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Hôtel Guimard in Paris

Patrimoine classé
Hotel particulier classé
Maison d'architecte
Bâtiment Art Nouveau
Paris

Hôtel Guimard in Paris

    122 Avenue Mozart
    75016 Paris

Timeline

XIXe siècle
Époque contemporaine
1900
2000
17 février 1909
Wedding of Hector Guimard
14 juin 1909
Building permits
1913–1930
Guimard residence
1930
Departure of the Guimards
1964
Registration historical monument
1997
Partial classification
2006
Partial restoration
21 décembre 2016
Restore folder repository
Aujourd'hui
Aujourd'hui

Key figures

Hector Guimard - Architect and sponsor Designer and resident of the hotel.
Adeline Oppenheim - Wife and painter Financial and user of the workshop.

Origin and history

The Hotel Guimard, located at 122 Avenue Mozart in Paris, is a private hotel built by Hector Guimard, a major figure of Art Nouveau in France. Sponsored by the architect himself after his wedding in 1909 with Adeline Oppenheim, a rich heiress and painter, the project aims to house their home, Mrs. Guimard's workshop and the architect's offices. The building permit was deposited on June 14, 1909, and the couple resided there from 1913 to 1930. The building, designed on a triangular and narrow plot, innovates by its "free plan" inside, liberated from traditional carrying walls, and its elevator serving the floors instead of a staircase.

In 1930, the Guimards left the hotel, and Hector proposed without success to give it to the state to make it a museum of Art Nouveau. After her death in 1942, Adeline Guimard tried to achieve this project, but in the face of the authorities' refusal, she dispersed the furniture and archives. The rooms are donated to French (Lyon, Nancy, Paris) and American museums, while the building, registered with historical monuments in 1964 and partially classified in 1997, is divided into apartments. The facades, degraded by time, are subject to partial restorations in 2006, then more complete works from 2016.

The interior of the hotel, now dispersed, was a successful example of the Guimard style: mouldings, stained glass, furniture and fabrics were designed for total harmony, typical of Art Nouveau. The first floor ovoid dining room, the oval reception rooms, and the third floor workshop of Adeline Guimard illustrated this aesthetic research. The elevator, which is now gone, and the absence of interior bearing walls showed a rare technical audacity for the time. Despite the transformations, the hotel remains a symbol of the architectural innovation of Paris in the early twentieth century.

External links