Paris, The furnishings were designed in forms imitating nature, plants and flowers. The Café was demolished in 1950, and nothing remains but these furnishings, which are now on display in the
1785:. In 1913 he constructed an apartment block at 26 rue Vavin in the 6th arrondissement, for a group of artists and decorators. The exterior was simple and geometric, completely covered with ceramic tiles. the most unusual feature of the buildings were the
1637:
was an even greater engineering challenge; It was built in 1903–1904 to carry Line 5 of the Paris Metro over the Seine. Because of the nature of the river, it had to be single span, 140 meters long; it was the longest bridge in Paris until 1996, when the
1095:, which Abadie had helped restore, and which he modified considerably in the restoration. The construction of the Basilica lasted from 1874 until 1914, thanks in part to problems in constructing on Montmartre, which was riddled by tunnels used for mining
380:
The 1900 Exposition was the largest and most successful of them all, occupying most of the space along the Seine from the Champs-de-Mars and Trocadero to the Place de la Concorde. The Grand Palais, the largest exhibition hall, was designed by architect
1040:
894:(1855–1930) had a purely classical training; he won the Prix de Rome from the Ecole des Beaux Arts in 1880 but he was also fascinated by modern ideas. in 1880 had traveled to Chicago to see the new office buildings there, and he designed an innovative
450:, and had a similar monumental entrance (both entrances were designed by Giraud). Both buildings also had rows of massive columns, which served as a powerful vertical element to balance the great width of the buildings, and also concealed the modern
427:
1789:; the upper floors were arranged like a stairway, which allowed residents on these floors to have terraces and gardens. The only decoration was the iron railings and geometric patterns created by mixing a few black tiles with the white tiles. .
1262:
178:, built over the entire span of the Belle Epoque, between 1874 and 1913, but not consecrated until 1919. It was modeled after Romanesque and Byzantine cathedrals of the early Middle Ages. The first church in Paris to be constructed of
57:. It was also known for its lavish decoration and its imaginative use of both new and traditional materials, including iron, plate glass, colored tile and reinforced concrete. Notable buildings and structures of the period include the
345:
170:
did not last long; in 1904 the Guimard Metro entrance at Place de l'Opera it was replaced by a more classical entrance. Beginning in 1912, all the Guimard metro entrances were replaced with functional entrances without decoration.
535:
357:
1083:. His project was chosen by the archbishop after a competition of seventy-eight different projects. Abedie was an expert on romanesque, medieval and Byzantine architecture, and in historical restoration; he had worked with
1567:
504:
1621:
and Amédée d'Alby. It was largely decorative, designed to connect the Grand Palais and Petit Palais of the Exposition on the right bank with the parts of the Exposition the left bank. The first stone was laid by
953:
1494:, first built in 1840 on Avenue du Maine for the Paris-Versailles line, was moved to its present location between 1848 and 1852, and then enlarged and redecorated between 1898 and 1900 for the 1900 Exposition.
1227:
department store, on the other side of Square Boucicault. It was originally built by the owners of the department store as a place to stay for the wealthy customers coming from out of town. The architect was
1243:
1646:, the chief of public works of Paris, whose other works included the Greenhouses of Auteuil. As chief of historical monuments of France, he was also responsible for the restoration of the Roman theater at
1547:
1099:, used to make plaster for Paris buildings. Abadie died in 1884, well before the work was finished. The consecration of the church was delayed by the First World War, and did not take place until 1919.
646:
The facade of his own house, at 95 boulevard Murat in the 16th arrondissement, is remarkably modern; it is almost all windows, framed by concrete columns, discreetly decorated with colored ceramic tiles.
657:(1865–1927). He was a graduate of the École special d'architecture, a school founded in opposition to the Ecole des Beaux-Arts and to the Art Nouveau movement, dedicated to preserving the spirit of
590:, a chemistry professor who became interested in ceramics at the Chinese exhibition at the 1889 International Exposition, and who started his own firm to make ceramic sculpture and decoration. The
1173:
369:
1064:
941:
735:
715:
1700:
1052:
988:
898:
for the Hall of Civil Engineering at the Exposition of 1900. Between 1905 and 1911, he built the spectacular glass dome of the headquarters of Société générale at 29 Boulevard Haussmann.
634:
Near the end of the Belle Époque, Hector Guimard changed his style radically from what it had been when he built Castel Béranger in 1899. Between 1909 and 1913 he built his own house, the
415:
909:
and glass skylight to provide ample light to large hall where the title deeds were held. In 1907 the building was updated with a new entrance at 15 rue du Quatre-Septembre, designed by
1676:
905:, built in 1883 on the boulevard des Italiens in 1883 by William Bouwens Van der Boijen, was classical on the outside, but inside one of the most modern buildings of its time, using an
566:
As the end of the 19th century approached, many architectural critics complained that the uniform style of apartment buildings imposed by Haussmann on the new boulevards of Paris under
1280:
The restaurant Pré Catalan in the Bois de Boulogne (1905), like department stores of the period, had plate glass windows from floor to ceiling. Painting by Alexandre Gervex (1909).
458:
to create majestic winding staircases and wide entry ways, built enormous skylights and windows that provided abundant light, and turned the interior into a single unified space.
1309:
The most classical and at the same time the most original restaurant design of the period belonged to the Restaurant of the Pré Catalan, located in the Pré Catalan gardens of the
1087:
on the restoration of the Cathedral of Notre-Dame in the 1840s. His design was a combination of neo-Romanesque and neo-Byzantine styles, similar to the domes of the 12th century
274:, designed to showcase modern technologies, industries and the arts. They attracted millions of visitors from around the world, and influenced architecture far outside France.
551:
1285:
The architecture and decor of Paris restaurants closely followed the styles of the day. The most characteristic restaurant of the Belle Époque style still in existence is the
1470:
The main railroad stations of Paris predated the Belle Époque, but they were enlarged and lavishly decorated to impress the visitors to the Expositions of 1889 and 1900. The
1342:
1008:
399:
1102:
Later in the period, at the end of the 20th century, some architects tried to develop a new forms and a new aesthetic, using modern materials. The best example was the
1715:
818:
effect of a baroque palace. Before the store was enlarged and modernized, it had several vertical great halls filled with light from richly decorated glass cupolas.
687:
1455:
1474:
featured a grand shelter for the trains forty meters high, built between 1851 and 1853 by Eugène Flachat, and memorably captured in the impressionist paintings of
1212:. Like the residential building designed by Lavirotte, the reinforced concrete facade is almost completely covered with decoration made by the ceramics studio of
929:
1617:
The most elegant and famous of the Belle Époque bridges is the Pont Alexandre-III, designed by architects Joseph Cassien-Bernard and Gaston Cousin, and engineers
1157:
1654:. Formigé faced the task of designing a massive bridge which would fit with the monumental buildings along the Seine. He wanted to follow the advice given by
814:
store on Boulevard Haussmann, finished in 1912, combined skylights over courtyards with balconies with undulating railings, which gave the interiors the rich
241:
The Palace of Industry from the 1878 Exposition. New technologies displayed inside included Alexander Graham Bell's telephone and Thomas Edison's phonograph.
324:, who designed the graceful curving arches of the base, the glass observation platform on the second level and the cupola at the top, remain nearly unknown.
253:
The Trocadero Palace, built in a neo-Moorish or neo-Byzantine style for the Universal Exposition of 1878, was also used in the Expositions of 1889 and 1900.
1358:
469:
454:
behind. However, the most original feature of the Petit Palais was the interior; Girault eliminated the traditional walls and spaces and made full use of
224:, using reinforced concrete covered with ceramic tile and step-like structures to create terraces. By the 1920s, it had become the dominant style in Paris.
1798:
125:. The new railroad stations, office buildings and department stores often had classical facades which concealed resolutely modern interiors, built with
312:, celebrating the centenary of the French Revolution, was much larger than the 1878 Exposition, and gave Paris two revolutionary new structures; The
305:. The palace was used in all three Expositions of the Belle Époque, but was finally demolished in 1936 to make room for the modern Palace of Chaillot.
703:
1028:
1075:
Most of the churches in the early period of the Belle Époque were constructed in an eclectic or historical style; the most prominent example was the
1130:
1900 Exposition and who settled in the neighborhood. While the exterior of the church is a simple and unadorned Romanesque style, the interior the
631:
on the facade, he was able to create five apartments on each floor, each with the view, whereas a flat traditional facade would have had only four.
1440:
1268:
Train Bleu Restaurant in the Gare de Lyon (1902). It looked out from the station facade on one side, and onto the train platform on the other.
1955:
Naissance des grands magasins : le Bon Marché (by Jacques Marseille, in French, on the official site of the Ministry of Culture of France
1750:
1683:
212:
66:
2509:
2430:
2390:
2370:
2350:
2301:
523:
2470:
2450:
1421:
175:
1478:
in 1877. It was enlarged and redecorated for the 1889 Exposition by Juste Lisch, who also designed the neighboring Hotel Terminus. The
129:, winding staircases, and large glass domes and skylights made possible by the new engineering techniques and materials of the period.
1103:
969:, who was only twenty-nine years old. He was a graduate of the École des Beaux-Arts, and had worked for various architects, including
316:
was the tallest structure in the world, and became the symbol of the Exposition. The tower brought lasting fame to its constructor,
2490:
2410:
2320:
433:
The use of reinforced concrete and large windows and skylights gave the interior of the Petit Palais an abundance of light and space
1535:
489:
293:. The central building, the Palais de Trocadero, was constructed in a picturesque neo-Moorish or neo-Byzantine style by architect
1330:, captured the modern spirit of the restaurant. The diners inside the restaurant in the painting include the aviation pioneer
2553:
1015:
770:
2548:
2543:
1232:, who also enlarged the department store. The facade remains Art Nouveau, but the interior was remodeled later to Art Deco.
198:. The nature of the revolution was not evident, because Baudot faced the concrete with brick and ceramic tiles in a colorful
635:
558:
649:
On the streets of Paris, an elegant neo-classicism coexisted comfortably with the new styles. The Hotel Camondo. now the
309:
278:
159:
847:
37:, between 1871 and the beginning of the First World War in 1914, was notable for its variety of different styles, from
1655:
1142:
970:
1490:, first built between 1847 and 1850, was tripled in size between 1895 and 1899 to welcome Exposition visitors. The
1076:
995:
650:
1501:, originally built for the line Paris-Monterau in 1847, was completely rebuilt between 1895 and 1902 by architect
2538:
1088:
382:
664:
The Hôtel de Choudens, at 21 Rue Blanche in the 9th arrondissement, was another neoclassical house, designed by
265:
The Gallery of Machines of the 1889 Exposition. It was the largest covered space in the world when it was built.
19:
1954:
183:
102:
2558:
769:
Other department stores appeared to rival Au Bon Marché: au Louvre in 1865; the Bazar de l'Hotel de Ville (
220:, was the first Paris building utilizing Art Deco. Other innovative buildings in the new style were built by
1643:
1578:
1558:
1483:
863:
386:
1639:
1634:
1611:
1554:
1378:, or station entrances, to be built around the city. The rules of the competition required that the new
1046:
The church of Notre-Dame-du-Travail, built for the construction workers of the 1900 Exposition (1897–1902)
351:
The Grand Palais (1900) had a neoclassical facade concealing a cathedral-like glass and iron exhibit hall.
38:
1623:
1229:
1204:
The Céramic Hôtel at 14 avenue de Waggram in the 8th arrondissement, was built in 1905 by the architect
1196:
887:
602:
302:
571:
new apartment building facade. One of the first winners in 1898 was the thirty-one year old architect
594:, located at 29 Avenue Rapp in the 7th arrondissement, became its most prominent advertisement. The
1513:
1407:
1351:
328:
93:
1767:
1303:
1254:
1209:
1180:
966:
455:
179:
122:
96:
42:
1521:
1462:
914:
1771:
1758:
1662:
1607:
1603:
1599:
1574:
1314:
811:
782:
755:
742:
595:
591:
510:
24:
2083:
1602:(1900), built for the 1900 Exposition; the Pont de Grenelle-Passy (1900) for the railroad; the
902:
614:
496:
476:
363:
The interior of the Grand Palais was an enormous gallery of sculpture during the 1900 Exposition
2505:
2486:
2466:
2446:
2426:
2406:
2386:
2366:
2346:
2316:
2297:
1754:
1491:
1471:
1107:
1019:
794:
722:
321:
191:
1630:, was built over the Neva River in the Russian Capital, St. Petersburg, beginning in 1897.
2087:
1487:
1310:
1224:
673:
332:
947:
Panorama of the Grand Amphitheater, decorated with murals of the history of the university.
842:
1591:
1502:
1431:
1290:
1213:
1205:
1164:
1115:
891:
879:
851:
831:
786:
665:
607:
587:
583:
514:
336:
294:
163:
1738:
largely in reaction to the Art Nouveau. The first major architects to use the style were
654:
33:
2208:
1774:, inspired by classical and mythological themes, as well as by the music of Debussy.
1691:
1647:
1627:
1395:
1138:
1111:
1084:
867:
790:
778:
726:
658:
623:
572:
542:
480:
443:
317:
217:
195:
147:
82:
2290:
2532:
1782:
1762:
1743:
1739:
1722:
1707:
1618:
1595:
1517:
1447:
1331:
1318:
1298:
1250:
1220:
910:
883:
835:
799:
759:
694:
282:
221:
74:
2038:
1498:
1479:
1475:
1427:
1323:
1223:, built in 1910 at 45 Boulevard Raspail. It was constructed by the owners of the
1119:
669:
639:
586:(1864–1924), for an apartment building whose facade featured ceramic decoration by
567:
447:
439:
406:
313:
298:
117:
111:
70:
62:
58:
109:, to the exuberant reinvention of French 17th and 18th century classicism in the
1080:
999:
859:
826:
143:
134:
78:
50:
1606:, a footbridge connecting sites of the 1900 Exposition on the two banks; the
1587:
1286:
1199:, originally designed for wealthy customers of the Bon Marché department store
1179:
Facade of the Céramic Hôtel, covered with ceramic decoration and sculpture by
1131:
906:
895:
866:, a ten-story building with a steel frame. was built in Chicago in 1893–94 by
763:
668:(1851–1932), who had won the Prix de Rome and who had won fame designing the
451:
126:
46:
1590:, (1876), to the Ile-Saint-Louis, replacing two footbridges from 1836; the
1123:
1092:
1070:
Interior of the Synagogue on Rue Pavée, with its discreet Art Nouveau detail
774:
290:
1586:
Eight new bridges were built across the Seine between 1876 and 1905; the
1486:, was finished in 1866, but expanded in 1889 for the 1900 Exposition. The
750:
The modern department store was born in Paris in 1852, shortly before the
1735:
1687:
1126:, was particularly outraged by the church and described it as "hideous".
803:
582:
In 1901, the facade competition was won by another remarkable architect,
286:
54:
959:
The Salle Saint-Jacques, the reading room of the Sorbonne library (1897)
1610:(1905), built which carried both pedestrians and a metro line; and the
1410:
was recreated in 2000 to celebrate the centenary of the Metro system.
815:
745:(1912) provides natural light to the levels around the courtyard below.
2213:
Structurae—International Database for Civil and Structural Engineering
1110:. Baudot was an expert in medieval architecture, and was a pupil of
1096:
1661:
His other new bridge, originally the Pont de Passy, now called the
1334:
and the Marquis de Dion, one of the first automobile constructors.
270:
Three great international expositions were held in Paris during the
1651:
1357:
1341:
935:
One of the two stairways to the Grand Amphitheater of the Sorbonne
841:
825:
613:
601:
18:
653:), at 63 Rue Monceau in the 8th arrondissement, was designed by
327:
An equally significant building constructed for the fair was the
1753:, (1911–1912) by Auguste Perret, with sculptural decoration by
1219:
The most prominent hotel built in the Art Nouveau style is the
802:
updated the facade and replaced many Art Nouveau features with
1366:
at Porte Dauphine is the only one still in its original place.
862:, making tall buildings practical. The first skyscraper, the
709:
The Grand Bazar on the Rue de Rennes on its opening day (1906)
301:, included the two theaters on the Place du Chatelet and the
1706:
Lobby decor of Théâtre des Champs-Élysées, with paintings by
1370:
In 1899 the company building the new Paris Metro system, the
1216:. It won the municipal competition for best facade in 1905.
1058:
Exterior of the rue Pavée Synagogue, by Hector Guimard (1913)
150:, and with a handful of other buildings, including Guimard's
2039:"La bibliothèque de la nouvelle Sorbonne (1897 a now jours)"
606:
The Hotel de Choudens, (1901), a neo-Renaissance mansion by
421:
One of the reinforced concrete stairways of the Petit Palais
166:
at 29 Avenue Rapp (7th arrondissement). The enthusiasm for
1402:
at Abbesses was at the Hotel de Ville until 1974; and the
92:
often borrowed elements of historical styles, ranging from
2483:
Paris: ses organes, ses fonctions, et sa vie jusqu'en 1870
375:
The stairway of honor of the Grand Palais, built of copper
289:
on the other side of the Seine, and the esplanade of the
174:
The most famous church of the period was the Basilica of
77:
department store, and the entries of the stations of the
1749:
The first prominent Paris building in the style was the
1721:
Apartment house at 26 Rue Vavin (6th arrondissement) by
1163:
The Céramic Hôtel, at 34 avenue de Wagram, by architect
789:
created the interior and facades of the new building of
162:, and the ceramic-sculpture covered house by architect
2521:
Petit Robert - Dictionnaire universal des noms propres
2232:
2230:
2463:
Histoire de Paris: Politique, urbanisme, civilisation
202:
style, with stained glass windows in the same style.
1374:(CMP), held a competition for the design of the new
1297:
The classic Art Nouveau style was used by architect
2289:
1398:is the only one still in its original place; the
205:A new style, Art Deco, appeared at the end of the
1372:Compagnie du chemin de fer métropolitain de Paris
858:The safety elevator had been invented in 1852 by
2041:(in French). Bibliothéque Universitaire Sorbonne
1118:, ironwork craftsman Émile Robert, and sculptor
758:enlarged a medium-sized variety store called Au
1781:whose work heralded the new art deco style was
1734:, in about 1910, a new style emerged in Paris,
1034:Interior of the Église Saint-Jean-de-Montmartre
913:, who also designed the Gare d'Orsay, now the
785:in 1895. Between 1903 and 1907 the architect
190:at the foot of Montmartre. The architect was
31:The architecture of Paris created during the
8:
2443:Les Styles de l'architecture et du mobilier
2403:Paris, histoire d'une ville (XIX-XX siecle)
2296:. Paris: Presses Universitaires de France.
1859:Studies in the History of Civil Engineering
672:for the 1900 Exposition. It was built for
320:. The architects of the tower, including
1253:from the Café de Paris (1899), now in the
965:1882 was won by a little-known architect,
1509:, in the most lavish Belle Époque style.
830:The grand gallery of the headquarters of
793:. He commissioned the decorative artist
618:The house of architect Paul Guadet (1913)
541:Reinforced concrete and ceramic house by
2136:Paris - architectures de la Belle Époque
1833:
1799:Concours de façades de la ville de Paris
1134:was openly and dramatically on display.
545:at 25 bis Rue Franklin, 16th arr. (1904)
2248:
2059:
1821:
1814:
1672:
1531:
1417:
1239:
1153:
984:
925:
810:maximum of light to each section. The
683:
465:
395:
341:
297:, whose other notable works, built for
231:
2423:Paris architectures de la Belle Époque
2195:
2183:
2159:
1461:Interior of the Gare d'Orsay (now the
1249:An Art Nouveau private dining room by
1195:The Hotel Lutetia (1910), designed by
2128:Concours des edicules du metropolitan
1906:
529:Entrance to Lavirotte Building (1901)
228:Architecture of the Paris Expositions
23:The interior of the department store
7:
2272:
2260:
2236:
2171:
2147:
2114:
2102:
2090:, Ministère français de la Culture.
2071:
2025:
2013:
2001:
1989:
1977:
1965:
1942:
1930:
1918:
1894:
1882:
1870:
1845:
1777:Another architect at the end of the
721:A floral Art Nouveau sign by artist
138:became the most famous style of the
142:, particularly associated with the
2383:Les Paris de l'industrie 1750–1920
2331:Héron de Villefosse, René (1959).
2134:, August 19, 1899. Cited in Plum,
1541:The Pont Alexandre-III (1896–1900)
1446:The clock of the Gare d'Orsay, by
834:at 18 rue du quatre septembre, by
310:Paris Universal Exposition of 1889
279:Paris Universal Exposition of 1878
14:
2313:Histoire et dictionnaire de Paris
2215:. Wilhelm Ernst & Sohn Verlag
1317:in 1905. was in the style of the
2502:Dictionnaire Historique de Paris
1714:
1699:
1675:
1566:
1546:
1534:
1454:
1439:
1420:
1273:
1261:
1242:
1188:
1172:
1156:
1063:
1051:
1039:
1027:
1007:
987:
952:
940:
928:
734:
714:
702:
686:
561:at 122 Avenue Mozart (1909–1913)
550:
534:
522:
503:
488:
468:
426:
414:
398:
368:
356:
344:
258:
246:
234:
2465:. Editions Jean-Paul Gisserot.
2445:. Editions Jean-Paul Gisserot.
2343:Grammaire des Jardins Parisiens
2088:Église de Notre-Dame-du-Travail
1104:Église Saint-Jean-de-Montmartre
1016:Eglise Saint-Jean-de-Montmartre
610:, designer of the Petit Palais.
446:, was directly across from the
88:The architectural style of the
1650:and the Roman amphitheater of
1642:was built. The architect was
850:at 29 boulevard Haussmann, by
846:Cupola of the headquarters of
409:, and its impressive colonnade
146:station entrances designed by
1:
1313:. The building, designed by
1106:, begun in 1894 by architect
1002:, built between 1874 and 1914
901:The headquarters of the bank
2441:Renault, Christophe (2006).
2341:Jarrassé, Dominique (2007).
1482:, by architects Reynaud and
882:in 1863 and the skylight of
2504:. Le Livre de Poche. 2013.
1557:, built for Paris Metro by
1143:Agoudas Hakehilos Synagogue
1079:on Montmartre, designed by
918:remain of the titles hall.
2575:
2401:Marchand, Bernard (1993).
1751:Théâtre des Champs-Élysées
1684:Théâtre des Champs-Élysées
741:The art-nouveau cupola of
405:The grand entrance of the
213:Théâtre des Champs-Élysées
121:, the new building of the
67:Théâtre des Champs-Élysées
2461:Sarmant, Thierry (2012).
517:at 29 Avenue Rapp (1901)
2481:Du Camp, Maxime (1870).
2381:Le Roux, Thomas (2013).
1328:Un soirée au Pré-Catalan
1289:restaurant, designed by
890:in 1874. The architect
331:, designed by architect
184:Saint-Jean-de-Montmartre
2425:. Éditions Parigramme.
2311:Fierro, Alfred (1996).
2132:La Construction moderne
1484:Jacques Ignace Hittorff
1338:Metro station entrances
1077:Basilica of Sacré-Coeur
996:Basilica of Sacré-Coeur
981:Churches and synagogues
864:Home Insurance Building
697:department store (1875)
651:Musée Nissim de Camondo
622:In 1904, the architect
387:New York Public Library
16:Aspect of Paris history
2554:Architecture in France
2385:. CREASPHIS Editions.
2288:Combeau, Yvan (2013).
2209:"Alexandre III Bridge"
1640:Pont Charles-de-Gaulle
1367:
1355:
1089:Cathédrale Saint-Front
855:
839:
619:
611:
28:
2549:20th century in Paris
2544:19th century in Paris
2421:Plum, Gilles (2014).
2405:. Éditions du Seuil.
2345:. Paris: Parigramme.
2126:From Émile Rivoalen,
1669:The birth of Art Deco
1624:Nicholas II of Russia
1614:, used by the Metro.
1361:
1354:, demolished in 1962.
1345:
1322:of the restaurant by
1236:Cafés and restaurants
1230:Louis-Charles Boileau
1197:Louis-Charles Boileau
888:Louis-Charles Boileau
845:
829:
617:
605:
462:Residential buildings
303:Fontaine Saint-Michel
22:
2365:. Baseline Co. LTD.
2361:Lahor, Jean (2007).
1644:Jean-Camille Formigé
1579:Jean-Camille Formigé
1559:Jean-Camille Formigé
1352:Place de la Bastille
1208:, with sculpture by
886:department store by
329:Galerie des machines
216:(1913), designed by
2485:. Monaco: Rondeau.
2251:, pp. 112–113.
2162:, pp. 900–901.
2028:, pp. 100–103.
1810:Notes and citations
1635:Viaduc d'Austerlitz
1612:Viaduc d'Austerlitz
1555:Viaduc d'Austerlitz
1210:Camille Alaphilippe
1181:Camille Alaphilippe
456:reinforced concrete
210:functionality. The
180:reinforced concrete
160:16th arrondissement
98:Palais du Trocadéro
2523:. Le Robert. 1988.
2335:. Bernard Grasset.
2315:. Robert Laffont.
2150:, pp. 122–23.
1772:Ker-Xavier Roussel
1759:Henry Van de Velde
1730:At the end of the
1663:Pont de Bir-Hakeim
1608:Pont de Bir-Hakeim
1604:Passerelle Debilly
1600:Pont Alexandre-III
1575:Pont de Bir-Hakeim
1368:
1356:
1315:Guillaume Tronchet
856:
840:
812:Galeries Lafayette
783:Galeries Lafayette
756:Aristide Boucicaut
743:Galeries Lafayette
725:for the facade of
620:
612:
596:Lavirotte Building
592:Lavirotte Building
511:Lavirotte Building
29:
25:Galeries Lafayette
2511:978-2-253-13140-3
2432:978-2-84096-800-9
2392:978-2-35428-079-6
2372:978-1-85995-667-0
2352:978-2-84096-476-6
2333:Histoire de Paris
2303:978-2-13-060852-3
2292:Histoire de Paris
2117:, pp. 30–31.
1992:, pp. 34–35.
1861:(2000), Volume 1.
1755:Antoine Bourdelle
1742:(1874–1954), and
1514:Gare d'Austerlitz
1492:Gare Montparnasse
1472:Gare Saint-Lazare
1414:Railroad stations
1408:Place du Châtelet
1350:of the Metro at
1108:Anatole de Baudot
1020:Anatole de Baudot
680:Department stores
322:Stephen Sauvestre
192:Anatole de Baudot
105:style of the new
2566:
2539:History of Paris
2524:
2515:
2496:
2476:
2472:978-2-755-803303
2456:
2452:978-2-877474-658
2436:
2416:
2396:
2376:
2356:
2336:
2326:
2307:
2295:
2276:
2270:
2264:
2258:
2252:
2246:
2240:
2234:
2225:
2224:
2222:
2220:
2205:
2199:
2193:
2187:
2181:
2175:
2169:
2163:
2157:
2151:
2145:
2139:
2124:
2118:
2112:
2106:
2100:
2094:
2093:
2081:
2075:
2069:
2063:
2057:
2051:
2050:
2048:
2046:
2035:
2029:
2023:
2017:
2011:
2005:
1999:
1993:
1987:
1981:
1975:
1969:
1963:
1957:
1952:
1946:
1940:
1934:
1928:
1922:
1916:
1910:
1904:
1898:
1892:
1886:
1880:
1874:
1868:
1862:
1855:
1849:
1843:
1837:
1831:
1825:
1819:
1768:Édouard Vuillard
1718:
1703:
1679:
1570:
1550:
1538:
1465:) in about 1900.
1458:
1443:
1424:
1311:Bois de Boulogne
1304:Musée Carnavalet
1277:
1265:
1255:Musée Carnavalet
1246:
1192:
1176:
1160:
1067:
1055:
1043:
1031:
1011:
991:
967:Henri-Paul Nénot
956:
944:
932:
922:The new Sorbonne
848:Société générale
822:Office buildings
738:
718:
706:
693:Interior of the
690:
674:Paul de Choudens
554:
538:
526:
507:
495:Entrance of the
492:
472:
430:
418:
402:
372:
360:
348:
333:Ferdinand Dutert
281:, occupied the
262:
250:
238:
188:rue des Abbesses
2574:
2573:
2569:
2568:
2567:
2565:
2564:
2563:
2529:
2528:
2519:
2512:
2500:
2493:
2480:
2473:
2460:
2453:
2440:
2433:
2420:
2413:
2400:
2393:
2380:
2373:
2360:
2353:
2340:
2330:
2323:
2310:
2304:
2287:
2284:
2279:
2271:
2267:
2259:
2255:
2247:
2243:
2235:
2228:
2218:
2216:
2207:
2206:
2202:
2198:, p. 1088.
2194:
2190:
2182:
2178:
2170:
2166:
2158:
2154:
2146:
2142:
2125:
2121:
2113:
2109:
2101:
2097:
2091:
2082:
2078:
2070:
2066:
2058:
2054:
2044:
2042:
2037:
2036:
2032:
2024:
2020:
2012:
2008:
2000:
1996:
1988:
1984:
1976:
1972:
1964:
1960:
1953:
1949:
1941:
1937:
1929:
1925:
1917:
1913:
1905:
1901:
1893:
1889:
1881:
1877:
1869:
1865:
1857:Stamper, John,
1856:
1852:
1844:
1840:
1832:
1828:
1820:
1816:
1812:
1807:
1795:
1726:
1719:
1710:
1704:
1695:
1680:
1671:
1656:Charles Garnier
1592:Pont de Tolbiac
1582:
1571:
1562:
1551:
1542:
1539:
1530:
1503:Marius Toudoire
1466:
1459:
1450:
1444:
1435:
1432:Marius Toudoire
1430:, by architect
1425:
1416:
1340:
1291:Marius Toudoire
1281:
1278:
1269:
1266:
1257:
1247:
1238:
1214:Alexandre Bigot
1206:Jules Lavirotte
1200:
1193:
1184:
1177:
1168:
1165:Jules Lavirotte
1161:
1152:
1116:Alexandre Bigot
1071:
1068:
1059:
1056:
1047:
1044:
1035:
1032:
1023:
1012:
1003:
992:
983:
971:Charles Garnier
960:
957:
948:
945:
936:
933:
924:
903:Crédit lyonnais
892:Jacques Hermant
880:Henri Labrouste
852:Jacques Hermant
832:Credit Lyonnais
824:
787:Frantz Jourdain
746:
739:
730:
719:
710:
707:
698:
691:
682:
666:Charles Girault
608:Charles Girault
588:Alexandre Bigot
584:Jules Lavirotte
562:
555:
546:
539:
530:
527:
518:
515:Jules Lavirotte
508:
499:
497:Castel Béranger
493:
484:
477:Castel Béranger
473:
464:
434:
431:
422:
419:
410:
403:
376:
373:
364:
361:
352:
349:
337:Victor Contamin
295:Gabriel Davioud
277:The first, the
266:
263:
254:
251:
242:
239:
230:
194:, a student of
164:Jules Lavirotte
156:rue La Fontaine
152:Castel Béranger
103:neo-Renaissance
17:
12:
11:
5:
2572:
2570:
2562:
2561:
2556:
2551:
2546:
2541:
2531:
2530:
2527:
2526:
2517:
2510:
2498:
2491:
2478:
2471:
2458:
2451:
2438:
2431:
2418:
2411:
2398:
2391:
2378:
2371:
2358:
2351:
2338:
2328:
2321:
2308:
2302:
2283:
2280:
2278:
2277:
2265:
2263:, p. 136.
2253:
2241:
2239:, p. 128.
2226:
2200:
2188:
2186:, p. 900.
2176:
2174:, p. 120.
2164:
2152:
2140:
2119:
2107:
2105:, p. 132.
2095:
2076:
2074:, p. 104.
2064:
2062:, p. 106.
2052:
2030:
2018:
2006:
1994:
1982:
1970:
1958:
1947:
1935:
1923:
1911:
1909:, p. 139.
1899:
1897:, p. 115.
1887:
1875:
1863:
1850:
1838:
1836:, p. 169.
1826:
1824:, p. 202.
1813:
1811:
1808:
1806:
1803:
1802:
1801:
1794:
1791:
1728:
1727:
1720:
1713:
1711:
1705:
1698:
1696:
1692:Auguste Perret
1681:
1674:
1670:
1667:
1628:Gustave Eiffel
1598:in 1895; the
1584:
1583:
1572:
1565:
1563:
1552:
1545:
1543:
1540:
1533:
1529:
1526:
1468:
1467:
1460:
1453:
1451:
1445:
1438:
1436:
1426:
1419:
1415:
1412:
1396:Porte Dauphine
1339:
1336:
1283:
1282:
1279:
1272:
1270:
1267:
1260:
1258:
1248:
1241:
1237:
1234:
1202:
1201:
1194:
1187:
1185:
1178:
1171:
1169:
1162:
1155:
1151:
1148:
1139:Hector Guimard
1132:iron framework
1112:Viollet-le-Duc
1085:Viollet-le-Duc
1073:
1072:
1069:
1062:
1060:
1057:
1050:
1048:
1045:
1038:
1036:
1033:
1026:
1024:
1013:
1006:
1004:
998:, designed by
993:
986:
982:
979:
962:
961:
958:
951:
949:
946:
939:
937:
934:
927:
923:
920:
868:Louis Sullivan
823:
820:
795:Eugène Grasset
791:La Samaritaine
779:La Samaritaine
748:
747:
740:
733:
731:
727:La Samaritaine
723:Eugène Grasset
720:
713:
711:
708:
701:
699:
692:
685:
681:
678:
659:Viollet-le-Duc
624:Auguste Perret
573:Hector Guimard
564:
563:
556:
549:
547:
543:Auguste Perret
540:
533:
531:
528:
521:
519:
509:
502:
500:
494:
487:
485:
481:Hector Guimard
474:
467:
463:
460:
452:iron framework
444:Charles Giraud
442:, designed by
436:
435:
432:
425:
423:
420:
413:
411:
404:
397:
378:
377:
374:
367:
365:
362:
355:
353:
350:
343:
318:Gustave Eiffel
285:, the hill of
268:
267:
264:
257:
255:
252:
245:
243:
240:
233:
229:
226:
218:Auguste Perret
196:Viollet-le-Duc
148:Hector Guimard
107:Hôtel de Ville
83:Hector Guimard
15:
13:
10:
9:
6:
4:
3:
2:
2571:
2560:
2557:
2555:
2552:
2550:
2547:
2545:
2542:
2540:
2537:
2536:
2534:
2522:
2518:
2513:
2507:
2503:
2499:
2494:
2492:2-910305-02-3
2488:
2484:
2479:
2474:
2468:
2464:
2459:
2454:
2448:
2444:
2439:
2434:
2428:
2424:
2419:
2414:
2412:2-02-012864-0
2408:
2404:
2399:
2394:
2388:
2384:
2379:
2374:
2368:
2364:
2363:L'Art Nouveau
2359:
2354:
2348:
2344:
2339:
2334:
2329:
2324:
2322:2-221-07862-4
2318:
2314:
2309:
2305:
2299:
2294:
2293:
2286:
2285:
2281:
2275:, p. 76.
2274:
2269:
2266:
2262:
2257:
2254:
2250:
2245:
2242:
2238:
2233:
2231:
2227:
2214:
2210:
2204:
2201:
2197:
2192:
2189:
2185:
2180:
2177:
2173:
2168:
2165:
2161:
2156:
2153:
2149:
2144:
2141:
2137:
2133:
2129:
2123:
2120:
2116:
2111:
2108:
2104:
2099:
2096:
2089:
2085:
2080:
2077:
2073:
2068:
2065:
2061:
2056:
2053:
2040:
2034:
2031:
2027:
2022:
2019:
2016:, p. 26.
2015:
2010:
2007:
2004:, p. 24.
2003:
1998:
1995:
1991:
1986:
1983:
1980:, p. 28.
1979:
1974:
1971:
1968:, p. 20.
1967:
1962:
1959:
1956:
1951:
1948:
1945:, p. 86.
1944:
1939:
1936:
1933:, p. 88.
1932:
1927:
1924:
1921:, p. 44.
1920:
1915:
1912:
1908:
1903:
1900:
1896:
1891:
1888:
1885:, p. 22.
1884:
1879:
1876:
1873:, p. 14.
1872:
1867:
1864:
1860:
1854:
1851:
1847:
1842:
1839:
1835:
1834:Marchand 1993
1830:
1827:
1823:
1818:
1815:
1809:
1804:
1800:
1797:
1796:
1792:
1790:
1788:
1784:
1783:Henri Sauvage
1780:
1775:
1773:
1769:
1764:
1763:Maurice Denis
1760:
1756:
1752:
1747:
1745:
1744:Henri Sauvage
1741:
1740:August Perret
1737:
1733:
1724:
1723:Henri Sauvage
1717:
1712:
1709:
1708:Maurice Denis
1702:
1697:
1693:
1689:
1685:
1678:
1673:
1668:
1666:
1664:
1659:
1657:
1653:
1649:
1645:
1641:
1636:
1631:
1629:
1625:
1620:
1615:
1613:
1609:
1605:
1601:
1597:
1596:Pont Mirabeau
1593:
1589:
1580:
1576:
1569:
1564:
1560:
1556:
1549:
1544:
1537:
1532:
1527:
1525:
1523:
1522:Musée d'Orsay
1519:
1518:Victor Laloux
1515:
1510:
1508:
1504:
1500:
1495:
1493:
1489:
1488:Gare de l'Est
1485:
1481:
1477:
1473:
1464:
1463:Musée d'Orsay
1457:
1452:
1449:
1448:Victor Laloux
1442:
1437:
1433:
1429:
1423:
1418:
1413:
1411:
1409:
1405:
1401:
1397:
1393:
1389:
1383:
1381:
1377:
1373:
1365:
1360:
1353:
1349:
1344:
1337:
1335:
1333:
1332:Santos-Dumont
1329:
1325:
1320:
1319:Petit Trianon
1316:
1312:
1307:
1305:
1300:
1299:Henri Sauvage
1295:
1292:
1288:
1276:
1271:
1264:
1259:
1256:
1252:
1251:Henri Sauvage
1245:
1240:
1235:
1233:
1231:
1226:
1225:Le Bon Marché
1222:
1221:Hotel Lutetia
1217:
1215:
1211:
1207:
1198:
1191:
1186:
1182:
1175:
1170:
1166:
1159:
1154:
1149:
1147:
1144:
1141:designed the
1140:
1135:
1133:
1127:
1125:
1121:
1117:
1113:
1109:
1105:
1100:
1098:
1094:
1090:
1086:
1082:
1078:
1066:
1061:
1054:
1049:
1042:
1037:
1030:
1025:
1021:
1017:
1010:
1005:
1001:
997:
990:
985:
980:
978:
974:
972:
968:
955:
950:
943:
938:
931:
926:
921:
919:
916:
915:Musée d'Orsay
912:
911:Victor Laloux
908:
904:
899:
897:
893:
889:
885:
881:
875:
871:
869:
865:
861:
853:
849:
844:
837:
836:Victor Laloux
833:
828:
821:
819:
817:
813:
807:
805:
801:
800:Henri Sauvage
796:
792:
788:
784:
781:in 1870, and
780:
776:
772:
767:
765:
761:
757:
753:
744:
737:
732:
728:
724:
717:
712:
705:
700:
696:
689:
684:
679:
677:
675:
671:
667:
662:
660:
656:
652:
647:
643:
641:
637:
636:Hôtel Guimard
632:
630:
625:
616:
609:
604:
600:
597:
593:
589:
585:
580:
579:architects.
578:
574:
569:
560:
559:Hôtel Guimard
553:
548:
544:
537:
532:
525:
520:
516:
512:
506:
501:
498:
491:
486:
482:
478:
471:
466:
461:
459:
457:
453:
449:
445:
441:
429:
424:
417:
412:
408:
401:
396:
394:
390:
388:
384:
383:Henri Deglane
371:
366:
359:
354:
347:
342:
340:
338:
335:and engineer
334:
330:
325:
323:
319:
315:
311:
306:
304:
300:
296:
292:
288:
284:
283:Champ-de-Mars
280:
275:
273:
261:
256:
249:
244:
237:
232:
227:
225:
223:
222:Henri Sauvage
219:
215:
214:
208:
203:
201:
197:
193:
189:
185:
181:
177:
172:
169:
165:
161:
157:
154:(1898) at 14
153:
149:
145:
141:
137:
136:
130:
128:
124:
120:
119:
114:
113:
108:
104:
100:
99:
95:
91:
86:
84:
80:
76:
72:
68:
64:
60:
56:
52:
48:
44:
40:
39:neo-Byzantine
36:
35:
26:
21:
2559:Belle Époque
2520:
2501:
2482:
2462:
2442:
2422:
2402:
2382:
2362:
2342:
2332:
2312:
2291:
2282:Bibliography
2268:
2256:
2249:Renault 2006
2244:
2217:. Retrieved
2212:
2203:
2191:
2179:
2167:
2155:
2143:
2135:
2131:
2127:
2122:
2110:
2098:
2084:Base Mérimée
2079:
2067:
2060:Renault 2006
2055:
2043:. Retrieved
2033:
2021:
2009:
1997:
1985:
1973:
1961:
1950:
1938:
1926:
1914:
1902:
1890:
1878:
1866:
1858:
1853:
1848:, p. 5.
1841:
1829:
1822:Sarmant 2012
1817:
1786:
1779:Belle Epoque
1778:
1776:
1748:
1732:Belle Époque
1731:
1729:
1694:(1911–1912)
1660:
1632:
1616:
1594:(1882); the
1585:
1511:
1506:
1499:Gare de Lyon
1496:
1480:Gare du Nord
1476:Claude Monet
1469:
1434:(1895–1902).
1428:Gare de Lyon
1403:
1399:
1391:
1387:
1384:
1379:
1375:
1371:
1369:
1363:
1347:
1327:
1324:Henri Gervex
1308:
1296:
1284:
1218:
1203:
1136:
1128:
1120:Pierre Roche
1101:
1074:
975:
963:
900:
876:
872:
857:
808:
806:elements.
775:Au Printemps
768:
752:Belle Époque
751:
749:
670:Petit Palais
663:
655:René Sergent
648:
644:
640:Victor Horta
633:
628:
621:
581:
577:Belle Époque
576:
568:Napoleon III
565:
448:Grand Palais
440:Petit Palais
437:
407:Petit Palais
391:
379:
326:
314:Eiffel Tower
307:
299:Napoleon III
276:
272:Belle Époque
271:
269:
211:
207:Belle Époque
206:
204:
199:
187:
173:
167:
155:
151:
140:Belle Époque
139:
133:
131:
118:Petit Palais
116:
112:Grand Palais
110:
106:
97:
90:Belle Époque
89:
87:
81:designed by
71:Gare de Lyon
63:Grand Palais
59:Eiffel Tower
34:Belle Époque
32:
30:
2196:Fierro 1996
2184:Fierro 1996
2160:Fierro 1996
2092:(in French)
1561:(1903–1904)
1081:Paul Abadie
1000:Paul Abadie
860:Elisha Otis
854:(1905–1911)
773:) in 1866,
729:(1903–1907)
200:Art nouveau
176:Sacré-Coeur
168:Art Nouveau
144:Paris Metro
135:Art Nouveau
127:iron frames
94:neo-Moorish
79:Paris Metro
51:Art Nouveau
2533:Categories
2045:August 20,
1907:Lahor 2007
1805:References
1761:, painter
1690:style, by
1619:Jean Résal
1588:Pont Sully
1507:Train Bleu
1362:the Metro
1287:Train Bleu
907:iron frame
896:iron frame
884:Bon Marché
764:iron frame
760:Bon Marché
695:Bon Marché
75:Bon Marché
47:classicism
43:neo-Gothic
2273:Plum 2014
2261:Plum 2014
2237:Plum 2014
2219:4 October
2172:Plum 2014
2148:Plum 2014
2138:, p. 126.
2115:Plum 2014
2103:Plum 2014
2072:Plum 2014
2026:Plum 2014
2014:Plum 2014
2002:Plum 2014
1990:Plum 2014
1978:Plum 2014
1966:Plum 2014
1943:Plum 2014
1931:Plum 2014
1919:Plum 2014
1895:Plum 2014
1883:Plum 2014
1871:Plum 2014
1846:Plum 2014
1124:Corbusier
1093:Perigueux
777:in 1865;
389:in 1911.
291:Invalides
158:, in the
101:, to the
1793:See also
1736:Art Deco
1688:Art deco
1390:s. The
1380:edicules
1376:edicules
1137:In 1913
804:art deco
754:, when
287:Chaillot
186:, at 19
123:Sorbonne
55:Art Deco
1787:gradins
1725:((1913)
1686:in the
1528:Bridges
1404:edicule
1400:edicule
1392:edicule
1388:edicule
1364:edicule
1348:edicule
1294:other.
816:roccoco
629:excèdre
2508:
2489:
2469:
2449:
2429:
2409:
2389:
2369:
2349:
2319:
2300:
1648:Orange
1581:(1905)
1167:(1905)
1150:Hotels
1097:gypsum
1022:(1894)
838:(1907)
483:(1899)
73:, the
69:, the
65:, the
61:, the
27:(1912)
2130:, in
1652:Arles
1018:, by
2506:ISBN
2487:ISBN
2467:ISBN
2447:ISBN
2427:ISBN
2407:ISBN
2387:ISBN
2367:ISBN
2347:ISBN
2317:ISBN
2298:ISBN
2221:2014
2047:2015
1770:and
1682:The
1633:The
1573:The
1553:The
1512:The
1497:The
1346:The
1014:The
994:The
557:The
475:The
438:The
308:The
182:was
132:The
115:and
53:and
41:and
1577:by
1406:at
1394:at
1091:in
771:BHV
513:by
479:by
45:to
2535::
2229:^
2211:.
2086::
1524:.
1326:,
1306:.
85:.
49:,
2525:}
2516:}
2514:.
2497:}
2495:.
2477:}
2475:.
2457:}
2455:.
2437:}
2435:.
2417:}
2415:.
2397:}
2395:.
2377:}
2375:.
2357:}
2355:.
2337:}
2327:}
2325:.
2306:.
2223:.
2049:.
1183:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
