While Louis XIV (1643-1715) was exploring the Baroque style, ordinary Parisians of this era saw the development of the humble immeuble de rapport: rental apartment buildings for the middle class which continued in popularity for several hundred years. Found in the 3^rd, 4^th, 9^th, 10^th, and 11^th arrondissements, the facades are simple cut stone with interior walls made of “Paris stone” (plastered), and a brick fireplace. The floors are oak parquet with parallel slats; the ceilings are medium or low in height. Shorter, less expensive wood beams were used, so rooms were rectangular and small. Most apartments were studios or one bedroom but over the years many have been combined to create larger apartments. The stairwell in this type of building is small but elevators are generally possible.

(1840- early-20th-century)

By 1853, the city had over 1 million people. Only one house in five had running water; of these, most only had plumbing on the ground floor. Napoleon III tapped Baron Haussmann to renovate Paris. The goal was to ease traffic by creating large boulevards and to promote hygiene by integrating a clean water and sewage system, as well as to house the burgeoning upper class. Featuring an intricate cut stone façade, the common layout in a Haussmannian style building is large apartments (200 to 300 m²) with multiple salons de reception, marble fireplaces, chevron parquet floors, high ceilings with elaborate crown moldings, and a grand stairwell with an elevator to the side rather than in the center. Found around the grand boulevards in the center of Paris and in the 8^th, 10^th, 14^th, 15^th,16^th, 17^th, 18^th, 20^th arrondissements.

Through the Seventies

These years are often seen as a disaster for French architecture. Some terrible mistakes were made, in particular the destruction of Les Halles in central Paris. Building styles from the 1950’s had to meet a large demand for new housing quickly and affordably as almost no new housing in Paris had been created during the previous 20 years. To meet the demand over 2500 buildings were constructed during the decade but Paris did not have a coherent building plan in place so developers were left to their own whims as to the height and size of their buildings with little concern for the surrounding architecture. Developers often prioritised profit over architectural beauty but they provided the Parisian population with well-equipped, low-rent housing. At the same time this was the period of Le Corbusier and his influence can be seen in the luxury buildings of the period which often have large balconies, modern layouts, and lots of light. The majority of buildings from this period have a brick, stone or concrete façade, elevators, low ceilings, carpeting, and small rooms.

Contemporary, 1980 to Present

In the 1980s, President Mitterrand unveiled a new architectural concept to move Paris into the next millennium. His “grands travaux” brought both praise and horror as they evolved, but no one can deny that the final result is a renewed and diverse city. Mitterrand is responsible for commissioning the Grand Louvre’s new glass pyramid entrance (created by I.M. Pei), the move of the Ministry of Finance into a new building (designed by Paul Chemetov), the Grande Arche de la Defense (by Von Spreckelsen), the Cité de la Musique (by Pritzer-prize winner Christian de Portzamparc), the Institut du Monde Arabe (by Jean Nouvel), the Opera Bastille (by the less-accomplished Carlos Ott), and the new library (by Dominique Perrault), now named the Bibliotèque François-Mitterrand.  Apartment buildings from this period offer large windows and storage space, but lack the architectural details of previous styles.