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18 rue du General Beuret (15th arrondissement)


It is probably not easy to get a place in the arts, to have a patronymic rather mundane. The name of Eugene Petit - unlike Theo Petit, met several times already here, whose work is much more identifiable by a name evidently rare - seems, indeed, have been worn by at least three architects to era of Art Nouveau. This does not ease the identification of the work of the man who built the building in the very rue du General discrete Beuret. At least can we know he was controlled by Mr. Hirsch, who made publishing the permit application July 6, 1911. The architect then living at 101 rue d'Alesia.

Thanks to the publication of plans in "The Modern Construction", shortly before the declaration of war, this building caught my attention, both because of the general structure of the building of an Art Nouveau and unbridled visibly demonstrative, that by the very unusual shape of his front door: indeed, it is, on a drawing, under the guise ... a perfect circle! How could this door it opened easily and allow easy access in the lobby of the building? That immediately aroused my imagination.
Among other interesting details that foreshadowed the rise comic, decorative arches are noticed, quite similar to those employed by Lavirotte in its beautiful buildings from the early 1900s, and a carved animal - cat or owl - between Twin two bay windows that adorn the center of a very symmetrical composition, only broken by the presence of a pretty storefront shop.

Curiosity led me naturally to want to know a little more. But that building was there forever? And in what state? I must confess here a certain anxiety that assails the irreparable quite regularly from the time I discovered traces of an interesting building - but on which literature is not very talkative - and when, there, I discovers he has never been built or has disappeared, it is denatured or just disappointing. Fortunately, sometimes the wait is positively rewarded. It's almost the case for building before us today.

For the gate is, in fact, and it is circular. Except it does not open completely: the shift is by two rectangular wings, which are only part of the circle. The mystery finally was fairly simple but the reality seems almost too banal. If the work of wrought iron is quite remarkable, and quite close to the original drawing, part sculpture, which is responsible for framing it appears much simpler and disappointing, reduced to the windings and a simple simulation of fish scales. But the illusion remains despite everything, still original.
The bow-windows, surrounded by heavily large balconies, are not salient if they promised to be, and animal, familiar or more worryingly, does not occupy the place reserved for him. But the work of sculpture, rather naive in its exaggerated proportions, like a sort of rustic little town: the decor leaves alternate thistles and sunflowers, plants fairly commonplace for the time, but rarely appear on the same facade. In places, especially in the second-floor balcony, ornamentation comes down to curious patterns, stylized to the extreme and reduced to simple incised friezes, odd windings plant where we could recognize the vague evocation of human faces.

Apparently, the upper part of the building has been greatly simplified compared to the initial project, since one sees not merely decorative arches that were provided, nor the strange round window was crowned at its center, the entire composition. As for the shop, if it existed, it is now only structure quite commonplace perfectly forgettable.

While the building does not appear today with all the promise hinted that his drawing. A visible because of reasons of economy, its structure and decor have been simplified to make it almost trivial yet interesting effect of the circular door. Ultimately, Eugene Little appears to be an interesting architect, but the reality of his works seems to be not exactly in tune with his imagination. Through his address, unchanged during this long period, it is possible to find, in 1902, as the author of another building, located at the corner of 16 rue des Plantes and Rue de la Sabliere. The front door shows a scene just as naive and stylized, curious but strangely a private firm that could have ensured its author a higher profile.