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The photo shows the lively street façade of the building boasting an open loggia, a porch and a high gallery. The critic Émile Nicolas (1871-1940) compared it to a plant and saw in it the victory of botanical naturalism over classical anthropomorphism. The metal aedicule on the entrance porch was added in 1928 by Jean Prouvé (1901-1984), son of the painter Victor Emile Prouvé.
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