Beginning in 1900, the commissions multiplied for Bigot when he found an architect with whom he could showcase his talent: Jules Lavirotte.
The latter was an Art Nouveau designer who espoused an eclecticisme with a pronounced taste for daring ornament and was, at the time, just as famous as Guimard.
Bigot worked first on the building at 12, rue Sédillot for which his participation was still limited (a few ceramic balusters).
He next worked on 3, square Rapp, the edifice on which Lavirotte turned him loose with an eclecticism that was much less restrained than the previous one.
It was there that he realized these stunning lintels with suspended heads and the decoration of the staircase with the figure of an infant naiad.

The apartment house at 29 avenue Rapp, built in 1901, was truly the construction which best married the talents of Bigot and Lavirotte.
In the age of the development of concrete, they searched for a substitute, comparable material for the ashlar revetment normally employed because the latter was heavy and burdensome.
The crown of modernity in England and the United States was to use ceramic as a revetment, but the idea came to France later on.
The first to experiment with this in France was François Hennebique (the inventor of the Hennebique system of reinforced concrete), for his own company's headquarters in 1898.
In fact, when 29 avenue Rapp was built, the use of ceramic as revetment was still a novelty.
This construction was the fruit of the collaboration between Lavirotte, Bigot, and Cottancin, the inventor of the process of construction in reinforced concrete using a very fine skeletal framework.
The building was experimental and probably financed by the three men themselves who saw it as a showcase of their respective talents.
The objective of Bigot in the building was to show that the ceramic could replace masonry, and he had recourse in this to a framework entirely of reinforced concrete.
The trick lay in the weighted hollow pieces of concrete and the reinforcing iron rods in order to guarantee the solidity of the ensemble.
then the edifice was covered in plates of ceramic which imitated the traditional manufacture in carved stone.
Wishing to show off the talents of the artisan, Bigot produced the head of the woman surmounting the main entrance without creating a mold, firing the original work of Jean-Baptiste Larrivé directly in the kiln.
This building served as a manifesto of technique and it was imitated in the coming years, definitively assuring Bigot's reputation.

The same trio (Bigot, Lavirotte and Cottancin) reunited in 1903 for the apartment house at 34, avenue de Wagram, also known as the Ceramic Hôtel and also integrally revetted with ceramic.
The sculptures were completed by Camille Alaphilippe.
It received the grand prize for the Concours des Façade of Paris in 1905.
The jury of the contest, however, declared:
"The principal interest in this house is the use of brick and the enameled faïence which covers the construction from its sub-basement to the summit.
The architect displays to the passers-by an ensemble of which the color is harmonious but the framework is less agreeable, seemingly made in order to defy the most free aesthetic.
The jury, in declaring the author of the façade as the winner, is stuck on the question of greater freedom.
One should not altogether view its decision as an encouragement of the beastly forms of the architecture...the decor in majolica can give material form to the happy effects without which there would be need to resort to the dispositions little in agreement with the genius of our French art, the most beautiful productions of which are characterized by simplicity and logical sanity."

In 1914, Bigot ceded direction of the company Bigot et Cie to Camille Alaphilippe in order to become a technical advisor to the ceramics industry.
In the interwar period, the thirty-some employees at the plant produced mostly conduits for the canal and drainage industry.
Beginning in 1900, the commissions multiplied for Bigot when he found an architect with whom he could showcase his talent: Jules Lavirotte. The latter was an Art Nouveau designer who espoused an eclecticisme with a pronounced taste for daring ornament and was, at the time, just as famous as Guimard. Bigot worked first on the building at 12, rue Sédillot for which his participation was still limited (a few ceramic balusters). He next worked on 3, square Rapp, the edifice on which Lavirotte turned him loose with an eclecticism that was much less restrained than the previous one. It was there that he realized these stunning lintels with suspended heads and the decoration of the staircase with the figure of an infant naiad.
The apartment house at 29 avenue Rapp, built in 1901, was truly the construction which best married the talents of Bigot and Lavirotte. In the age of the development of concrete, they searched for a substitute, comparable material for the ashlar revetment normally employed because the latter was heavy and burdensome. The crown of modernity in England and the United States was to use ceramic as a revetment, but the idea came to France later on. The first to experiment with this in France was François Hennebique (the inventor of the Hennebique system of reinforced concrete), for his own company's headquarters in 1898. In fact, when 29 avenue Rapp was built, the use of ceramic as revetment was still a novelty. This construction was the fruit of the collaboration between Lavirotte, Bigot, and Cottancin, the inventor of the process of construction in reinforced concrete using a very fine skeletal framework. The building was experimental and probably financed by the three men themselves who saw it as a showcase of their respective talents. The objective of Bigot in the building was to show that the ceramic could replace masonry, and he had recourse in this to a framework entirely of reinforced concrete. The trick lay in the weighted hollow pieces of concrete and the reinforcing iron rods in order to guarantee the solidity of the ensemble. then the edifice was covered in plates of ceramic which imitated the traditional manufacture in carved stone. Wishing to show off the talents of the artisan, Bigot produced the head of the woman surmounting the main entrance without creating a mold, firing the original work of Jean-Baptiste Larrivé directly in the kiln. This building served as a manifesto of technique and it was imitated in the coming years, definitively assuring Bigot's reputation.
The same trio (Bigot, Lavirotte and Cottancin) reunited in 1903 for the apartment house at 34, avenue de Wagram, also known as the Ceramic Hôtel and also integrally revetted with ceramic. The sculptures were completed by Camille Alaphilippe. It received the grand prize for the Concours des Façade of Paris in 1905. The jury of the contest, however, declared:
"The principal interest in this house is the use of brick and the enameled faïence which covers the construction from its sub-basement to the summit. The architect displays to the passers-by an ensemble of which the color is harmonious but the framework is less agreeable, seemingly made in order to defy the most free aesthetic. The jury, in declaring the author of the façade as the winner, is stuck on the question of greater freedom. One should not altogether view its decision as an encouragement of the beastly forms of the architecture...the decor in majolica can give material form to the happy effects without which there would be need to resort to the dispositions little in agreement with the genius of our French art, the most beautiful productions of which are characterized by simplicity and logical sanity."
In 1914, Bigot ceded direction of the company Bigot et Cie to Camille Alaphilippe in order to become a technical advisor to the ceramics industry. In the interwar period, the thirty-some employees at the plant produced mostly conduits for the canal and drainage industry.
Alexandre Bigot