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The ThĂ©Ăątre des Champs-ĂlysĂ©es, an armed-concrete robbery by Auguste Perret
Built in 1913, the ThĂ©Ăątre des Champs-ĂlysĂ©es in Paris is not located on the famous avenue from which it takes its name.Its Jewish patron, Gabriel Astruc, was forced to move his âphilharmonic palaceââoriginally planned near the Champs-ĂlysĂ©es roundaboutâseveral hundred meters down Avenue Montaigne due to local protests tinged with anti-Semitism. The project, originally conceived by twoâŠ
Le ThĂ©Ăątre des Champs-ElysĂ©es, un vol Ă bĂ©ton armĂ© dâAuguste Perret
Construit en 1913, le thĂ©Ăątre parisien des Champs-ElysĂ©es nâest pas situĂ© sur la fameuse avenue dont il porte le nom.Son commanditaire dâorigine juive, Gabriel Astruc, a Ă©tĂ© contraint dâĂ©loigner son « palais philharmonique » â prĂ©vu initialement prĂšs du rond-point des Champs-ĂlysĂ©es â de plusieurs centaines de mĂštres sur lâavenue Montaigne, en raison de contestations locales mĂątinĂ©es de quelquesâŠ
Une promenade architecturale intérieure au couvent de la Tourette
AprĂšs la maison La Roche, la Villa Savoye et la Villa Stein-de Monzie, on peut considĂ©rer que le Couvent Sainte-Marie de la Tourette est la quatriĂšme Ćuvre de Le Corbusier qui consacre son concept de promenade architecturale intĂ©rieure. Bien que la rampe dâaccĂšs monumentale, initialement prĂ©vue par Le Corbusier pour relier le sol au sommet du bĂątiment, ait Ă©tĂ© rapidement abandonnĂ©e, elle a Ă©tĂ©âŠ
In the skin of the Simone Veil School in Villeurbanne
Designed in 2023 by the architectural firm Rougerie+Tangram in collaboration with architect Amelia Tavella and artist Pauline Guerrier, the Simone Veil school in Villeurbanne, France, is unique in that it incorporates a genuine work of art into its exterior walls, lending great originality to its red brick facades. The lifeline of an organic architecture The Simone Veil School at sunsetâŠ
Dans la peau de lâĂ©cole Simone Veil Ă Villeurbanne
RĂ©alisĂ©e en 2023 par le cabinet dâarchitecture Rougerie+Tangram en collaboration avec lâarchitecte Amelia Tavella et lâartiste Pauline Guerrier, lâĂ©cole Simone Veil Ă la particularitĂ© dâintĂ©grer une vĂ©ritable Ćuvre dâart dans ses murs extĂ©rieurs, qui apporte une grande originalitĂ© Ă ses facades en briques rouges. La ligne de vie dâune architecture organique LâĂ©cole Simone Veil au soleilâŠ
The Pompidou Center has nothing left to hide
At the end of 2025, at almost 50 years old, the Georges Pompidou National Center for Art and Culture temporarily closed its doors to undergo its first major renovation since opening: an open-heart operation accompanied by a facelift, scheduled to last until 2030. A disruptive UFO of modern architecture, Beaubourg (as it is known to its friends) is nevertheless far from being constructed like aâŠ
Le Centre Pompidou, de passages, en soins intensifs
Fin 2025, Ă presque 50 ans, le Centre national dâart et de culture Georges-Pompidou a fermĂ© temporairement ses portes pour subir sa premiĂšre rĂ©novation majeure depuis son ouverture : une opĂ©ration Ă cĆur ouvert assortie dâun lifting, prĂ©vue jusquâen 2030. Ovni disruptif de lâarchitecture moderne, Beaubourg (pour les intimes) est pourtant loin dâĂȘtre constituĂ© comme un ĂȘtre humain, ou mĂȘme unâŠ
Palais d'léna, the majestic concrete of Auguste Perret
Todayâs Palais dâIĂ©na, home to the CESE (French Economic, Social and Environmental Council), is a collection of buildings erected between 1937 and 1995 in the 16th arrondissement of Paris. On a triangular plot of land, Auguste Perret designed a palace in exposed concrete with rounded ends, supported by over 100 columns intended to evoke the architecture of ancient Greece. Palace stories AInâŠ
Villa La Roche, Le Corbusier's first architectural promenade
In 1923, Le Corbusier and his cousin Pierre Jeanneret designed two semi-detached villas in the 16th arrondissement of Paris: the Maisons Roche and Jeanneret. The house, designed for Raoul La Roche, a wealthy art collector, was Le Corbusierâs first experiment with his concept of the âarchitectural promenadeâ inside a house, five years before he built his masterpiece, the Villa Savoye. For theseâŠ
Villa La Roche, premiĂšre promenade architecturale de Le Corbusier
En 1923, Le Corbusier et son cousin Pierre Jeanneret conçoivent deux villas mitoyennes dans le XVIe arrondissement de Paris : les Maisons Roche et Jeanneret. La maison crĂ©Ă©e pour Raoul La Roche, un riche collectionneur dâart, va permettre Ă Le Corbusier dâexpĂ©rimenter pour la premiĂšre fois son concept de « promenade architecturale » Ă lâintĂ©rieur dâune habitation, cinq annĂ©es avant celle de sonâŠ
The Eiffel Tower offered to tourists on the Paris tarmac
Almost a century and a half ago, a 300-metre-high metal tower rose from the ground for the 1889 Paris Worldâs Fair, celebrating the first centenary of the French Revolution. Designed and patented by steel bridge engineer Gustave Eiffel, its structure and pointed, arched form were actually imagined by two of his assistants, Ămile Nouguier and Maurice Koechlin. Controversial at the time of itsâŠ
La Tour Eiffel offerte aux quidams du macadam de Paname
Il y a prĂšs dâun siĂšcle et demi, une tour mĂ©tallique de 300 mĂštres de haut sortait de terre Ă lâoccasion de lâexposition universelle de 1889 Ă Paris, cĂ©lĂ©brant le premier centenaire de la rĂ©volution française. Ćuvre signĂ©e et brevetĂ©e par lâingĂ©nieur Gustave Eiffel, spĂ©cialiste en ponts mĂ©talliques, sa structure et sa forme pointue aux arĂȘtes arquĂ©es avait Ă©tĂ© imaginĂ©e en rĂ©alitĂ© par deux de sesâŠ
Unesco House in Paris, a point of convergence
The first 3 buildings of the Unesco headquarters in Paris were designed and built in the 1950s by a trio of architects, Marcel Breuer, Bernhard Zehrfuss et Luigi Nervi, under the supervision of an international committee of five illustrious colleagues, including Le Corbusier, Lucio Costa (Brasilia) and Walter Gropius (founder of the Bauhaus).. This assembly of 8 renowned architects made itâŠ
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La maison de lâUnesco Ă Paris, point de convergences
Les premiers bĂątiments du siĂšge de lâUnesco Ă Paris ont Ă©tĂ© conçus et construits dans les annĂ©es 1950 par un trio dâarchitectes, Marcel Breuer, Bernhard Zehrfuss et Luigi Nervi, chapeautĂ© par un comitĂ© international, composĂ© de cinq illustres confrĂšres, dont Le Corbusier, Lucio Costa (Brasilia) et Walter Gropius (fondateur du Bauhaus). Cet assemblage de 8 architectes rĂ©putĂ©s, a permis dâimposerâŠ
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The Maison de la Culture in Firminy, a Le Corbusier landmark
Le Corbusierâs cultural building projects its trapezoidal shape into the air like a sculpture, set firmly on a stone base. Its sloping walls, curved roof and composition of windows and colored panels make the building unique, representing Le Corbusierâs final contribution to twentieth-century Brutalist architecture, as it was the last building of which the architect saw the shell completedâŠ
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La maison de la culture de Firminy, estampillée Le Corbusier
La construction de Le Corbusier, entiĂšrement dĂ©diĂ© Ă la culture, projette sa forme trapĂ©zoĂŻdale dans les airs comme une sculpture, campĂ©e solidement sur un socle en pierre. Ses murs inclinĂ©s, sa toiture courbĂ©e et la composition de fenĂȘtres et de panneaux colorĂ©s rendent le bĂątiment unique, constituant une ultime contribution de Le Corbusier Ă lâarchitecture brutaliste du XXe siĂšcle, puisquâilâŠ
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The Firminy workers' Unité d'habitation
The Firminy-Vert UnitĂ© dâhabitation completes the series of 5 housing units designed by Le Corbusier, 4 of which were built in France and one in Germany. Close in external size to the reference CitĂ© Radieuse UnitĂ© dâhabitation in Marseille, the Firminy project was designed for a workersâ housing estate, with 1/3 more apartments. Although Corbusier was present at the laying of the foundationâŠ
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