LAVIROTTE, Jules Aimé - b. 1864 Lyon, d. 1924 Paris - WGA

LAVIROTTE, Jules Aimé

(b. 1864 Lyon, d. 1924 Paris)

French architect. He was initially a pupil of Antoine Georges Louvier (1818-1892) at the Ecole des Beaux-Arts, Lyon, and then of Paul Blondel (1847-1897) at the Ecole des Beaux-Arts, Paris. He soon showed a taste for the profusion of ornament that was widespread in French architecture at the time. Lavirotte’s first block of flats, built in 1898 at 151, Rue de Grenelle, Paris, is comparatively restrained, with a façade in the Louis XV style facing the street and another façade, in pleasantly coloured enamelled brick, overlooking the courtyard. However, with the advent of ceramic exteriors, thought to be required to protect reinforced concrete buildings, he found a suitable medium for exuberant ornamentation. It is the case with his best-known work, the block of flats (1901) at 29, Avenue Rapp, Paris, commissioned by the potter Alexandre Bigot (1862-1927). Bigot probably wanted a façade that would give him publicity: the ornamental debauch conceived by Lavirotte proved effective since Bigot subsequently executed most of his Parisian façades in glazed stoneware.

Lavirotte created strange forms, with frequent and obvious erotic overtones and sometimes violent colours.

Entrance
Entrance by

Entrance

The fa�ade of the building has a sculpted, animal and vegetal decoration, containing sexual symbolism evident even in the entrance. The phallus on the door panelling and the vaginal surround obviously represent a sexual act - a vision that is repeated several times in the building.

Exterior view
Exterior view by

Exterior view

This Art Nouveau style building, located at 29, avenue Rapp in Paris, was designed in 1900-1901 by architect Jules Lavirotte. The fa�ade is covered with ceramics by the owner of the building, Alexandre Bigot (1862-1927), who worked with most of the great architects of the Art Nouveau style.

The building is considered Lavirotte’s masterpiece, its fa�ade was awarded first prize in the competition of fa�ades of Paris in 1901. The jury was impressed by the masterly application of ceramic tiles both on the fa�ade and inside. But the real appeal of this architecture lies in the manifestation of omnipresent sexual imagery.

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