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One of the very first expressions of Neo-Gothic was Eugène Emmanuel Viollet-le-Duc’s design for the spire of Notre Dame de Paris in 1859.
Through a deep understanding of Romanesque and Gothic architecture, the author of the cathedral’s original spire would also invent, on paper, an architectural language that re-interprets these 12th Century motifs.
This gift for invention coupled with his adoption of iron structures allowed him to stretch Middle Age cathedral proportions into a whole new style; indeed, this innovation made Viollet-le-Duc the father of Art Nouveau, a design type unique to Paris.
This new spire, called La Rose, retraces the seminal drawings of Viollet-le-Duc and his pupils, such as Horta and Guimard. The lines are first explored in pencil, then watercolor, then transcribed digitally into code to create an in-depth and multidimensional perspective of the details.
Projected upwards by a gleaming steel structure, this cone of frosted glass bricks filters a scattered beam of light throughout the heights of the nave. 
The roof valleys at the crossing are graced by four oculi, while the Apostles add further definition to the ridges. These inverted pointed arches form a gothic rosette that open to the sky. The rooster reclaims its place at the pinnacle to chant the arrival of the newest addition to Notre Dame de Paris

 La Rose .
In the same spirit as the original spire, La Rose celebrates the unbuilt ideas of Viollet-le-Duc in an Art Nouveau language of the XXI century.

Authorship Cooper Copetas, in collaboration with SB Architects.


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