descriptive essay on eiffel tower

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Eiffel Tower in Paris, France

Categories: Eiffel Tower Paris

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Words: 579 |

Published: Feb 12, 2019

Words: 579 | Page: 1 | 3 min read

Works Cited

Anthony, L. (2015). The Eiffel Tower. ABDO Publishing.
Danesi, M. (2014). The Eiffel Tower: The History of Paris' Most Famous Landmark. CreateSpace Independent Publishing Platform.
Eiffel Tower Official Website. (n.d.). Retrieved from https://www.toureiffel.paris/en
Encyclopædia Britannica. (2021). Eiffel Tower. In Encyclopædia Britannica. Retrieved from https://www.britannica.com/topic/Eiffel-Tower
Hossack, R., & Ball, T. (2005). The Construction of the Eiffel Tower: The History and Making of the World's Most Famous Monument. Black Rabbit Books.
Lonely Planet. (2021). Eiffel Tower. In Lonely Planet.
Loomis, C. (2019). Paris in the Present Tense: From the Eiffel Tower to the Elusive Whore of the Nineteenth Arrondissement. St. Martin's Griffin.
Millon, N., & Weyers, G. (2015). The Eiffel Tower. The Preservation Press.
Ross, S. (2013). Building the Eiffel Tower: An Engineering Marvel. Raintree.
UNESCO World Heritage Centre. (2021). Paris, Banks of the Seine. Retrieved from https://whc.unesco.org/en/list/600

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Essay on Eiffel Tower

Students are often asked to write an essay on Eiffel Tower in their schools and colleges. And if you’re also looking for the same, we have created 100-word, 250-word, and 500-word essays on the topic.

Let’s take a look…

100 Words Essay on Eiffel Tower

Introduction.

The Eiffel Tower is a symbol of France, located in its capital, Paris. Built in 1889 by Gustave Eiffel, it’s an iron structure standing tall at 330 meters.

Construction

The construction of the Eiffel Tower was a challenging task. It took two years, two months, and five days to complete. Despite the complexity, no workers lost their lives.

Significance

The Eiffel Tower is not just a tourist attraction. It’s also a radio transmission tower. Its height was instrumental in broadcasting signals across long distances.

Today, the Eiffel Tower is a beloved landmark, drawing millions of visitors each year. It stands as a testament to human ingenuity and architectural brilliance.

Also check:

10 Lines on Eiffel Tower

250 Words Essay on Eiffel Tower

The Eiffel Tower, an iconic symbol of France, stands tall in the heart of Paris. Completed in 1889, it was initially met with scorn from critics, but has since become a beloved emblem of the city’s architectural prowess and historical significance.

Design and Construction

The Eiffel Tower was designed by Gustave Eiffel for the 1889 Exposition Universelle, a world’s fair marking the centennial celebration of the French Revolution. Despite its intricate appearance, the tower’s design is a marvel of practical engineering. Its wrought-iron lattice structure, standing at 330 meters, was assembled with over 18,000 individual iron pieces, held together by more than 2.5 million rivets.

Symbolism and Cultural Significance

Though initially criticized as an eyesore, the Eiffel Tower has grown to symbolize French innovation and elegance. It has become a beacon for tourists, attracting millions each year, and has been immortalized in countless films, photographs, and literary works.

Modern Use and Preservation

Today, the Eiffel Tower serves multiple purposes. It houses restaurants, a post office, and numerous observation decks. It is also a broadcast tower, with antennas that extend its height to over 340 meters. Preservation efforts ensure the tower withstands weather and pollution, maintaining its status as an enduring symbol of Paris.

The Eiffel Tower, beyond its physical prominence, carries deep cultural significance. It stands as a testament to human ingenuity and the timeless allure of Paris, making it much more than just an architectural marvel.

500 Words Essay on Eiffel Tower

The Eiffel Tower, or “La Tour Eiffel” as it’s known in French, stands as an enduring symbol of France and an architectural marvel that continues to captivate the world. This iconic structure, located in the heart of Paris, is more than just a tourist attraction; it’s a testament to human ingenuity and the transformative power of design.

Historical Overview

The Eiffel Tower was designed by Gustave Eiffel’s company for the 1889 Exposition Universelle, a world fair held in Paris to celebrate the 100th anniversary of the French Revolution. Despite initial public criticism and outrage over its unconventional design, the Eiffel Tower was constructed in just over two years, a remarkable feat considering the technology available at the time.

Architectural Significance

The Eiffel Tower stands at an impressive height of 330 meters, making it the tallest man-made structure in the world until the completion of the Chrysler Building in New York in 1930. It is constructed from iron, a material choice that was both revolutionary and controversial at the time. The tower’s intricate lattice design, which gives it both aesthetic appeal and structural integrity, was an engineering marvel that demonstrated the possibilities of iron as a building material.

Symbolic Importance

The Eiffel Tower has transcended its initial purpose as a temporary exhibit to become a potent symbol of French identity and a beacon of human achievement. It embodies the spirit of progress and innovation that marked the Industrial Revolution and continues to inspire today. The tower has also played a crucial role in various historical events, serving as a radio transmission tower during both World Wars.

Cultural Impact

The Eiffel Tower’s cultural impact extends far beyond its physical presence in Paris. It has been featured in countless films, literature, and artworks, enhancing its status as a global icon. Furthermore, it has influenced architectural design worldwide, inspiring numerous replicas and adaptations.

The Eiffel Tower is more than just an architectural masterpiece; it is a monument that encapsulates the spirit of its era and the aspirations of its people. Its enduring appeal lies not just in its physical stature, but in what it represents: the triumph of human ingenuity, the beauty of design, and the power of progress. As we continue to push the boundaries of what is possible in architecture and engineering, the Eiffel Tower stands as a reminder of our past achievements and a symbol of what we can aspire to in the future.

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Description of the Eiffel Tower

How to describe an international monument also known as the Eiffel Tower? The best solution seems to be to stay simple and describe what you see. We can see that this is a metallic tower made of interlocking joists resting on the ground on 4 massive pillars. Its general shape is close to the pyramid, but differs from it by the small but existing curvature of its sides. It is composed of two parts: The lower part, characterized by four pillars, which lie at the top of this part, and a high part, which is the continuation of the elevation of the pillars at the moment of their joining. This junction is at the level of a platform that corresponds to the second tower of the tower, the first being approximately half way down from the ground, while the third is near the top.

The links below explain how the floor is and gives what to see.

Detail of the Parvis

Detail of the First floor

Detail of the Second floor

Detail of the Intermediate floor

Detail of the Third floor

At the top of the monument, above the 3rd floor, is a room where the radio and television equipment allowing broadcasting of the waves are installed, then the various TV and radio antennas. Among the details, the first floor has a decorative arch beneath its floor, and each pillar has an elevator to allow a quick climb up to the 2nd floor, or another elevator allows the climb up to the 3rd floor.

General Form

The Eiffel tower is a puddled iron structure, an iron that has lost some of its carbon and therefore rusts less quickly. It is pyramidal in shape with slightly curved sides. It measures 324m high and is divided into 4 parts separated by a floor. Until the second floor the tower is made of 4 distinct pillars, but from there they join in a single pylon which rises vertically to the top. The floors are successively at altitudes of 57m, 115m and 276m. There is an intermediate stage, between the second and third, but it is unused nowadays. In the 19th and early 20th century, it served as a trans-shipment platform for the passengers going to the top because the elevators were not able to rise so high at one time.

The tower is decorated with arcades on the level of the first floor and each floor has different buildings: restaurants, shops, museums, observation galleries, and even, in the winter, an ice rink. The elevators facilitate the rise of the visitors but it is possible to climb the tower by the staircase up to the 2nd floor.

Orientation of the tower

The Eiffel Tower is built in the axis of the Paris Mars Field, which is itself oriented at approximately 45 ° to the meridian. By building a square base tower, the four pillars are focused on the 4 cardinal points. So there is naturally a North pillar, a West, a South and an East. In order to be more technical, Gustave Eiffel and his engineers had numbered them from 1 to 4, in this order, but nowadays it is a notion that has been lost.

The rest of this document is the descriptive text given by Gustave Eiffel in his book, "La tower de 300m". It is much more precise, rather technical, and of a style of the late nineteenth century which may seem a little heavy at times. So before going any further, here are some documents that may interest you:

General shape

From a general point of view, the Eiffel Tower is a 4-sided pyramid-shaped metal structure, each side of which is slightly concavely curved (see Board I , Figures 1 and 2). It is divided in height into 4 parts. The lower part, between the floor and the first floor (57.63 m), the second between the first and second floor (115.73 m from the ground), the third between the second and third floor (located at 276.13 m) and the fourth from the third to the top (324 m above ground)

Elévation de la tour Eiffel, panneau par panneau

The second floor marks a change in the structure of the tower. From the ground to the second floor, the four pillars are distinct, while from there the pillars merge into a single column rising to the top. The pillars are made of square boxes superimposed on each other, their sizes varying according to their heights relative to the ground. On the ground precisely, the pillars are supported on masonry bases, themselves deeply anchored in solid foundations. The pedestals are placed in a square of 124m of side, forming the grip of the tower on the ground. (see board III , figure 2) From the ground to the first stage of large lattice girders which support the first stage and intersect the pillars forming a first horizontal girdle, these pillars have a constant inclination and their faces also have a constant width of 15 meters. This inclination is 65 ° 48'49 '' in the plane of the faces and 54 ° 35'26 '' in the diagonal plane which contains the projection of the post axis.

Beyond the first stage, their inclination becomes variable as well as their width, which gradually decreases to the second stage, where it is only 10.41 m.

On this second floor, new horizontal beams cross the four uprights; but, above, the mode of construction changes: the outer faces of the uprights join together in pairs, their inner faces disappear, and there is no longer in this upper part of the Tower, but a large single box of truncated quadrangular pyramid whose base, at the height of 115.73 m at 31.70 m and of which that at the third level, ie at the height of 276.13 m, has only 10 , 00 m.

Arches of 74 meters in diameter develop between the uprights on the lower floor; but their role is purely decorative. On the first floor, restaurants are located in the spaces between the uprights of the same side; moreover, an outer covered gallery, carried by consoles and having 270 meters of development, goes around the building. All the space between the uprights and in the interior of them, carries a floor leaving a large central void surrounded by a guardrail.

The total surface area of the floors of this floor, net of voids for the passage of the elevators, but including the gallery, is 4,010 square meters. The area covered by galleries and restaurants is 2,760 square meters. The second floor also has an exterior gallery established in the same manner as the first floor, but of a lesser development (136 meters). The floor extends on this floor on the entire section of the Tower, without central vacuum, and gives an area of 1360 square meters. On this floor there was a Prinery, a Figaro press, closed shelters and various kiosks at the end of the 19th century. The third floor is completely covered and gives with the external consoles an area of 270 square meters. It forms a kind of cage glazed by movable mirrors, from which the visitors can, with the shelter of the wind that frequently reigns at these heights, observe the panorama that surrounds them.

Immediately above this covered area, there is a terrace that the builder reserved for himself, the center is occupied by scientific laboratories and by a small room used for receptions. Above this central building are placed the cross beams supporting the transmission pulleys of the elevators . They are surmounted by the four large arches by day supporting the lighthouse of the summit. The small platform of 1.70 m is supported on the upper dome of this lighthouse. of diameter, which is exactly at the height of 300 meters above the ground.

It can be easily accessed by internal ladders, and the lightning-conductor is no longer above itself.

Description technique

The technical description is based on certain notions of architecture, so you sometimes have definitions that can be displayed independently of the text. These are the links in italics. The texts below are largely inspired by the book 'The Tower of 300m', written by Gustave Eiffel himself in 1900, but as it is sometimes a rather heavy style (obsolete, nowadays), some sentences were taken differently. And you have an introduction to each part because otherwise it is a bit heavy to read. The technical description begins with the rafters, which are the large curved beams rising from the pedestals, at ground level, at the top. They are the ones who provide the general structure of the Eiffel Tower.

The description therefore begins with the connection between the masonry pedestals and the crossbars.

Base-crossbow connection

As indicated in detail below, the crossbowmen are not directly fixed on the pedestals, the latter have a sabot on which a counter-shoe is fitted, which is fixed to the end of the crossbow. Between the two, there is room to put a very large hydraulic cylinder. It is the presence of this jack that sometimes makes say that the Eiffel tower is mounted on cylinder. The following paragraph details this mechanism.

Detail the supports of the crossbowmen (in french)

Les arbalétriers en fer reposent sur les pierres de taille du couronnement par des appuis en fonte et en acier moulé. Ces appuis n'étaient pas fixes, au moment de la construction de la tour, ils permettaient d'avoir un peu de jeu entre le socle et les arbalétriers, à leurs bases. Pourquoi ? La raison est qu'il était impossible, à l'époque, de régler d'une manière très précise les poutres du départ dans la position prévue. Or, un écart infime dans l'angle d'élévation, dans la position, ou dans l'orientation des arbalétriers et les piles ne se joignaient pas comme il faut, au niveau du premier étage. Il fallait donc prévoir un système pour modifier l'orientation, l'angle ou la position une fois la pile terminée, surtout que le poids même de la structure pouvait provoquer un tassement dans le sol. Ces appuis (voir planche VI, fig. 7 ) sont donc faits en deux parties ayant l'une par rapport à l'autre une certaine mobilité. La partie inférieure est un sabot en fonte ayant une base à peu près de 1m80 de côté à travers lequel passent deux grands boulons d'ancrange noyés au centre de chaque massif . Cette base est surmontée par une partie carrée dont les parois de 100mm d'épaisseur laissent entre elles un vide de 0,783m de côté. La hauteur totale de ce sabot est de 0,915 m.

Le sabot supérieur ou contre-sabot est en acier moulé, le bas pénètre en partie dans le vide du sabot inférieur; les faces latérales du bout s'emboîtent exactement dans l'intérieur du losange formé par chaque arbalétrier . Ceux-ci reposent par leur tranche dressée avec soin sur une saillie aménagée sur le pourtour de la partie moyenne. C'est au-dessous de cette saillie qu'on interpose des cales en fer d'épaisseur convenable par lesquelles se fait l'appui sur le rebord du sabot inférieur. Les tirants d'ancrage s'attachent sur l'extérieur de l'arbalétrier à l'aide d'un étrier en fer forgé de 20 mm d'épaisseur, rivé sur des goussets saillants portés par l'arbalétrier. Leur écrou s'appuie sur cet étrier par une rondelle en acier de 0,10m de hauteur, épousant aussi complètement que possible le vide laissé entra les goussets. Pour rendre possible l'introduction des cales entre le contre-sabot et le sabot inférieur, on avait ménagé à l'intérieur de ce dernier un vide suffisant pour y loger un vérin hydraulique puissant, capable de développer un effort de 800 000 kilos.

See also: Construction of the basements .

Bars to first floor

Starting from the pedestal, the crossbowmen climb to the top. The next chapter explains how the 4 rafters are for each of the 4 stacks and why they do not work all 4 in the same way. It also indicates how these crossbowmen are noted in the remainder of this document, and what are their sections, positions, etc. This is only for the part going from the base to the first stage, which is the part supporting the greatest effort.

This is explained in the first paragraphs below. The remainder is a long, but interesting, technical explanation of the different strut parts, with their dimensions, their positions, and the explanation of why angle brackets have been added. It is a bit heavier to read, it must be said.

Detail the crossbowers up to the 1st floor (in french)

Les arbalétriers formant les arêtes de chacun des montants ont une section horizontale carrée de 80cm de coté à l'intérieur, représentée dans la planche XXXI, section XXVIII à XXV . L'obliquité de leur axe par rapport à l'horizontale est de 54° 35' 26'' suivant la ligne de plus grande pente, c'est-à-dire suivant la diagonale du carré de la base de la Tour, de 65° 18',48'' dans le plan rabattu de la face et enfin de 03°, 18' 43'' dans le plan vertical (voir planche IX, fig. 5 ). En raison de cette obliquité, la coupe normale à leur axe n'est plus un carré mais un losange, représenté figure 8, dont les faces sont inclinées de 78°,21' 44'' l'une par rapport à l'autre.

Les quatre sections carrées sont disposées au sommet d'un carré de 13,00 m de coté. Les arbalétriers portent les lettres a, b, c, d, la lettre R désignant l'arêtier le plus voisin de l'axe de la Tour, les autres lettres se rapportent dans leur ordre aux arêtiers rencontrés en tournant autour de l'axe du montant dans le sens des aiguilles d'une montre, de telle sorte que les arbalétriers portant les mêmes lettres sont égaux ou symétriques. D'une manière générale, les montants à l'extrémité d'une même diagonale, tels que 2 et 4, 1 et 3, sont égaux sauf en position de certains goussets d'attache, et ils sont symétriques par rapport à ceux qui leur sont voisins suivant les côtés du carré de la base. Les faces elles-mêmes de ces arbalétriers sont en général différentes et portent les numéros 1 a 10 (voir planche IX, fig. 1 ). La section horizontale de la partie inférieure (section XXVIII, arbalétrier a) est un carré dont les cotés ont 877 mm mesurés extérieurement. Ils sont formés par deux tôles jointives de 400 mm de largeur sur 18,5 mm d'épaisseur, réunies par un couvre-joint longitudinal de 200 x 12 et par deux cornières de 100 X 100x12.

La liaison des quatre tôles est faite par quatre cornières d'angle de 100x100x12. La surface de cet arbalétrier est de 05.002 mm 2 donnant un poids de 748Kg par mètre courant. Les autres arbalétriers de cette section sont disposés de même et différent seulement du premier par l'épaisseur des tôles, laquelle se réduit à 17 mm pour les arbalétriers c et d et à 16 mm pour l'arbalétrier c. Les calculs donnent la raison de ces différences et montrent que, d'une manière générale, l'arbalétrier intérieur est celui qui supporte le plus grand effort, l'extérieur, celui qui supporte le moindre et que les deux latéraux travaillent également à un effort intermédiaire. Leur section est de 91.192 mm 2 donnant un poids de 711Kg par mètre courant pour les arbalétriers a et d, et 87.992 mm 2 donnant un poids de 686Kg par mètre courant pour l'arbalétrier c.

L'ensemble donne une section de 366.308 mm 2 représentant un poids par mètre courant de 2.856 Kg. La position des rivures des tôles sur les cornières d'angle a été déterminée de manière a ce que la dimension extérieure du tronçon reste constante.

La hauteur des panneaux d'un montant, c'est-à-dire la distance de deux entretoises horizontales réunies par une croix de Saint-André (croix en forme de X) est de 11,00 m en projection sur le plan vertical ( Planche VIII, fig. 8 ) et de 12,31 m suivant le plan des faces ( Planche IX, fig. 8 ), La longueur d'arbalétrier comprise entre les axes des entretoises est en nombre rond de 13,50 m et a été divisé en trois parties de 4,50m en nombre rond, laquelle est la longueur de chacun des tronçons. Cette longueur n'avait pas été prise plus importante afin que le poids de chacun des tronçons, qui est de 700Kg environ par métre courant, ne dépasse pas sensiblement la limite de 3.000Kg que l'on s'était fixée pour la facilité du montage.

Par l'adoption de cette longueur, il existe trois joints dans chaque panneau; celui du milieu correspond à 1'entretoîse intermédiaire, laquelle ne transmet pas d'effort et constitue simplement une entretoise d'écartement; les deux autres sont à des dislances égales de l'entretoise principale, de sorte que la transmission des efforts qui s'opère par celle-ci et par les deux barres de treillis qui s'y attachent se fait sur le milieu méme d'un tronçon et dans de meilleures conditions pour la facilité de l'assemblage que si sur ce noeud on rencontrait un joint.

Quant ou joint lui-même, toutes les pièces qui constituent le tronçon viennent s'arrêter dans un même plan normal à l'axe : toutes les tranches des fers qui doivent venir buter l'une contre l'autre en contact parfait sont dressées avec le plus grand soin, mais en outre, bien entendu, les joints sont recouverts par des couvre-joints, dont les sections, ainsi que celles des rivets d'attache, sont toujours au moins égales à celles des arbalétriers (voir Planche IX, fig. 21 a 20 ).

Des cadres d'entretoisement placés tous les deux mètres environ assurent l'indéformabililé du caisson : ils sont formés par des cornières pinçant des goussets triangulaires (voir Planche IX, fig. 28 ) laissant entre eux un espace suffisant pour le passage d'un homme. Cette possibilité de circulation sur toute la longueur d'un arbalétrier a été jugée indispensable pour l'entretien et le renouvellement de la peinture à l'intérieur ainsi que pour tout remplacement de rivets, si cela était nécessaire. Enfin un trou d'homme de 0,50x0,345 m est ménagé au droit de chacun des joints dans l'une des faces; il permet d'effectuer la rivure en livrant passage à un teneur de tas qui pénètre dans l'intérieur du caisson.

Les tronçons portent en outre rivés sur les cornières les goussets découpés qui servent d'attache des entretoises et des treillis ( Planche IX, fig. 10 à 17 ). Les tronçons d'arbalétriers des quatre premiers panneaux sont analogues à ceux que nous venons de décrire et ne différent que par l'épaisseur des tôles, qui varie de 17 mm à 13,5 mm ainsi que l'indique la planche XXXI , à laquelle nous nous reportons. Les sections varient peu, soit de 366.308 à 331,368mm, c'està dire de 2.856Kg à 2.608Kg par mètre courant. Les entretoises courantes, au nombre de trois par face, sont construites suivant une forme qui se retrouvera dans un grand nombre des parties de la Tour et que nous avons adoptée parce qu'elle n'exige pour une grande rigidité qu'une quantité de métal relativement faible et que, qualité très importante, les pièces ainsi formées travaillent aussi bien à la compression qu'à la traction. C'est celle d'un caisson de grande section formé par quatre cornières reliées dans leurs quatre faces par d'autres cornières disposées alternativement à 43°. Ces entretoises sonl représentées planche IX, fig. 31 et 32 . Le caisson a sensiblement la même dimension que l'arbalétrier, c'est-à-dire 800 mm de hauteur et une largeur sensiblement égale : les cornières qui le composent sont des cornières de 80x80x10 reliées par des cornières de 45x45x5 disposées pour des raisons d'aspect en treillis double dans les plans verticaux et en treillis simple dans les plans horizontaux (voir fig. 8 de la planche IX ). L'attache de ces cornières est indiquée dans la figure 27 de cette même planche.

Ces entretoises, dont l'aile est en saillie extérieurement, viennent s'assembler extérieurement par le plat de leurs faces verticales de cornières sur les grands goussets découpés de 8 mm d'épaisseur rivés sur les tronçons. Elles sont interrompues dans leur milieu pour le passage d'un lien longitudinal placé dans l'axe de la face et ayant la même section : les saillies des cornières sont également extérieures, el la liaison se fait sur un gousset évidé en forme d'étoile (voir fig. 8, 18 et 29, planche IX ).

Entre les entretoises principales délimitant le panneau, sont disposées les entretoises intermédiaires d'écartement (fig. 8 et 19) lesquelles sont identiques aux premières comme section. Il en est de même pour les treillis disposés en croix de Saint-André et venant se croiser avec l'entretoise intermédiaire du panneau; mais pour celui-ci, dont les sections sont formées par des cornières variables (voir planche XXXI ) de 80x80 à 90x90 et 100x100, ces dernières ont leur aile en saillie intérieurement et viennent l'attacher par les faces intérieures des goussets découpés. Les rencontres se font sur un gousset central ( fig. 20, pl. IX ); l'une des barres de treillis est continue et l'autre interrompue. Le lien longitudinal dans l'axe est continu; l'entretoise horizontale est interrompue.

A la partie inférieure, il était nécessaire pour assurer d'une façon complète l'écartement et l'inclinaison des premiers tronçons et constituer une base absolument indéformable, d'établir des entretoises d'une grande hauteur formant de véritables poutres. Ces poutres ont dans les faces extérieures ( pl. VII, fig. 1 et 5 ) une hauteur de 3,387m laquelle se réduit à 2,00 m dans les faces intérieures afin de donner aux portes d'accès dans les piliers une hauteur suffisante. Ces poutres sont en double paroi et sont représentées planche X, fig. 1 à 11 ; leurs membrures supérieures et inférieures sont formées par un fer plat de 200 x 9 armé par une cornière de 80 x 80 x 10. Le treillis double qui les réunit est formé par des cornières de 70x70x8 (voir attache fig. 2); réunies elles-mêmes d'une paroi à l'autre par des plats de 33x7 (voir fig. 3 et 8). La liaison des parois est assurée par un treillis en N de cornières de 45x15x5.

Toules les parois des montants sont si rigides et sont reliées soit au niveau des appuis, soit à celui du premier étage par des ceintures si puissantes qu'il est inutile d'entretoiser la Tour dans les divers plans horizontaux. Cela, du reste, n'eût pas été possible en raison de la nécessité de livrer passage aux ascenseurs. On aurait pu néanmoins sans inconvénient de ce point de vue, disposer au niveau de chaque panneau une entretoise diagonale E réunissant les arbalétriers b et d (voir IX, fig. 30 ); cela n'a été fait en vue principalement des facilités du montage et aussi pour servir d'attache aux poutres de l'escalier.

Cette entretoise a une longueur très grande, 21,21 m, par rapport à sa hauteur qui, comme les autres pièces constitutives du montant, ne doivent pas avoir plus de 800 mm (voir fig. 37); aussi a-t-on été obligé de lui donner une forme spéciale. Elle comporte, dans sa coupe transversale (voir fig. 31) au centre, une poutre verticale de 0,715 m de hauteur formée par 4 cornières de 80X 80 x 10 réunies par un treillis en cornières de 50 x 50 x 6. Sur ces cornières vient se fixer une cage en losange, dont les angles sont constitués par deux cornières longitudinales de 80 supportant un quadruple réseau en N de cornières de 50x50x6 qui viennent s'emboutir soit sur les faces horizontales des cornières de la poutre, soit sur les faces verticales des cornières d'angle. L'ensemble de cette poutre est pris entre deux goussets horizontaux qui s'attachent eux-mêmes sur les goussets des entretoises horizontales des panneaux (voir fig. 40).

Panel 5 and beams on the first floor

The panel 5 is the last before the first stage, it is different from the others because it must support the load of the platform of the first stage. The text below explains precisely how this panel No. 5 was done and how these beams are to support the buildings on the first floor.

Detail the panel 5 and the 1st floor beams (in french)

Au niveau du panneau 5, dont la hauteur suivant le plan vertical est de 7,00 m et la hauteur verticale en rabattement de 7,53 m, régnent les grandes poutres formant la première ceinture d'entretoisement des montants ( Planche VII, fig. 1 et planche VIII, fig. 8 ). Elles sont en outre destinées à porter la plate-forme sur laquelle sont installés les restaurants et les galeries du pourtour.

L'ensemble de cette ossature est représenté dans la planche XVI, fig. 7 et 8 . Les arbalétriers sont réunis de l'un à l'autre montant par de grandes poutres en treillis intérieures et extérieures de 7,53 m de hauteur situées dans le plan des faces (fig. 9) et réunies à leur partie supérieure par des poutres transversales de 4,00 m de hauteur espacées de 3,882 m. C'est sur ces poutres transversales que repose le solivage formant le plancher des restaurants.

Ces poutres, fortement contreventés par des pièces diagonales, ont une longueur de 38,25m à la partie inférieure et de 32,70 m à la partie supérieure (fig. 6). C'est sur celles-ci que sont fixées les consoles supportant la galerie de circulation et les balcons intérieurs (fig. 11).

Le treillis du panneau 5, qui lui forme suite, est disposé non plus en forme de croix de Saint-André (c'est à dire en forme de X), mais en treillis multiple dont les barres ont sensiblement la même inclinaison que celles des poutres (voir fig. 6).

Enfin, dans le vide du montant sont disposées à angle droit deux poutres principales, e, f (Fig. 9), supportant des consoles en porte à faux destinées à ménager le vide de l'ascenseur (See also planche VIII, fig. 2 ); ces consoles sont maintenues par des poutres placées dans leur prolongement et venant se fixer sur les faces extérieures du montant. Dans l'axe de ces mêmes poutres, sont placées les consoles de la galerie de pourtour régnant sur les faces extérieures. Cet ensemble étant ainsi sommairement décrit, nous allons entrer dans quelques détails sur la construction.

Les arbalétriers qui le composent ne sont plus en prolongement de ceux des panneaux inférieurs; en bas de ce panneau existe un coude assez prononcé, 4° environ. Ils s'infléchissent dans le joint qui existe en ce point, de telle sorte que les axes forment un angle de 176°,3',20" ( planche X fig. 10 ). La section de l'arbalétrier est celle portant le numéro XXIV dans la planche XXXI ; elle est analogue à celle des arbalétriers inférieurs et de méme dimension extérieure, soit 877 mm mesurés horizontalement. La section totale des montants est de 316.500 mm 2 , soit 2.470 kg par mètre courant.

Le treillis de ce panneau est représenté dans la planche X, fig. 14 et 17 . Il est formé par une poutre à double paroi dont les membrures inférieures et supérieures sont constituées par une âme de 500 x 10 raidie par une cornière de 100 x 100 x 12, placée intérieurement. Chacune de ces membrures vient s'appliquer sur les goussets des arbalétriers et reçoit un treillis disposé à 45° formé par des cornières de 80x80x8 pinçant une âme de 120 x 6. Les deux parois sont réunies l'une à l'autre par un montant vertical à treillis représenté figure 10. Les poutres principales, e et f, sur lesquelles viennent s'assembler les consoles en porte à faux entourant le vide de l'ascenseur, ont une hauteur de 4,00 m. L'une d'elles, la poutre e, est représentée dans la planche XI, fig. 75 .

Grandes poutres

Les grandes poutres sont représentées dans la planche X, fig. 21 pour leurs détails et dans la planche XI, fig. 70 et 71 pour leur disposition d'ensemble.

Leurs membrures sont formées par des tôles de 800 x 12 armées par des cornières de 100 ouvertes ou fermées sur lesquelles sont rivées les semelles supérieures de 800 mm de largeur sur 48 mm d'épaisseur. La membrure inférieure qui se relie aux poutres décoratives de l'arc est représentée dans la planche XIII bis, fig. 2 . Le treillis qui les réunit est disposé à 45° et comporte des barres formées par des semelles et des cornières dont les dimensions sont indiquées dans la planche XXXIV , soit pour la poutre extérieure, soit pour l'intérieure. Les deux parois sont réunies par un solide montant vertical représenté planche X, fig. 22 ; son âme est en tôle pleine sur toute la hauteur des attaches des consoles ou de celles de la poutre transversale. La liaison des grandes poutres intérieures et extérieures est faite par les entretoises transversales de 4,00m de hauteur, représentées dans la planche XI, fig. 72 ; leur espacement est de 3,8825 m. Elles sont elles-mêmes entretoisées longitudinalement par des poutres de même hauteur (voir fig. 73) dans lesquelles un des panneaux a été réservé pour constituer un sous-sol avec plancher, représenté planche XVI, fig. 9 .

Panels 6 to 10 (First to Second Floor)

Between the 1st and 2nd floor the problems are a little different since the 4 piers have a common point of attachment, the plateau of the 1st floor, which can be considered as large spacers. Here is the continuation of the description of the Eiffel Tower, the part between the first and second floors.

Detail the panels from 1st to 2nd floor (in french)

Au delà du premier étage, quatre panneaux portant les numéros 6 à 9, se suivent analogues â ceux du premier étage, ces à dire que leurs arbalétriers sont de même forme et réunis par des entretoises horizontales et de grandes croix de Saint-André à treillis reliées par une poutre centrale. L'entretoise intermédiaire a été supprimée ainsi que l'entretoise transversale de contreventement . En raison de la rigidité des parois et de leur rapprochement du plan vertical, cette suppression ne présentait aucun inconvénient; elle était du reste exigée par la nécessité où l'on était de livrer passage aux ascenseurs. La hauteur de ces panneaux est de 11,00 m dans le plan vertical, sauf le dernier, qui n'a que 10,20 m. L'axe des arbalétriers s'infléchit ou droit de chacune des entretoises et leur angle avec l'horizontale suivant le plan de la face, passe de 72°,49',50,à 7°'10'' (voir planche Vll, fig. l ). Leur écartement diminue progressivement de 15,00 m, largeur au niveau du premier étage, à 11,32 m au-dessous de la première ceinture du deuxième étage. Leur section est représentée dans la planche XXXI (sections XXII l b XX); elle se compose simplement de quatre tôles jointives assemblées entre elles par des couvre-joints longitudinaux, et fixées sur des cornières d'anglede 100x100x12, sans addition de cornières de renfort.

Leur surface lotate diminue notablement et passe de 252.704 mm 2 , soit 1071 Kg par mètre courant à 222,524 mm 2 , soit 1735 kg par mètre courant. Les enlretoises et les treillis sont des caissons identiques à ceux de l'étage inférieur. Le panneau 10, qui a une hauteur de 10,00 m en projection verticale, comprend une ceinture formée par des poutres à treillis serré de 3,00 m de hauteur d'axe en axe des membrures, et par des poutres en treillis largement espacés, de 6,56 m de hauteur ( planche VII, fig. 2 ), lesquelles sont représentées à l'échelle de 0,02 m par mètre dans la planche planche XII, figures 1,2, 3 et 4 .

Comme elles jouent principalement un rôle décoratif, elles sont constituées par des éléments de faible épaisseur, 5 mm en général; celle-ci est la plus faible à laquelle nous soyions descendus pour les tôles et fers plats des parties constitutives de la Tour. Les treillis, très rapprochés, sont formés par des âmes de 300 x 5 raidies par des cornières de 30 x 30 x 4, s'assemblant sur des âmes qui ont 0,60 m à la partie supérieure et 0,50 m à la partie inférieure. Les deux parois de chacune de ces poutres sont réunies par de légères cornières de 45 x 45 x 5, de manière à former des caissons.

Le panneau 11 correspond à la ceinture supérieure qui porte le plancher du deuxième étage.

Floor of second floor

The floor of the second floor is fairly well described in the document 'The 300m tower', written by Gustave Eiffel. The text below, slightly adapted, shows how this floor is formed. If the explanations can reject, with the diagrams of the boards, it is much simpler and in the end, this part of the Eiffel Tower is relatively easy to understand, you just have to dive into it.

Detail the floor of the second floor (in french)

Ce plancher est représenté dans son ensemble planche XVI, figure 12 . Les arbalétriers de chaque montant sont réunis deux à deux par des poutres A, B, C, D, représentées dans la planche XII , figures 1, 2 et 3. Ce sont des poutres en treillis à double paroi de 5,03 m de hauteur. Les membrures (une semelle de 300 x 12, deux âmes de 450 x 8 et 450 x 11, deux cornières ouverte et fermée de 100 x 100 x 12) sont reliées par des barres en double cornière de 80x80x8, venant se croiser sur un gousset central porté par un montant vertical à treillis.

Dans l'intervalle des montants sont disposées trois entretoises, F, de 1,50 m de hauteur, représentées dans la planche XVII , figure 37. Ces entretoises, formées en treillis, sont supportées du côté de la poutre C par une grande console complétant la hauteur du panneau.

Le montant lui-même doit donner passage à l'ascenseur et à l'escalier venant du premier étage. Les deux poutres métalliques G et H, qui limitent le vide de l'ascenseur, sont à âme pleine de 0,75 m de hauteur ( planche XVII , fig. 30) supportées par une console évidée pour le passage de l'escalier.

Les poutres en treillis 1 qui les réunissent aux poutres du pourtour, ont la même hauteur (fig. 41) et sont supportées par une grande console, comme les précédentes. Ces différentes consoles ont pour but d'équilibrer celles de la galerie extérieure.

Des contreventements sont placés à la partie supérieure des entretoises, qui reçoivent un solivage avec le hourdis Perrière.

Dans la partie centrale, qui doit recevoir les montants de l'ascenseur, est disposé un grand cadre rectangulaire formé par des poutres pleines de 2,00 m de hauteur ( planche XVI , fig. 12 et 13), O et P, R, T, reposant sur la semelle supérieure des poutres de pourtour.

Sur les poutres O, s'appuie une nouvelle poutre, S, représentée dans la figure 43 de la planche XVII . Enfin les poutres V, ( planche XVI , fig. 12 et 13), de 1,30 m de hauteur supportent les cylindres de l'ascenseur et viennent s'assembler sur la poutre R ( pl. XVII , fig. 33).

Panels 12 to 29 (Second to third floor)

The description of the Eiffel tower is continued by that of the panels going from the second to the third floor. These are the panels 12, which is just above the platform of the second stage, at the panel 29, the last one, at the top of the tower. What is important to note is that from the 2nd floor, the 4 stacks gather in a single pylon, so the 16 crossbowmen (4 per stacks) are now only 4.

Detail the second to third floor panels (in french)

A partir du deuxième étage, l'ossature n'a plus que quatre faces au lieu de seize; les arbalétriers de l'angle intérieur s'arrêtent au plancher de la deuxième plate-forme et les arbalétriers b et d se rapprochent dans une même face, pour se réunir entre les panneaux 17 et 18.

Jusqu'au panneau 17 ( planche XXXI , sections XII À XVII) le nombre des arbalétriers est de douze; leur section est un carré de 0,50 m de coté, se rapportant à deux types : l'un pour l'arête extérieure c, l'autre pour l'arbalétrier intermédiaire b ou d.

Au delà (sections I à XI), il ne subsiste plus que l'arêtier c qui prend la forme d'un angle droit, et l'arbalétrier intermédiaire bd, qui prend celle d'un simple T; les faces des uns et des autres ont une largeur de 500 mm.

Les surfaces de toutes ces sections sont données dans la même planche XXXI et varient comme section totale de 501.681 mm 2 soit 4.000 kg par mètre courant à 208.672 mm 2 , soit 1.630 kg par mètre courant. Comme terme de comparaison, nous rappelons que la section totale moyenne dans le premier étage correspond à un poids de 11.000 kg et dans le deuxième étage de 7.200 kg.

Ces 17 panneaux, dont la hauteur totale est de 140,40 m, ont une hauteur partielle qui varie, suivant la verticale, de 11,30 à 5,832 m et, en rabattement, ( planche VII ) de 11,40 m à 5,831 m. La largeur des panneaux varie de 10,412 m à 5,00 m, et celle des faces de 31,701 m au niveau du deuxième étage à 10,00 m au-dessous du campanile.

La courbe extérieure est donnée par des changements d'inclinaison qui se produisent en général au droit des entretoises de deux en deux panneaux, sauf pour les panneaux 14, 15 et 18, qui ont chacun une inclinaison spéciale, et pour les quatre panneaux supérieurs, dont l'inclinaison est constante. Cette inclinaison varie de 82°25',29" à 87°12'31".

La planche XII , figure 5, donne la disposition de ces panneaux constitués, en outre des arbalétriers, par des entretoises et des croix de Saint-André. Les entretoises sont en caissons de 600 mm de hauteur et 520 mm de largeur, formés par quatre cornières d'angle de 80x80x10 et quatre faces de treillis en cornières de 45x43x5. Les croix de Saint-André qui sont, rappellons-le, en forme de X ont la même largeur, mais une hauteur de 500 mm seulement; les cornières d'angle varient de 90x90X13 à 80x80x8; elles sont réunies par le même treillis de 45 x 45 x 5. Ces pièces s'assemblent sur des goussets découpés rivés sur les faces des arbalétriers.

Cette même planche donne également le raccordement des arbalétriers inférieurs avec les supérieurs. Le joint normal se fait à 4,97 m au-dessus de la face supérieure de la poutre du deuxième étage; au-dessous de ce plan la coupe et l'entretoise intérieure sont données figure 8. A 4,20 m au-dessus, se trouve un autre joint correspondant à la nouvelle section horizontale de 500 mm, donnée, ainsi que l'entretoise intérieure, par la figure 6. L'intervalle est formé par un tronc de pyramide de raccordement dont les faces extérieures sont dans le plan de celles des arbalétriers inférieurs, de manière que l'arête extérieure soit continue (voir XIII bis , figure 53 à 50).

La méme planche (fig. 57 ft 61) donne les arbalétriers intermédiaires b et d dans les panneaux 10 et 17, ainsi que le treillis qui les réunit (fig. 57) et le raccord de ces mêmes arbalétriers entre les panneaux 17 et 18. Leurs coupes respectives sont indiquées dans les figures 50 à 61. L'ensemble de ces panneaux 16 à 18 est représenté dans la planche XII bis , figures 16 a 24.

Les coupes des arbalétriers du panneau 12 au sommet sont données planche XIII bis , figures 20 a 26. Aux attaches des entretoises et des barres de treillis, sur la hauteur nécessaire à l'attache, le caisson des arbalétriers angulaires est complété et fermé sur ses quatre faces. De distance en distance, tous les 2,50 m environ, les arbalétriers sont entretoisés par des goussets d'angle s'opposant à la déformation des faces. Les joints sont distants de 5 à 7 mètres; ils sont soigneusement ajustés et recouverts de couvre-joints.

Au niveau de chaque entretoise, se trouve un entretoisement horizontal complet représenté dans les diagrammes de la planche VIII , figures 13, 14, 15, 18, 19, 20, 21, 22. Si les entretoisements n'étaient pas nécessaires dans les parties inférieures, il n'en est pas de même dans la partie supérieure : les faces sont plus larges et l'épaisseur des parois est beaucoup plus faible. Aussi était-il tout a fait indispensable de constituer un entretoisement complet maintenant tous les arbalétriers dans leur position relative.

Ces entretoisements laissent la place nécessaire au passage de la cabine de l'ascenseur vertical. Ils se composent tous d'une entreloise diagonale, A, à treillis de 1,00 m de hauteur et de plusieurs autres entretoises en caisson et également à treillis d'une hauteur de 300 mm. Ces poutres, du panneau 12 au panneau 10 (fig. 13, 14 et 15), portent les lettres B, C, D, E, F et réunissent deux à deux les arbalétriers intermédiaires symétriques, parallèlement aux diagonales : on constitue ainsi deux rectangles égaux perpendiculaires l'un à l'autre. Les faces supérieures de ces caissons sont réunies elles-mêmes par un grand treillis. A partir du panneau 17, jusqu'au panneau 27, les arbalétriers intermédiaires étant réunis en un seul, les deux rectangles se réduisent a un carré (fig. 18, 19, 20, 21). Enfin, jusqu'au panneau 29, le contreventement se réduit à l'entretoise diagonale.

Les contreventements précédemment décrits servent également à maintenir les poteaux-guides des ascenseurs et les escaliers de service conduisant du deuxième étage à la plate-forme supérieure, ainsi que l'indique la planche XII bis donnant tous les détails du contreventement situé entre les panneaux 17 et 18, figures 5 à 15.

A cet effet, la seconde diagonale d'entretoisement est formée par deux poutres, H el H', en forme de caisson en treillis de 600x600. Il est interrompu au droit des poteaux-guides de l'ascenseur, pour ménager le passage de la cabine. La poutre H ( planche XII bis , fig. 7 el 8) a son extrémité maintenue à la poutre C' par deux poutres, K, formant contre-fiches, de manière à fixer rigidement le poteau-guide latéral B.

Le poteau-guide central A est un caisson de 0,80 m de hauteur (fig. 11 et 19), dont les membrures sont formées par une semelle de 0,60 m, réunie à 2 âmes de 0,25 m par deux cornières de 100. Les faces latérales sont en treillis double de cornières de 50x50x6. (Ce treillis est visible dans la figure 19 de la planche XXXII ter .)

Le poteau-guide latéral est également un caisson dont la hauteur est de 0,50 m, fig. 6 et 7. La semelle du coté des guides en fonte est pleine, celle du côté opposé est en treillis de fer plat de 60 x 8. La planche XII bis donne tous les détails relatifs aux poutres A, B et C (fig. 9, 10, 11, 14 et 15)

Intermediate platform

Moving from the second to the third floor was not that simple, both from a tower construction point of view and from a practical point of view, for the elevators. The engineers therefore decided to go through an intermediate platform for transhipment of passengers. It therefore led to dividing this height into two equal parts, at the center of which was constructed a so-called intermediate platform and which, at the time of its construction, contained all the machinery of the elevator Edoux, the old elevator which served the 3rd floor. Since it has been replaced by two twin cabins and this platform no longer exists to exist.

The information below is therefore partially obsolete.

Detail the intermediate platform (in french)

Le plancher intermédiaire, au niveau duquel se faisait le changement de cabine et qui portait toute la machinerie de l'ascenseur Édoux ( pl. XIX, fig. 11 ). Ce plancher sert aussi de palier à l'escalier tournant conduisant du deuxième étage au troisième. Cet escalier, placé au départ dans la moitié gauche de la Tour, est reporté pour la partie supérieure dans la moitié droite de manière à laisser libre la course des cabines.

Le plancher intermédiaire est établi à mi-hauteur du panneau 19 ( planche VIII , fig. 17); il se compose de quatre poutres, B, C, H, D de 2,30 m de hauteur ( planche XVI , fig 14 et 15), formant un carré qui relie les arbalétriers intermédiaires à lui, et sur le milieu desquelles viennent s'assembler des contre fiches inclinées destinées à donner la rigidité nécessaire aux arbalétriers d'angle entre les panneaux 10 et 20. Ce niveau était en effet trop rapproché de celui du plancher intermédiaire pour que l'on puisse effectuer un contreventement horizontal à cette hauteur.

Les poutres B, C, H ( planche XVI , fig. 15 et planche XVII , fig. 45 a 61), qui supportent le réservoir de retour d'eau (volume 25 m 3 ), ainsi que les cylindres et les poteaux-guides, ont besoin d'une grande résistance. Elles ont une âme pleine formée par 3 tôles jointives assemblées au moyen de couvre-joints de 150 x 12 et armées par des cornières verticales de 70 x 70 x 7. Les cornières qui la réunissent aux semelles sont de 100x100x12 et les semelles elles-mêmes, au nombre de 2 ou 3, ont une section do 300 x 12. La poutre D, de même hauteur, ne porte que le poteau-guide latéral; aussi l'âme pleine est remplacée par un treillis (fig. 60 et 61) dont les barres, constituées par 2 cornières de 80 x 80 x 9 et 70 x 70 x 8 rivées entre elles, s'assemblent sur une âme de 450 x 9.

L'assemblage des poutres B, C, H avec les arbalétriers s'opère au moyen de goussets coudés rivés sur la branche intérieure du simple T que forme la section des arbalétriers bd ( planche XVII , fig. 45 et 48); celui de la poutre D s'opère d'une manière analogue ; il est dessiné fig. 60.

Les poutres B et H portent en leur milieu ( planche XVI , fig. 14) une poutre A de même hauteur. Sur ce cadre puissant et fortement contreventé s'assemblent toutes les poutres secondaires destinées à porter les cylindres de l'ascenseur, les escaliers tournants et le plancher proprement dit.

Les contrefiches inclinées remplaçant le contreventement sont formées les unes par un caissons en cornières de 0,45 m de hauleur et 0,308 m de largeur ( planche XVII , fig. 40, 53, 55), les autres par une poutre en treillis de 0,45 m de hauleur (fig. 58 et 59). Elles s'attachent directementaux arbalétriers et aux poutres principales par des goussets, sauf sous le réservoir où la poutre principale H porte une forte console, sur laquelle s'assemble la contrefiche correspondante (fig. 52 et 57).

Les poutres E de 1,20 m de hauteur ( planche XVI , fig. 14-15 et planche XVII , fig. 40-47), destinées a supporter les cylindres de l'ascenseur, sont à âme pleine et s'assemblent sur les poutres C et A à 330 mm de leur semelle inférieure. Les cylindres s'y reposent par l'intermédiaire de trois poutres perpendiculaires aux premières; deux de celles-ci, espacées de 748 mm d'axe en axe, sont représentées en coupe, fig. 47, la troisième est placée près du poteau-guide central à 992 mm de celui-ci, fig. 14.

La poutre F ( planche XVI , fig. 14 et 15 et planche XVII , fig. 40 et 51), qui supporte le noyau de l'escalier, est en forme de caisson de 700 mm de hauteur et s'assemble à mi-hauteur sur les poutres C et A. Les 2 âmes verticales, espacées de 400 mm, sont pleines; elles portent en haut et en bas des cornières de 80 x 80 x 8 sur lesquelles s'assemblent les treillis doubles formant les parois horizontales.

Toutes les autres poutres, K, N, O, P, B, S, T, U, X, Y, Z, de 180 mm de hauteur portent le plancher proprement dit et sont assemblées sur les semelles supérieures des poutres A, B, C, D, H, précédemment décrites. Certaines parties de ce plancher, destinées à encadrer exactement la cabine, sont supportées par des consoles, ;α, β ( planche XVII , fig. 50), portant à leur extrémité des poutres de rive, LM ( planche XVI , fig. 14 et 15), de 180 mm de hauleur. Le tout est recouvert par une tôle striée portée par des solives en fer.

La salle des machinistes de l'ascenseur Édoux est placée en contre-bas de cette platc-forme; son plancher ( planche XVI , fig. 10 et 17; est formé de fers à T de 175 X 80x7 reposant sur les semelles inférieures des poutres A et C. Le sol du plancher est formé par des madriers non jointifs sur lesquels s'applique un parquet en bois.

Panel 29 (higher panel)

From the panel 29, which ends with the floor of the third stage, the rafters become vertical and present a special mode of connection which has been endeavored to make it particularly robust, in order to obtain at this higher level solidarity complete of all the crossbowers at the same time as to respond to architectural necessities.

Detail the panel 29 (in french)

L'ensemble de ce panneau est donné par les planches VIII , fig. 23 et 24, et VII , fig. 4, les détails par la planche XIV.

Pour obtenir le résultat désiré, on a réduit de moitié la largeur des panneaux par l'adjonction de faux arbalétriers intermédiaires ( planche XIV , fig. 11). Ces pièces comprennent une semelle de 500x6 raidie sur les bords par des cornières de 60x60X6 et en son milieu par une poutre en treillis de 0,500 m de hauteur formée par 4 cornières de 60X60x6 et un treillis en fer plat de 50x6. A leur rencontre avec les ceintures inférieures, l'âme est pleine et des semelles sont ajoutées de manière à obtenir la section double T ( planche XIV , fig. 12). Ce panneau 29 comprend :

A la base, une ceinture de 3,500 m de hauteur formée par deux poutres en caissons reliées par un treillis quadruple.

Au-dessus, douze petits panneaux reliés par des croix de Saint-André (croix en forme de X) et enfin des consoles de 7,207 m de hauteur fixées sur les faces extérieures des arbalétriers d'angle et destinées à supporter la galerie du troisième étage.

Les deux poutres formant la ceinture inférieure sont espacées de 3,900 m d'axe en axe ( planche XIV , fig. 2, 6, 12), elles sont formées par des caissons réunissant les arbalétriers, et sur lesquels viennent s'assembler les faux arbalétriers intermédiaires. Les faces verticales de chacun de ces caissons sont pleines et comportent deux âmes de 600 X 6 raidies sur les bords par des cornières de 80 x 80 x 8 ; les faces horizontales sont en treillis simple composé de plats de 60x7. Le treillis quadruple reliant les deux caissons est composé de barres comprenant chacune 2 cornières de 60x60x6 rivées entre elles.

Le treillis des douze petits panneaux supérieurs est formé par des entretoises horizontales et des croix de Saint-André. Chaque élément comprend deux cornières de 70x70x8 rivées entre elles.

L'entretoise horizontale supérieure est constituée par 2 âmes verticales de 600 x 7, armées de cornières horizontales de 60x60x7 (fig. 2 et 6). Elle se prolonge sur chaque face sur 3,00 m de longueur et vient soutenir la galerie entourant la troisième plate-forme; son âme est alors en treillis double de cornières de 40 X 40 x 5, sauf aux extrémités, où se font les attaches avec les consoles de support et les poutres de rive. Ces dernières, de 850 mm de hauteur, à âme pleine armée par des cornières de 80 x 80 x 8, supportent au-dessus d'elles une seconde poutre à âme pleine de 3 mm et de 1,200 m de hauteur formant garde-corps, la main courante en bois est fixée sur des cornières de 40 x 40 x 5 rivées au haut de cette âme (fig. 2 et 7).

Les consoles supportant la galerie ont une hauteur de 7,207 m. Elles comprennent chacune deux âmes évidées de 6 mm d'épaisseur découpées suivant un arc de cercle de 9,280 m de rayon et assemblées sur des arbalétriers par des cornières de 100 x 100 x 10. Ces deux âmes sont réunies sur leur bord libre par des cornières de 60 x 60 x 7 à une semelle cintrée de 500 x 6 (fig. 13). Des croisillons et des entretoises horizontales les réunissent à différents niveaux ; le détail de celles-ci est indiqué fig. 2, 13 et 14.

Floor of the third floor

This floor, at + 309.63 and 273.63 m above the supports, has, in addition to the walkway of 3.00 m of free width located over its periphery above the brackets ( Plate XIX , Figure 3), a central part through which the crossbowmen and the four intermediate crossbows pass; between the feet of these crossbowmen, to which are attached large consoles supporting the upper diagonal beams, are housed the cage of the cabin Édoux with its guides, the accesses to the lower staircase and the spiral staircase rising to the platform, a superior form of which Gustave Eiffel had reserved the enjoyment, and finally a certain number of shops of sale for small objects.

As you can guess, the Eiffel Tower no longer corresponds to this description today, it is especially the elevator Edoux which has disappeared, replaced by a double vertical cabin more recent. The gallery has also been rectified. The rest of the detail takes up the tower as it was in 1889, during its construction. The technical structure is the same, of course.

Detail the floor of the third floor (in french)

La forme est celle d'un carré de 16,56 m de cote à angles abattus, la longueur du grand côté est de 10,00 m et celle du petit 3,15 m.

La disposition générale des fers est donnée par les figures 18 et 10 de la planche XVI et les détails, coupes et attaches par les figures 62 à 84 de la planche XVII . Le diagramme est représenté aux figures 23 et 24 de la planche VIII.

Il comprend :

Un cadre formé comme précédemment par une liaison des arbalétriers intermédiaires, interrompu sur un coté pour le passage de la cabine; les trois poutres qui le constituent, B, C, B', sont des poutres pleines, de 2,00 m de hauleur;
Une poutre transversale, A, réunissant les poutres B et B', composée de même et portant le guide central de l'ascenseur et les cornières de suspension du réservoir de 3,00 m de diamètre situé au-dessous du plancher;
Une poutre D portant le second guide de l'ascenseur, qui a seulement 1,50 m de hauleur;
Deux poutres, F, complétant le passage de la cage et n'ayant à porter que le plancher, leur hauteur est de 0,40 m
Trois poutres, E, supportant le plancher et consolidant les angles restés libres formés par les enlretoises des arbalétriers. Ces poutres ont également 0,40 m de hauleur.

Les poutres B, B' et C ( planche XVII , 61, 62, 63, 64, 65 et 69) sont attachées sur les arbalétriers par des goussets coudés. Ce sont des poutres à âme pleine de 2,00 m de hauteur et 9 mm d'épaisseur avec deux joints longitudinaux, armées par des cornières de 90 x 90 x 11 et une semelle de 200 x 10.

La poutre A (même planche, fig. 69 bis, 70, 71, 75) est une poutre semblable aux précédentes, sauf qu'elle porte deux semelles; elle reçoit le poteau-guide central.

Les poutres A et C servent aussi de support à un réservoir en tôle de 3,00 m de diamètre et 3,80 m de hauteur ( planche XXIII-bis , fig. 17) servant à la distribution de l'eau de l'ascenseur Edoux et dont le cube est de 25 m 3 . Elles portent les attaches de quatre tirants de suspension formés chacun par quatre cornières de 60 x 60 x 7. Ces tirants s'assemblent sur deux poutres transversales (fig. 1 et 2) passant sous une couronne en tôle de 0,45 m de hauteur sur laquelle est rivé le réservoir. Pour éviter tout balancement de celui-ci, les poutres sont reliées par des contre-fiches horizontales aux arbalétriers intermédiaires et au guide central. Une passerelle permet d'accéder au robinet d'arrêt placé au-dessous du réservoir.

La poutre D ( planche XVII , fig. 72 et 73) à une âme pleine de 1,50 m de hauteur sur 8 mm d'épaisseur, armée par des cornières de 70 x 70 x 9.

Les poutres E el K (ifg. 76, 77, 78 et 80) sont des poutres pleines dont l'âme à 400 x 8 et les cornières 70 x70 x 9.

Quant aux solives du plancher, elles sont formées par des fers double T de 0,14 m. de hauteur, espacés de 0,73 m environ.

Un contreventement en cornières de 60 x 60 x 7 réunit les angles du carré dans lequel est inscrit le réservoir suspendu aux poutres A et C.

Le sol est formé par des madriers joints de 0,08 m placés sur les solives et recevant l'asphalte. La galerie-promenade a été surélevée de 0,18 m au moyen de lambourdes et d'un parquet de 25 mm recouvert de linoléum.

Fourth platform and reserved floor

This platform, located at the level of +312,21 ( Plate XIX , Figures 3 and 6), has a 2.77 m wide terrace with guardrail and a square center building of 10,50 m containing, in addition to the cage of the elevator, a certain number of rooms allocated either to laboratories or to a reception room.

Detail the fourth platform (in french)

Sa forme est semblable à celle de la troisième plate-forme, c'est-à-dire qu'elle est celle d'un carré de 10,00 m de côté à angles abattus; les grands cotés ont 10,00 m de longueur et les petits cotés 2,30 m.

La sablière du pourtour ( planche XIV , fig. 7 à 10) est un fer à U composé ayant une âme de 200 x 4 et des cornières de 40 x 40 x 5. Elle est supportée par des montants formés par une double cornière de 50 X 50 X 6 rivée sur la paroi pleine du garde-corps de la troisième plate-forme. L'une de ces cornières prolongée réunit trois fers ronds formant les lisses du garde-corps de la terrasse.

Sur cette sablière s'assemblent des fers à plancher de 120 x 5 x 48 espacés en général de 1,10 m, avec une certaine pente pour l'écoulement des eaux de la terrasse. Ils s'assemblent par leur autre extrémité ( planche XIV , fig. 2) sur la membrure inférieure d'une poutre double à treillis formant une solide entretoise des arbalétriers . Celle poutre, logée dans l'intérieur des parois en bois limitant la partie centrale, a une hauleur de 2,50 m; ses membrures, formées par une âme de 250 x 7 et deux cornières de 80 x 80 x 9, sont reliées par un treillis à croix de Saint-André en cornières de 60 x 60 x 7 avec des montants intermédiaires recevant les attaches des solives. C'est à la partie supérieure de ces poutres que s'arrêtent tous les arbalétriers auxquels elles servent d'entretoises.

La partie centrale ( planche XVI , fig. 20), ménage le vide de l'ascenseur et reçoit un certain nombre de poutrelles d'une hauteur uniforme de 0,25 m, sur lesquelles s'attachent les solives du plancher, de 0,12 m de hauteur ( XVII , fig. 85 à 87).

Le plancher supérieur est composé d'une manière analogue ( planche XIX , fig. 8); il est formé par des fers de 100 mm qui s'attachent sur la membrure inférieure des grandes poutres diagonales ( XIV , fig. 4) et reçoivent un lambrissage recouvert de plomb.

History of the Eiffel tower

History of art
Artistic works
Advertising
Ground floor
intermediate floor
The 72 scientists
Copies and replicas
Watkin's tower
Elevators Fives-Lille
The tower in 1900
Technological context
Others projects
Reticences of artists
Construction
Commmorative medal
Renovations
Rights of reproduction
Prinery Le figaro
The tower and expo
Companies Eiffel
Biographies
Maurice Koechlin
Emile Nouguier
Stephen Sauvestre
Jean Compagnon
Adolphe Salles
Jean Gobert
Edouard Lockroy
Franz Reichelt
Contract of concession
Descriptives boards
Calculation of forces
Calculation due of weight
Calculation due to the winds
Calculation due to weigth of visitors
Foundations
Profitability
Civil engineering
Opening time
To see on the tower
Story of a visit
Pictures of a visit
Visitors known
Weather observations 1889
Weather observations 1890
Air resistance
Pressure of wind
Free air pressure gauge
Solar spectrum
Atmospherics absorptions of radiations
aerial navigation
Broadcasting
Telephotography
Optical telegraphy
Naturals effects
Effects of lightning
Oscillations of top
Effects of climbing

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Origins and Construction of the Eiffel Tower

It was for the 1889 Exposition Universelle , the date that marked the 100th anniversary of the French Revolution, that a great competition was launched in 1886.

The first digging work started on the 26th January 1887 . On the 31st March 1889, the Tower had been finished in record time – 2 years, 2 months and 5 days – and was established as a veritable technical feat .

Une première version bien différente
La construction
Durée de construction record
Le journaliste Émile Goudeau visitant le chantier au début de 1889 en décrit ainsi le spectacle.
Les planches de Monsieur Eiffel
Extrait de la "Protestation contre la Tour de M. Eiffel", 1887

Key figures

The construction schedule, the design of the eiffel tower.

The plan to build a tower 300 metres high was conceived as part of preparations for the World's Fair of 1889 .

The wager was to " study the possibility of erecting an iron tower on the Champ-de-Mars with a square base, 125 metres across and 300 metres tall ". Selected from among 107 projects, it was that of Gustave Eiffel, an entrepreneur, Maurice Koechlin and Emile Nouguier, both engineers, and Stephen Sauvestre, an architect, that was accepted.

Emile Nouguier and Maurice Koechlin , the two chief engineers in Eiffel's company, had the idea for a very tall tower in June 1884. It was to be designed like a large pylon with four columns of lattice work girders, separated at the base and coming together at the top , and joined to each other by more metal girders at regular intervals.

The tower project was a bold extension of this principle up to a height of 300 metres - equivalent to the symbolic figure of 1000 feet . On September 18 1884 Eiffel registered a patent "for a new configuration allowing the construction of metal supports and pylons capable of exceeding a height of 300 metres".

In order to make the project more acceptable to public opinion, Nouguier and Koechlin commissioned the architect Stephen Sauvestre to work on the project's appearance.

A quite different first edition

Sauvestre proposed stonework pedestals to dress the legs, monumental arches to link the columns and the first level, large glass-walled halls on each level, a bulb-shaped design for the top and various other ornamental features to decorate the whole of the structure. In the end the project was simplified, but certain elements such as the large arches at the base were retained, which in part give it its very characteristic appearance.

The curvature of the uprights is mathematically determined to offer the most efficient wind resistance possible. As Eiffel himself explains: "All the cutting force of the wind passes into the interior of the leading edge uprights. Lines drawn tangential to each upright with the point of each tangent at the same height, will always intersect at a second point, which is exactly the point through which passes the flow resultant from the action of the wind on that part of the tower support situated above the two points in question. Before coming together at the high pinnacle, the uprights appear to burst out of the ground, and in a way to be shaped by the action of the wind".

Details construction & operation Otis elevators - B & W engraving Paris Exhibition 1889

The construction

The assembly of the supports began on July 1, 1887 and was completed twenty-two months later.

All the elements were prepared in Eiffel’s factory located at Levallois-Perret on the outskirts of Paris. Each of the 18,000 pieces used to construct the Tower were specifically designed and calculated, traced out to an accuracy of a tenth of a millimetre and then put together forming new pieces around five metres each. A team of constructors, who had worked on the great metal viaduct projects, were responsible for the 150 to 300 workers on site assembling this gigantic erector set.

The rivet workers

All the metal pieces of the tower are held together by rivets, a well-refined method of construction at the time the Tower was constructed. First the pieces were assembled in the factory using bolts , later to be replaced one by one with thermally assembled rivets, which contracted during cooling thus ensuring a very tight fit. A team of four men was needed for each rivet assembled: one to heat it up, another to hold it in place, a third to shape the head and a fourth to beat it with a sledgehammer. Only a third of the 2,500,000 rivets used in the construction of the Tower were inserted directly on site.

The uprights rest on concrete foundations installed a few metres below ground-level on top of a layer of compacted gravel. Each corner edge rests on its own supporting block, applying to it a pressure of 3 to 4 kilograms per square centimetre , and each block is joined to the others by walls.

On the Seine side of the construction, the builders used watertight metal caissons and injected compressed air , so that they were able to work below the level of the water.

The tower was assembled using wooden scaffolding and small steam cranes mounted onto the tower itself.

The assembly of the first level was achieved by the use of twelve temporary wooden scaffolds, 30 metres high, and four larger scaffolds of 40 metres each.

"Sand boxes" and hydraulic jacks - replaced after use by permanent wedges - allowed the metal girders to be positioned to an accuracy of one millimetre.

On December 7, 1887 , the joining of the major girders up to the first level was completed. The pieces were hauled up by steam cranes, which themselves climbed up the Tower as they went along using the runners to be used for the Tower's lifts.

months to build the foundations

It only took five months to build the foundations and twenty-one to finish assembling the metal pieces of the Tower.

Considering the rudimentary means available at that period, this could be considered record speed. The assembly of the Tower was a marvel of precision , as all chroniclers of the period agree. The construction work began in January 1887 and was finished on March 31, 1889 . On the narrow platform at the top, Eiffel received his decoration from the Legion of Honour.

"A thick cloud of tar and coal smoke seized the throat , and we were deafened by the din of metal screaming beneath the hammer. Over there they were still working on the bolts: workmen with their iron bludgeons, perched on a ledge just a few centimetres wide, took turns at striking the bolts (these in fact were the rivets). One could have taken them for blacksmiths contentedly beating out a rhythm on an anvil in some village forge, except that these smiths were not striking up and down vertically, but horizontally, and as with each blow came a shower of sparks , these black figures, appearing larger than life against the background of the open sky, looked as if they were reaping lightning bolts in the clouds. "

Mr. Eiffel’s Blueprints

The following blueprints are copies of Gustave Eiffel’s originals, taken from the book La Tour de 300 mètres, Ed. Lemercier, Paris 1900

Debate and controversy surrounding the Eiffel Tower

Even before the end of its construction, the Tower was already at the heart of much debate. Enveloped in criticism from the biggest names in the world of Art and Literature, the Tower managed to stand its ground and achieve the success it deserved.

Various pamphlets and articles were published throughout the year of 1886, le 14 février 1887, la protestation des Artistes.

The "Protest against the Tower of Monsieur Eiffel", published in the newspaper Le Temps , is addressed to the World's Fair's director of works, Monsieur Alphand. It is signed by several big names from the world of literature and the arts : Charles Gounod, Guy de Maupassant, Alexandre Dumas junior, François Coppée, Leconte de Lisle, Sully Prudhomme, William Bouguereau, Ernest Meissonier, Victorien Sardou, Charles Garnier and others to whom posterity has been less kind.

Other satirists pushed the violent diatribe even further, hurling insults like : "this truly tragic street lamp" (Léon Bloy), "this belfry skeleton" (Paul Verlaine), "this mast of iron gymnasium apparatus, incomplete, confused and deformed" (François Coppée), "this high and skinny pyramid of iron ladders, this giant ungainly skeleton upon a base that looks built to carry a colossal monument of Cyclops, but which just peters out into a ridiculous thin shape like a factory chimney" (Maupassant), "a half-built factory pipe, a carcass waiting to be fleshed out with freestone or brick, a funnel-shaped grill, a hole-riddled suppository" (Joris-Karl Huysmans).

Once the Tower was finished the criticism burnt itself out in the presence of the completed masterpiece, and in the light of the enormous popular success with which it was greeted. It received two million visitors during the World's Fair of 1889.

" We come, we writers, painters, sculptors, architects, lovers of the beauty of Paris which was until now intact, to protest with all our strength and all our indignation, in the name of the underestimated taste of the French, in the name of French art and history under threat, against the erection in the very heart of our capital, of the useless and monstrous Eiffel Tower which popular ill-feeling, so often an arbiter of good sense and justice, has already christened the Tower of Babel. (...)

Is the City of Paris any longer to associate itself with the baroque and mercantile fancies of a builder of machines, thereby making itself irreparably ugly and bringing dishonour ? (...). To comprehend what we are arguing one only needs to imagine for a moment a tower of ridiculous vertiginous height dominating Paris,just like a gigantic black factory chimney, its barbarous mass overwhelming and humiliating all our monuments and belittling our works of architecture, which will just disappear before this stupefying folly.

And for twenty years we shall see spreading across the whole city, a city shimmering with the genius of so many centuries, we shall see spreading like an ink stain, the odious shadow of this odious column of bolted metal.

Gustave Eiffel’s Response

In an interview in the newspaper Le Temps of February 14 1887, Eiffel gave a reply to the artists' protest, neatly summing up his artistic doctrine:

"For my part I believe that the Tower will possess its own beauty . Are we to believe that because one is an engineer, one is not preoccupied by beauty in one's constructions, or that one does not seek to create elegance as well as solidity and durability ? Is it not true that the very conditions which give strength also conform to the hidden rules of harmony ? (...) Now to what phenomenon did I have to give primary concern in designing the Tower ? It was wind resistance.

Well then ! I hold that the curvature of the monument's four outer edges, which is as mathematical calculation dictated it should be (...) will give a great impression of strength and beauty , for it will reveal to the eyes of the observer the boldness of the design as a whole. Likewise the many empty spaces built into the very elements of construction will clearly display the constant concern not to submit any unnecessary surfaces to the violent action of hurricanes, which could threaten the stability of the edifice. Moreover there is an attraction in the colossal, and a singular delight to which ordinary theories of art are scarcely applicable ".

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Gustave Eiffel

The Eiffel Tower at a glance

An object of discord, desire and fascination, the Eiffel Tower never fails to impress. Enriched by a history full of new developments, here you can discover all of its key information.

History of the restaurants

For the Universal Exhibition of 1889, four majestic wooden pavilions designed by Stephen Sauvestre decked the platform on the first floor. Each restaurant could seat 500 people.

Prices & Times
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The Eiffel Tower as a Form of Art Essay

Protests against architecture, construction of the tower, maintenance of the tower, preserved as a monument, tribute to science and admiration by artists.

Eiffel tower is the tallest building in Paris and a landmark monument in Paris the capital of France. The tower was the tallest building in the world and build as a landmark of Paris on the world map for the International Exhibition of Paris in 1889 to commemorate the centenary of the French Revolution. Even though it is not the tallest building in the world anymore, the unique art of the tower attracts tourists from all over the world and is a Paris signpost.

The structure of the Eiffel tower was conceived in Eiffel’s metal structure business company; in 1884 Emile Nouguier and Maurice Koechlin had an idea of a large tower similar to a large pylon. In order to decorate the metallic structure and make it more acceptable to the public, the chief engineers hired architect Stephen Sauvestre. Stephen proposed many decorations, such as stonework pedestals on the legs, arches in the lowest level that link the columns, glass-walled halls to host restaurants and shopping arcades on every level.

The design of the Eiffel tower structure by structural engineer Alexander Gustave Eiffel was unanimously selected out of 700 proposals. The 300m high tower weighs 7000 tons and has a base of four pylons with a tower above it that tapers upward. The uniqueness of the Eiffel tower design is the exposed iron latticework that fascinates artists.

The industrial revolution in Europe in the nineteenth century made cast iron a popular building material. The first building in Paris with metalwork was the central market building in Paris, Les Halles; it was constructed by Victor Baltard and Felix Callet in 1853. The new building architecture was being adopted for railway stations, markets, factories, glass-roofed buildings, and halls with the use of iron due to its qualities such as lightweight and strong. The metal architecture of the Eiffel tower was criticized by the architects of the time, it was ridiculed as “the tragic street lamp” (Leon Bloy), “this belfry skeleton” (Paul Verlaine), and “half-built factory pipe” (Joris-Karl Huysmans).

The “Protest against the Tower of Monsieur Eiffel” was addressed to World Fair’s director Monsieur Alphand and published in the newspaper Le Temps the comments such as “Is the City of Paris any longer to associate itself with the baroque and mercantile fancies of a builder of machines, thereby making itself irreparably ugly and bringing dishonor?” and “And for twenty years we shall see spreading across the whole city, a city shimmering with the genius of so many centuries, we shall see spreading like an ink stain, the odious shadow of this odious column of bolted metal.”, was a challenge to Eiffel and his engineers and architect. In 1889 when the construction was complete the monument was an enormous success, more than 200 million visitors have visited the monument in 118 years since then.

Eiffel tower was built with 18,000 pieces traced with an accuracy of 10 th of a millimeter. The pieces were assembled in the factory to make larger pieces; a total of 2,500,000 rivets were used in assembly. The magnificent art monument was assembled by the beating of a sledgehammer on rivets. The tower construction finished on March 31, 1889, and then Eiffel received his decoration from the Legion of Honour on the platform at the top. The original hydraulic elevators with double looped chains and rollers have now been replaced with electric computer-controlled cabins that can take visitors up to the third level and the famous Jules Verne restaurant.

The cast iron is protected from oxidation by painting. Gustave Eiffel had mentioned in his book “The 300-Meter tower” that the paint job must be meticulous for the long life of the tower. The tower is painted once every seven years on average. It has changed color many times from red-brown to bronze. The tower was renovated in 1983 by removing tons of material that had accumulated in years since its construction, reinforcing parts for more strength, installing a new elevator, and replacing the spiral staircase with a rectangular staircase.

The Eiffel tower was to be torn down after 20 years of construction but it stands today because of the height of the tower that makes it useful for many scientific experiments and applications. Meteorologists would measure pressure and humidity and radiotelegraphy and aerodynamics researchers would experiment with objects falling from great heights. Eiffel himself made astronomical and physiological observations from the third level. The utility of the tower for science experiments has won it the preservation status of a monument. Scientific devices such as barometers, anemometers, and lightning conductors were present at the tower side in 1889.

In order to make the tower a commercial utility place rather than just a landmark monument, Eiffel approached military officials to take the advantage of the height of the tower for a long-distance radio antenna. After this proposal in 1901, radio connections with military bases in France were established and a permanent radio station was set up in the Eiffel tower in 1906. Eiffel tower dismantling plans were not executed and a European public radio broadcast aerial was installed on the tower, Eiffel lived to hear the broadcast in 1921. The object of engineering art today hosts several antennas including a television mast on the top level.

Eiffel tower is illuminated with neon and sodium lamps today instead of gas and incandescent lamps that were used in the nineteenth century. The lighting at night illuminates the steel structure and highlights its delicacy.

Gustave Eiffel engraved names of 72 world scientists on the tower as a tribute to their contribution to the modern world. The much-criticized design of the Eiffel tower was vindicated by Avant-grade poets, photographers, and painters who praised it for its modernity and considered it as an embodiment of art and science. Eiffel tower became a symbolic representation of Paris and France. Its unique size, shape, and structure have drawn artists to paint it in different colors to show its architecture. Georges Seurat painted the Eiffel tower in 1888 before the construction was complete; Robert Delaunay started a canvas painting series in 1910.

The design of the Eiffel tower was commercialized as a souvenir in the form of miniature models, lamp stands, bracelet charms, etc. The Eiffel tower celebrates modern art and science by hosting exhibitions and the relationship between the Eiffel tower and art is extended into a cinema where it has been filmed for many movies.

This art object that is also considered as a wedding between art and technology creates many possibilities in both fields. The structure that was designed to be extraordinary attracts visitors from around the world and thus creates a network of individuals raising many different types of needs. The individual needs are met by different businesses that require many other structures to be conceived, designed, and constructed with the latest technologies. A visitor to the Eiffel tower will travel by air, rail, ship, or road, and hence modern airports, bridges, vehicles, and road infrastructure must be built.

The maintenance of this art edifice requires 7,500,000 kilowatt-hours of electricity and 65,000 square meters of drinking water annually. These energy requirements are met by many other technology innovations. Eiffel tower is one of the most visited monuments in the world with approximately 7 million visitors every year. The needs of these visitors are met by supplying food and water, tickets for entry to the monument, and cleaning equipment are other necessary items. The different types of services not only raise quality competition between providers but also inspire new innovations. The 10,000 bulbs that are used for illumination are of 100 different types.

By creating this marvelous piece of modern art and technology Gustave Eiffel and company not only created a landmark for Paris and France but raised an inspiration for technologically advanced life in other parts of the world. The media antennas on the top of the tower connect the world to the tower. The international festival brought people to the Eiffel tower creating a transport infrastructure that is being advanced with the latest technology innovations.

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Descriptive Essay On The Eiffel Tower

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100 Words Essay on Eiffel Tower in English

The Eiffel Tower is a super tall wrought-iron lattice tower in Paris. It is the tallest man made tower until the 1930. It was built on 28 January 1887. It became a distinctive symbol of the city of Paris. There are over 300 million visitors due to its extremely iconic attraction. The Eiffel Tower was built by Gustave Eiffel. It was built to flaunt France’s industrial prowess at the 1889 World Fair. I t was supposed to be demolished after twenty years after its making however it has been lasting till this very date. It is also said that the Eiffel tower can be painted only by hand due to its very unique structure. Another amazing fact about this tower is that one can see 72 names engraved at the base. This is rather very heart touching as It’s a symbolic way of paying homage to the scholars, scientists, and mathematicians who contributed tirelessly to the tower’s successful assembly.

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The Eiffel Tower, Essay Example

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Understanding the Power of Words through Imagery

How much does one work say about a city? Eiffel Tower, Paris’ most celebrated landmarks has served a great deal of determining France’s reputation in the field of international tourism. People from within the country notice the fact that such a work of art serves more than just a distinct mark of their city; instead, it provides a distinct visual indication about their history and their people’s characteristics. This is why people from all over the globe do more than just appreciate this piece of art, they try to understand the story behind it and just stare in awe as they try to understand the whole meaning of this art to Paris and its people. This concept of seeing the overall value of a particular work of art in relation to what it leaves to those that are surrounding it is noted in the theory of derive specifically presented and developed by Guy Debord (1955). According to him, in the field of urban development, making statements about a particular city’s progress through architectural expressionism could be considered as a form of psychogeography (Debord, 1955, 112).

Psychogeography specifically points out on the capacity of the surrounding environment to impact the thinking and the living conditions of the people. Given the capacity to realize their goals fully through the assumptive ways by which their environment is able to provide them the vigor that they need, the psychology behind the study of the impact of surroundings to the character and the being of the people could be noted to have psychological values directed towards improving people’s lives (Coverley, 2006). The process by which the cities are explored to expose their best potential in sending out a message of progress to all the residents and others who might want to visit the location is a crucial part of urban planning. Its practical application in a social context does create a distinct indication on how the administrators of a particular city would likely want to be known and recognized in the world and among their own people (Coverly, 2006).

What of the Eiffel tower? Does it fit the description of being an iconic piece that brings about a positive sense of psychogeography in Paris and the whole of France? To note, it is first important to understand the history that binds this work of art. Named after Gustave Eiffel, the one who owns the company that designed the tower, this work of art was erected in 1889 as it served as the entrance arch to the World’s Fair during the same year. Considered to be the tallest structure in Paris, it has become one of the most visited towers of the world. Surpassing the height of the Washington Monument, the tower stands at 324 meters high which is almost equivalent to an 81 storey building (Harris, 1975). In 1957, the addition of broadcast antennae atop the tower made it even taller than the Chrysler Building.

Primarily built to celebrate the centennial of the French Revolution, the Eiffel tower stands as a great depiction of what is noted as the victory of the French people (Harris, 1975). It defines sophisticated art and marked the beginning of an industrial succession in Paris. It determined the beginning of what later on came to be known as the industrial revolution in the country. The erection of the tower in the middle of Paris reminds the people of the greater heights they can achieve to be able to reach their goals as they embrace the concept of progress as part of their role as members of their thriving communities in the city.

The process of getting the tower into the map of Paris was not easy. While the developers saw its beauty, some of the local artists themselves protested to its creation. In an expository protest, the local artists enjoined by writers, painters and even [some] architects, mention how they felt about the tower being useless and relatively monstrous in size. At the time, they did not realize what the tower was for and what mark it is supposed to make for Paris. Being that the time of the Eiffel Tower’s birth came under the development of the classical art era, people were not yet ready for something extraordinary, something out from the traditional ways of describing beauty. Not everyone understood the concept of psychogeography at the time. Most of the people, including the artists, saw the tower as a useless structure; something that did not serve the purpose of representing what was then noted as the sophisticated Parisian art. The tower, being built from metal after metal after another metal was seen by the critics as a mere waste of resources, time and effort; they saw no art in the presentation of what was expected to be a huge tower in the middle of their city.

The real meaning and function that the Eiffel Tower served did not come into full realization after years of it being erected. Today, at least 56% of the total GDP of Paris France comes from tourists within the country and outside the nation who want to see the Eiffel Tower and experience the grandiose that it has to offer them. The hasty reactions of the writers and other artists in the past have been rendered as a sense of failure to see what the future holds for the city. Tourism was of course not yet as blossoming then as it is now; perhaps this is why the communities then did not fully realize the real worth of a structure such as the Eiffel Tower being erected in their midst.

In relation to the case of the Eiffel Tower, its history and the mark that it has made in the face of Paris’ grand story, it could be analyzed that the meaning of a specific structure being planned for and being created at the time being may not be immediately fully realized. Nevertheless, this should not invoke a sense of cessation on the desire of keeping a great sense of risk factor that would make it possible for great things to happen and great structures to take place in areas will serve to be most interesting to humankind. The fate of the Eiffel Tower was not fully understood by the people, nevertheless, it serves as the most visible landmark in all areas of Paris, something that the people at present are really very proud of.

The message sent by the Eiffel Tower to the people of France and its visitors continue to linger in the minds and the memories of the people who visited the place and even to those who might still be planning to do so. From small plans come greater things, from supposed risks come greater beginnings; this particular fact envelopes the history of the Eiffel Tower. Had not the engineers who pursued its creation accepted the challenge and took the risk of being ridiculed by people who are considered powerful at the time, there would be not landmark that would serve as Paris’ identification in the field of international tourism today. As a result of the pursuance and perseverance of the people who worked hard behind the creation of the tower amidst all the criticisms they had to face during the time, the Eiffel Tower was erected in full grandiose; a structure copied by many but never topped by anyone up to this point of time. The craftsmanship that identifies well with the structure specifically creates a determining mark that the people of Paris enjoy today. Not only did it serve as mark in history, it also served as the determining point of development in the field of modern industrial engineering. The creation of an almost impossible design continues to serve as a great inspiration to many modern engineers to go beyond the limits, to set aside criticism and make sure that their work, no matter how seemingly off-grid they may appear, would become a determining factor of their skill; something that will make their name and their skills be proven through time. Continuously embracing development through embarking on new things that have not yet been explored in the past; this is the message that the Eiffel Tower continues to echo to people and experts who want to succeed its creative background to serve as a mark of their skills and their excellence in their own nations. Truly, this concept of realizing the true value of the Eiffel Tower in becoming one of the most celebrated manmade structures on earth corresponds with the ideals of the concept of the theory of derive. The tower does provide a structured message that people at present view more than just as a tangible and visual presentation of excellence but a structure of hope that champions greatness amidst all the challenges that humans need to contend with.

Works Cited

Debord, Guy. (1955). Introduction to a Critique of Urban Geography . Les Lèvres Nues #6 (Paris, September 1955). Translated by Ken Knabb.

Coverley, Merlin (2006). Psychogeography. London: Pocket Essentials.

Harriss, Joseph (1975). The Eiffel Tower: Symbol of an Age . London: Paul Elek. p. 231.

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Eiffel Tower Essay Examples

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Description of the Eiffel Tower

General Form

Orientation of the tower

General shape

Description technique

Base-crossbow connection

Bars to first floor

Panel 5 and beams on the first floor

Grandes poutres

Panels 6 to 10 (First to Second Floor)

Floor of second floor

Panels 12 to 29 (Second to third floor)

Intermediate platform

Panel 29 (higher panel)

Floor of the third floor

Fourth platform and reserved floor

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Key figures

A quite different first edition

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The rivet workers

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