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By Victoria Charles, Klaus H. Carl

Paintings Deco type was once demonstrated at the ashes of a disappeared global, the only from ahead of the 1st global battle, and at the origin stone of an international but to turn into, opened to the main undisclosed can provide. Forgetting herself within the whirl of Jazz Age and the euphoria of the “Années Folles”, the Garçonne together with her linear form displays the architectural type of paintings Deco: to the rounded curves be successful the easy and simple androgynous instantly line... structure, portray, furnishings and sculpture, dissected via the writer, proclaim the druthers for sharp traces and damaged angles. even if ephemeral, this circulate retains on influencing modern layout.

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In composing the pavilion of Roubaix and Tourcoing, De Feure remembered the brick frontages and tiered gables of the North of France. The pavilion-smallholding of Berry-Nivernais by Gauchery and Dreyer, the “Clos Normand”, or enclosed flower garden, by Victorien Lelong and Pierre Chirol, and the pavilion of Franche-Comté by Boutterin all showcased beautiful framework. The traditional farmhouse of Provence by Dallest, Castel, and Tournon, and the delightful pavilion of the Alpes-Maritimes of Charles and Marcel Dalmas could, on rare occasion, give the illusion of this privileged land where the rough-cast ochre or pink walls, the Genoese roof cornices, and the terraces with tiled balustrades form, along with large flowered earthenware jars, the most pleasant decoration.

The obligation to fit a public passage under the country house that he had designed, had given him the idea of building external staircases reminiscent of those we sometimes see in his homeland. But he had given up on the projecting storey and on gables protected by flat, tiled canopies, as they seemed a little misplaced in Paris. At the other end of the Village, high slate roofs, white rendering, paved granite kerbs: it was the massive House of Brittany, somewhat modernised, built by Vaugeois.

The rest-stop pavilion, where a pleasant restaurant fits naturally into its space, was halfway between the old inns without comfort, though amusing for the eye of the painter, and the “dwelling machine” of Le Corbusier. The use of reinforced concrete did not banish any of its picturesque nature, but it was only due to its projections, justified by their utility. The welcoming rest-stop, with its supply of gasoline and oil, bar, restaurant, and berths that the tourist, due to bad weather conditions or mechanical failure, Jaap Gidding, The Tuschinski Cinema, foyer, 1918-1921.

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