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Hector Guimard

Hector Guimard (, 10 March 1867 – 20 May 1942) was a French architect and designer, and a prominent figure of the Art Nouveau style. He achieved early fame with his design for the Castel Beranger, the first Art Nouveau apartment building in Paris, which was selected in an 1899 competition as one of the best new building facades in the city. He is best known for the glass and iron edicules or canopies, with ornamental Art Nouveau curves, which he designed to cover the entrances of the first stations of the Paris Metro.

Between 1890 and 1930, Guimard designed and built some fifty buildings, in addition to one hundred and forty-one subway entrances for Paris Metro, as well as numerous pieces of furniture and other decorative works. However, in the 1910s Art Nouveau went out of fashion and by the 1960s most of his works had been demolished, and only two of his original Metro edicules were still in place. Guimard's critical reputation revived in the 1960s, in part due to subsequent acquisitions of his work by Museum of Modern Art, and art historians have noted the originality and importance of his architectural and decorative works. Guimard was a disciple of Viollet le Duc.

Early life and education
Hector Guimard was born in Lyon on 10 March 1867. His father, Germain-René Guimard, was an orthopedist, and his mother, Marie-Françoise Bailly, was a linen maid. His parents married on 22 June 1867. His father became a gymnastics teacher at the Lycée Michelet in Vanves in 1878, and the following year Hector began to study at the Lycée. In October 1882 he enrolled at the École nationale supérieure des arts décoratifs, or school of decorative arts. He received his diploma on 17 March 1887, and promptly enrolled in the École des Beaux-Arts, where he studied architecture. He received honorable mention in several architectural competitions, and also showed his paintings at the Paris Salon des Artistes in 1890, and in 1892 competed, without success, in the competition for the Prix de Rome. In October 1891 he began to teach drawing and perspective to young women at the École nationale des arts decoratifs and later a course on perspective for younger students, a post he held until July 1900.

He showed his work at the Paris Salons of April 1894 and 1895, which earned him a prize of a funded voyage first to England and Scotland, and then, in the summer of 1895, to the Netherlands and Belgium. In Brussels in the summer of 1895, he met the Belgian architect Victor Horta, one of the founders of Art Nouveau, and saw the sinuous vegetal and floral lines of the Hotel Tassel, one of the earliest Art Nouveau houses. Guimard arranged for Horta to have an exhibition of his designs at the January 1896 Paris Salon, and Guimard's own style and career began to change.

Early works
The earliest constructed work of Guimard was the cafe-restaurant Au Grand Neptune (1888), located on the Quai Auteuil in Paris at the edge of the Paris Universal Exposition of 1889. It was picturesque but not strikingly innovative. It was demolished in 1910. He constructed another picturesque structure for the Exposition, the Pavilion of Electricity, a showcase for the work of electrical engineer Ferdinand de Boyéres. Between 1889 and 1895 he constructed a dozen apartment buildings, villas and houses, mostly in the Paris 16th arrondissement or suburbs, including the Hotel Roszé (1891) and the Hotel Jassedé (1893) without attracting much attention. He earned his living primarily from his teaching at the School of Decorative Arts.

The Castel Béranger (1895–1898)
Guimard's first recognized major work was the Castel Béranger in Paris, an apartment building with thirty-six units constructed between 1895 and 1898, when the architect was just thirty years old. It was at 14, rue Jean de la Fontaine, Paris, for Mme. Fournier. He persuaded his client to abandon a more restrained design and replace it with a new design in a more modern style, similar to that of Horta's Hotel Tassel, which he had visited in the summer of 1895. Guimard put together an extraordinary number of stylistic effects and theatrical elements on the facade and in the interior, using cast iron, glass and ceramics for decoration. The lobby, decorated with sinuous vine-like cast iron and colorful ceramics, resembled an undersea grotto. He designed every detail, including the wallpaper, rain spouts and door handles, and added adding highly modern new features including a telephone booth in the lobby.

A skilled publicist, Guimard very effectively used the new building to advertise his work. He had his own apartment and office in the building. He organized conferences and press articles, set up an exhibition of his drawings in the salons of Le Figaro, and wrote a monograph on the building. In 1899 he entered it into the first Paris competition for the best new building facades, and in March 1899 it was selected one of the six winners, a fact which he proudly had inscribed on the facade of the building.

Castels, villas and a short-lived concert hall
The success and publicity created by the Castel Beranger quickly brought him commissions for other residential buildings. Between 1898 and 1900, he constructed three houses simultaneously, each very different but recognizably in Guimard's style. The first, the Maison Coilliot, was built for the ceramics manufacturer Louis Coilliot on rue de Fleurs in Lille, and served as his store, reception hall and residence. The facade was covered with plaques of green enamelled volcanic rock, and decorated with soaring arches, curling wrought iron, and Guimard's characteristic asymmetric, organic doorways and windows.

The following year, 1899, while he continued to teach regularly at the school of decorative arts in Paris, and continued construction of the Maison Coilliot, he began three new houses; The Modern Castel or Villa Canivet in Garches was Guimard's reinvention of a medieval castle. La Bluette in Hermanville-sur-Mer was Guimard's update of traditional Norman architecture. and the Castel Henriette, in Sevres. The Castel Henriette was the most inventive. It was located on a small site, almost circular, and was crowned with a tall, slender watchtower. To create more open interior space, Guimard moved the stairwell to the side of the building. The interior was lit by large windows, and featured ensembles of furniture all designed by Guimard. The building had an unhappy history. The watchtower fell in 1903, apparently after being struck by lightning. Guimard was summoned back and redesigned the house, adding new balconies and terrace. However, by the 1960s, the building was considered out of fashion, and it was rarely occupied. It served as a movie set before it was finally demolished, despite appeals by preservationists. Some of the furniture is now found in museums.

In 1898, Guimard embarked upon another ambitious project, the construction of a concert hall, the Salle Humbert-de-Romans, located at 60 Rue Saint Didier (16th arrondissement). It was built as the centrepiece of a conservatory of Christian music intended for orphans, proposed by a priest of the Dominican order, Father Levy. Guimard made an ambitious and non-traditional plan using soaring levels of iron and glass, inspired by an early idea of Eugène Viollet-le-Duc. An organ manufacturer, in consultation with Camille Saint-Saëns, donated a grand organ. The Salle was completed in 1901, but a scandal involving Father Levy and the orphans broke out. Father Levy was exiled by the Pope to Constantinople, the foundation was dissolved, and the concert hall was used only for meetings and conferences. It closed in 1904 and was demolished in 1905. The grand organ moved to the church of Saint-Vincent-de-Paul in Clichy, where it can be found today.

Paris Metro entrances
The highly publicized debut of the Hotel Béranger quickly brought Guimard new projects, including villas, a Paris concert hall, and, most famously, entrances for the stations of the new Paris Metro, which was planned to open in 1900 in time for the Paris Universal Exposition. A new organization, the chemin de fer métropolitan de Paris (CFP, now RATP) was created in April 1899 to build and manage the system. They organized a competition for station entrance edicules, or canopies, and balustrades, or railings. This attracted twenty-one applicants. Guimard did not apply. The twenty-one original applicants proposed edicules built of masonry, in various historic and picturesque styles. These were ridiculed in the press as resembling newspaper stands, funeral monuments, or public toilets. Time was short, and Guimard presented sketches of his own idea for entrances made of iron and glass, which would be quicker and simpler to manufacture. He was given the commission on 12 January 1900, just a few months before the opening of the system.

To simplify the manufacture, Guimard made two designs of edicules, called Type A and B. Both were made of cast iron frames, with cream-colored walls and glass roofs to protect against rain. The A type was simpler and more cubic, while the B was rounded and more dynamic in form, and is sometimes compared with a dragonfly. Only two of the original A types were made and neither still exists. Only one B type, restored, remains in its original location, at Porte Dauphine.

Guimard also designed a simpler version, without a roof, with railings or balustrades of ornamental green-painted iron escutcheons and two high pylons with lamps and a 'Métropolitain' sign. The pylons were in an abstract vegetal form he invented, not resembling any particular plant, and the lettering was in a unique which Guimard invented. These were the most common type.

From the beginning, Guimard's Metro entrances were controversial. In 1904, after complaints that the new Guimard balustrade at the Opera station was not in harmony with the architecture of the Palais Garnier opera house, the Metro authorities dismantled the entrance and replaced it with a more classical model. Garnier was sarcastic in his response in the Paris La Press of Paris on 4 October 1904. "Should we harmonise the station of Père-Lachaise with the cemetery by constructing an entrance in the form of a tomb? ... Should we have a dancer with her leg raised in front of the station at place Dame-Blanche, to harmonise with the Moulin-Rouge?"

From the beginning, Guimard was also in conflict with the Metro authorities about his payments. The dispute was ended in 1903 with an agreement by which Guimard received payment, but gave up his models and manufacturing rights. Construction of new stations continued using his design without his participation. Between 1900 and 1913, a total of 167 entrances were installed, of which sixty-six still survive, mostly in locations different from their original placement.

Late villas
In the early years of the 20th century, Guimard's popularity diminished and his earlier frenetic pace of production slowed down. His works shown at the 1903 Paris Exposition of residential architecture did not attract the attention of the Castel Beranger and other earlier work. He was supported largely by one wealthy client, Léon Nozal, and his friends. His works for this group included the La Sapiniere, a small beach house at Hermanville-sur-Mer, near his earlier La Bluette house; La Surprise, a villa at Cabourg; and the Castel Val at Auvers-sur-Oise. In Paris he constructed the Hotel Nozal on Rue Ranelagh for his friend; the Hotel Jassadé for Louis Jassadé on Avenue de Versailles; and the palatial Castel d'Orgeval, which was the centrepiece of a new residential development at Villemoisson-sur-Orge in the Paris suburbs.

The Hôtel Guimard
The most important work of this period is the Hotel Guimard, built in 1909 at 122 Avenue Mozart (XVIth arrondissement) in Paris, ten years after his first success with the Hotel Beranger. It was built following his marriage with Adeline Oppenheim, an American painter from a wealthy family. The land was purchased three months after the marriage, and in June 1910 Guimard was able to move the offices of his agency into the ground floor. The house was not occupied by the couple, however, for two more years, while the furniture he designed was manufactured. The house is located on a triangular lot, which proved particularly challenging for Guimard. He saved interior space by installing an inclined elevator rather than a stairway on the upper floors. The house was designed to show its functions on the facade; his wife could paint in one portion of the house, with large windows, while he worked in his bureau in another part of the house. It had a very large dining room and many tables, but no kitchen; it was apparently designed for working and entertaining. The house was later broken up into apartments, and the original room arrangements and furniture are gone.

Apartments, the Hôtel Mezzara and a synagogue
By the 1910s, Guimard was no longer the leader of Paris architectural fashion, but he continued to design and build residences, apartment buildings, and monuments. Between 1910 and 1911 he built Hôtel Mezzara for Paul Mezzara, experimenting with skylights. Another notable work of this period is the Agoudas Hakehilos Synagogue at 10 Rue Pavé (IV arrondissement) in the Marais district. The synagogue, Guimard's only religious building, is characterised by a narrow façade clad in white stone, whose surface curves and undulates while highlighting verticality. Like with his previous projects, Guimard designed the interiors as well, organising the spaces and creating original furnishings that matched the architectural motifs of the structure. The construction begun in 1913 with the inauguration taking place on 7 June 1914, just a few weeks before the beginning of the First World War.

World War I and post-war years
By the time the First World War began in August 1914, Art Nouveau was already out of fashion. The army and war economy took almost all available workers and building materials. Most of Guimard's projects were shelved. and Guimard gave up his furniture workshop on Avenue Perrichont. He left Paris and to reside most of the war in a luxury hotel in Pau and Candes-Saint-Martin, where he wrote essays and pamphlets calling for an end to militarized society, and also, more practically, studying ideas standardized housing that could be constructed more quickly and less expensively, anticipating the need to reconstruct housing destroyed in the War. He received a dozen patents for his new inventions.

One of the rare completed buildings still standing from this period is the office building at 10 Rue de Bretagne, begun in 1914 but not completed until after the War in 1919. The Art Nouveau style was replaced by a more functional simplicity, where the reinforced concrete structure defined the exterior of the building. The postwar shortages of iron and other materials affected the style; there was little decoration of the facade, or entrance. He concentrated his attention on the parapets which gave the building a soaring, modern profile.

Just before the First World War he had created a firm, the Sociéte général de constructions modernes, with the intention of building standardized housing at a modest price. He returned to Paris and in 1921–22, and built a small house at 3 Square Jasmin (16th arrondissement) designed to be a model for a series of standard houses, but it was not duplicated. He was unable to keep up with the rapid changes in styles and methods, and his firm was finally dissolved in July 1925.

In 1925, he participated in the Paris Exposition of Decorative and Modern Arts, the Exposition which gave its name to Art Deco, with a proposed model of a town hall for a French village. He also designed and built a parking garage and several war memorials and funeral monuments. He continued to receive honors, particularly for his teaching at the École national des arts decoratifs. In February 1929 he was named a Chevalier in the French Legion d'honneur.

After the war, Art Deco emerged as the leading style of Parisian architecture. Guimard adapted to the new style and proved his originality and attention to the detail. His buildings display geometric decorative patterns, simplified columns emphasizing structural elements and rigid shapes; despite this they retain elements of his previous style: sinuous lines, vegetal-inspired ornaments and typical Art Nouveau iron railings.

The Guimard Building and final works
His next project, the Guimard Building, an apartment building at 18 Rue Henri Heine, Paris (XVI arrondissement, begun in 1926. is his last major project still standing. He made a skilful of different-colored brick and stone to create decorative designs on the facade, and added triangular sculpted windows on the roof level, and, in the interior. a very remarkable central stairway with curling iron railings and hexagonal windows of colored and clear glass bricks In 1928 he entered the building into the competition for the best Paris facades, the same competition that he had entered in 1898 with the Hôtel Beranger. He was a winner again, and was the first Paris architect to enter twice and to win twice. This building became his residence, though he was not able to move in until 1930.

Despite his success with the facade competition, his late work appeared old fashioned, particularly compared with the modernism of the Paris buildings of Robert Mallet-Stevens, Auguste Perret, and Le Corbusier. Between 1926 and 1930 he built several residential buildings in the same neighborhood as his home in the 16th arrondissement, which still exist. These include the Hôtel Houyvet, at 2 Villa Flore and 120 Avenue Mozart, built for the industrialist Michel Antoine Paul Houyhvet. His last recorded work was La Guimardière, an apartment building on Avenue Le Nôtre, Vaucresson in the Hauts-de-Seine suburb of Paris. It was completed in about 1930, but was demolished in March–April 1969.

As early as 1918, he took steps to assure that his work would be documented and would survive. He obtained space in the former orangerie of the Château de Saint-Germain-en-Laye, where he deposited models of his buildings and hundreds of designs. In 1936 he donated a large collection of his designs to Alfred Barr, the director of the Museum of Modern Art in New York. In 1937, he received authorisation to put thirty cases of models in the cellars of the National Museum of Antiquities in Saint-Germaine-en-Laye.

Guimard served as a member of the jury judging architectural works at the 1937 Paris Exposition, where he could hardly miss the monumental pavilion of Nazi Germany and the threat it presented. His wife was Jewish, and he was alarmed by the approaching likelihood of war. In September 1938 he and his wife settled in New York City. He died on 20 May 1942 at the Hotel Adams on Fifth Avenue. He is buried in Gate of Heaven Cemetery in Hawthorne, New York, about 25 miles north of New York City.

Obscurity and rediscovery
After the War, in June–July 1948, his widow returned to Paris to settle his affairs. She offered the Hotel Guimard as a site for a Guimard Museum first to the French state, then to the City of Paris, but both refused. Instead, she donated three rooms of Guimard's furniture to three museums; the Museum of Fine Arts of Lyon, the Museum of Decorative Arts in Paris, and the Museum of the Petit Palais, where they are now displayed. She also donated a collection of three hundred designs and photographs to the Museum of Decorative Arts. These disappeared into various archives in the 1960s, but were relocated in 2015. His widow died on 26 October 1965 in New York.

By the time of Guimard's death, many of his buildings had already been demolished or remodeled beyond recognition. Most of his original Metro station edicules and balustrades had also been removed. The only full covering remaining at its original location at Porte Dauphine. However, many original architectural drawings by Guimard were stored in the Dept. of Drawings & Archives at Avery Architectural and Fine Arts Library at Columbia University in New York City, and in the archives of the Museum of Decorative Arts in Paris.

The re-evaluation and rehabilitation of Guimard's reputation began in the late 1960s. Portions of the Castel Beranger were declared of historic and artistic value in July 1965, and the entire building was protected in 1989. His reputation was given a major boost in 1970, when the Museum of Modern Art in New York hosted a large exhibition of his work, including drawings he had donated himself and one of his Metro Station edicules. Other museums followed. The thirty cases of models in the cellars of the National Museum of Antiquities in Saint-Germaine-en-Laye were rediscovered and some were put on display.

In 1978, all of Guimard's surviving Metro entrances (Eighty-eight of the original one hundred sixty-seven put in place) were declared of historic value. The city donated a few originals, and several copies, to Chicago and other cities which desired them. Reconstructed original edicules are found at Abbesses and Châtelet.

Many of his buildings have been substantially modified, and there are no intact Guimard interiors which are open to the public, though suites of his furniture can be found in the Museum of Decorative Arts and the Musée d'Orsay in Paris.

He is honoured in street names in the French towns of Châteauroux, Perpignan, Guilherand-Granges and Cournon-d'Auvergne, and by the rue Hector Guimard in Belleville, Paris.

Furniture
Like other prominent Art Nouveau architects, Guimard also designed furniture and other interior decoration to harmonize with his buildings. It took him some time to find his own style in furniture. The furniture he designed for the Hotel Delfau (1894), which he put on display at an Exposition in 1895, was picturesque and ornate, with a sort of star motif, which seemed to have little connection with the architecture of the house. His early furniture sometimes featured had long looping arms and lateral shelves and levels for displays of objects. He apparently did not produce any furniture for the Hotel Beranger, other than a desk and chairs for his own studio there. In his early years he is known to have produced only two full sets of furniture, a dining room set for the Castel Henriette and a dining room for the Villa La Bluette.He also designed furnishings without any particular room in mind, as he did with watercolor designs for the Russian Princess Maria Tenisheva in 1903.

His furniture style began to change in about 1903. He found a workshop to make his furniture, and began using finer woods, particularly pear wood, with delicate colors. He simplified he plans, and eliminated the excessive number of arms and shelves. The most notable examples of his late style are pieces made for the Hôtel Nozal (since destroyed) and now in the Musée des Arts Decoratifs in Paris. Other examples of the late style are from the Hotel Guimard, now in the Petit Palais and the Musée des Arts Decoratifs in Paris, and Musée des Beaux-Arts de Lyon.

The Guimard Style
Much of the success of Guimard came from the small details of his designs, from door handles and balcony railings to type faces, which he crafted with special imagination and care. He invented his own style of lettering which appeared on his Metro entrances and his building plans. He insisted on calling his work "Style Guimard", not Art Nouveau, and he was genius at publicizing it. He wrote numerous articles and gave interviews and lectures on his work, and printed a set of "Style Guimard" postcards with his pictures of his buildings, Guimard rejected the dominant academic Beaux-Arts style of there 1880s, calling it "cold receptacle of various past styles in which the original spirit was no longer alive enough to dwell". His fellow students at the National School of Decorative Arts nicknamed him the "Ravachol of architecture", after Ravachol, the Paris anarchist who bombed church buildings. Nonetheless, he was recognized for his designing skills; in 1884 he was awarded three bronze and two silver medals at the school for his work. In 1885 he received awards in all of the competitions at the school, including four bronze medallions, five silver, and the school's Grande Prix d'Architecture. Guimard's early Art Nouveau work, particularly the Castel Beranger, as Guimard himself acknowledged, was strongly influenced by the work of the Belgian architect Victor Horta, especially the Hotel Tassel, which Guimard visited before he designed the Castel Beranger. Like Horta, he created original designs and ornament, inspired by his own views of nature. If the skylights favored by Victor Horta are rare in his work (the Mezzara Hotel, 1910, and the Rue Pavée Synagogue, (1913), being notable exceptions), Guimard made noteworthy experiments in space and volume. These include the Coilliot House and its disconcerting double-frontage (1898), and the Villa La Bluette, noted for its volumetric harmony (1898), and especially the Castel Henriette (1899) and the Castel d'Orgeval (1905), demonstrations of an asymmetrical "free plan", twenty-five years before the theories of Le Corbusier. Other buildings of his, like the Hôtel Nozal (1905), employ a rational, symmetrical, square-based style inspired by Viollet-le-Duc.

Guimard employed some structural innovations, as in the concert hall Humbert-de-Romans (1901), where he created a complex frame to divide sound waves to produce enhanced acoustics (built 1898 and demolished in 1905), or as in the Hôtel Guimard (1909), where the ground was too narrow to have the exterior walls bear any weight, and thus the arrangement of interior spaces differs from one floor to another. In addition to his architecture, furniture, and wrought iron work, Guimard also designed art objects, such as vases, some of which were produced by the Manufacture nationale de Sèvres outside Paris. A notable example is the Vase of Binelles (1902), made by crystallization on hard porcelain, which is now in the National Museum of Ceramics in Sèvres.

Guimard was a determined advocate of architectural standardization, from mass-producing Metro station edicules and balustrades to (less successfully) the mass production of cast iron pieces and other prefabricated building materials intended for the assembly rows of houses. entrances to the Paris Métro, based on the ornamented structures of Viollet-le-Duc. The idea was taken up – but with less success – in 1907 with a catalogue of cast iron elements applicable to buildings: Artistic Cast Iron, Guimard Style. Guimard's art objects have the same formal continuity as his buildings, harmoniously uniting practical function with linear design, as in the Vase des Binelles, of 1903. His stylistic vocabulary has suggestions to plants and organic matter and has been described as a form of "abstract naturalism". Undulating and coagulating forms are found in every material from stone, wood, cast iron, glass (Mezzara hotel, 1910), fabric (Guimard hotel, 1909), paper (Castel Béranger, 1898), wrought iron (Castel Henriette, 1899), and ceramic (Coilliot House, 1898); Guimard compared it analogously to the flowing of sap running from a tree, referring to the liquid quality found in his work as the "sap of things". Guimard's structural forms remain only as abstract evocations of nature and never directly indicative of any particular plant, an approached outlined by the art critic and contemporary, Gustave Soulier who said about Guimard's work: "'we do not see... clearly recognisable motifs which are only interpreted and regularised by a geometric ornamental convention. But neither is it merely withered and graceless floral or animal skeletons that Mr. Guimard draws. He is inspired by the underlying movements, by the creative process in nature that reveals to us identical formulas through its numerous manifestations. And he assimilates these principles in the formation of his ornamental contours... the floret is not an exact representation of any particular flower, Here is an art that both abbreviates and amplifies the immediate facts of Nature; it spiritualises them. We are present at the birth of the quintessence of a flower.'"

1889

 * Café Au grand Neptune, quai Louis-Blériot, Paris XVI (destroyed about 1910):
 * Pavillion d'Electricité at the Exposition Universelle (1889), avenue Suffren, Pais (destroyed 1889):

1891

 * Hôtel Roszé, 34 rue Boileau, Paris, 16th arrondissement
 * Two pavilions for Alphonse-Marie Hannequin, 145 Avenue de Versailles, Paris XVI (destroyed 1926)

1892

 * Villa Toucy, Maisons jumelles Lécolle, 189 rue du Vieux-Pont-de-Sevres, Billancourt (destroyed 1912–13)
 * Pavillon de chasse Rose, 14 et 14ter, rue des Tilleuls, Limeil-Brévannes, Val-de-Marne (détruit vers 1960)

1893

 * Hôtel Jassedé, 41 rue Chardon-Lagache (protected)

1894

 * Hôtel Delfau, 1 rue Molitor, Paris XVI (modified)

1895

 * École du Sacré-Coeur, 9 Avenue de la Frilliére, Paris XVI. Several school buildings. (Modified and some demolished. Protected in 1983)

1896

 * Villa Berthe, 72 route de Montesson, Le Vésinet (Yvelines) (protected in 1979)
 * Maison de rapport Lécolle, 122, avenue des Batignolles (auj. avenue Gabriel-Péri), Saint-Ouen, Seine-Saint-Denis:
 * La Hublotière au Vésinet.

1898

 * Maison Coilliot, 14 rue de Fleurus, Lille (Protected in 1977)
 * Completion of Gun Shop building of Coutollau, 6 boulevard de Marechal-Foch, Angers (demolished in 1919)
 * Hôtel Roy, 81 Boulevard Suchet Paris XVI (destroyed)
 * Two pavilions in Hameau Boileau, 9 and 9 bis, Impasse Racine Paris XVI (heavily modified)
 * Completion of Castel Béranger, 14 rue La Fontaine, Paris XVI (protected partially in 1965 and entirely in 1992)

1899

 * Completion of Castel Henriette 46 rue des Binelles, Sèvres, Hauts-de-Seine (destroyed 1969)
 * Completion of Villa La Bluette, Rue du Pré-de-l'Isle, Hermanville-sur-Mer, Calvados (Protected)

1900

 * Completion of Coilliot House (14, rue Fleurus, Lille) (Protected 1977)
 * Edicules and balustrades of the Paris Metro from 1900 until 1903. (See Paris Métro entrances by Hector Guimard)

1901

 * Completion of Salle Humbert-de-Romans (Paris); Castel Henriette (rue des Binelles, Sèvres, Hauts-de-Seine).

1903

 * Castel Val, 4 rue des Meulières, Auvers-sur-Oise;

1904

 * Castel Orgeval, 2 avenue de la Mare-Tambour, Villemoisson-sur-Orge, Esonne (protected 1975)

1905

 * Completion of the Immeuble Jassedé, 142 avenue de Versailles, Paris XVI;

1906

 * Completion of Hôtel Nazal, 52 rue de Ranelagh, Paris XVI, (modified 1957, destroyed 1957)
 * Hôtel Deron Levet, 8 grande-avenue-de-la-villa-de-la-Reunion, Paris XVI, for Charles Levent (protected 1975)

1907

 * Villa La Sapinière, Rue du Pré-de-L'Isle, Hermanville-sur-Mer, Calvados (substantially remodelled)

1909

 * Completion of the Hôtel Guimard, 122 Rue Mozart and Villa Flore, Paris XVI (Protected 1964 and 1997)
 * Immeuble Trémois, rue Francois-Millet, Paris XVI,
 * Le Chalet Blanc, 2 rue du Lycée and 1 rue Lakanaal, Sceaux (Hauts-de-Seine). (Protected in 1975)

1910

 * Hôtel Mezzara 60, rue Jean de la Fontaine, Paris XVI. (Protected in 1994).

1911

 * Completion of a four houses at 17,19,21 rue Fonaine, 43 rue Agar, Paris XVI for the Societé immobiliere de la rue Moderne, Four other houses in the project were not built.

1913

 * Synagogue de la rue Pavée à Paris 10, rue Pavée, Paris IV (protected in 1989)
 * Villa Hemsy (3, rue Crillon, Saint-Cloud, Hauts-de-Seine. Later modified.

1914

 * Completion of Hotel Nicolle de Montjoye, Rue René-Bazin, Paris XVI (demolished)

1919

 * Completion of an office building for Maurice Franck begun in 1914 at 10 rue de Bretagne, Paris III

1920

 * Completion of a parking garage Rue Robert-Turquan and Rue Jasmin for his Societé générale des constructions modernes. (Demolished in 1966)

1922

 * Completion of a standardized model house for his Societé générale de constructions modernes, 3 Square Jasmin, Paris XVI

1923

 * Completion of a Château Villa (Art Nouveau) and redesign/rebuild of existing estate buildings for Emile Garnier, Quettreville-Sur-Sienne (Manche)

1926

 * Guimard Building, apartment building at 18 rue Henri-Heine, Paris XVI

1927

 * Houyet building, 2 Villa Flore and 1 Avenue Mozart, Paris XVI

1928

 * Completed two apartment buildings in a real estate development at 36 and 38 rue Greuze. Paris XVI, with a tubular heating system

1930

 * La Guimardière, Avenue Le Notre, Vaucresson, Hauts-de-Seine (Demolished March–April 1969)

title: Hector Guimard


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text:
Stage diving

Stage diving is the act of leaping from a concert stage onto the crowd below, which occasionally causes serious injuries. It is often the precursor to crowd surfing.

Long before the word was invented, public stagediving took place during the first Dutch concert by The Rolling Stones at the Kurhaus of Scheveningen on August 8, 1964.

Many musicians have made stage diving a part of their stage act. Jim Morrison was an early performer known for having jumped into the crowd at several concerts. Iggy Pop is often credited with popularising stage diving in popular rock music. Initially seen as confrontational and extreme, stage diving has become common at hardcore punk and thrash metal performances.

Risks and incidents
Stage diving has occasionally caused serious injuries. One example is when Peter Gabriel of Genesis at the Friars club in Aylesbury on 19 June 1971 stage dove during the end of their song "The Knife", landing on his foot, thus breaking his ankle. On 20 August 2010, Charles Haddon, the lead singer of English synthpop band Où Est Le Swimming Pool, died after a performance at Pukkelpop, Belgium. He committed suicide by jumping from a telecommunications mast in the backstage artists' parking area. Haddon was reported to have been distressed after he feared he had seriously injured a young girl earlier after a stagedive.

In February 2014, federal judge Jan E. DuBois ruled that Fishbone had to pay $1.4 million to a woman who broke her skull and collarbone during a 2010 concert in Philadelphia when Angelo Moore stage-dove and landed on top of her.

Another fatal stage diving incident occurred in May 2014 in New York City during a performance of the metalcore band Miss May I. Although the fan was able to walk away after falling from the stage, the concert was cut short after he fainted. He later died at the hospital.

title: Stage diving


text:
Funker Vogt

Funker Vogt is a German electronic-industrial music project with an aggressive style, formed by vocalist Jens Kästel and programmer Gerrit Thomas in 1995. Other members of the band are keyboardist/manager Björn Böttcher, live guitarist Frank Schweigert and lyricist Kai Schmidt. The name of the band translates from German to English as "Radio Operator Vogt", this being the surname of a friend of the band who was a military radio operator.

The band ceased in the summer of 2021 due to the termination of cooperation with Chris L.

On January 1 2023 Funker Vogt announced that they would return.

History
The group appeared on several German compilations and, in 1996, released their debut album Thanks for Nothing. Following the release of two limited edition EPs (Words of Power and Take Care), Funker Vogt signed with the American record label Metropolis Records. Metropolis re-released Thanks for Nothing, followed by the We Came to Kill in late 1997. Kästel and Thomas have participated, as remixers, on Leæther Strip album Yes, I'm Limited, Vol. 2. In 2000, Funker Vogt released Maschine Zeit, followed by the remix EP T in early 2001. Additionally to the core members of the band, concert members also include Björn Böttcher (keyboard) and Frank Schweigert (guitar, he replaced Thomas Kroll in 2004). Kai Schmidt writes most of the lyrics and manages the band through his own management company. They all hail from the town of Hamelin in Germany. The majority of their lyrics revolve around the concepts of war.

A distinctive theme is present in the band's work and stage presence; both their musicianship and their costuming are strongly reminiscent of military music and dress. This military aesthetic is also popular with the band's fanbase. However, the political stance of Funker Vogt is decidedly anti-war; the band cites "war and social injustice" as their primary topics of discussion, noting that the goal of the album Execution Tracks, along with the accompanying video, was to "present the grotesque cruelties and the tragedy of war."

According to the band's website, as of 2011 both Björn Böttcher and Kai Schmidt are no longer collaborating with the band. As a result, Funker Vogt will no longer be managed by REPOMANagement. In 2013, longtime frontman Jens Kästel left the band after his last show on 30 November in Berlin. Four years later in 2017 Funker Vogt reformed with a new singer, Chris L. (Agonoize/The Sexorcist).

The Hero Trilogy
See the main article: The Hero Trilogy With the release of Blutzoll, Funker Vogt have completed their 'Hero Trilogy'. It began with Tragic Hero on the album Execution Tracks, continued with Fallen Hero from Navigator, and was concluded in 2010 with Arising Hero. All three parts of the trilogy were released as promotional singles.

Members

 * Bastian Polak _ vocals
 * Gerrit Thomas – programming
 * René Dornbusch – keyboards, drums

Thomas is also in Ravenous, Fusspils 11 and Fictional, and produced a project released in 2012 by Gecko Sector. More recently, Thomas has been involved with Alienare and Eisfabrik.

Former members

 * Jens Kästel – vocals
 * Björn Böttcher – keyboards
 * Frank Schweigert – guitars
 * Kai Schmidt
 * Thomas Kroll
 * Sacha Korn _ vocals
 * Chris L. – vocals

Studio albums

 * Funker Vogt (1995)
 * Thanks for Nothing (1996)
 * We Came to Kill (1997)
 * Killing Time Again (1998) (part new material, part remixes)
 * Execution Tracks (1998) – #160 CMJ Radio Top 200; #8 CMJ RPM
 * T (2000) (contains 4 new tracks and 10 remixes) – #5 CMJ RPM
 * Maschine Zeit (2000) – #28 DAC 2000 Top 50 Albums chart; #9 CMJ RPM Charts
 * Survivor (2002)
 * Revivor (2003) (remix album)
 * Navigator (2005) – #6 DAC Albums
 * Aviator (2007)
 * Blutzoll (2010)
 * Companion in Crime (2013)
 * Code of Conduct (2017)
 * Wastelands (2018)
 * Element 115 (2021)
 * Final Construct (2024)

Live albums

 * Warzone K17 (2009) (22 hits from the past 12 years)

DVD

 * Warzone K17 (2009)
 * Live Execution '99 (2010) (also features the album T in DVD Audio)

Singles and EPs

 * "Take Care" (1997)
 * "Words of Power" (1997)
 * "Killing Time Again"
 * "Tragic Hero" (1998) – #22 DAC 1999 Top 50 Singles chart
 * "Gunman" (2000) – #13 DAC 2000 Top 100 Singles chart
 * "Subspace" (2001)
 * "Date of Expiration" (2002)
 * "Red Queen" (2003) – #6 DAC Singles chart
 * "Fallen Hero" (2005) – #6 DAC Singles chart
 * "Killing Ground (promo)" (2006)
 * "Club-Pilot" (2007)
 * "White Trash" (2008)
 * "Arising Hero" (2010)
 * "Hard Way" (2012)
 * "Sick Man" (2014)
 * "Der Letzte Tanz" (2017)
 * "Feel the Pain" (2018)
 * "Ikarus" (2018)
 * "Conspiracy" (2020)
 * "MC 5f146d107s27p3" (2021)
 * "Death Seed " (2024)

Maxi-singles

 * "Velvet Acid Christ Vs Funker Vogt: The Remix Wars – Strike 4" (1999)
 * "Code 7477" (2001)

Compilations

 * Always and Forever Volume 1 (2005)
 * Always and Forever Volume 2 (2006)

Music videos

 * "Gunman"
 * "Subspace"
 * "Fallen Hero"
 * "The Firm"
 * "Hard Way"
 * "Sick Man"
 * "Ikarus"
 * "Feel the Pain"
 * "Death Seed "

Remixes by Funker Vogt

 * Modern Talking - You Can Win If You Want (1996)
 * Leæther Strip – How Do I Know (Funker Vogt Remix) (1997)
 * Juliane Werding - Am Tag, als Conny Kramer starb (1997)
 * Front 242 – Headhunter 2000 (Funker Vogt Mix) (1998)
 * Leæther Strip – Hate Me! (Funker Vogt Remix) (1998)
 * Madness - Drip Fed Fred (2000)
 * Assemblage 23 – Disappoint (Funker Vogt RMX) (2001)
 * Metallica - Harvester Of Sorrow (2001)
 * Cruciform Injection – Lacrimal Involucre (Funker Vogt Remix) (2002)
 * Beborn Beton – Dr. Channard (Funker Vogt Remix) (2004)
 * Icon of Coil – Simulated (Funker Vogt Remix) (2004)
 * Informatik – Flesh Menagerie (Funker Vogt Rmx) (2004)
 * Dope Stars Inc. – 10.000 Watts (Funker Vogt Remix) (2005)
 * Mindless Self Indulgence – Straight To Video (Funker Vogt Mix) (2006)
 * Vigilante (band) – The Other Side (Funker Vogt Remix) (2006)
 * Theatre of Tragedy – Motion (Funker Vogt Remix) (2009)
 * Suicide Commando – Attention Whore (Posing Overdose Remix By Funker Vogt) (2012)
 * Bruderschaft – Return (Funker Vogt Remix) (2013)
 * The Prodigy - Narayan (Unknown date)

title: Funker Vogt


text:
Japan Series

The Japan Series (日本シリーズ Nippon Shiriizu, officially the Japan Championship Series, プロ野球日本選手権シリーズ Puro Yakyū Nippon Senshuken Shiriizu), also the Nippon Series, is the annual championship series in Nippon Professional Baseball, the top baseball league in Japan. It is a best-of-seven series between the winning clubs of the league's two circuits, the Central League and the Pacific League, and is played in October or November. The first team to win four games is the overall winner and is declared the Japan Series Champion (日本一) each year. The Japan Series uses a 2–3–2 format.

The home team for games 1, 2 and eventually 6 and 7, alternates between the two leagues with the Pacific League having the advantage on the years ending with an odd number and the Central League on the years ending with an even number. Designated hitters are used if the team from the Pacific League hosts the game. There is a 40-man postseason roster limit, and the rule on drawn games is changed to 12 innings, since 2018. If the series is tied after the seventh game, a Game 8 will be held with the same team hosting Games 6 and 7 hosting this game. Only once a Game 8 has been played in Japan Series history, where the Seibu Lions defeated the Hiroshima Toyo Carp in 1986. In the event that Game 8 does not decide the series, the next game would be played at the stadium that hosted Games 3 through 5 after a day of rest, and games will continue until one team wins four games.

Every current team in the NPB has won the Japan Series at least once. The team with the most championships is the Yomiuri Giants, who have won the Japan Series twenty-two times. In 2004, the Pacific League instituted a three-team stepladder playoff format to determine the league champion, while the Central League champion had a long wait before the Japan Series. During this time, the Pacific League won four consecutive Series from 2003 to 2006. Starting with the 2007 postseason, both leagues adopted the Climax Series to determine their champions. The Climax Series involves the top three finishers in each league, though the format gives a significant advantage to the team with the best record in each league.

On November 6, 2010, the Chunichi Dragons and Chiba Lotte Marines played the longest game in Japan Series history. It lasted fifteen innings and resulted in a 2–2 draw, with the game lasting 5 hours and 43 minutes. Only Game 2 of the 2022 Japan Series on October 23, 2022 came close, with the Orix Buffaloes and Tokyo Yakult Swallows playing to a 3-3 draw after 12 innings, lasting 5 hours and 3 minutes.

Even though the Central League is historically more victorious, in recent years, the Pacific League has been catching up in titles. Currently, both the Pacific League and the Central League have 37 Japan Series victories. Between 2013 and 2020, Pacific League won the Japan Series 8 times in a row. Six of them were by the Fukuoka SoftBank Hawks, and one each by the Hokkaido Nippon-Ham Fighters and Tohoku Rakuten Golden Eagles. The streak was broken in 2021, with the Tokyo Yakult Swallows beating the Orix Buffaloes.

List of winners
Kazuhisa Inao, as an exception, won the Fighting Spirit Award (in 1956) while playing for the victorious Nishitetsu Lions.

Extra inning rules
With changes introduced as of 2021, the current rules stipulate there is a 12 inning limit. If tied after 12 innings, the first seven games originally scheduled are called. If extra games are necessary, the games are played until a victor is decided (unlimited innings), with no curfew limitations, and using the World Baseball Softball Confederation two-runner tiebreaker with runners on first and second base to start the 13th inning.

Historically:
 * Until 1966 (except 1964): Game is called at sunset (all games were played as day games)
 * 1964 (all games at night): No new inning may start after 10:30 p.m.
 * 1967-1981: No new inning may start after 5:30 p.m.
 * 1982-1986: No new inning may start after the game time reaches four-and-a-half hours
 * 1987-1993: 18-inning limit until Game 7, unlimited innings Game 8 and onward (change introduced due to Game 8 being necessary in the 1986 series due to Game 1 being called after 14 innings)
 * 1994: 18- (day game) / 15-inning (night game) limit until Game 7, unlimited innings Game 8 and onward
 * 1995-2017: / 15-inning limit until Game 7, unlimited innings Game 8 and onward
 * The three-and-a-half hour cut-off rule used in the 2011 regular season was not used for the Japan Series.
 * 2018-2020: 12-inning limit until Game 7, unlimited innings Game 8 and onward
 * 2021-present: 12-inning limit.  Games ruled tie until Game 7.  Starting in Game 8, 13th and further innings will be played with the WBSC two-runner tiebreaker.

Teams by number of wins
$1$The franchise currently known as the Saitama Seibu Lions had a Japan Series record of 3–2 as the Nishitetsu Lions. $2$The franchise currently known as the Fukuoka SoftBank Hawks had a Japan Series record of 2–8 as the Nankai Hawks, and 2-1 as the Fukuoka Daiei Hawks. $3$The franchise currently known as the Orix Buffaloes had a Japan Series record of 3–7 as the Hankyu Braves, and 1–1 as the Orix BlueWave. It took its current name in 2005 after merging with the Osaka Kintetsu Buffaloes. $4$The franchise currently known as the Chiba Lotte Marines had a Japan Series record of 1–0 as the Mainichi Orions, 0–1 as the Daimai Orions, and 1–1 as the Lotte Orions. $5$The franchise currently known as the Hokkaido Nippon-Ham Fighters had a Japan Series record of 1–0 as the Toei Flyers. $6$The franchise has a Japan Series record of 1-0 as Yokohama Baystars and a Japan Series record of 1–0 as the Taiyō Whales. $7$The Osaka Kintetsu Buffaloes were merged with the Orix BlueWave in 2005 to form the Orix Buffaloes. $8$The Shochiku Robins were merged with the Taiyō Whales in 1953, eventually becoming the Yokohama DeNA BayStars.

Streaks and droughts

 * The Yomiuri Giants won nine consecutive Japan Series championships from 1965 to 1973. The second-longest streak is four consecutive championships, accomplished by the Fukuoka SoftBank Hawks from 2017 to 2020. Three consecutive championships have been accomplished by the Yomiuri Giants (1951–1953), the Nishitetsu Lions (1956–1958), the Hankyu Braves (1975–1977), and twice by the Seibu Lions (1986–1988 and 1990–1992).
 * The Yomiuri Giants also won five consecutive Central League pennants from 1955 to 1959, and 19 of the 23 Central League pennants from 1951 to 1973. The Giants also won two or three consecutive Central League pennants on several other occasions. The other teams to win consecutive Central League pennants are the Hiroshima Toyo Carp (1979–1980 and 2016–2018), the Yakult Swallows (1992–1993 and 2021–2022), and the Chunichi Dragons (2006–2007 and 2010–2011).
 * The Nankai Hawks won three consecutive Pacific League pennants twice (1951–1953 and 1964–1966). The Hankyu Braves won nine of the 12 Pacific League pennants from 1967 to 1978, including three consecutive (1967–1969) and four consecutive (1975–1978). The Seibu Lions won 11 of the 14 Pacific League pennants from 1985 to 1998, including four consecutive (1985–1988) and five consecutive (1990–1994). The Orix Buffaloes are the most recent team to win three consecutive Pacific League pennants (2021–2023).
 * Franchises have gone 20 years or more without a Japan Series championship over the following intervals:
 * Osaka Kintetsu Buffaloes, 55 years (1950–2004, the entire franchise history; the drought extends to 72 years if one includes the history of the merged Orix Buffaloes, who finally won the 2022 Japan Series).
 * Chunichi Dragons, 52 years (1955–2006)
 * Toei Flyers / Nippon-Ham Fighters, 43 years (1963–2005)
 * Hiroshima Toyo Carp, 39 years (1985–present)
 * Taiyo Whales / Yokohama BayStars, 37 years (1961–1997)
 * Hanshin Tigers, 38 years (1986–2022)
 * Hanshin Tigers, 35 years (1950–1984)
 * Nankai/Fukuoka Hawks, 34 years (1965–1998)
 * Lotte Orions / Chiba Lotte Marines, 30 years (1975–2004)
 * Hiroshima Toyo Carp, 29 years (1950–1978)
 * Kokutetsu Swallows / Sankei Atoms / Yakult Swallows, 28 years (1950–1977)
 * Hankyu Braves, 25 years (1950–1974)
 * Yokohama BayStars / Yokohama DeNA BayStars, 25 years (1999–present)
 * Mainichi/Daimai/Tokyo/Lotte Orions, 23 years (1951–1973)
 * Nishitetsu Lions / Seibu Lions, 24 years (1959–1981)
 * Franchises have gone 20 years or more without a league pennant over the following intervals:
 * Taiyo Whales / Yokohama BayStars, 38 years (1961–1997)
 * Lotte Orions / Chiba Lotte Marines, 31 years (1975–2004)
 * Yokohama BayStars / Yokohama DeNA BayStars, 25 years (1999–present)
 * Osaka Kintetsu Buffaloes, 30 years (1950–1978)
 * Hiroshima Toyo Carp, 26 years (1950–1974)
 * Nankai/Fukuoka Hawks, 26 years (1974–1998)
 * Nippon-Ham Fighters, 25 years (1982–2005)
 * Hiroshima Toyo Carp, 25 years (1992–2015)
 * Hanshin Tigers, 21 years (1965–1984)

Individual awards
Two individual awards are given out at the conclusion of the Japan Series: the Most Valuable Player Award, given to the most impactful player on the winning team; and the Fighting Spirit Award, given to the most impactful player on the losing team. As stated above, the FSA was only given to a player on the winning team once; Kazuhisa Inao won it in 1956, despite being on the winning side, the Nishitetsu Lions.

title: Japan Series


text:
The C Programming Language

The C Programming Language (sometimes termed K&R, after its authors' initials) is a computer programming book written by Brian Kernighan and Dennis Ritchie, the latter of whom originally designed and implemented the C programming language, as well as co-designed the Unix operating system with which development of the language was closely intertwined. The book was central to the development and popularization of C and is still widely read and used today. Because the book was co-authored by the original language designer, and because the first edition of the book served for many years as the de facto standard for the language, the book was regarded by many to be the authoritative reference on C.

History
C was created by Dennis Ritchie at Bell Labs in the early 1970s as an augmented version of Ken Thompson's B. Another Bell Labs employee, Brian Kernighan, had written the first C tutorial, and he persuaded Ritchie to coauthor a book on the language. Kernighan would write most of the book's "expository" material, and Ritchie's reference manual became its appendices.

The first edition, published February 22, 1978, was the first widely available book on the C programming language. Its version of C is sometimes termed K&R C (after the book's authors), often to distinguish this early version from the later version of C standardized as ANSI C.

In April 1988, the second edition of the book was published, updated to cover the changes to the language resulting from the then-new ANSI C standard, particularly with the inclusion of reference material on standard libraries. The second edition of the book (and, the most recent) has since been translated into over 20 languages. In 2012, an eBook version of the second edition was published in ePub, Mobi, and PDF formats.

C was first standardized in 1989 (as ANSI X3.159-1989) and has since undergone several revisions. However, no new edition of The C Programming Language has been issued to cover the more recent standards.

Reception
Byte magazine stated in August 1983, "[The C Programming Language] is the definitive work on the C language. Don't read any further until you have this book!" Jerry Pournelle wrote in the magazine that year that the book "is still the standard ... a bit terse". He continued, "You can learn the C language without getting Kernighan and Ritchie, but that's doing it the hard way. You're also working too hard if you make it the only book on C that you buy."

Influence
The C Programming Language has often been cited as a model for technical writing, with reviewers describing it as having clear presentation and concise treatment. Examples generally consist of complete programs of the type one is likely to encounter in daily use of the language, with an emphasis on system programming. Its authors wrote,

"We have tried to retain the brevity of the first edition. C is not a big language, and it is not well served by a big book. We have improved the exposition of critical features, such as pointers, that are central to C programming.  We have refined the original examples, and have added new examples in several chapters.  For instance, the treatment of complicated declarations is augmented by programs that convert declarations into words and vice versa.  As before, all examples have been tested directly from the text, which is in machine-readable form." The book introduced the "Hello, World!" program, which prints only the text "hello, world" as an illustration of a minimal working C program. Since then, many texts have followed that convention for introducing a programming language.

Before the advent of ANSI C, the first edition of the text served as the de facto standard of the language for writers of C compilers. With the standardization of ANSI C, the authors more consciously wrote the second edition for programmers rather than compiler writers, writing,

"Appendix A, the reference manual, is not the standard, but our attempt to convey the essentials of the standard in a smaller space. It is meant for easy comprehension by programmers, but not as a definition for compiler writers—that role properly belongs to the standard itself. Appendix B is a summary of the facilities of the standard library.  It too is meant for reference by programmers, not implementers.  Appendix C is a concise summary of the changes from the original version."

The influence of The C Programming Language on programmers, a generation of whom first worked with C in universities and industry, has led many to accept the authors' programming style and conventions as recommended practice, if not normative practice. For example, the coding and formatting style of the programs presented in both editions of the book is often referred to as "K&R style" or the "One True Brace Style" and became the coding style used by convention in the source code for the Unix and Linux kernels.

title: The C Programming Language


text:
Crowd surfing

Crowd surfing is the process in which a person is passed overhead from person to person (often during a concert), transferring the person from one part of the venue to another. The "crowd surfer" is passed above everyone's heads, with everyone's hands supporting the person's weight. At most concerts and festivals the crowd surfer will be passed towards a barrier in front of the stage by the crowd, where they will be pulled off and put on their feet by the security stewards. Then, they will be sent back to the side or rear of the crowd at the end of the barrier or they may be ejected from the venue (depending on the policy enforced). Other venues may allow the crowd surfer to go onto the stage with the artist for a brief period of time before stage diving or being escorted off the stage.

Crowd surfing generally occurs only towards the front of an audience where the crowd is dense enough to support a person's body. It is most popular at metal, punk, rock, rave and indie concerts.

In order to get above everyone's heads, a person can be given a boost, in which one person picks up another to launch them over the people's heads, or they can stage dive.

This has been known to happen to unwilling participants who have been boosted up by others by surprise, in which case, those participants may also be ejected.

Origins

Iggy Pop may have invented crowd surfing at 1970's Cincinnati Summer Pop Festival (Midsummer Rock Festival).

If that’s true, then Steve Martin is probably the next documented crowd surfer. In the 2-part Apple TV doc STEVE! (Martin), he recounts a spontaneous crowd surfing incident when being followed by fans after a show. This was definitely sometime before spring of ‘75, when he worked the Playboy gig.

However, Bruce Springsteen appears in the first documented video of crowd surfing in his 1980 Rock concert at Arizona State University, in Tempe, Arizona during his live performance of "Tenth Avenue Freeze-Out".

In early 1980 Peter Gabriel was reported to have crowd surfed during performances of "Games Without Frontiers" by falling into his audience "crucifix style" and then being passed around. During a later tour in 1982 Gabriel also crowd surfed during performances of 'Lay Your Hands on Me'. The rear sleeve of his 1983 album Plays Live, recorded during Gabriel's 1982 tour, features a photograph of him crowd surfing, although the image has been rotated 90 degrees so Gabriel appears to be standing.

"Iggy Pop had jumped into an audience prior to me," Gabriel explained to Mark Blake, "but he hadn't done that thing of lying on the hands and being carried around by the audience. I had the idea from a game you did with a therapy group where you had to fall backwards and trust the person behind to catch you. I was always interested in closing the gap between the performer and the audience. At an open-air show in Chicago I was passed around and returned to the stage minus every piece of clothing except my underpants. There was an edge to doing it and part of you was praying you'd get back to the stage in one piece."

The first official video release to depict Gabriel crowd surfing was POV, a concert video released in 1990 and produced by Martin Scorsese. When Billy Joel crowdsurfed in a concert during his 1987 concert tour of the Soviet Union, bandmate Kevin Dukes described it as the "Peter Gabriel flop".

Dangers
Crowd surfing is illegal in some countries and patrons can, in theory, be ejected from the venue for partaking in the act. This is usually written in the fine print of the concert or festival ticket.

Supporters of crowd surfing say that by standing in the mosh pit, concert-goers should expect such behavior as part of a rock show and by standing more towards the side or rear of the venue they can easily avoid such behavior. They also say that serious injuries caused by crowd surfing are extremely rare. However no statistics exist on the rate of injury. It is true that the majority of injuries caused by crowd surfing are only mild bruising, which occurs in any mosh pit without crowd surfing. It is common mosh pit etiquette to pick up anyone who has fallen over.

At larger events, such as festivals, crowd surfing can be used as a means of transporting individuals out of the crowd. On occasion, individuals may wish to leave the event because of any given reason, but there can be too many people bringing other people in. Therefore, some people use crowd surfing as a means to get out. Crowdsurfing can be used to help injured or sick participants find medical help quickly. A person losing consciousness at a large hot outdoor summer festival can arrive at medical help in less than a minute by being passed to security. Those facing the stage are often unaware of crowd surfers heading towards it and it is not uncommon for audience members to be kicked or otherwise hit in the back of the head. Opponents of crowd surfing claim that it is inappropriate for crowd surfers, stagedivers and moshers to dominate the most attractive area of the audience (directly in front of the stage) with the threat of (accidental) violence forcing people who do not want to get injured to stand at the back or to the side, which are much less attractive locations. Opponents argue that all visitors pay the same price for admission and are entitled to experience the concert without risk of getting kicked in the face or crushed by crowd surfers.

Crowd surfers also risk having personal items such as wallets or mobile phones stolen, or their shoes or clothes removed and thrown into inconvenient locations. This is known as "mosh-lobbing".

In December 2004 when the Beastie Boys performed at the Manchester Arena in Manchester, England, Ad Rock stopped partway through a song to warn the crowds to stop surfing as somebody had been injured, following up the discouragement with "that shit is so old" and telling them to "save that shit for the MTV music awards".

Events
The world record holder for the highest number of crowd surfers (recorded) in one performance is a mixed genre band during their performance at Reading festival in 2009. Enter Shikari provided the music and encouragement for this whilst security safely caught and redirected them out of a side gate back into the crowd. For a world record, the crowd surfer must "surf" over the barrier to be classed as a valid entry.

Crowd surfing extended for the first time to the classical music scene, when in June 2014 at the Bristol Proms an audience-member was ejected by fellow audience members during a performance of Handel's Messiah after he took the director's invitation to "clap and whoop" to the music a step too far by attempting to crowd-surf.

title: Crowd surfing


text:
Talk:Transportation and Communications in Mexico

Biggest port confusion
I've been doing some research for a project, and found conflicting statements relating to Mexico's largest ports:

 * Transport in Mexico: "Tampico, Tamaulipas, and Veracruz, Veracruz, on the Gulf of Mexico, are Mexico's two primary seaports."
 * Manzanillo, Colima: "In 2004 the port of Manzanillo surpassed Veracruz as Mexico's largest port per volume of cargo."
 * Mazatlán: "Mazatlán, ... is the second-largest city in the state (after Culiacán) and Mexico's largest commercial port."

Can we get some consitency with these statements? —The preceding unsigned comment was added by 202.89.156.172 (talk) 07:47, 16 April 2007 (UTC).

Remerge
Given that communications in Mexico covers both transportation and telecommunications, and are both coordinated by the same Secretariat or Executive Ministry, I strongly believe that the articles should be merged once again. Articles regarding Mexico do not need to follow the same pattern as those of the United States. The move was rather unilateral, with no previous discussion, even after my first reversion. -- the D únadan 01:40, 7 April 2008 (UTC)


text:
User talk:Martin BENOIT~enwiki

Hello, welcome to Wikipedia. Here are some useful links in case you haven't already found them;

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snoyes 04:04, 26 Nov 2003 (UTC)

Your account will be renamed
Hello,

The developer team at Wikimedia is making some changes to how accounts work, as part of our on-going efforts to provide new and better tools for our users like cross-wiki notifications. These changes will mean you have the same account name everywhere. This will let us give you new features that will help you edit and discuss better, and allow more flexible user permissions for tools. One of the side-effects of this is that user accounts will now have to be unique across all 900 Wikimedia wikis. See the announcement for more information.

Unfortunately, your account clashes with another account also called Martin BENOIT. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Martin BENOIT~enwiki that only you will have. If you like it, you don't have to do anything. If you do not like it, you can pick out a different name. If you think you might own all of the accounts with this name and this message is in error, please visit Special:MergeAccount to check and attach all of your accounts to prevent them from being renamed.

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Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 01:39, 20 March 2015 (UTC)

Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 16:00, 22 April 2015 (UTC)

title: User talk:Martin BENOIT~enwiki