Never entirely resolved as a total
composition, the Castel Béranger is nonetheless an important transitional work in Guimard's career. The stem and branch-like character of both the interior furnishing and the exterior ironwork stand in a curious and brittle contrast to the articulate, architectonic but disjunctive elements that make up the cumbersome mass of the building's exterior. With 36 apartments, each different from the next, the Castel Béranger is a curious compound of rational planning and non-rational intent and expression. Guimard was to exploit its competition as an occasion for promoting le style Guimard. To this end he staged an exhibition of the building and its contents in the Salon du Figaro in 1899, while simultaneously publishing a book of the work under the title, L'Art dans l'habitation moderne. Le Castel Béranger. More acerbic than his flamboyant country houses of the turn of the century and located in the fashionable, fast-growing suburb of Auteuil, the Castel Béranger gave Guimard
a prime opportunity with which to demonstrate the synthetic subtleties
of his style, in which urban and rustic references could be judiciously
mixed together.
The residential towers of the Orgues de Flandre, in Paris 19th
arrondissement.The Orgues de Flandre, which can be translated as Organs
of Flanders, are a group of residential buildings located in the 19th
arrondissement of Paris, France.
Built from 1974 to 1980 by the architect Martin van Trek, the
buildings are located at 67-107 avenue de Flandre and 14-24 rue
Archereau. The buildings are a housing project of 6 ha, made of many
buildings of 15 floors and four dominating towers.
First, a totally different, plan was made in
1937. In 1951 a new plan was made consisting of two houses: One for
André Jaoul and the other for his son Michel Jaoul. The second house was delayed for two years. In the meantime the father died and there were financial problems. At last in 1955 the two houses were finished. The two houses have one big cellar and garage together.
This apartment building with which Perret established his reputation is to be regarded as one of the canonical works of 20th-century architecture, not only for its explicit and brilliant use of the reinforced concrete frame (the Hennebique system) but also for the way in which its internal organization was to anticipate Le Corbusier's later development of the free plan. Perret
deliberately made the apartment partition walls nonstructural throughout
and their partial removal would have yielded an open space, punctuated
only by a series of free-standing columns. As it is, each floor is
organized with the main and service stairs to the rear (each with its
own elevator) the kitchen to one side and the principal rooms to the
front. These last are divided up from left to right into rooms assigned
to smoking, dining, living, sleeping and reception
stucco exterior- studio daylighting by large north window and glazed saw-tooth roof.
type
house and artist's studio
The house and studio in Paris for Le Corbusier's friend the painter Ozenfant is an early example of 'minimal' architecture, a prototype of the Dom-ino
house and a manifestation of some of the principles which Le Corbusier
was to set out in his famous 'five points.' It possessed a geometrical
clarity inside and out which has since been lost with the elimination of
the north-light roof and its replacement by a flat one.
This building, that now hosts an Italian college, lays in a district crowded by Lavirotte’s works. It is important to know that many Frenchmen consider Lavirotte superior to Guimard himself.Here we find that the modernist author was heavily influenced by the great baroque French castles, mostly in the roof-window and in the roof itself.But, don’t worry, Art Nouveau is still here, in the iron-worked balconies and in the honour window. If you find all this too heavy, too "baroque" in the decorations, this means you haven’t seen anything else by Lavirotte.This building is among the first works by this author.
Close to the Lycée Italian Léonard-de-Vinci, is another structure designed by Lavirotte, Avenue Rapp, no. 29. Designed for the ceramist Alexander Bigot who designed the façade's glazed ceramic elements, it was built in 1901 when it won a municipal competition for the finest façade. Lavirotte's gift for exuberant forms attained its zenith in this façade, whose bravura set piece is the doorway.
It is a good try in the way to healthyness, including a rational visible structure in the direct heritage from Viollet le Duc (concrete and bricks) and Art Nouveau decoration (doors, chimneys..).
This building shows the innovative ways followed by Art nouveau to tackle with problems such as poor
light (There is at that time an epidemic of tuberculosis) with it's terraces,
personal gardens, healthyness with the ceramic cover.
The
Baron set out different categories for apartments, with varying
regulations according to street size and neighborhood. His vision was so
successful that long after his fall from power, apartments continued to
be built according to his standard: 5 stories in locally-quarried “pierre
de taille” with a crowning floor of maid’s rooms under a Mansard roof.
This particular example is a sober interpretation at the high-class end
of Haussmann’s buildings. Architect Codry chose to give this building
sober individualistic details, inspired by Classicism.
The Haussmann Renovations, or Haussmannisation of Paris, was a
work commissioned by Napoléon III and led by the Seine prefect, Baron
Georges-Eugène Haussmann between 1852 and 1870, though work continued
well after the Second Empire's demise in 1870.
The project encompassed all aspects of urban planning, both in
the centre of Paris and in the surrounding districts: streets and
boulevards, regulations imposed on facades of buildings, public parks,
sewers and water works, city facilities and public monuments.
Postmodern “new architectural hedonism”,
which is the gleeful opposite of minimalism.
construction
Color, contrasting textures, and angular juxtapositions
create visual interest and reflect what Borel sees in Paris itself: a great
mélange of faces and places.
In 1989, the French ministry of Poste and Telecommunications
started a program to provide affordable housing in Paris for young
people training for careers in the Postal service. The ministry already
owned several under-developed sites in several different locations in
the city and the decision was made to purchase additional sites and
build 1500 new apartments. A group of young architectural firms were
selected to design this housing and had completed about 900 dwellings by
the end of 1995. Built on scattered sites in many different parts of
Paris, this is some of the more vital and interesting new housing built
in the city in recent years and, since they are built on typically small
infill sites, is in stark contrast to the large ZAC projects which have
received so much attention in recent years.
The
most famous architect of the 20th-century, Le Corbusier completed not
even 60 buildings in his lifetime. But he continues to inspire both
worship and loathing around the globe. Swiss by birth, Corbu is the man
who coined the term “a machine for living”—which is what he expected
from a successful house. He believed that mathematics contained an ideal
formula for living, and the Swiss Pavilion is a magnificent example of
Corbu working at the height of his power.
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