Henry Scheid

Different works in Paris included an apartment building at 137 boulevard Raspail (1922), next to one in all his earlier buildings at 26 rue Vavin; Quantity four and 6, Avenue Sully-Prudhomme in the seventh arrondissement, a constructing crowned with sculptural decoration by François Pompon; and in 1924, the building at 14-16 boulevard Raspail, Paris in the seventh arrondissement; the building at 22-24 rue Beaujon, Paris within the 18th arrondissement; at 42 rue de la Pomp in the 16th arrondissement; and at 50 avenue Duquesne and 12 rue Éblé within the 7th arrondissement. These are found at 20 rue Severo within the 14th arrondissement, (1905). 1 rue de la Chine in the 20th arrondissement (1907), 1 rue Ferdinand-Flocon within the 18th arrondissement Paris (1912), and one within the port metropolis of Le Havre, at 26 rue Jean-Macé (1911). In all of those buildings he followed the principles of rational and hygienic design which had been expressed within the writings of Eugène Viollet-le-Duc.

He designed two film theaters in Paris; the Sèvres, at 80 rue de Sèvres in the seventh arrondissement, in-built 1920 and destroyed in 1975; and the Gambetta-Palace, at 6 rue Belgrand, in the twentieth arrondissement, inbuilt 1920. The artwork deco inside of this theater has been remade right into a cineplex, and the entrances have been modified, but the facade is in its original form. Nonetheless, he only applied the system in two buildings; at 26 rue Vavin within the sixth arrondissement, and in an apartment building at thirteen rue des Amiraux. From 1929 till 1931, he taught architecture at the École nationale supérieure des arts décoratifs. Hitchcock as one of many pioneers of modernist structure. He was also one in all the primary artists of his era to acknowledge the tip of the period of Artwork nouveau, which he abandoned in 1909. In 1913, Simply earlier than the primary World Conflict, Sauvage built a brand new construction for Louis Majorelle in what later became often known as Artwork déco, making him, together with Auguste Perret, one of the pioneers on this fashion. 342-348. F. Jourdain, "La villa Majorelle à Nancy", La Lorraine artiste, n°16, 15 août 1902, pp. L.-Ch. Boileau, « Causerie - La villa Majorelle », L’Architecture, n°40, 5 octobre 1901, p.

105-114. A. Goissaud, « Exposition des arts décoratifs », La Construction moderne, 3 May 1925, p. Sept étages pour déshonorer un site », Bulletin de l’art ancien et moderne, novembre 1932, p. J.-B. Minnaert, « Allégorie du système de construction en gradins », dans Alain Guiheux et Jean Dethier (dir.), La Ville, Artwork et Structure en Europe 1870-1993, catalogue d’exposition, Paris, Centre Georges Pompidou, 1994, p. M. Chrétien-Lalanne, « Promenade d’un sceptique à travers l’Exposition des arts décoratifs et industriels modernes », L’Architecture, 25 April 1925, p. Along with his works in Paris, in 1925, Sauvage built a villa for Jean Hallade at Combs-la-Ville, and, in 1926, two villas in a rationalist fashion, one for himself Saint-Martin-la-Garenne in the Yvelines Department, and a residence for Julien Reinach, at eleven villa Madrid in Neuilly-sur-Seine, within the Paris suburbs. In 1930, Sauvage turned engaged in his final massive project, the enlargement of the division retailer La Samaritaine, a city landmark in the center of the town subsequent to the Seine.

The facades of the brand new Samaritaine allowed Sauvage to practice on a monumental scale the strategies which he earlier had only been in a position to use on expensive smaller buildings for non-public shoppers; Vast walls of home windows, filled with mild, made the store a luminous landmark of the new type in the guts of historic Paris. In reconstructing and expanding the shop, Sauvage preserved lots of the artwork nouveau touches and decorations of the earlier constructing, while making a brand new Paris landmark of art deco design. From 1929 to 1932, he constructed a seven-story art deco apartment building called Vert-Galant at 42 quai des Orfèvres, next to the historic Place Dauphine and Palais de Justice, upsetting a robust reaction from historic preservationists. In 1911, Sauvage and Sarazin constructed a brand new apartment building in the 16th arrondissement which had a novel characteristic on its ground ground; an iron and glass buying gallery, the Cité d'Argentine, חופשת קזינו הכל כלול an up to date model of the Passages of the late 18th and early nineteenth century. He and Sarazin founded an organization, Société anonyme de logements hygiéniques à bon marché (The company for hygienic and low-price housing). L’œuvre de la Société Anonyme des Logements Hygiéniques à Bon Marché, Paris s.d.