Paris is a city of timeless beauty, where 2,000 years of architectural evolution can be seen in every street, square, and boulevard. From ancient Roman ruins to Haussmannian grandeur, and from Art Nouveau elegance to modern skyscrapers, each era has left its mark on the city’s landscape.
This guide explores the diverse architectural styles that define Paris, revealing how the city grew from its medieval origins into the global capital of culture and design that it is today. Whether you’re an architecture enthusiast, a history lover, or a property investor, understanding the city’s architectural heritage is key to appreciating its charm and value.
What You’ll Discover in This Guide:
The major architectural styles that shaped Paris over the centuries.
Where to find the best examples of each style across different arrondissements.
How Parisian architecture influences real estate value and desirability.
From the medieval streets of the Marais to the contemporary skyline of La Défense, let’s explore the stunning and ever-evolving architecture of Paris!
The Romans defeated the Parisii tribe and established a city they named Lutetia. Today, that city is Paris. Traces of Roman architecture remain visible in Paris: if you look at a map, Rue Saint-Jacques cuts right through the middle of the city and was the main Roman road in and out. Remnants of a coliseum, baths, and temples survive and can be visited today. But when the Roman Empire crumbled, its architectural genius disappeared as well, and the Dark Ages were actually a step backwards architecturally.
In the 1st, 5th, and 18th arrondissements
The Romans defeated the Parisii tribe and established a city they named Lutetia. Today, that city is Paris. Traces of Roman architecture remain visible in Paris: if you look at a map, Rue Saint-Jacques cuts right through the middle of the city and was the main Roman road in and out. Remnants of a coliseum, baths, and temples survive and can be visited today. But when the Roman Empire crumbled, its architectural genius disappeared as well, and the Dark Ages were actually a step backwards architecturally.
In the 1st, 5th, and 18th arrondissements.
During the early Middle Ages, the people of Paris poached entire sections of the sturdier Roman walls to use for their own buildings. You can still find roman stones in the cellars of the medieval half-timbered buildings found mostly in the 4th arrondissement but also in the 1st, 2nd, 3rd, and 6th.
Interiors have low pier and beam ceilings, walls are half-timber or exposed stone, and the layout tends to have small and irregular sized rooms. These Pain de Bois buildings are structured around a staircase with a wooden or stone load-bearing axis at the center and a cellar of vaulted caves, both of which make installing an elevator in these buildings almost impossible.
Religious buildings also survive, beginning with the Romanesque style (round arched windows) and then evolving into Gothic style (pointed arches, cross vaults and flying buttresses).
In the 1st, 2nd, 3rd, 4th, 5th, and 6th arrondissements.
During the early Middle Ages, the people of Paris poached entire sections of the sturdier Roman walls to use for their own buildings. You can still find roman stones in the cellars of the medieval half-timbered buildings found mostly in the 4th arrondissement but also in the 1st, 2nd, 3rd, and 6th.
Interiors have low pier and beam ceilings, walls are half-timber or exposed stone, and the layout tends to have small and irregular sized rooms. These Pain de Bois buildings are structured around a staircase with a wooden or stone load-bearing axis at the center and a cellar of vaulted caves, both of which make installing an elevator in these buildings almost impossible.
Religious buildings also survive, beginning with the Romanesque style (round arched windows) and then evolving into Gothic style (pointed arches, cross vaults and flying buttresses).
In the 1st, 2nd, 3rd, 4th, 5th, and 6th arrondissements.
When François I took over the French throne, he surrounded himself with the best creative minds of the time, inviting Leonardo da Vinci to Paris and hiring Italian architects to renovate the Louvre; the French capital surged with life and new buildings.
When François died in 1547, the city was torn apart by Catholic and Protestant factions. Henri IV, finally brought peace to Paris and was determined to restore its brilliance. He completed the Pont Neuf, extended the Louvre and reorganized the entranceways of the city. His most beautiful public legacy is the Place Royale. This was also the era of the magnificent private urban chateaux known as “hôtels particuliers,” which developed in the Latin Quarter, the Faubourg Saint-Germain, and the Quartier du Palais-Royal (Rue Saint-Honoré) for the noble class.
When François I took over the French throne, he surrounded himself with the best creative minds of the time, inviting Leonardo da Vinci to Paris and hiring Italian architects to renovate the Louvre; the French capital surged with life and new buildings.
When François died in 1547, the city was torn apart by Catholic and Protestant factions. Henri IV, finally brought peace to Paris and was determined to restore its brilliance. He completed the Pont Neuf, extended the Louvre and reorganized the entranceways of the city. His most beautiful public legacy is the Place Royale. This was also the era of the magnificent private urban chateaux known as “hôtels particuliers,” which developed in the Latin Quarter, the Faubourg Saint-Germain, and the Quartier du Palais-Royal (Rue Saint-Honoré) for the noble class.
During the 17th century, Parisian apartment architecture was heavily influenced by the rise of the hôtel particulier model, reflecting Baroque grandeur and classical symmetry. Buildings featured limestone facades, tall windows with wrought-iron balconies, and steep slate roofs with dormers. Interior courtyards, accessed through grand carriage entrances, added both functionality and aesthetic appeal. Streets like Rue Saint-Jacques and neighborhoods such as Île Saint-Louis became prime locations for these elegant residences, blending refinement with urban convenience.
The apartments of this period emphasized balance and proportion, often incorporating intricate stonework, sculpted reliefs, and grand staircases. Place des Vosges, commissioned by Henri IV, set a precedent with its harmonious red-brick and stone facades, arcaded ground floors, and uniform design. This architectural style laid the foundation for future developments in Paris, defining the city’s historic core with its enduring elegance and structural ingenuity.
In the 1st, 4th, 5th, and 6th arrondissements.
During the 17th century, Parisian apartment architecture was heavily influenced by the rise of the hôtel particulier model, reflecting Baroque grandeur and classical symmetry. Buildings featured limestone facades, tall windows with wrought-iron balconies, and steep slate roofs with dormers. Interior courtyards, accessed through grand carriage entrances, added both functionality and aesthetic appeal. Streets like Rue Saint-Jacques and neighborhoods such as Île Saint-Louis became prime locations for these elegant residences, blending refinement with urban convenience.
The apartments of this period emphasized balance and proportion, often incorporating intricate stonework, sculpted reliefs, and grand staircases. Place des Vosges, commissioned by Henri IV, set a precedent with its harmonious red-brick and stone facades, arcaded ground floors, and uniform design. This architectural style laid the foundation for future developments in Paris, defining the city’s historic core with its enduring elegance and structural ingenuity.
In the 1st, 4th, 5th, and 6th arrondissements
When the Sun King finally died, the heavy Baroque style was as exhausted as the overtaxed peasants. Louis’ great-grandson, Louis XV took the throne in 1715, just as Paris was beginning a new intellectual period known as the Enlightenment. Some of the great hôtels (mansions) of this period include the Hôtel de Matignon, where the Premier of France now lives, and the Hôtel d’Evreux, residence of the President.
In 1748, at the height of the style, Jacques-Ange Gabriel designed Place Louis XV, now known as Place de la Concorde. Rococo brought improvements in practical aspects of architecture: chimneys became more efficient, sanitation was improved, and rooms were arranged with more consideration for privacy. Residential life was creeping closer to what we would recognize today.
In the 1st and 8th arrondissements.
When the Sun King finally died, the heavy Baroque style was as exhausted as the overtaxed peasants. Louis’ great-grandson, Louis XV took the throne in 1715, just as Paris was beginning a new intellectual period known as the Enlightenment. Some of the great hôtels (mansions) of this period include the Hôtel de Matignon, where the Premier of France now lives, and the Hôtel d’Evreux, residence of the President.
In 1748, at the height of the style, Jacques-Ange Gabriel designed Place Louis XV, now known as Place de la Concorde. Rococo brought improvements in practical aspects of architecture: chimneys became more efficient, sanitation was improved, and rooms were arranged with more consideration for privacy. Residential life was creeping closer to what we would recognize today.
In the 1st and 8th arrondissements.
The Revolution devastated Paris and the city’s architecture suffered alongside its people. Royal chambers were torn apart by mobs, churches were looted and demolished, and ordinary apartments burned. Barely a decade after Louis XVI was decapitated, Napoleon was firmly in power. The Napoleonic style is a mishmash of neo-classic impulses. Decoration was stimulated by excavations in Pompeii and archeological discoveries in Greece. Classical references pleased Napoleon, since they suited his ambitions for an expanding Empire. Napoleon wisely set up massive building projects to keep Parisians employed, and his largest urban projects shaped today’s city. Napoleon also ordained that streets should be numbered odd on one side, even on the other, a remarkably practical concept that hadn’t occurred to anyone before.
In the 1st, 2nd and 8th arrondissements.
The Revolution devastated Paris and the city’s architecture suffered alongside its people. Royal chambers were torn apart by mobs, churches were looted and demolished, and ordinary apartments burned. Barely a decade after Louis XVI was decapitated, Napoleon was firmly in power. The Napoleonic style is a mishmash of neo-classic impulses. Decoration was stimulated by excavations in Pompeii and archeological discoveries in Greece. Classical references pleased Napoleon, since they suited his ambitions for an expanding Empire. Napoleon wisely set up massive building projects to keep Parisians employed, and his largest urban projects shaped today’s city. Napoleon also ordained that streets should be numbered odd on one side, even on the other, a remarkably practical concept that hadn’t occurred to anyone before.
In the 1st, 2nd and 8th arrondissements.
By 1853, the city had over 1 million people. Only one house in five had running water; of these, most only had plumbing on the ground floor. Napoleon III tapped Baron Haussmann to renovate Paris. The goal was to ease traffic by creating large boulevards and to promote hygiene by integrating a clean water and sewage system, as well as to house the burgeoning upper class. Featuring an intricate cut stone façade, the common layout in a Haussmannian style building is large apartments (200 to 300 m²) with multiple salons de reception, marble fireplaces, chevron parquet floors, high ceilings with elaborate crown moldings, and a grand stairwell with an elevator to the side rather than in the center.
Found around the grand boulevards in the center of Paris and in the 8th, 10th, 14th, 15th,16th, 17th, 18th, 20th arrondissements.
By 1853, the city had over 1 million people. Only one house in five had running water; of these, most only had plumbing on the ground floor. Napoleon III tapped Baron Haussmann to renovate Paris. The goal was to ease traffic by creating large boulevards and to promote hygiene by integrating a clean water and sewage system, as well as to house the burgeoning upper class. Featuring an intricate cut stone façade, the common layout in a Haussmannian style building is large apartments (200 to 300 m²) with multiple salons de reception, marble fireplaces, chevron parquet floors, high ceilings with elaborate crown moldings, and a grand stairwell with an elevator to the side rather than in the center.
Found around the grand boulevards in the center of Paris and in the 8th, 10th, 14th, 15th,16th, 17th, 18th, 20th arrondissements.
Art Nouveau was a brief fin-de-siecle architectural trend lasting approximately from 1893 to the beginning of World War I. Best known for the style is Hector Guimard. His curving “cigarette smoke” line had already made waves on buildings in the elegant 16th arrondissement, but his Art Nouveau was motivated by a social conscience, much like the Arts and Crafts Movement in Britain. Hired in 1896 to design the metro entrances, he leapt at the chance to design something beautiful for the masses. But when Guimard unveiled his brilliant Métro work in 1900 everyone hated it. The shiny green color was considered unpatriotic, too close to Prussian green, and the writhing insect-like metalwork was much too weird for the public. Time has defeated his critics however, and Guimard’s Art Nouveau Métro entrances have become one of the city’s trademarks.
In the 5th, 6th, 7th, 8th, 15th, 17th and 18th arrondissements.
At the end of World War I, Paris was exuberant—the world had just survived “the war to end all wars. High-speed ocean liners crisscrossed the Atlantic; Surrealism shocked the art world; radios poured out jazz music. The Modern Age had arrived. Trying to express this freedom and movement, architects responded to the jazzy rhythm with angular shapes reminiscent of the new cruise ships. World War II put an end to Art Deco’s optimism and the less-flamboyant lines of pure Modernism took over. Factories from this time have converted into residential use. Turning a loft into a livable space requires consulting an architect. In general, remodeling the interior of a loft will not require approval from building co-owners but any changes affecting the exterior of the building will need building co-owner and city approval.
In the 5th, 6th, 7th, 8th, 15th, 17th and 18th arrondissements.
Art Nouveau was a brief fin-de-siecle architectural trend lasting approximately from 1893 to the beginning of World War I. Best known for the style is Hector Guimard. His curving “cigarette smoke” line had already made waves on buildings in the elegant 16th arrondissement, but his Art Nouveau was motivated by a social conscience, much like the Arts and Crafts Movement in Britain. Hired in 1896 to design the metro entrances, he leapt at the chance to design something beautiful for the masses. But when Guimard unveiled his brilliant Métro work in 1900 everyone hated it. The shiny green color was considered unpatriotic, too close to Prussian green, and the writhing insect-like metalwork was much too weird for the public. Time has defeated his critics however, and Guimard’s Art Nouveau Métro entrances have become one of the city’s trademarks.
In the 5th, 6th, 7th, 8th, 15th, 17th and 18th arrondissements.
At the end of World War I, Paris was exuberant—the world had just survived “the war to end all wars. High-speed ocean liners crisscrossed the Atlantic; Surrealism shocked the art world; radios poured out jazz music. The Modern Age had arrived. Trying to express this freedom and movement, architects responded to the jazzy rhythm with angular shapes reminiscent of the new cruise ships. World War II put an end to Art Deco’s optimism and the less-flamboyant lines of pure Modernism took over. Factories from this time have converted into residential use. Turning a loft into a livable space requires consulting an architect. In general, remodeling the interior of a loft will not require approval from building co-owners but any changes affecting the exterior of the building will need building co-owner and city approval.
In the 5th, 6th, 7th, 8th, 15th, 17th and 18th arrondissements.
These years are often seen as a disaster for French architecture. Some terrible mistakes were made, in particular the destruction of Les Halles in central Paris. Building styles from the 1950’s had to meet a large demand for new housing quickly and affordably as almost no new housing in Paris had been created during the previous 20 years. To meet the demand over 2500 buildings were constructed during the decade but Paris did not have a coherent building plan in place so developers were left to their own whims as to the height and size of their buildings with little concern for the surrounding architecture. Developers often prioritised profit over architectural beauty but they provided the Parisian population with well-equipped, low-rent housing. At the same time this was the period of Le Corbusier and his influence can be seen in the luxury buildings of the period which often have large balconies, modern layouts, and lots of light. The majority of buildings from this period have a brick, stone or concrete façade, elevators, low ceilings, carpeting, and small rooms.
In the 2nd, 3rd, 8th, 9th, 10th, 11th, 12th, 13rd, 14th, 15th, 17th, 18th, 19th and 20 arrondissements.
These years are often seen as a disaster for French architecture. Some terrible mistakes were made, in particular the destruction of Les Halles in central Paris. Building styles from the 1950’s had to meet a large demand for new housing quickly and affordably as almost no new housing in Paris had been created during the previous 20 years. To meet the demand over 2500 buildings were constructed during the decade but Paris did not have a coherent building plan in place so developers were left to their own whims as to the height and size of their buildings with little concern for the surrounding architecture. Developers often prioritised profit over architectural beauty but they provided the Parisian population with well-equipped, low-rent housing. At the same time this was the period of Le Corbusier and his influence can be seen in the luxury buildings of the period which often have large balconies, modern layouts, and lots of light. The majority of buildings from this period have a brick, stone or concrete façade, elevators, low ceilings, carpeting, and small rooms.
In the 2nd, 3rd, 8th, 9th, 10th, 11th, 12th, 13rd, 14th, 15th, 17th, 18th, 19th and 20 arrondissements.
In the 1980s, President Mitterrand unveiled a new architectural concept to move Paris into the next millennium. His “grands travaux” brought both praise and horror as they evolved, but no one can deny that the final result is a renewed and diverse city. Mitterrand is responsible for commissioning the Grand Louvre’s new glass pyramid entrance (created by I.M. Pei), the move of the Ministry of Finance into a new building (designed by Paul Chemetov), the Grande Arche de la Defense (by Von Spreckelsen), the Cité de la Musique (by Pritzer-prize winner Christian de Portzamparc), the Institut du Monde Arabe (by Jean Nouvel), the Opera Bastille (by the less-accomplished Carlos Ott), and the new library (by Dominique Perrault), now named the Bibliotèque François-Mitterrand. Apartment buildings from this period offer large windows and storage space, but lack the architectural details of previous styles.
In the 10th, 11th, 12th, 13rd, 14th, 15th, 17th, 18th, 19th and 20 arrondissements.
In the 1980s, President Mitterrand unveiled a new architectural concept to move Paris into the next millennium. His “grands travaux” brought both praise and horror as they evolved, but no one can deny that the final result is a renewed and diverse city. Mitterrand is responsible for commissioning the Grand Louvre’s new glass pyramid entrance (created by I.M. Pei), the move of the Ministry of Finance into a new building (designed by Paul Chemetov), the Grande Arche de la Defense (by Von Spreckelsen), the Cité de la Musique (by Pritzer-prize winner Christian de Portzamparc), the Institut du Monde Arabe (by Jean Nouvel), the Opera Bastille (by the less-accomplished Carlos Ott), and the new library (by Dominique Perrault), now named the Bibliotèque François-Mitterrand. Apartment buildings from this period offer large windows and storage space, but lack the architectural details of previous styles.
In the 10th, 11th, 12th, 13rd, 14th, 15th, 17th, 18th, 19th and 20 arrondissements.
