few months ago, a reader of this blog informed me of the existence of a rather curious Paul Auscher building on Avenue de Suffren. It may be remembered: Auscher is the author of the strange and almost "trickling" building at 140 Rue de Rennes, which figures prominently among the most emblematic works of the "noodle" in Paris.
Chance introduced me to my turn the building in question. And, in retrospect, I remembered the information given to me, perfectly stored in a corner of my memory, but unfortunately not followed by an immediate effect. Amazing
Paul Auscher! By dint of its achievements discover Paris through my walks, I realize that it leaves you unmoved, both in its Art Nouveau period in his later work. Capable of inspiration overwhelming, bordering on bad taste, but ultimately pretty marginal, in fact it is characterized by an elegant simplicity and sophistication, a sign that his forays into the Modern Free Style were the result of very specific commands.
122b The Suffren was asked by a number of Cohen, whose application for a permit was issued August 5, 1912. Auscher already lived then at 5, rue de Talleyrand, in Hotel already very surprising - its austere simplicity and almost aggressive - he had built in 1910 and that dared to present elsewhere in vain to contest next year's facades. Here, after a series of very simple structures, where the rigorous structure avoids any recourse to any decor, the architect begins to play again in the ornament. But we see nothing comparable to the bake rue de Rennes, since the reasons are very simple incision, leaving the curious choice to notice or to pass without even paying attention.
How can we describe these ornaments mostly geometric, sometimes extended by highly stylized floral motifs, frieze of small bouquets to mark an edge or clusters of aquatic plants, mostly visible in the various balconies? Their style ranges from a Japanese strangely tinted with a character "Aztec" difficult to define precisely. And their technique of sgraffito Belgian closer willingly if there was not a deliberate absence of color adopted by the party singled Auscher, the reasons are hardly highlighted by a muted gray. They are, in any case, the only concession, almost perverse in their stylistic ambiguity, the world of Art Nouveau, the building itself is already owned entirely to the world of Art Deco. We want to show the highly angular architectural forms, where the balconies are placed as a sort of cantilevered prisms, the angle, or developed as open wings on the little Mario-Nikis Street, giving the side elevation genuine originality, a beautiful harmony.
The main facade, meanwhile, is more austere, both volumes less complicated and more massive than a setting less abundant. But it should be noted at the attic, and in general, the surprising multiplications windows outgrowth and orientation apparently disordered.
The building is unfortunately not in a wonderful state: the rosettes that decorate the underside of the top floor balcony are partially erased, a phenomenon that will only increase if not stopped quickly. But for this, perhaps he should go to the Auscher certainly rightful place in the world of Parisian architecture, and not just one building in the Rue de Rennes ... Because it ultimately remains very marginal and much uncharacteristic of his true style.
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