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Building à Paris 1er dans Paris

Paris

Building

    76 Rue de l'Université
    75007 Paris 7e Arrondissement
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Crédit photo : Moonik - Sous licence Creative Commons

Timeline

XIXe siècle
Époque contemporaine
1900
2000
1900
Construction of building
1901
Paris City Price
1964
First protection
2015
Extension of protection
1er quart XXe siècle
Construction period
Aujourd'hui
Aujourd'hui

Heritage classified

The façade on street and the corresponding roof: inscription by decree of 16 October 1964

Key figures

Jules Lavirotte - Architect Designer of the building in 1900.
Alexandre Bigot - Ceramicist and sponsor Owner, supplier of ceramic decorations.
Jean-Baptiste Larrivé - Sculptor Author of carved figures.
Théobald-Joseph Sporrer - Sculptor Contributor to exterior decors.

Origin and history

The Lavirotte building, located at 29 avenue Rapp in the 7th arrondissement of Paris, is an emblematic report building of the Art Nouveau style. Built in 1900 by architect Jules Lavirotte for ceramicist Alexandre Bigot, it stands out for its facade decorated with flaming sandstones and ceramic decorations. These elements served as a showcase for Bigot's productions, while integrating sculptures by Théobald-Joseph Sporrer, Firmin Michelet, Alfred Jean Halou and Jean-Baptiste Larrivée. The building, winner of the Paris city facade competition in 1901, embodies the alliance between industrial art and residential architecture.

The heritage protection of the building was staggered over time. As early as 1964, its street façade and roof were listed as historical monuments, followed in 2015 by the extension of this protection to the entrance hall, stairway and cage. At the same time, the building was awarded the 20th century heritage label, highlighting its importance in Parisian architectural history. The exuberant decorations, combining symbolism and plant motifs, make it a major testimony of Art Nouveau in France, while reflecting the technical innovations of the era, such as the use of architectural ceramics.

The Lavirotte building is part of an urban context marked by Haussmannian transformations and the emergence of new materials. In Paris, at the turn of the 20th century, the report buildings became experimental media for artists and artisans, as evidenced by the collaborations between Lavirotte and Bigot. This monument also illustrates the enthusiasm for municipal competitions, tools to promote architectural beautification. Today, there is still a place of passage admired for its aesthetic audacity, while being protected against modern alterations.

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