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@Barbican_City_of_London

Santa Mónica parish church and priests residences

Santa Mónica parish church and priests residences 2009, Centro Parroquial in Rivas‑Vaciamadrid, southeast of Madrid. Designed by Vicens + Ramos. Later than our usual period of interest but hard to ignore! Photo with thanks to @joannalosito

Bobigny’s brutalist Mairie. Completed in the ea

Bobigny’s brutalist Mairie. Completed in the early 1970s by architects Marius Depont and Michel Holley, the Town Hall of Bobigny is a powerful example of French brutalist architecture, a bold statement in béton brut. Built during a time of sweeping urban change in France, the building was a physical expression of a new kind of civic life. The building was (and still is) where the town’s administrative work gets done. But at the time it was built, in the early 1970s, it also had another job: to anchor a growing suburb. Its raised base, open forecourt, and bold shape were meant to make it stand out, to give the area something clearly public, clearly visible, and built to last.

For a place like Bobigny, often left out of the spotlight, this was a strong statement demanding attention, even if not everyone liked how it looked. Love it or hate it, brutalism asks us to look and think. Photo with thanks to @modarchitecture Want to get a sense of the place nip over to our website Greyscape.com then go to Bobigny in locations!

A Vision Realised? Cité Radieuse, Le Corbusier’

A Vision Realised? Cité Radieuse, Le Corbusier’s Vertical Village in Marseille (1947–52)

1923 was a big year. Le Corbusier published Vers une Architecture (Towards a New Architecture), a book that would shape the future of modern design. That same year, Ellsworth Kelly was born. Fast forward to 1952, and the two come together, at least in spirit, at Cité Radieuse in Marseille.

Kelly had a strong connection to France. He first arrived as a soldier during WWII, then came back to study at the École des Beaux-Arts on the GI Bill. He was searching for ways to make art more accessible, to take it beyond gallery walls. As art historian Michael Plante put it, Kelly saw that “the days of the ‘easel’ paintings are fading… the future art must go to the wall itself.”

And what better wall than one inside Le Corbusier’s modernist masterpiece?

Image © FLC / ADAGP / @patokalovesyou @fondationlecorbusier

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