Construction

The construction is structured as a compact building with a central composition, made up of two rooms articulated to the body of the dome, and two pavilions at its ends that close the building. The 4-water roofs of the main facades are slightly removed in relation to the central dome, which stands out for its greater height and for its top of the bell tower with its pinnacle that emphasizes its character as a pivot of the composition of the complex. The roof is made of slate "Pizarra (rock)") and ornamental zinguería (Argentine adaptation of the French zinguerie, in reference to zinc works) on a crest pinnacle, enhancing the volumetric play of the ceilings.[1]​.

The main facades, with a symmetrical composition, assemble the different levels with the clear intention of highlighting and visually uniting the main floors. This is reflected in Ionic pilasters that, starting from the basement, link the two cornices that run horizontally along the facades.

The social use level has large semicircular openings joined by continuous balconies, highlighting the worked ironwork and supported by corbels covered with garlands, fans, acanthus leaves, and other ornaments. The second floor opens with individual balconies with straight openings.

Unlike the basement, the rest of the facades maintain the general compositional lines designed contemplating the future widening of 9 de Julio Avenue, except for the south facade, which required an intervention to integrate it because the building next door was demolished.

The basement is closed, it only has oval openings, as well as the mansard level has a smaller ornamental window and without balconies.

Distribution

One of the main elements of this typology is symmetry as an ordering element in the layout of the different premises.

The services were housed in the basement, as well as in the third floor (mansard) that completed this sector. The noble floor, located on the first floor, and intended for social uses, had multiple rooms. The second floor, accessed by a separate staircase, was dedicated to family life.

Currently, both the second and third floors are used as embassy offices. While the first maintains its social use with a protocol nature.

The usual scheme of a central body, side wings and extreme pavilions is repeated here but without generating a cour d'honneur or a terrace. These elements fold backwards, rotating around the central axis and symmetry of the composition. Thus, a kind of expansion of the space in front occurs, which encompasses the square, recycling it as the true cour of the palace. The organization of the different volumes is presided over by the cylindrical tower at the corner crowned by a dome covered in slate and a lantern made of zinc.

The main entrance is located in the lower sector of the corner tower and is the transition area between the exterior and the interior spaces. This circular portico, a roundabout leading to the diplomatic headquarters and pierced by three large portals and a window, serves as a covered descent from the cars. Following a small square shield is the entrance hall, access hall, also circular, whose decoration is based on the display of polychrome marbles on the floor, covered from floor to ceiling with paneling and rhythmed with Corinthian pilasters.

The Stair of Honor and the reception rooms on the first floor: This recreation of English styles that characterizes the main entrance is repeated in the decoration of the Stair of Honor and the circular hall on the first floor.

In the circular hall, motifs from the centuries appear, such as the Neo-Palladian window that illuminates the staircase, the carved Chippendale line railings, the Queen Anne-inspired porticoed openings made by the English decoration house Waring and Gillow and the paintings of famous ports. This living room is without a doubt the heart of the main floor. The portal and the ceiling of the antechamber deserve special mention.

But the real discovery in the composition of the spaces on this level, reflecting the general scheme of the building, is the series of enfilades "Enfilade (architecture)") of rooms of excellent proportions, decorated in different styles.

The library, with its opening onto the rear garden, is a recreation of late English Gothic. Its fireplace has motifs from the early Renaissance.

Following the library is the Billard Room or fumoir, a combination of Tudor-style paneling and ceiling with a large fireplace inspired by the French Renaissance. In this room you can see a production of old maps of the Río de La Plata. Today the portraits of all the French Ambassadors who have succeeded one another throughout the Palace's 65 years of history are displayed here.

Leaving the Billard Room, the most important room on the noble plan stands out, the Ballroom or Honor Room, a reinterpretation of an earlier version of the Louis XV style. The fireplace in carved marble and chiseled bronze, the large central panel with allegorical painting on the ceiling and the detail of the ceiling medallion with mythological figures deserve special mention. Also of great interest are the bust of King Henri IV, the gilt carvings and musical instruments on the boiserie, and panels with decorative painting on the mirrors. Like the other main halls it is hierarchically arranged with baccarat crystal chandeliers "Baccarat (company)").

The Ballroom opens onto the Music Room, a round room in the Louis XV style, with Chinese motifs. Of great interest are the mirrors, the consoles and their cartouches with allusive carvings. This room is the epicenter of the complex and constitutes a privileged point of view towards the outside and towards the interiors organized along three axes. One towards the back, which threads the small square bearing, the circular hall, the staircase of Honor and the escape through the window towards the rear garden. Another, to the right, which brings together the dance room, the billiard room and the library.

The remaining axis links to the left the large dining room that emulates that of the Royal Palace of Oslo, within an indefinable English baroque style, and maintains its original decoration. One can admire the allegorical details, mirrors and wall paintings representing dry natures and magnificent furniture for 24 diners, framed with a large perimeter guard on the parquet floor. This room now serves as a meeting room, with the winter garden and its decoration inspired by the Tudor style with its generous bow-window with valuable wood in low relief. In the winter garden we can also find 4 huge porcelain vases with scenes from the life of Emperor Napoleon, giving a certain style to that space. Most of the materials were brought from Europe.

Construction

The construction is structured as a compact building with a central composition, made up of two rooms articulated to the body of the dome, and two pavilions at its ends that close the building. The 4-water roofs of the main facades are slightly removed in relation to the central dome, which stands out for its greater height and for its top of the bell tower with its pinnacle that emphasizes its character as a pivot of the composition of the complex. The roof is made of slate "Pizarra (rock)") and ornamental zinguería (Argentine adaptation of the French zinguerie, in reference to zinc works) on a crest pinnacle, enhancing the volumetric play of the ceilings.[1]​.

The main facades, with a symmetrical composition, assemble the different levels with the clear intention of highlighting and visually uniting the main floors. This is reflected in Ionic pilasters that, starting from the basement, link the two cornices that run horizontally along the facades.

The social use level has large semicircular openings joined by continuous balconies, highlighting the worked ironwork and supported by corbels covered with garlands, fans, acanthus leaves, and other ornaments. The second floor opens with individual balconies with straight openings.

Unlike the basement, the rest of the facades maintain the general compositional lines designed contemplating the future widening of 9 de Julio Avenue, except for the south facade, which required an intervention to integrate it because the building next door was demolished.

The basement is closed, it only has oval openings, as well as the mansard level has a smaller ornamental window and without balconies.

Distribution

One of the main elements of this typology is symmetry as an ordering element in the layout of the different premises.

The services were housed in the basement, as well as in the third floor (mansard) that completed this sector. The noble floor, located on the first floor, and intended for social uses, had multiple rooms. The second floor, accessed by a separate staircase, was dedicated to family life.

Currently, both the second and third floors are used as embassy offices. While the first maintains its social use with a protocol nature.

The usual scheme of a central body, side wings and extreme pavilions is repeated here but without generating a cour d'honneur or a terrace. These elements fold backwards, rotating around the central axis and symmetry of the composition. Thus, a kind of expansion of the space in front occurs, which encompasses the square, recycling it as the true cour of the palace. The organization of the different volumes is presided over by the cylindrical tower at the corner crowned by a dome covered in slate and a lantern made of zinc.

The main entrance is located in the lower sector of the corner tower and is the transition area between the exterior and the interior spaces. This circular portico, a roundabout leading to the diplomatic headquarters and pierced by three large portals and a window, serves as a covered descent from the cars. Following a small square shield is the entrance hall, access hall, also circular, whose decoration is based on the display of polychrome marbles on the floor, covered from floor to ceiling with paneling and rhythmed with Corinthian pilasters.

The Stair of Honor and the reception rooms on the first floor: This recreation of English styles that characterizes the main entrance is repeated in the decoration of the Stair of Honor and the circular hall on the first floor.

In the circular hall, motifs from the centuries appear, such as the Neo-Palladian window that illuminates the staircase, the carved Chippendale line railings, the Queen Anne-inspired porticoed openings made by the English decoration house Waring and Gillow and the paintings of famous ports. This living room is without a doubt the heart of the main floor. The portal and the ceiling of the antechamber deserve special mention.

But the real discovery in the composition of the spaces on this level, reflecting the general scheme of the building, is the series of enfilades "Enfilade (architecture)") of rooms of excellent proportions, decorated in different styles.

The library, with its opening onto the rear garden, is a recreation of late English Gothic. Its fireplace has motifs from the early Renaissance.

Following the library is the Billard Room or fumoir, a combination of Tudor-style paneling and ceiling with a large fireplace inspired by the French Renaissance. In this room you can see a production of old maps of the Río de La Plata. Today the portraits of all the French Ambassadors who have succeeded one another throughout the Palace's 65 years of history are displayed here.

Leaving the Billard Room, the most important room on the noble plan stands out, the Ballroom or Honor Room, a reinterpretation of an earlier version of the Louis XV style. The fireplace in carved marble and chiseled bronze, the large central panel with allegorical painting on the ceiling and the detail of the ceiling medallion with mythological figures deserve special mention. Also of great interest are the bust of King Henri IV, the gilt carvings and musical instruments on the boiserie, and panels with decorative painting on the mirrors. Like the other main halls it is hierarchically arranged with baccarat crystal chandeliers "Baccarat (company)").

The Ballroom opens onto the Music Room, a round room in the Louis XV style, with Chinese motifs. Of great interest are the mirrors, the consoles and their cartouches with allusive carvings. This room is the epicenter of the complex and constitutes a privileged point of view towards the outside and towards the interiors organized along three axes. One towards the back, which threads the small square bearing, the circular hall, the staircase of Honor and the escape through the window towards the rear garden. Another, to the right, which brings together the dance room, the billiard room and the library.

The remaining axis links to the left the large dining room that emulates that of the Royal Palace of Oslo, within an indefinable English baroque style, and maintains its original decoration. One can admire the allegorical details, mirrors and wall paintings representing dry natures and magnificent furniture for 24 diners, framed with a large perimeter guard on the parquet floor. This room now serves as a meeting room, with the winter garden and its decoration inspired by the Tudor style with its generous bow-window with valuable wood in low relief. In the winter garden we can also find 4 huge porcelain vases with scenes from the life of Emperor Napoleon, giving a certain style to that space. Most of the materials were brought from Europe.