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Modern architecture around Montparnasse (side 15è district)

The Mount Parnassus
IL was called thus by the students of the Latin Quarter at the beginning of the 17è S. because of a formed artificial hill of rubble, where the meadows, grounds of adventures in love, were compared to the field of Apollo. In the south of the wall of the farmers general (today boulevard of Montparnasse) opened many cabarets because the wine and alcohol escaped the taxes fromthe granting.

(One can start of the subway Sèvre-Lecourbe or Duroc, in the 15è; or since the Pasteur subway)
Residences, 58 avenue of Saxony, 15è
(architects Didier Maufras and Herve Delatouche, 1982)

Pour to give " the aspect intimates of a private mansion ", the architect gathered the stages of bottom and top by two, in order to " return to the image of the noble stages to great height under ceiling of the classical architecture ". The rigorous frontage is a play on the square: made of a double square, it is bored of 5 square openings, in particular the large loggia with balcony, is covered with square tiling. The back is less rigorous: balconies rounded, terraces in withdrawal at the top, rolls staircase
(To follow on the right the street of Sevres, the Pasteur boulevard on the left and the street of Vaugirard on the left...)

(One can start of the Pasteur subway...)

1 Garage, 165 street of Vaugirard (architect A. Galey, 1928) (opposite) (Opposite...)

Extension of the Necker hospital, 156 street of Vaugirard (architect A. Wogensky, 1968)

SAMU, 144 street of Vaugirard (architect ACAUR, 1986)

(Right in front of the Falguière subway...)
2 Residences, 131 street of Vaugirard, 15è
(architect Leon-Joseph Madeline, 1936)

L' architect established the plans of a garden city whose construction was stopped by the war, and was completed only recently. The monumental input in arcades is underlined by the dark brown sandstone. The frontage is in sandstone squares, new " car-washable " material which made it possible to the " intermediate"architect to avoid the freestone too passeist like the too modern concrete.

3 Old seat of the newspaper the World, sits of the IAURIF, 13-15 street Falguière, 15è
(Pierre architects of Besset and Domenica Lyon, 1990)

Choisis by the drafting, the architects sought to express the character of a newspaper " more concerned about contents than of form ". Thus, the curved frontage, " binding the foot of the building to its crowning in only one movement, gives to the unit a stature ". The smooth glass plates express " modernity without anecdotes ". The large hall is organized around a counter undulated in tole automobile. For freedom of movement of the ideas and people, the offices of the 5 floors have glazed partitions and give on a well of light consisted the slope of the old garage which was there before. The World (www) moved street Claude Bernard in the 5è while came to settle the IAURIF (www).
(There is another sight on the building since the street Bourdelle, opposite...)

4 Bourdelle Museum, 18 street Antoine Bourdelle, 15è
(Montparnasse-Bienvenüe subway) (tel. 01 45 48 67 27, open 10.00-17.15 except Monday)
(architect Christian de Portzamparc, 1992)
LE sculptor Antoine Bourdelle, raises of Rodin, lived here of 1885 with its death in 1929. The project of museum leads only in 1949 following the legacy of Mrs Bourdelle to the Town of Paris. The museum organized around the workshop presents the work of the sculptor, from the drafts the completed statues, of plaster or bronze. The museum was increased recently by Christian de Portzamparc. It wanted an extension " primary essential, without apparent details ", made of canopies, of walls gray-greens or gray-white. The new wing shelters &# &# &# &# &# &# &# &# &# &#œthe monumental uvres.

Museum of Montparnasse, 21 avenue of Maine, 15è
(Montparnasse-Bienvenüe subway) (tel. 01 42 22 91 96, open 13.00-19.00 except Monday and Tuesday)
Lhas Cité Arts reappears with the site of the workshop of Marie Vassilieff, where it created the Canteen of the artists, go painters and sculptors of 1915 to 1918. The museum evokes the great artistic time of the district of Montparnasse.

5 Montparnasse Turn, place Raoul Dautry, 15è (www)
(tel. 01 45 38 52 56, open 9.30-22.30 in winter -1^er October to March 31, 23.30 in summer)
(architects Eugene Beaudoin, Urbain Cassan, Louis Hoym de Marien, Jean Saubot, 1973)
Conçue in 1958, the tower was completed only in 1973. It caused a strong aesthetic and political polemic indeed, contrary to the three building-bars which enclose the railways. For the first time, the developers were ready " to break " the homogeneous height of the roofs of Paris while making emerge an intramural skyscraper, with 210 meters top. With the scale of the district, the tower was designed to conclude the prospect for the street from Rennes without the butcher, thanks to his slightly excentric position.
However, the advantage of the turns is that they offer a beautiful panorama on the city...

The Mount Parnassus
IL was called thus by the students of the Latin Quarter at the beginning of the 17è S because of a formed artificial hill of rubble, where the meadows, grounds of adventures in love, were compared to the field of Apollo. In the south of the wall of the farmers general (today boulevard of Montparnasse) opened many cabarets because the wine and alcohol escaped the taxes fromthe granting.

Structure " Art nouveau " and " Art déco " around Montparnasse (side 6è district, between the subway stations Vavin and Denfert-Rochereau)

Less rich than the 16è district, the district of Montparnasse offers néamoins to the walker several frontages of inspiration Art nouveau of the beginning of the century. More frequent are the buildings " of workshops of artist " of the years 1930 influenced byArt déco. The enlightened middle-class of the inter-war period appreciated the concept of workshop (one would say " loft today ") who at the same time allowed to seek the maximum of light and to play with volumes in height.

Modern offices, 128-130 Raspail boulevard, 6è
(architect Michel Herbert, 1980)
L' architect wanted to build a " strong point which hangs the eye " on this " boulevard without surprised where the glance slips ". The shape in accordion makes it possible " to correct the disgracieux effect of the obtuse angle formed by the Raspail boulevard and the street Vavin, and it makes it possible to bring the maximum of light ". To counterbalance the massive aspect, the frontages are " in reflective ices, constantly animated " by the movements of the district and the sky.

16 Residences, 26 street Vavin, 6è
(Wild Henri architect, 1912)

Sur the first 3 levels, the architect respected alignment with the other buildings of the street. With the top, the last stages are in withdrawal. This pyramidal form met a need of public health, as one can also see it inthe other building of Savage located in the 18è district. The steps were to allow the air and the sun to penetrate in the residences. Flowers and plants could push on the large terraces. This shape of building and its white ceramics coating were spread thereafter in the years 1920 and the years 1930. Always according to ideas' "hygienists" of the time, ceramics made it possible to wash the frontages with large water. The use of ceramics was to also protect the concrete, material new which one did not know resistance to the ageing.

17 Residences, 96 street Our-Lady-of-Fields, 6è
(architect Leon-Joseph Madeline, 1939)

L' real is representative of the intermediate architecture of the inter-war period. It is halfway between classicisme (the frontage of the data base Montparnasse, the worked brick) and modernism: concrete framework, daring volumes of the frontage Our-Lady-of-Fields where the curved court is not in heart of building, but opens on the street to obtain a maximum sunning. The verticality of the building is accentuated by the high stair-well of service in paving stones of glass, the rotunda and the chimneys increased voluntarily

18 Residences, 146 boulevard of Montparnasse
(architect Bruno Elkouken, 1934)

Immeuble white formed of long horizontal bays, an angle rounded, the last two stages in terrace and counter-curves to then remain faithful to esthetics " steamer " sails about it (opposite)

Residences and offices, 3 street Countryside-First and 8 street Boissonnade
(Gilles architects Stop, Didier Morax and Francis Leroy, 1975)
L' real " exploits the lisse/rugueux oppositions " of the rough materials which make it up. Thus, the concrete is "rough of dismantling in the parts protected from water, and grooved in the exposed parts, to channel the streaming and to avoid castings noirâtres ". The same opposition is found between smooth aluminium joineries and the flowers stand in birch, " whose heat is opposed to the cold concrete ". The building respects the new alignment of the street only for the ground floor and the stages higher, while the first two stages are in corbelling

The porch of the n 9 of the street Countryside-First opens on a small court ofworkshops of artists as there was much in Montparnasse: workshops characterized by their large canopies, built here with materials of recovery of the World Fair of 1900 (Rilke, of Chirico)
With the n 11 is completed film "A boils of breath".
With the n 8 (a) one find paved disjoined and shaded court.
With the n17 was the workshop of the photographer Eugene Atget (www).
(A left...)
Passage of Hell : formed working city of austere housing-workshops and a street paved without cars

(Then to reconsider the line...)
Residences, 31 street Countryside-First
(architect Andre Arfvidson, 1912)

Construit in 1912, it is a building of transition. Indeed, there is mixture between decorations Art nouveau (sandstone ochres garlands and beiges on the frontage) and volumes of

(...)

Between the gate of Chatillon and the gate of Orleans

Flea market of the gate of Vanves, which occurred George Lafenestre
(subway Carries of Vanves) (open Saturday Sunday all the day)

Withclose 1860, the principal flea markets are arranged beyond the fortifications : the taxes are less there and, in any case, of new regulations push back the markets far from the center following the epidemic of cholera of 1832. Created in 1920, the market of the gate of Vanves was moved twice: initially because of the construction of the brick buildings of habitat at a cheap rate (HBM) then during installation of the peripheral (1965). Secondhand clotehes shop and small objects of decoration are found there.

(In construction) national Institute of judo, avenue of the Gate of Châtillon
(Architecture Studio, Mr. Robain, J.f. Galmiche, R. Tissard, J.f. Good, 1998)
EN continuity with the other sporting installations of the " green belt ", the large green oxidized copper segment of a sphere will constitute a " strong and soft place ". Along the cemetery of Montrouge, a long transparent building will contain the offices of the federation of judo. But " the city is stronger than the building " and the cap like " is skinned by the peripheral ", revealing its concrete frontage. This frontage is protected from the sound and visual harmful effects by a screen in steel mesh intended for sse to cover vegetation.

25- Unit HBM of 732 residences, 1 street Gustave the Good and the whole of the ilôt
(Agency of architecture of the office ofHBM of Paris, architect as a head Mr. Maline, 1935)
Withclose certain large whole-barracks with the dull frontages of immediate the after-First-war, this unit shows a requirement for increased quality, in link with the widening of the customers of the HBM of Paris to the middle class. The corner of the street is drawn like a true abstract composition: refusal of symmetry, brick and white cement underlining the sets of volumes, bow-windows and workshop of artist. This quality of construction, which expresses a fragile balance between the know-how of old and the ideas of the modern movement, did not last after 1945, when the social housing became synonymous with turns and uniform bars.

Many two-tone brick HBM were built in the years 1930 Brune boulevard, in particular in the east of the gate of Orleans, the site of the old fortifications

Around the international City and Montsouris park

International city, Jourdan boulevard
(the university Quoted RER) (organized visits: 01 45 89 68 52)
WithU shortly after the First World War, the founders of the city (Andre Honnorat, Paul Apell and the industrialist Deutsch patron of Meurthe) wanted to create a place of mixing between students of the whole world, which would also contribute to the international radiation of Paris. On free grounds left by the destruction of the fortifications, the architect Lucien Bechmann composed in 1923 a garden city around a large park. The other countries started to finance their houses as from 1926. Last constructions date from the years 1960. Today, the city accomodates 5500 students of more than 120 nationalities (1/3 of French, 1/4 of Europeans), mixed in the 40 houses, of which many were built in a specific style to their country.
(One can enter by the first input on the right while arriving of the gate of Orleans, then to continue through the park. There is a plan at each entry...)

(Bordering the street Faguet, all in the west...)
26- the Dutch house, 63 data bases Jourdan
(architect Wilhelm-Marinus Dudok, 1928)

Dyears the years 1920, the architects of the modern movement take as a starting point the the industrial architecture and the work of the engineers, whose motivations are purely functional, nondecorative. But if the Dutch house resembles the grain silo of Buenos Aires, it was the subject of a subtle plastic search, thanks to the play of the horizontal lines, sliced by vertical volumes. The compact massivity of the white walls is underlined by the fine dark tapes of the windows, equipped with small typical squares of the Dutch houses (opposite)

(At the bottom of the park...)
27- the foundation Avicenne (ex-house of Iran), 27 data bases Jourdan
(architects Claude Parent, Mossem Foroughi and Hedar Ghial, 1968)
BIEN visible since the peripheral, it is a suspended building with three large steel gantries, which are opposed to the staircase in double reversed spiral which " instigates construction ". The great height is explained by the harmful effects of the peripheral. Indeed, to open rooms on the peripheral side having been impossible, the building is caught up with in height.

(A " left " of the large principal building...)
28- the Swiss house, 7 data bases Jourdan
(architect Corbusier, 1932)

Construit in 1932, the Swiss house constitutes first the 20 years stage of search which will lead Corbusier to its " machine to be inhabited " collective. Contrary to the traditional buildings built along a street, it is one limps closed insulated on its green ground. Corbusier applies its 5 fundamental points to it: piles which release the ground for circulation and the vegetation, frontage in " curtain ", floors allowing to pose the partitions where one wants, windows in length and roof-terrace. With the back, the staircase occupies an autonomous volume in soft curve. It is opposed to the orthogonality of the building, contrasts that one finds in a number of buildings of the modernistic architect