Eiffel, Gustave (1832–1923)

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Gustave Eiffel was born in 1832 in Dijon, France, where his parents owned a warehouse for the Epinac mines. With an interest in mechanical instruments and industry, Eiffel studied chemistry at the State School of Civil Engineering. In 1850, he found work as an apprentice in metallurgy in the Châtillon-sur-Seine foundry, learning the technical and financial dimensions of the industry. His experience with construction began when he started working with Charles Nepveu, the railway engineer. When Nepveu’s business dwindled, Eiffel joined the Compagnie des chemins de fer de l’Ouest as a bridge designer (Loyrette, 1985).

Through a series of events, Eiffel later returned to Nepveu to work on a bridge for the Saint- Germain Railroad and, soon after, the Bordeaux Bridge (1858–1860) (Loyrette, 1985). He opened his own consulting firm in 1865, the Eiffel Company, with Maurice Koechlin as a collaborator, and designed portable bridges, some being sent as far as Manila and Saigon. Other large projects completed by the firm were the rail station at Pest in Hungary (1875) and the bridge over the Douro/Garabit viaduct that same year (Loyrette, 1985).

Eiffel is of course best known for the iconic tower of the 1889 Exhibition in Paris. In 1886, a call was made for an exhibition building possibly including a tower. Although an open competition, it was really directed to the Eiffel Company, who had been circulating a design for a tower since 1884 (Harriss, 1975). The idea for the design originated with Koechlin, but it was a Company collaboration. The exhibition tower stood approximately 300 meters tall and was constructed of wrought iron, chosen for its strength balanced by its weight (Harriss, 1975).

This sketch has been attributed to Gustave Eiffel. There is convincing evidence that this sketch is from his hand: the page was included with papers acquired by the Musée d’Orsay from the Eiffel family. Eiffel was the managing partner in the firm and would have wanted to control such a high-profile project. He was also the engineer responsible for decisions in the firm, and his reputation for structural stability was essential. Considering what is known of Eiffel’s sketching skills, comparison of this sketch to the initial drawing by Koechlin reveals disparate styles.

The page has six variations for the structure describing the base of the tower, all done with graphite and ink. Each one explores the bracing of the splayed base using single, double, cross-bracing, or circular reinforcing. The platform on the first level has been studied for thickness and function. One sketch shows a perfect circle inscribed between the legs, considering the efficient weight distribution and a concern for a geometric aesthetic. Eiffel was also contemplating the dimensions of the attachment to the ground with proportional measurement. One variation displays two sets of numbers divided by a centerline, which consider the width of the legs in comparison to the negative space.

These sketches describe the refinement of the bracing in regard to the aesthetic appearance of the base. Koechlin’s early design drawing is of a tower that was far too light and flimsy to withstand the forces of the wind, a drawing that may have revealed his inexperience. Conversely, throughout his career Eiffel studied the wind’s effect on his structures, even utilizing wind tunnels. His knowledge and experience show in his concern for the base; Eiffel was attempting to reconcile structural integrity with proportions and geometry. This sketch revealing a confident hand, suggests a vehicle to project thoughts pertaining to both the construction and appearance of the tower.