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Top Attractions in 8e Arrondissement

Royal Monceau Raffles Paris

The Le Royal Monceau Raffles Paris is a luxury hotel located at 37 avenue Hoche, 8th arrondissement, Paris, France. The hotel has 149 rooms with 61 suites and 3 luxury apartments that have been recently refurbished by the designer Philippe Starck. One of its restaurants has a Michelin star : "Il Carpaccio" serves Italian cuisine for lunch and dinner only and "Le Bar Long" serves lighter dishes all day from 8am to 2am with also a full bar available. Chef Nobu Matsuhisa and le Royal Monceau partnered and opened a Japanese restaurant, "Matsuhisa". Notable guests have included Dwight David Eisenhower, Winston Churchill, Robert De Niro, Charles Aznavour, Michel Polnareff, Madonna, Michael Jackson, Ray Charles and Celine Dion. The hotel was originally designed by architect Louis Duhayon, and opened in 1928. Le Royal Monceau was founded by Pierre Bermond and André Junot who at the time owned 30% of French luxury hotels like the Miramar in Cannes and Biarritz, the Carlton in Paris, the hotels in Evian and the California in Paris. From its opening it became the meeting point of many artists and celebrities, such as Maurice Chevalier, Walt Disney, Coco Chanel, Hemingway, Josephine Baker, Joseph Kessel and contemporary stars such as Michel Polnareff and Robert De Niro. In 1947, Ho Chi Minh stayed there for seven weeks during the Fontainebleau conference that established the new relationship between France and Vietnam. In May 1948 the negotiations that led to the signature of the Israeli Declaration of Independence by David Ben Gurion and Golda Meir took place in its lounges. In 1978, Doctor Osmane Aïdi, then owner of the building, created Le Royal Monceau Group that comprised Le Royal Monceau, the Hôtel Vernet in Paris, The Elysée Palace in Nice, the Hôtel Miramar Crouesty in Brittany and L’Ours Blanc in l’Alpe d’Huez. In 2007 French businessman Alexandre Allard put an end to the litigation between the shareholders of Le Royal Monceau and Qatari Diar became the new owner of the place after buying it out for the price of 250 million euros. Since 2008 it has been managed by the Raffles Group, an Singaporean resort company. In June 2008, the contents of the hotel were put up for auction. This sale, carried out by Cornette de Saint-Cyr, yielded 3,3 million euros. On June 26, 2008, A “Demolition Party” was organized in order to celebrate the beginning of the renovation work ; 1500 people turned up and, led all along by construction workers, watched live performances by various artists (fluorescent wood installation in the lobby, screening of a movie directed by Jean-Baptiste Mondino, live production of a short movie directed by Olivier Dahan, gigs…) The renovation works started the next day under the direction of renowned French designer, Philippe Starck.

Bateaux Mouches

Bateaux Mouches are open excursion boats that provide visitors to Paris, France, with a view of the city from along the river Seine. The term is a registered trademark of the Compagnie des Bateaux Mouches, the most widely known operator of the boats in Paris, founded by Jean Bruel ; however, the phrase, because of the success of the company, is used generically to refer to all such boats operating on the river within the city. Bateaux Mouches translates literally as "fly boats" ("fly" meaning the insect); however, the name arose because they were originally manufactured in boatyards situated in the Mouche area of Lyon. These boats are popular tourist attractions in Paris. They started with steamers at an Exhibition in 1867. Many seat several hundred people, often with an open upper deck and an enclosed lower deck; some have sliding canopies that can close to protect the open deck in inclement weather. Most boat tours include a live or recorded commentary on the sights along the river. A typical cruise lasts about one hour. Many companies offer lunch and dinner cruises as well. Most boats are equipped with lights to illuminate landmarks in the evening. The Steamers stopped running in the slow down of the Great Depression. Since the Seine is centrally situated in Paris, a boat tour covers a great deal of the city. Both the Left Bank and the Right Bank are visible from the boat. Passengers can see, among other sites, the Eiffel Tower; Notre-Dame Cathedral; the Alexander III Bridge, the Pont Neuf; the Orsay Museum, and the Louvre Museum. Passengers can also see Les Invalides, Napoleon's burial site. Boat tours in Paris have flourished since World War II, and today the Compagnie des Bateaux Mouches has significant competition. On busy days in high season, boats constantly move up and down the river.

International Exposition of Modern Industrial and Decorative Arts

The International Exposition of Modern Industrial and Decorative Arts was a World's fair held in Paris, France, from April to October 1925. The term "Art Deco" was derived by shortening the words Arts Décoratifs, in the title of this exposition, and it was popularised in the late 1960s by British art critic and historian, Bevis Hillier. Artistic creation in the années folles in France is marked by this event, when on this occasion many ideas of the international avant-garde in the fields of architecture and applied arts were brought together. This major event of the 20s was located between the esplanade of Les Invalides and the entrances of the Grand Palais and Petit Palais. It received 4,000 guests at the inauguration on April 28, and thousands of visitors each of the following days. This exhibition epitomized what came to be called decades later "Art Deco," a "modern" style characterized by a streamlined classicism, geometric and symmetric compositions, and a sleek machine-age look. The Exposition poster, by Robert Bonfils, imitating the look of a woodblock print, featured a modern athletic nymph and a racing gazelle. René Lalique's crystal tower fountain was a prominent set-piece of the Exposition. Other prominent motifs included stylized animals, lightning flashes, and "Aztec" motifs. Some of these were motifs and the design aesthetic was derived from French Decorative Cubism, German Bauhaus, Italian Futurism, and Russian Constructivism. The central body of exhibits seemed to present the fashionable products of the luxury market, a signal that, after the disasters of World War I, Paris still reigned supreme in the arts of design. At the same time, other examples such as the Esprit Nouveau pavilion and the Soviet pavilion were distinctly not decorative, they contained furnishings and paintings but these works, including the pavilions, were spare and modern. The modern architecture of Le Corbusier and Konstantin Melnikov attracted both criticism and admiration for its lack of ornamentation. Criticism focused on the 'nakedness' of these structures, compared to other pavilions at the exhibition, such as the Pavilion of the Collector by the ébéniste-decorator Émile-Jacques Ruhlmann. These modernist works were integral projects of their own specific movements, so today the term "Art Deco" is used for other works at the exposition with more accuracy. Le Corbusier's Esprit Nouveau pavilion attracted attention for reasons in addition to its modernism, such as his vast theoretical project that the pavilion embodied. L'Esprit Nouveau was the name of the Rive Gauche journal in which Le Corbusier first published excerpts of his book Vers une architecture, and within this pavilion he exhibited his Plan Voisin for Paris. The Plan Voisin, named for aviation pioneer Gabriel Voisin, was a series of identical 200 meter tall skyscrapers and lower rectangular apartments, that would replace a large section of central Paris in the Rive Droite. Although this was never built, the pavilion was and represented a single modular apartment within the broader urban theoretical project. Notable examples of Russian constructivism were the Alexander Rodchenko designed worker's club, and Konstantin Melnikov designed Soviet pavilion. Vadim Meller was awarded a gold medal for his scenic design. Student work from Vkhutemas won several prizes, and Melnikov's pavilion won the Grand Prix. Due to continued national tensions after the first world war, Germany was not invited. Austria however contributed Frederick Kiesler's City in Space exhibit to house the Viennese documentation, this exhibit was commissioned by Josef Hoffman. Polish graphic arts were also successfully represented. Tadeusz Gronowski won the Grand Prix in that category. Danish architect and designer Arne Jacobsen, still a student, won a silver medal for a chair design. Among the 15,000 exhibitors Croatian sculptor and architect Ivan Meštrović was awarded a Grand Prix for The Racic Mausoleum in Cavtat.

Crazy Horse

Le Crazy Horse Saloon or Le Crazy Horse de Paris is a Parisian cabaret known for its stage shows performed by nude female dancers and for the diverse range of magic and variety turns between each nude show and the next. Its owners have helped to create related shows in other cities, and unrelated businesses have used the phrase "Crazy Horse" in their names. The Paris Crazy Horse occupies former wine cellars of an impressive Haussmanian building at 12 Avenue George-V . Alain Bernardin opened it in 1951 and personally operated it for decades until his death by suicide in 1994. Many of the original waiters were also substantial shareholders in the original company. The enterprise remained a family business, in the hands of Bernardins three children, until 2005, when it changed hands. By this time the name "Le Crazy Horse de Paris" was used for the original venue and Crazy Horse Paris for one in Las Vegas at the MGM Grand. The dancers may have been deliberately chosen to be indistinguishable on stage in height and in breast size and shape in the past, but now they have a more diverse group of dancers. All in incredible shape and very skilled. Along with its dancers, the Crazy Horse has also been a popular venue for many other artists, including magicians, jugglers, and mimes. Bernardin explained that he loved magic because it corresponded with his vision: " is a dream. There is no show that is more dreamlike than a magic show. And what we do with the girls is magic, too, because they arent as beautiful as you see them onstage. Its the magic of lights and costumes. These are my dreams and fascinations that I put onstage." Under new management from 2005, Crazy Horse started featuring famous or prestigious artists stripping for a limited number of shows, including Dita Von Teese, Carmen Electra, Aria Cascaval, Arielle Dombasle or Pamela Anderson. They also hired Philippe Decouflé as choreographer Kelly Brook appeared in the fall of 2012. Also in 2012, the dancers went on strike for higher pay. Before the strike, which caused the cancellation of a high profile revue, they were paid €2,000 per month. The settlement yielded a 15 percent pay raise. The Paradiso Girls have named their album Crazy Horse after the club, as one of their members Aria Cascaval worked there. It is also mentioned in the Mötley Crüe song "Girls, Girls, Girls".

Maxim's Art Nouveau "Collection 1900"

Maxims Art Nouveau "Collection 1900", also known as the Musée Art Nouveau Maxims, is a private collection of Art Nouveau objects and decor, located in the 8th arrondissement above Maxims Paris restaurant at 3, Rue Royale, Paris, France. It is open for guided tours in afternoons except Monday and Tuesday; an admission fee is charged. Pierre Cardin owner since 1981 of Maxim’s restaurant, a symbol for Art Nouveau, has collected over 60 years the most characteristic masterworks from the Belle Epoch. More than 550 pieces from all over the world, signed by the most prestigious creators such as Majorelle, Tiffany, Gallé, Massier… are finally available to the public. Pierre Cardin has recreated the apartment of a celebrated courtesan on three floors of his building which is now classed historic monument. It’s partly because of its ladies that Maxim’s is now a part of Paris’ history — Princes, Kings, Dukes, Ministers and the creme of international high society frequented the restaurant at the height of its glory. Discover the legendary courtesan’s world of the ‘Belle Epoch’ as it was lived in their ‘love chambers’ which have now been recreated on the 4th floor of Maxim’s. This exceptional collection is presented as it was in 1900 in a 12 room Parisian apartment furnished with the most beautiful creations from the 1900s signed by Majorelle, Tiffany, Toulouse-Lautrec, Antonio de La Gandara,.... The Parlor Art Nouveau was a passion for these celebrated courtesans and they asked their many male admirers to offer them the most beautiful furniture from all over Europe. A sofa inspired by Gaudi, glittering china from the Riviera, a serving table with precious woodwork by Majorelle, everything was done to seduce. Cocteau said of these courtesans : ‘It was a cluster of lace, velvet, satin, ribbon, diamonds, rubies, pearls… who ever undressed one of these ladies took on a job that needed three weeks advance notice like moving house’. Selected works : Majorelle Furniture – Flowerpot cover. Furniture by Majorelle : This piece which can be leaned upon is combined from a music stand and a cart with floral and vegetal woodwork suggesting a tree filled landscape. Majorelle realised several examples of this piece of furniture which is both light and decorative, and perfectly adapted to the refined taste of the clientele who were enamoured by its modern lines as well as the refined motifs. Flowerpot cover: Magnificent Eglantine that forms a flowerpot cover. This piece, at the heart of Art Nouveau, is signed by Massier. The realistic vegetal inspiration makes it a center piece destined to crown the centre of a table or a parlor. The Vallauris china factory specialised in the Massier brothers production of brightly colored works that were ‘snatched up’ by the fashionable elite of the Côte D’Azur around 1900. Note : The oblique perspective of the petals, made to enhance the floral content of the piece. The Bedroom The Bedroom, is the creme of the creme for our ladies of the Rue Royale. The bed by Majorelle flows with iris’ and lilies, translucid lamps by Tiffany, evanescent bisque by Karlsbad, it is here that the courtesans added the final touches to the weapons of their beauty : coiffeur, make-up, dresses, hats and jewellery. Liane de Pougy, Émilienne d’Alençon, Lina Cavalieri or the famous La Belle Otero, each of them made up the dream world at Maxim’s.

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