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Listed as a Monument Historique in 2007, Villa San Listed as a Monument Historique in 2007, Villa Santo Sospir in Cap-Ferrat might well have been renamed Villa Jean Cocteau. Home to Francine Weisweiller, who, if she had not been real would have been created for a book about the French jet set. She spent most of her life at the epi centre of an extraordinary cultural circle, with Yves Saint Laurent giving her clothes to her mother in law from her marriage to Alex Weisweiller being part of the family that not only bankrolled the Wright Brothers in their early flying days but also brought petrol pumps to France such was their influence in the oil industry. However the dream to build the villa was born out of a desperation to survive the Second World War. In 1941, the family, who were Jewish, fled and went into hiding in Pau. Francine’s husband Alec Weisweiller was well established on mother remained in Antibes, was arrested, and deported to Auschwitz. While in hiding, Alex told his daughter: “If we survive, I’ll buy you a house.” Santo Sospir was the fulfilment of that promise, In 1950, Jean Cocteau arrived after filming Les Enfants Terribles and stayed … and stayed. He began drawing directly onto the villa’s white walls figures, symbols, mythologies and what he called “tattooing” the house., he explained “I didn’t dress the walls, I drew on their skin.” Today the house is officially protected. Image. Lalady CC BY SA 3.O
Still a landmark of Belgrade, and for many years t Still a landmark of Belgrade, and for many years the tallest building in the Balkans, the Albanija Palace stands at the centre of the city. Work began in 1938–39, designed by Branko Bon and Milan Grakalić, and was completed by Milorad Grakalić with engineer Đorđe Lazarević. It was an ambitious project, especially for a city without the machinery or funds usually needed for such large-scale construction. The plans even included four basement levels. To make this possible, Belgrade brought in Russian Kalmyk émigrés, known for their skill with horses. Using horses and carts, they slowly and methodically removed the earth from the site. Then came an unexpected discovery: the well-preserved skeleton of a mammoth, thought to be around two million years old. It was a reminder that this part of Belgrade was once the edge of a prehistoric lake. The bones, so well preserved that the teeth could be clearly identified, were sent to the Museum of Serbian Land, and work continued. The building that rose in its place became a symbol of a modern, forward-looking Belgrade. Image: CC BY-SA
Happy International Women’s Day! Remembering Eil Happy International Women’s Day! Remembering Eileen Gray and the terrific work of @capmoderneuk in preserving her legacy. Eileen Gray spent almost 50 years forgotten and it has taken the intervening 55 years from the 1970s to return her to rightful recognition as a icon of Modernism. Born in 1878 into Irish aristocracy in Enniscorthy, Ireland, Kathleen Eileen Moray Smith, the daughter of an artist was the first woman to be invited to study at Slade School of Art in London. In 1902 she headed to Paris to study at the Académie Colarossi (something of a pitstop) until studied at the highly thought of Académie Julian. An interest in the technique of Japanese lacquering and decorative panels had been fostered in London. Eileen met Japanese master of the art, Seizo Sugawara, with whom she trained and opened a lacquer workshop in 1910. In the early 1920s, she opened her own shop Galerie Jean Désert (it is said that she purposefully used a non-gender specific name for the business – a reflection of how female artists were considered at that time). Her co-designer of the store? Jean Badovici, the man with whom she conceived the idea of and built E-1027. Bearing in mind that she was not a trained architect and was by standards of the time, middle-aged – the idea of deciding to build a house on the hills overlooking the Mediterranean spoke not to foolhardiness, rather to everything that makes Eileen Gray, to her fans, rightfully one of the greatest designers of the 20th Century and unhesitatingly deserving of her place in Siobhan Parkinson’s book Rock the System about unique, fearless Irish women. We’d like to think she didn’t so much rock the system as break it. She would not let anything be a barrier.

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