Palais Garnier, (Paris, France); 1875, Industrialization and the City - Faheema Ismail

Built in 1875, the Palais Garnier became known for its beauty and named after the architect, Charles Garnier. It used to be called Salle De Capucines after its position on the boulevard of Capucines, and is also been known to be referred to as the Opera Garnier and the Opera de Paris until 1989. Now it is mainly used for ballet performances.  

Palais Garnier won the competition in 1860 for the new Paris Oprah House and once it was built, it quickly became known for its Baroque style in the late 19^th century. Due to its magnificence, Garnier was hailed for its excellent use of mass and void. Due his gained popularity Garnier was commissioned for other works shortly after such as the Casino of Monte Carlo (1878), several villas he built for his own in Bordighera (1872), and the Casino and baths at Vittel. These were a few amongst his many works and he had also worked on an observatory at Nice, and the Hotel du Cercle de la Librairie in Paris. In 1876-81 he also published a book containing descriptions and his defense of his work on the Paris Operah House, aptly titled Le Nouvel Operah de Paris.

            Garnier had constructed the opera house in a Napoleon III Style, and had borrowed from different styles like elements from the baroque, and renaissance. He had also combined modern day techniques and materials, like using iron framework. The Façade and interior followed the same style that made sure to leave no area without decoration. The interior is a myriad to different materials and colors including the use of gold gilding. The Façade uses seventeen different materials and makes use of elaborate friezes, columns, and paintings that depict Greek mythology.

The Palais Garnier is also home to a massive grand stair made of different colored marble. This Double staircase leads the foyers of the other floors of the opera house and at the bottom of the stairs are torch bearing statues there to greet visitors. The two stairs split off in the middle, both leading to the grand foyer. The design for the stair case was inspired by Victor Louis’ design in the Theatre do Bordeaux. It is the most significant part of the project in my eyes and is what many come to experience. Once one walks through the doors and into the stunning interior the stair guides all visitors through a similar experience essentially meshing their worlds together for that brief moment it time. Even looking at the materiality and smaller details you can see how this was meant to be seen as a center piece to the overall experience. Being made of a mix of marble, gold, onyx, and crimson highlights this grand stair is truly a work of art.

Tying it all together is a 6 ton chandelier designed by Garnier himself, and was placed hanging from the center of the dome within the theatre. This piece caused a lot of controversy considering its size and the fact that is obstructed the view of the stage from the upper balconies. Defending his design, Garnier replied with "What else could fill the theatre with such joyous life? Who else could offer the variety of forms that we have in the pattern of the flames, in these groups and tiers of points of light, these wild hues of gold flecked with bright spots, and these crystalline highlights?”, which was published in his book, Le Nouvel Operah de Paris, thus shutting down all the haters.

• Craine, Debra and Judith Mackrell. "Palais Garnier." The Oxford Dictionary of Dance, 2010. EBSCOhost, doi:10.1093/acref/9780199563449.013.1794.
• Garnier, Charles, 1825-1898. Le Nouvel Opéra De Paris. Paris: Librairie générale de l'architecture et des travaux publics, Ducher et Cie, 51 rue des Écoles, 51, 1875.
• Lindsay, Lionel. "Charles Garnier." The Catholic Encyclopedia. Vol. 6. New York: Robert Appleton Company, 1909. 15 Mar. 2018