Théatre des Champs-Elysées Flashcards
who was the architect
auguste and gustave perret
when was it built
1911-13
who were the bas reliefs by
Antoine Bourdelle
auguste perret surface context
-pioneer of the architectural use of reinforced concrete
-28 when he completed his first major building: apartments in paris at 25 bis Rue Franklin
-most significant buildinge he constructed were between 1902 and 1920, but he died at the height of modernism
-le corbusier practiced under perret until 1908
who practiced under perret and when
-Le Corbusier, practiced under perret until 1908
what was perrets first important architectural work
apartments in paris at 25 bis Rue Franklin
what was perrets training
-recieved early education in architecture at the family firm
-accepted into an architecture course at Ècole des Beaux Arts in Paris (that was conservative at the time and focused on conventions of classical revival in architecture during this period)
-studied under Julien Gaurdet (a beaux arts neoclassicist who had collaborated with Charles Cartier on the costruction of the Paris opera)
-left school without gaining a diploma despite being a good student and went to work for the family firm
who was Gaudet and what did Perret learn from him
-Perret sudied under Julien Gaurdet
-Gaurdet had collaborated with Charles Garnier on the construction of the paris opera
-from Gaudet, Perret learnt the structure of building and the use of new materials like concrete under Gaudet (alongside neoclassical rationalism) - all things of which are seen in this theatre
what were the impacts of perrets early experiences/ training upon his work
from formal architectural training and leaving training early to work with his father and brother in his families concrete construction business he learnt…
1.) favoured classical proportions and symmetry (influence of Gaudet and Ecole des beaux arts)
2.) had a functional approach to design and construction in reinforced concrete (influence of Gaudet)
what were the general stylistic features associated with perret
-his buildings feature large areas of glazing on the non-weght bearing walls
-pioneer of architecturally expressed reinforced concrete
-use of the ‘stripped classical’: symmetrical, balanced and harmonious proportions like classical buildings (often abstract references to columns and cornices)
-rational functionalism: concrete left raw (sometimes with coloured/patterned elements
-followed modern functional considerations over aesthetic ones ‘form follows function’
what is the ‘stripped classical’ and how did he use it in this theatre
-use of the ‘stripped classical’: symmetrical, balanced and harmonious proportions like classical buildings (often abstract references to columns and cornices)
-seen in the frieze, pilasters, slight overhang recalling cornice, rationality
-prioritised ‘effortlessness’, a feature of classical architecture
critical quote on functional considerations over aesthetic ones
‘form ever follows function’- Louis Sullivan 1896
how is the exterior organised
-composed of 3 main parts, the central body is flanked by two monumental peons
-ordered system of proportions
-subsidary wing to the left consists of two bays and links to terrace of existing buildings
-subsidary wing to the right is on the corner of the street and curves around (creating a welcoming effect to visitors)
-its bays echo those on the main body of the facade, creating order and continuity
subsidary wing to the left
-subsidary wing to the left consists of two bays and links to terrace of existing buildings
subsidary wing to the right
-subsidary wing to the right is on the corner of the street and curves around (creating a welcoming effect to visitors)
-its bays echo those on the main body of the facade, creating order and continuity
ornamentation of the facade
-stripped back classicism on the facade: seen through classical elements like pilasters, and the overhang recalling a cornice but simplified
-opulence of the interior is not represented by the facade, which is more classical
-minimal ornamentation: aside from frieze, the only embellishment on the facade are inscriptions and window frames marked out in bronze
-grey stone sheaths the reinforced concrete structure
-rectilinear forms give austerity, which was rare for this period
-projecting roof off entrance recalls classical cornice (creates and inviting human scale entrance
-multiple doors across facade (and another 3 sets of doors on rounded corner) allow for fluid movement
effect of inscriptions and window frames marked out in bronze
emphasises rectilinear forms of the exterior more
how does the exterior allow for fluid movemengt of audiences
-multiple doors across facade (and another 3 sets of doors on rounded corner) allow for fluid movement
-subsidary wing to the right is on the corner of the street and curves around (creating a welcoming effect to visitors)
how did one critic describe the interior
one critic described the theatres’s interior as ‘unneccessarily brutal’
features of the interior and main auditorium- STRUCTURAL
-reinforced concrete arch suspended from the main ceiling of the auditorium was barely visable from the ground
-wanted to inetgrate structural techniques, not emphasise them
MAIN AUDITOTIUM:
-main circular auditorium is suspended in a perimeter of 8 colums and 4 bowstring arches (creates a continuous monolitic frame that rises from the rafts)
-concrete used to minimise interruptions of view on main stage
-matrix of the skeleton was strengthened by the application of cantilevers and trussed girders
-2 70ft arches spanned to main auditorium and suspended a rehersal room above the interior dome
features of the interior- ORNAMENTATION
-Plain walls of the peristyle
-coffered ceiling only expresses their structural function (minimal ornamentation)
-foyers are barren of colour with no sculptural decoration (there are only discrete accents of regular frames)
-perret concealed all light sources
-the only painting in the theatre is in the dome, the mural paintings in the dome were by Maurice Dennis (it was associatied with the Nabis and symbolist movements)
-prioritised ‘effortlessness’, a feature of classical architecture
-handrails, light fittings and furnishings designed by perret himself- showing applied arts were an integral part of the design
-stylised palm motif (repeated on handrails and carpet) shows ‘exoticism’ of the art noveu style
-overall richness and restrained elegance
perret critic quote on unity of applied arts and architecture
-perret: ‘sculpture and architecture must live in perfect harmony
effect of the coffered ceiling
-coffered ceiling only expresses their structural function (minimal ornamentation)
what were the interiors foyers like
-foyers are barren of colour with no sculptural decoration (there are only discrete accents of regular frames)
