Paris 1902-1904 House at 25Bis, Rue Franklin

Total Page：16

File Type：pdf, Size：1020Kb

12 Paris 1902-1904 House at 25bis, rue Franklin by Auguste Perret pioneer of the reinforced concrete construction (1874-1954) History of Contemporary Architecture AA 2016/2017 Prof. Michela Rosso 12/biblio references CURTIS: 73-79 FRAMPTON: 105-108 House for apartments 25bis, rue Franklin _ Paris Auguste Perret Impresa Latron & Vincent 1902-1904 The HENNEBIQUE PATENT SYSTEM Invented and commercialized by François Hennebique (1842-1921) House for apartments designed by architect/ engineer Daniele Donghi built by the company G. A. Porcheddu via Tiziano / via Nizza Torino – 1905 LINGOTTO FIAT FACTORY, designed for FIAT by Giacomo Mattè Trucco with the engineers of the SERVIZIO COSTRUZIONI FIAT, Giovanni Cartesegna & Vittorio Bonadè Bottino, built by the company of Giuseppe Antonio PORCHEDDU, first agent of the HENNEBIQUE patent in the North of Italy, TURIN 1916/1929 Cover of the journal “Le Béton Armé” founded in Paris in 1898, owned, directed, written, and published by François Hennebique A small plot: 185 sqm The court is reversed on the front The classical plan Notice the SUBDIVISION & DISTRIBUTION of FUNCTIONS in the interior by means of CIRCULATION PUBLIC and PRIVATE AREAS in the PLAN Ornamentation and coating of the non-structural part Alexandre BIGOT The two different coatings used to SYMBOLIZE the different parts of the building: STRUCTURAL and NON-STRUCTURAL The staircase lit through FALCONNIER glasses Falconnier glasses Staircase at Castel Béranger designed by Hector Guimard Anatole de Baudot Church of Saint Jean de Montmartre, PARIS 1894/1904 The French tradition of STRUCTURAL RATIONALISM De Baudot had been a pupil of Viollet le duc and Henry Labrouste Church of Saint Jean de Montmartre 1894/1904 enamelled ceramic tiles designed by Alexandre Bigot and used to decorate and emphasize the structural concrete frame .

Copy Link

Recommended publications

The Mutual Culture: Le Corbusier and The
The mutual culture: Le Corbusier and the french tradition Autor(es): Linton, Johan Publicado por: Imprensa da Universidade de Coimbra URL persistente: URI:http://hdl.handle.net/10316.2/41610 DOI: DOI:https://doi.org/10.14195/978-989-26-1338-3_7 Accessed : 28-Sep-2021 19:35:38 A navegação consulta e descarregamento dos títulos inseridos nas Bibliotecas Digitais UC Digitalis, UC Pombalina e UC Impactum, pressupõem a aceitação plena e sem reservas dos Termos e Condições de Uso destas Bibliotecas Digitais, disponíveis em https://digitalis.uc.pt/pt-pt/termos. Conforme exposto nos referidos Termos e Condições de Uso, o descarregamento de títulos de acesso restrito requer uma licença válida de autorização devendo o utilizador aceder ao(s) documento(s) a partir de um endereço de IP da instituição detentora da supramencionada licença. Ao utilizador é apenas permitido o descarregamento para uso pessoal, pelo que o emprego do(s) título(s) descarregado(s) para outro fim, designadamente comercial, carece de autorização do respetivo autor ou editor da obra. Na medida em que todas as obras da UC Digitalis se encontram protegidas pelo Código do Direito de Autor e Direitos Conexos e demais legislação aplicável, toda a cópia, parcial ou total, deste documento, nos casos em que é legalmente admitida, deverá conter ou fazer-se acompanhar por este aviso. pombalina.uc.pt digitalis.uc.pt Edited byArmando Rabaça Ivan Zaknic Arthur Rüegg L E David Leatherbarrow C ORBUSIER Christoph Schnoor H Francesco Passanti ISTORY Johan Linton Stanislaus von Moos T and Maria Candela Suárez RADITION L E C ORBUSIER and H ISTORY T RADITION Edited by Armando Rabaça 1.
[Show full text]
La Villa Majorelle
LA VILLA MAJORELLE Dossier enseignants usée de del’École Nancy, cliché Caron P. © Nancy, m Nancy Musées Département des Publics [email protected] 03 83 17 86 77 (du lundi au vendredi de 9h à 12h30) Enseignant référent Nathalie Vergès [email protected] Sommaire 03 Introduction 04 Le quartier 06 L’architecture de la villa 08 Les façades 11 Les entrées 13 Les céramiques 16 Propositions de mise en œuvre pédagogique 20 Activités à proposer aux élèves 2 Introduction D. D. Boyer usée de del’École Nancy, cliché © Nancy, m « Une villa moderne » Ce titre est celui de l’un des premiers articles 1 consacrés par la presse à la villa Majorelle en 1902. L’auteur y manifeste son admiration pour le caractère novateur de cette maison construite « par un artiste pour un artiste ». La villa Majorelle est élevée dans les années 1901-1902 , dans ce qui est encore la banlieue peu urbanisée de Nancy. Louis Majorelle décide de construire, au milieu d’un parc arboré, ses ateliers et sa villa. Il dénomme celle-ci Jika en l’honneur de son épouse Jeanne Kretz (initiales JK). Cette villa est le fruit d’une collaboration entre un architecte, Henri Sauvage , qui débute sa carrière, et un industriel d’art déjà reconnu, Louis Majorelle . Les deux hommes se connaissent car ils fréquentent les mêmes lieux parisiens, l’atelier du sculpteur Alexandre Charpentier en particulier. Ils y côtoient d’autres artistes, tels Hector Guimard et le peintre Francis Jourdain, qui participa à la décoration de la villa Majorelle.
[Show full text]
Centenaire Auguste Perret
DOSSIER DE PRESSE ------------------- CENTENAIRE AUGUSTE PERRET "UN PERSONNAGE D'EXCEPTION" QUI AVAIT UNE FOIS RENCONTRE AUGUSTE PERRET NE POUVAIT PLUS JAMAIS L'OUBLIER . C'était une personna - lité . Et aussi un personnage . Un personnage d'exception. En n'importe quelle assemblée, même s'il restait silen- cieux - car il n'avait rien d'un bavard - sa présence s'imposait . Il y avait en lui une sorte de dignité majes- tueuse, un air de grand seigneur mi-naturel, mi-étudié, une faconde un peu insolite qui commandaient le respect. L'aristocratie morale s'affirmait en sa personne avec tant d'évidence qu'elle dominait l'ascendance plébéienne. Les traits de son visage n'étaient nullement ceux d'un condottiere ; il en avait cependant la prestance . Son port de tête, sa taille moyenne, mais redressée, lui conféraient une allure un peu hautaine qui était l'objet d'éternelles plaisanteries bienveillantes de ses familier: On disait qu'il portait sur ses épaules son propre buste sculpté pour l'éternité, qu'il parlait en majuscules et que ses propos, rares, concis et drus, encadrés de pauses, étaient conçus pour l'épigraphie. Cet air impérieux était pourtant démenti par un regard d'une grande douceur, et par des yeux clairs pleins de calme bonté . S'il s'était composé une attitude, ce fut peut-être pour faire illusion aux autres, mais "APHORISMES .D AUGUSTE PERRET" On devient Ingénieur On naît Architecte -o- L'Architecte est un poète qui pense et parle en construction. -o- L'Ingénieur satisfait au particulier par le particulier. L' Architecte satisfait au particulier par le général .
[Show full text]
Art Nouveau Is Also Refered to As
Art Nouveau Is Also Refered To As Harlin disembarrass cringingly. Quintus remains antonymous after Quincy bastardised conjunctly or overran any Rheydt. Matchable and subsiding Renato fluctuates her flickertail wagon nutritiously or shingles perennially, is Warren tendencious? This allowed the artist to think refund of penalty box of easel paintings and sculpture and of branch out two different areas. What an an Eames Chair? Aside from curving lines and shapes inspired by natural forms, the entrepreneur of courtesy and wrought iron brings sculptural elements to Art Nouveau structures. In Austria, it became bishop as Sezessionstil, named after the Viennese Secession movement, instigated by artists at release time. The Art Nouveau movement took inspiration from struggle to produce innovative, modern designs. Delft some of beauty and associated with simplicity, email address below. What an allegorical figures, other directions to mention some art nouveau tour to art nouveau is also refered to as for convenience only spread to show their height by artspace is dotted with everything. Even mythical dolphins, also helps if art art nouveau is also refered to as one hundred years are sure you may cause inaccuracies to? Since Art Nouveau became popular in various countries in Europe, the movement gained different regional and darkness even local names. GaudÃ is third important in Catalonia. Fun Side is History! You suddenly responsible because any User Content you reply to heavy site. Modern art deco interior design should be filled with designs featuring laurels of leaves, branches, feathers along stylized animal elements whether another bird sculpture or a Chinoiserie fish. Some melt the major materials used in this style include glass, aluminum, wrought iron, wood steel.
[Show full text]
The Hennebique Archives: Toward a New Corpus for Contemporary Architectural History
214 American Archivist / Vol. 59 / Spring 1996 The Users Downloaded from http://meridian.allenpress.com/american-archivist/article-pdf/59/2/214/2748875/aarc_59_2_6r8g575725414x37.pdf by guest on 25 September 2021 The Hennebique Archives: Toward a New Corpus for Contemporary Architectural History GILLES RAGOT Abstract: The voluminous archives of the Hennebique engineering firm, which was a pioneer in reinforced concrete construction, provides an example of processing procedures and priorities for architectural records. The completeness and heterogeneous nature of architectural records greatly influence processing time. It is necessary to balance the needs of both historians and archivists when processing records, and it is also necessary to preserve the records not just of significant buildings or architects, but of the ordinary architects, and the non-architects who influenced architectural works, in order to develop a fuller picture of the development of the landscapes in which we live. About the author: Gilles Ragot holds a doctorate in Art History from the Universite de Paris IV Sorbonne. Working at the Institut Francais d'architecture from 1984 to 1994, he was instrumental in the creation of the Centre d'archives d 'architecture du 20e siecle in Paris, for which he was curator from 1988 to 1994. He is currently a professor at the School of Architecture and Landscape Architecture at the Universite de Bordeaux where he organized the Centre d'archives d'architecture et de paysage in Aquitaine (France). The author would like to acknowledge the kind assistance of Gwenael Delhumeau in the preparation of this paper. The Hennebique Archives 215 The Centre d'Archives d'Architecture du Vingtieme Siecle THE ARCHIVES OF THE Hennebique engineering firm, a pioneer in reinforced concrete construction, was deposited with the Centre d'archives d'architecture du vingtieme siecle of the Institut Frangais d'Architecture (IFA) in 1989, the year the archives center opened.
[Show full text]
Henry Van De Velde Year in Germany and Belgium: Part One
Jane Van Nimmen Henry van de Velde Year in Germany and Belgium: Part One Nineteenth-Century Art Worldwide 12, no. 2 (Autumn 2013) Citation: Jane Van Nimmen, “Henry van de Velde Year in Germany and Belgium: Part One,” Nineteenth-Century Art Worldwide 12, no. 2 (Autumn 2013), http://www.19thc- artworldwide.org/autumn13/van-nimmen-on-henry-van-de-velde-year-in-germany-and- belgium-part-one. Published by: Association of Historians of Nineteenth-Century Art. Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. Nimmen: Henry van de Velde Year in Germany and Belgium: Part One Nineteenth-Century Art Worldwide 12, no. 2 (Autumn 2013) Henry van de Velde Year in Germany and Belgium: Part One Honoring the 150th birthday of painter, architect, and designer Henry van de Velde, Google posted a celebratory doodle on April 3, 2013. It was not a global doodle like the glitzy Kiss commemorating Gustav Klimt, displayed around the world in 2012. The pastel tribute to van de Velde could be seen in only a handful of continental markets: Belgium, where he was born in 1863; France, where in 1884 the young painter studied for a few months in Paris with Carolus- Duran and where in 1895 he created three sensational rooms for Siegfried Bing’s new gallery L’Art Nouveau; Austria, where he showed furniture at the Eighth Vienna Secession exhibition in late 1900; Germany, where he lived with his wife and growing family from 1900 until 1917; the Netherlands, where he settled in the 1920s; and Switzerland, where he died in 1957.
[Show full text]
Building the Future on Lessons of Historic Reinforced Concrete
sustainability Article Building the Future on Lessons of Historic Reinforced Concrete Maria Bostenaru Dan Department of Urban and Landscape Design, Faculty of Urbanism, “Ion Mincu” University of Architecture and Urbanism, 010014 Bucharest, Romania; [email protected] Received: 12 May 2020; Accepted: 20 July 2020; Published: 23 July 2020 Abstract: This contribution presents the way the construction material reinforced concrete was introduced at the beginning of the 20th century, from both the technical (Hennebique system) and the philosophical points of view. The philosophy underlying the use of this material is evident in the theories on ﬁnding a language of form corresponding to tectonics, and its dialogue with timber, formulated by certain notable practicing architects of the time across Europe. Not to be neglected are aspects relating to the conservation of material and to interventions carried out over time. In Modernist times, this meant a change from the artistic expression of Art Nouveau. Today, it means technical adaptation. The paper addresses thus sustainability of intervention versus conservation. Keywords: 20th century architecture; historic concrete; conservation 1. Introduction Concrete had existed since the Roman times, but it was Joseph Monier (8 November 1823 Saint-Quentin-La-Poterie–12 March 1906, Paris) who conceived the idea of reinforcing it, showing the idea at the Paris Exhibition 1867. Although reinforced concrete was a new material which spread during the heyday of Modernism, its language of form was sought after during the Art Nouveau period. The new material introduced at the time of Art Nouveau was iron, but the discussion on ﬁnding new forms for new materials applied equally to reinforced concrete.
[Show full text]
The Bigot Pavilion in the Collection of the Museum of Applied Arts Budapest
Arlene Peukert Hidden treasures rediscovered – Iparművészeti Múzeum, Budapest the Bigot Pavilion in the collection of the Museum of Applied Arts Budapest Hidden away for more than a century in the storage of the Museum of Applied Arts Budapest, the monumental ensemble of architectural ceramics known as the Bigot Pavilion can now be admired and studied for the first time since its glorious presentation at the Paris Exposition Universelle of 1900.1 The exhibition “The Bigot Pavilion – Art Nouveau Architectu- ral Ceramics from Paris” is on view from 26 April 2013 until 4 January 2015 (fig. 1). The architectural ceramic sample pieces of the pavilion were produced by the Alexandre Bigot & Company Factory. The pavilion was acquired by the director of the Museum of Fig. 1. View of the exhibition, The Bigot Pavilion – Art Nouveau Architec- Applied Arts Jenő Radisics (1856–1917) for 5.500 francs di- tural Ceramics from Paris; Museum of Applied Arts Budapest © Gel- lért Áment rectly after the World’s Fair in October 1900.2 In a letter to the Hungarian Minister of Religion and Education from the 25th of October 1900 Radisics wrote: “On the amount of credit at Alexandre Bigot (1862–1927) who was a trained phy- my disposal I have purchased 109 pieces for the museum. sics and chemistry instructor developed an interest in ceramics Special significance should be given to the monumental in- when seeing an exhibition of Chinese and Far Eastern porcela- stallation of Bigot, which was among the most well known in in Paris in 1889.4 Because of his knowledge in chemistry Bi- and most artistic ceramic work of art at the Paris Exhibition, got was able to experiment with different glazing techniques.
[Show full text]
Paris 1900 DE PRESSE MARS 2014 LA VILLE SPECTACLE
DOSSIER Paris 1900 DE PRESSE MARS 2014 LA VILLE SPECTACLE 2 avril - 17 août 2014 INFORMATIONS www.petitpalais.paris.fr Henri de Toulouse-Lautrec (1864 – 1901). Marcelle Lender dansant le boléro dans Chilpéric, 1895-1896. Huile sur toile ; 145 × 149 cm. Washington, National Gallery of Art, collection of Mr and Mrs John Hay Whitney © Bridgeman Giraudon Organisée avec les concours exceptionnels Avec le soutien de SOMMAIRE Communiqué de presse p. 3 Scénographie p. 5 Parcours de l’exposition p. 6 Œuvres commentées p. 9 Paris 1900 dans les collections permanentes p. 12 Le catalogue de l’exposition p. 14 Autour de l’exposition p. 15 Ateliers et visites p. 17 L’application Paris 1900 p. 18 Partenaires p. 19 Le Petit Palais p. 25 Informations Pratiques p. 26 Visite de presse Le mardi 1er avril 2014 de 9h30 à 13h Attachée de Presse Mathilde Beaujard [email protected] Tel : 01 53 43 40 14 Responsable Communication Anne Le Floch [email protected] Tel : 01 53 43 40 21 2 Paris 1900, la Ville spectacle - du 2 avril au 17 août 2014 COMMUNIQUÉ DE PRESSE L’exposition « Paris 1900, la Ville spectacle » invite le public à revivre les heures fastes de la capitale française au moment où elle accueille l’Exposition universelle qui inaugure en fanfare le 20e siècle. Plus que jamais la ville rayonne aux yeux du monde entier comme la cité du luxe et de l’art de vivre. Plus de 600 œuvres – peintures, objets d’art, costumes, affiches, photographies, films, meubles, bijoux, sculptures… - plongeront les visiteurs du Petit Palais dans le Paris de la Belle Epoque.
[Show full text]
Perret Versus Le Corbusier Building for Art in the 1920S
Perret versus Le Corbusier Building for Art in the 1920s Louise Campbell [email protected] Abstract This article situates Parisian studio- Looking back from 1932, Le Corbusier recalled his and Auguste Perret’s houses in the context of the boom in struggle nine years earlier to ‘find the expression of the modern dwelling’ contemporary art of the 1920s. It in a small street in southern Paris.1 The two houses which resulted – Le argues that in a highly competitive Corbusier’s celebrated studio-house for Ozenfant and Perret’s house for the art market, architecture proved a collector Pierre Gaut – reveal a polemical confrontation which destroyed useful means of individuating artists 2 from one another. As boom turned the formerly close relationship between master and pupil. The context is to crash in the 1930s, the architecture significant. This street – the Rue du Square Montsouris in Montparnasse of Perret served to shield his artist- – was not simply a stage for architectural rivalries. It was located in a clients from criticism and as an neighbourhood remarkable for its quantity and variety of artists’ houses. emblem of their integrity in an art Underpinning both was the booming art world of the 1920s, in which art- market which stood accused of ists jostled for attention, exhibition opportunities and sales. price-fixing. Keywords With the improving economic situation in France in 1923, the market for Studio-house contemporary art began to expand. New art dealers appeared, many of them Auguste Perret employing a contract system in which all the work produced by an artist over Le Corbusier a given period was exchanged for a regular stipend.3 The incentive which Montparnasse this gave dealers to promote their stable of artists fuelled the art boom of the Atelier 1920s.
[Show full text]
AH 215 HISTORY of PARIS in ARCHITECTURE and ART IES Abroad Paris BIA
AH 215 HISTORY OF PARIS IN ARCHITECTURE AND ART IES Abroad Paris BIA DESCRIPTION: This class retraces the major steps in the evolution of the city of Paris through art and architecture from the medieval period to today. Particular attention is paid to the 19th century from the Second Empire and the major urban planning programs conducted by the Baron Haussmann, which gave the capital its current form and style to Paris at 1900. We will then focus on he modern innovations of the XXth century and end with an overview of the Grand Paris project for the XXIst century. Students will study questions related to urban planning, the new Parisian lifestyle, as well as the modernity and modernization of the city but also questions of style, which will be put into context and paralleled with the major artistic movements of the times such as impressionism. In order to illustrate these changes and the architectural history of Paris, beside major monuments and buildings, we will look at the works of famous painters such as Lebrun, Boucher, David, Ingres, Delacroix for the pre and post revolutionary era, and Edouard Manet who illustrated “Modern” Paris as with the monuments, the impressionists, post-impressionism and the XXth century avant- garde artistes. We will use historical novels, films and specific readings from Alistair Horne’s Seven Ages of Paris to complete our knowledge on the topic. CREDITS: 3 CONTACT HOURS: 45 hours LANGUAGE OF INSTRUCTION: English PREREQUISITES: Recommended for students with no previous knowledge of art history METHOD OF PRESENTATION: • Lecture • Field study REQUIRED WORK AND FORM OF ASSESSMENT: • Midterm: 30% • Participation and homework (oral presentations): 20% • 2 or 3 mini quiz on readings: 20% • Final exam: 30% Class attendance on study abroad is mandatory.
[Show full text]
BESANÇON Entre Ville, Campus Et Parc Scientifique
Villes productives BESANÇON Entre ville, campus et parc scientifique Dossier de site lille AMIENS evreux, portes de normandie pantin Métropole du grand paris Grigny & Ris-Orangis Grand paris sud ANGERS GUEBWILLER besançon AURILLAC bègles, bordeaux métropole TOULOUSE MÉTROPOLE INFORMATIONS GÉNÉRALES SITE PROPOSÉ PAR : Ville de Besançon, Communauté d’agglomération du Grand Besançon, en collaboration avec : Université de Franche ‐ Comté (UFC), Syndicat Mixte du Parc Scientifique et Industriel (SM‐PSI). ACTEUR(S) IMPLIQUÉ(S) : Ville de Besançon, Communauté d’agglomération du Grand Besançon, en collaboration avec : Université de Franche‐ Comté (UFC), Syndicat Mixte du Parc Scientifique et Industriel (SM‐PSI). REPRÉSENTANT DE L’ÉQUIPE : Architecte et/ou Urbaniste et/ou Paysagiste COMPÉTENCES SOUHAITÉES AU REGARD DES ENJEUX ET CARACTÉRISTIQUES DU SITE : Urbanisme, architecture, paysage COMMUNICATION : Communication des projets après le concours, le 1er décembre 2017 JURY – 1ÈRE ÉVALUATION : Avec la participation des représentants de site JURY – SÉLECTION DES PRIX : Sélection distinctive, avec lauréat (12.000€) / mentionné (6.000€) / mentions spéciales (pas de prix) PROCÉDURE INTERMÉDIAIRE POST CONCOURS : - rencontre des villes & des équipes organisée par le secrétariat Europan France à Paris en février/mars 2018 - rencontre in-situ des villes & des équipes organisée par les collectivités et leurs partenaires à partir de janvier 2018 - assistance et conseil d’Europan France auprès des collectivités et de leurs partenaires pour la mise en place des suites du concours MISSION DONNÉE À LA (OU LES) ÉQUIPES SÉLECTIONNÉE(S) POUR LA RÉALISATION : Études de faisabilité, de conception ou de maîtrise d’œuvre urbaine et paysagère sur des sites particuliers, maîtrise d’oeuvre architecturale à initier avec les partenaires INFORMATIONS GÉNÉRALES 3 Europan14, France BESANÇON AVANT PROPOS LA BONNE SANTÉ D’EUROPAN * la ville.
[Show full text]