Flat vaulted floors, a few centimeters thick, form three naves. The whole structure is full of expressiveness and revival. The middle oil has a longitudinal cylindrical arch, while in lateral naves – small transverse cylindrical arches. Thus, the spacer is perceived in a very effective way, and the room instead of stiffness is given modulating elasticity.
The outer shell is only slightly thrown. It is expediently cut through everywhere. Here, a ventilation system of Kasablanca docks was used in combination with a slightly solemn ornamentation. The shape of these concrete ribs in the windows can be criticized, but not their function: they serve as reasonable light filters. They interfere with the senseless penetration of light flows, and also do not allow too large stained -glass windows that do not harmonize with the clarity of concrete design.
The supporting function is performed only by a system of four rows of columns. This is expressively emphasized by the fact that the outer rows of columns retreat at a certain distance from the wall. Space breathes light, achievable only with internal overcoming the mass. Standing directly on the shoulders of Perre, the last generation continues to build, for the French designer of the 19th century lives in Perre, along with the Academy. Based on constructive foundations, it powerfully introduces new material into the body of architecture – reinforced concrete.
Perre, architect-designer, ignited by matter. It is possible that for reinforced concrete he did the same that lyrics are embarrassing for iron. The language of architectural forms of Perre is distinguished by pathetic elation, from which none of its European contemporaries can be freed. In addition, in every French architect, the classic canon continues to live, just as Rasin, Moliere, Descartes live, among the people.