DOI Heft:
No. 391 (October 1925)
DOI Artikel:Mourey, Gabriel: The Paris International Exhibition, 1925, [4]: Regional art
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.21403#0245
BERNARD EYRE WALKER—REGIONAL ART AT PARIS
THE PARIS INTERNATIONAL
EXHIBITION, 1925. FOURTH
ARTICLE: REGIONAL ART. BY
GABRIEL MOUREY. a a a
AVERY interesting observation to be
made at the Exhibition is the manner
in which two outstanding theories of
architecture are contrasted with one
another. The one is reaching out after an
international style, while the other seeks
to emphasise the traditional national and
regional elements, modernising them and
adapting them to present-day conditions
and new materials. In a previous article
I have already instanced the excellent
Polish and Swedish pavilions as particu-
larly successful examples of national archi-
tecture, a 0 a 0 a
The Greek Pavilion is no less remarkable
from this point of view, even though the
feeling for modernism which has inspired
MM. Czajkowski and Bergsten seems a
great deal stronger than that manifested
by M. Skyrianos, the architect of the
Greek Peasant Dwelling on the Cours la
Reine. The last-mentioned seems to have
" RIVER TORRIDGE, THUNDERY
WEATHER." AQUATINT BY BER-
NARD EYRE WALKER, A.R.E.
confined himself to collecting in his com-
position the most characteristic details of
Greek peasant architecture. He has un-
doubtedly displayed a sure taste in carrying
this out, and it is most instructive to trace
the relationship which exists between the
general lines of the Greek Pavilion and
those of Provence and the Alpes Maritimes.
There is the same simplicity, the same care-
ful taking into account of Mediterranean
climatic factors and local customs ; with
this difference, that in the Provencal
Pavilion (which, be it said in passing, is
one of the best in the exhibition), M. Paul
Tournon, the architect, has succeeded in
evolving from the traditional elements of
local architecture something much more
unforeseen and novel, both as to the ex-
terior and the interior. Examples of this
worthy of all praise, are the facades of the
" Mas Provencal," the covered gallery
which runs along this, the manner in which
the exterior form shows the interior
arrangement, the pitch of the roof and the
arrangement of the great hall and its
staircase. a 0 0 0 a
The Pavilion of the Alpes Maritimes is
239
THE PARIS INTERNATIONAL
EXHIBITION, 1925. FOURTH
ARTICLE: REGIONAL ART. BY
GABRIEL MOUREY. a a a
AVERY interesting observation to be
made at the Exhibition is the manner
in which two outstanding theories of
architecture are contrasted with one
another. The one is reaching out after an
international style, while the other seeks
to emphasise the traditional national and
regional elements, modernising them and
adapting them to present-day conditions
and new materials. In a previous article
I have already instanced the excellent
Polish and Swedish pavilions as particu-
larly successful examples of national archi-
tecture, a 0 a 0 a
The Greek Pavilion is no less remarkable
from this point of view, even though the
feeling for modernism which has inspired
MM. Czajkowski and Bergsten seems a
great deal stronger than that manifested
by M. Skyrianos, the architect of the
Greek Peasant Dwelling on the Cours la
Reine. The last-mentioned seems to have
" RIVER TORRIDGE, THUNDERY
WEATHER." AQUATINT BY BER-
NARD EYRE WALKER, A.R.E.
confined himself to collecting in his com-
position the most characteristic details of
Greek peasant architecture. He has un-
doubtedly displayed a sure taste in carrying
this out, and it is most instructive to trace
the relationship which exists between the
general lines of the Greek Pavilion and
those of Provence and the Alpes Maritimes.
There is the same simplicity, the same care-
ful taking into account of Mediterranean
climatic factors and local customs ; with
this difference, that in the Provencal
Pavilion (which, be it said in passing, is
one of the best in the exhibition), M. Paul
Tournon, the architect, has succeeded in
evolving from the traditional elements of
local architecture something much more
unforeseen and novel, both as to the ex-
terior and the interior. Examples of this
worthy of all praise, are the facades of the
" Mas Provencal," the covered gallery
which runs along this, the manner in which
the exterior form shows the interior
arrangement, the pitch of the roof and the
arrangement of the great hall and its
staircase. a 0 0 0 a
The Pavilion of the Alpes Maritimes is
239