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The Porte d’Honneur was only one of twelve monumental entranceways to the exposition. For some visitors, the
most striking was the Porte d’Orsay, designed by Louis-Hippolyte Boileau. The Art Deco steel structure served as
Tourism Pavilion at the Paris Exposition, a monumental frame for a semi-abstract mural. Figures and structures labeled Sculpture, Ceramics, The Book,
drawing by architect Robert Mallet-Stevens Architecture, Wrought Iron, Furniture, and, highest-placed of all, Fashion. photo: arthurchandler.com

Welcome to the Fair In an exposition whose stated theme is the decorative arts, first
Unlike other Fairs that were built on undeveloped fairgrounds with impressions are important.
The Port d’Orsay entranceway, one of 12 entrances into the
many of the buildings becoming permanent fixtures, the 1925 fairgrounds welcoming the Fair’s over 15 million visitors, featured a
Exposition occupied 57 acres in central Paris, stretching from the monumental Art Deco steel structure frame, designed by
Esplanade des Invalides across the Pont Alexandre III to the entrances Louis-Hippolyte Boileau, to hold a semi-abstract mural. Figures and
of the Grand Palais and the Petit Palais, both built for the 1900 structures labeled Sculpture, Ceramics, The Book, Architecture,
Exposition. Wrought Iron, Furniture, and, highest-placed of all, Fashion. The
Given the location of the fairgrounds, the structures and pavilions
built for the Exposition were only ever intended to be temporary. ensemble was meant to clearly articulate the unity of the fine arts with
the applied arts at the exposition.
Charles Plumet, the chief architect for the exposition, was charged with Another iconic Art Deco entranceway was the main gate, La Porte
conjuring up a splendid but temporary fairyland that would last for six d’Honneur, designed by the firm of Favier and Ventre. Simulated stone
months. Knowing that their creations would vanish after the fair, combined with bronze and wrought iron, illuminated by indirect neon
architects were given free rein to design pavilions in their own light, provided visitors with a stunningly framed view of the Grand
interpretations of French art moderne. The result was architecture the Palais and gave the entranceway a sense of majesty by day, mystery by
likes of which the world had not yet seen.
night. Cast-iron reliefs over the gateways celebrated the dignity of

Photo postcard showing the view of the Exposition from Les Invalides, 1925

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