manuel cohen

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  • Plant in yellow pot against Majorelle blue wall, Majorelle Garden, Marrakech, Morocco. These botanical gardens were designed by French painter Jacques Majorelle, 1886-1962, in the 1920s and 1930s. He invented the shade of cobalt blue, known as Majorelle blue, which is used on the buildings and walls. Picture by Manuel Cohen
    LCMOROCCO_12_MC137.jpg
  • Entrance courtyard of villa, Majorelle Garden, Marrakech, Morocco. These botanical gardens were designed by French painter Jacques Majorelle, 1886-1962, in the 1920s and 1930s. He invented the shade of cobalt blue, known as Majorelle blue, which is used on the buildings and walls. Picture by Manuel Cohen
    LCMOROCCO_12_MC143.jpg
  • Villa and cacti, Majorelle Garden, Marrakech, Morocco. These botanical gardens were designed by French painter Jacques Majorelle, 1886-1962, in the 1920s and 1930s. He invented the shade of cobalt blue, known as Majorelle blue, which is used on the buildings and walls. Picture by Manuel Cohen
    LCMOROCCO_12_MC144.jpg
  • Villa and cactus garden, Majorelle Garden, Marrakech, Morocco. These botanical gardens were designed by French painter Jacques Majorelle, 1886-1962, in the 1920s and 1930s. He invented the shade of cobalt blue, known as Majorelle blue, which is used on the buildings and walls. Picture by Manuel Cohen
    LCMOROCCO_12_MC146.jpg
  • Bamboo grove and path with bamboo railings, Majorelle Garden, Marrakech, Morocco. These botanical gardens were designed by French painter Jacques Majorelle, 1886-1962, in the 1920s and 1930s. He invented the shade of cobalt blue, known as Majorelle blue, which is used on the buildings and walls. Picture by Manuel Cohen
    LCMOROCCO_12_MC151.jpg
  • Villa, Majorelle Garden, Marrakech, Morocco. These botanical gardens were designed by French painter Jacques Majorelle, 1886-1962, in the 1920s and 1930s. He invented the shade of cobalt blue, known as Majorelle blue, which is used on the buildings and walls. Picture by Manuel Cohen
    LCMOROCCO_12_MC134.jpg
  • Entrance courtyard of villa, Majorelle Garden, Marrakech, Morocco. These botanical gardens were designed by French painter Jacques Majorelle, 1886-1962, in the 1920s and 1930s. He invented the shade of cobalt blue, known as Majorelle blue, which is used on the buildings and walls. Picture by Manuel Cohen
    LCMOROCCO_12_MC136.jpg
  • Pergola, Majorelle Garden, Marrakech, Morocco. These botanical gardens were designed by French painter Jacques Majorelle, 1886-1962, in the 1920s and 1930s. He invented the shade of cobalt blue, known as Majorelle blue, which is used on the buildings and walls. Picture by Manuel Cohen
    LCMOROCCO_12_MC139.jpg
  • Bamboo grove and path with bamboo railings, Majorelle Garden, Marrakech, Morocco. These botanical gardens were designed by French painter Jacques Majorelle, 1886-1962, in the 1920s and 1930s. He invented the shade of cobalt blue, known as Majorelle blue, which is used on the buildings and walls. Picture by Manuel Cohen
    LCMOROCCO_12_MC150.jpg
  • Majorelle Garden, Marrakech, Morocco. These botanical gardens were designed by French painter Jacques Majorelle, 1886-1962, in the 1920s and 1930s. He invented the shade of cobalt blue, known as Majorelle blue, which is used on the buildings and walls. Picture by Manuel Cohen
    LCMOROCCO_12_MC149.jpg
  • Majorelle Garden, Marrakech, Morocco. These botanical gardens were designed by French painter Jacques Majorelle, 1886-1962, in the 1920s and 1930s. He invented the shade of cobalt blue, known as Majorelle blue, which is used on the buildings and walls. Picture by Manuel Cohen
    LCMOROCCO_12_MC148.jpg
  • Majorelle Garden, Marrakech, Morocco. These botanical gardens were designed by French painter Jacques Majorelle, 1886-1962, in the 1920s and 1930s. He invented the shade of cobalt blue, known as Majorelle blue, which is used on the buildings and walls. Picture by Manuel Cohen
    LCMOROCCO_12_MC140.jpg
  • Majorelle Garden, Marrakech, Morocco. These botanical gardens were designed by French painter Jacques Majorelle, 1886-1962, in the 1920s and 1930s. He invented the shade of cobalt blue, known as Majorelle blue, which is used on the buildings and walls. Picture by Manuel Cohen
    LCMOROCCO_12_MC141.jpg
  • Cacti, Majorelle Garden, Marrakech, Morocco. These botanical gardens were designed by French painter Jacques Majorelle, 1886-1962, in the 1920s and 1930s. He invented the shade of cobalt blue, known as Majorelle blue, which is used on the buildings and walls. Picture by Manuel Cohen
    LCMOROCCO_12_MC142.jpg
  • Villa and cactus garden, Majorelle Garden, Marrakech, Morocco. These botanical gardens were designed by French painter Jacques Majorelle, 1886-1962, in the 1920s and 1930s. He invented the shade of cobalt blue, known as Majorelle blue, which is used on the buildings and walls. Picture by Manuel Cohen
    LCMOROCCO_12_MC145.jpg
  • Entrance courtyard of villa, Majorelle Garden, Marrakech, Morocco. These botanical gardens were designed by French painter Jacques Majorelle, 1886-1962, in the 1920s and 1930s. He invented the shade of cobalt blue, known as Majorelle blue, which is used on the buildings and walls. Picture by Manuel Cohen
    LCMOROCCO_12_MC147.jpg
  • Memorial to Yves Saint Laurent, Majorelle Garden, Marrakech, Morocco. These botanical gardens were designed by French painter Jacques Majorelle, 1886-1962, in the 1920s and 1930s. The French fashion designer Yves Saint Laurent part-owned the garden from 1980 until his death in 2008, when his ashes were scattered here. Picture by Manuel Cohen
    LCMOROCCO_12_MC138.jpg
  • Villa, Majorelle Garden, Marrakech, Morocco. These botanical gardens were designed by French painter Jacques Majorelle, 1886-1962, in the 1920s and 1930s. He invented the shade of cobalt blue, known as Majorelle blue, which is used on the buildings and walls. Picture by Manuel Cohen
    LCMOROCCO_12_MC135.jpg
  • Art deco apartment block at the junction between the Rue des Troix Journees and Rue de l'Argenterie, in Perpignan, Pyrenees-Orientales, Catalogne du Nord, France. With the demolition of its ramparts in the early 20th century, Perpignan grew and expanded, embracing the art deco style of the 1930s in its new housing estates. Picture by Manuel Cohen
    LC20_FRANCE_MC_1161.jpg
  • Art deco apartment block with curved facade and balconies, at 22 Boulevard Wilson, on the junction with Rue Ramon LLull, 1935-36, by Henri Savoyen, in Perpignan, Pyrenees-Orientales, Catalogne du Nord, France. With the demolition of its ramparts in the early 20th century, Perpignan grew and expanded, embracing the art deco style of the 1930s in its new housing estates. Picture by Manuel Cohen
    LC20_FRANCE_MC_1141.jpg
  • Obelisk, 1930s, in the Square Sarah Bernhardt, built 1936, in the Charonne quarter of the 20th arrondissement of Paris, France. The square is named after French actress Henriette-Marie-Sarah Bernhardt, known as Sarah Bernhardt, 1844-1923. Picture by Manuel Cohen
    LC19_PARIS_MC_1332.jpg
  • Foro Italico University of Rome, created 1998 at the Foro Italico, Rome, Italy. The Foro Italico or Foro Mussolini is a sports complex built 1928-38 in Fascist style by Enrico Del Debbio and Luigi Moretti, inspired by Roman forums. Fascist architecture developed in the late 1920s and 1930s, as a modernist style in times of nationalism and totalitarianism under Benito Mussolini. It is characterised by large, square, symmetrical buildings with little or no decoration, often inspired by ancient Rome and designed to convey strength and power. Picture by Manuel Cohen
    LC15_ITALY_MC087.jpg
  • Statues at the Stadio dei Marmi or Stadium of the Marbles, a stadium designed c. 1928 by Enrico Del Debbio and inaugurated 1932, at the Foro Italico, Rome, Italy, and behind, the Palazzo della Farnesina, a government building designed 1935 housing the Ministry of Foreign Affairs. The stadium has Carrara marble steps lined by 59 marble statues of athletes in classical style. The Foro Italico or Foro Mussolini is a sports complex built 1928-38 in Fascist style by Enrico Del Debbio and Luigi Moretti, inspired by Roman forums. Fascist architecture developed in the late 1920s and 1930s, as a modernist style in times of nationalism and totalitarianism under Benito Mussolini. It is characterised by large, square, symmetrical buildings with little or no decoration, often inspired by ancient Rome and designed to convey strength and power. Picture by Manuel Cohen
    LC15_ITALY_MC055.jpg
  • Art deco apartment block with curved facade and balconies at 15 Boulevard Wilson, on the junction with Rue Elie Delcros, 1936, by Louis Tilhac, in Perpignan, Pyrenees-Orientales, Catalogne du Nord, France. With the demolition of its ramparts in the early 20th century, Perpignan grew and expanded, embracing the art deco style of the 1930s in its new housing estates. Picture by Manuel Cohen
    LC20_FRANCE_MC_1145.jpg
  • Jars of colour pigments used for mixing glazes for ceramics, in the workshop at Ceramiques Saint Vincens, in Perpignan, Pyrenees-Orientales, Catalogne du Nord, France. The ceramics centre was founded in the 1930s by Firmin Bauby, and produces traditional catalan ceramics which are glazed and hand decorated. Picture by Manuel Cohen
    LC20_FRANCE_MC_1201.jpg
  • Claire Bauby at work hand painting ceramics in the workshop at Ceramiques Saint Vincens, in Perpignan, Pyrenees-Orientales, Catalogne du Nord, France. The ceramics centre was founded in the 1930s by Firmin Bauby, and produces traditional catalan ceramics which are glazed and hand decorated. Picture by Manuel Cohen
    LC20_FRANCE_MC_1194.jpg
  • Ceramic artist at work hand painting ceramic decorations in the workshop at Ceramiques Saint Vincens, in Perpignan, Pyrenees-Orientales, Catalogne du Nord, France. Behind her are shelves with jars of colour glazes. The ceramics centre was founded in the 1930s by Firmin Bauby, and produces traditional catalan ceramics which are glazed and hand decorated. Picture by Manuel Cohen
    LC20_FRANCE_MC_1184.jpg
  • Exhibition room at Ceramiques Saint Vincens, in the former wine cellar of the estate, in Perpignan, Pyrenees-Orientales, Catalogne du Nord, France. The ceramics centre was founded in the 1930s by Firmin Bauby, and produces traditional catalan ceramics which are glazed and hand decorated. Picture by Manuel Cohen
    LC20_FRANCE_MC_1175.jpg
  • L'Enfance de Bacchus, detail, sculpture, 1938, by Pierre Traverse, in the Parc de la Butte-du-Chapeau-Rouge, designed in 1930s modernist style by Leon Azema and opened in 1939, in the Quartier Amerique of the 19th arrondissement of Paris, France. This and other sculptures in the park were originally exhibited at the Exposition Internationale des Arts et Techniques dans la Vie Moderne of 1937, held at the Trocadero. Picture by Manuel Cohen
    LC19_PARIS_MC_1302.jpg
  • Deux Femmes et un Enfant, or Two Women and a Child, Art Deco sculpture, 1938, by Pierre Traverse, 1892-1979, in the Parc de la Butte-du-Chapeau-Rouge, designed in the 1930s in modernist style by Leon Azema and opened in 1939, in the Quartier Amerique of the 19th arrondissement of Paris, France. This and other sculptures in the park were originally exhibited at the Exposition Internationale des Arts et Techniques dans la Vie Moderne of 1937, held at the Trocadero. Picture by Manuel Cohen
    LC19_PARIS_MC_1307.jpg
  • Radegund, Frankish queen, detail, stained glass window, 1930s, by Francois Decorchemont, 1880-1971, in the nave of the Eglise Sainte Odile, designed by Jacques Barge, 1904-1979, and built 1935-46, under Mgr Eugene-Edmond Loutil, 1863-1959, at the Porte de Champerret in the 17th arrondissement of Paris, France. The church is built in concrete with a nod to Romanesque Byzantine architecture. Picture by Manuel Cohen
    LC19_PARIS_MC_1281.jpg
  • Saint Remi, Bishop of Reims and Apostle of the Franks, detail, stained glass window, 1930s, by Francois Decorchemont, 1880-1971, in the nave of the Eglise Sainte Odile, designed by Jacques Barge, 1904-1979, and built 1935-46, under Mgr Eugene-Edmond Loutil, 1863-1959, at the Porte de Champerret in the 17th arrondissement of Paris, France. The church is built in concrete with a nod to Romanesque Byzantine architecture. Picture by Manuel Cohen
    LC19_PARIS_MC_1283.jpg
  • Marriage of Radegund, Frankish queen, and Clotaire I, detail, stained glass window, 1930s, by Francois Decorchemont, 1880-1971, in the nave of the Eglise Sainte Odile, designed by Jacques Barge, 1904-1979, and built 1935-46, under Mgr Eugene-Edmond Loutil, 1863-1959, at the Porte de Champerret in the 17th arrondissement of Paris, France. The church is built in concrete with a nod to Romanesque Byzantine architecture. Picture by Manuel Cohen
    LC19_PARIS_MC_1282.jpg
  • Al Alawi House with its badqer or wind tower, built in the 1930s by Mahmoud Muhammad al Alawi, a pearl supplies merchant, near the bay in Muharraq, Bahrain. The house is of 2 storeys with a central courtyard and still functioning wind tower. Muharraq is a city on the Pearling Path and with a strong history of pearl diving and pearl trade, where 17 buildings form part of a UNESCO World Heritage Site celebrating the pearl trade. Picture by Manuel Cohen
    LC19_BAHREIN_MC_007.jpg
  • Wooden ceiling beams in the Al Alawi House, built in the 1930s by Mahmoud Muhammad al Alawi, a pearl supplies merchant, near the bay in Muharraq, Bahrain. The house is of 2 storeys with a central courtyard and functioning wind tower. Muharraq is a city on the Pearling Path and with a strong history of pearl diving and pearl trade, where 17 buildings form part of a UNESCO World Heritage Site celebrating the pearl trade. Picture by Manuel Cohen
    LC19_BAHREIN_MC_008.jpg
  • Room in the Al Alawi House, built in the 1930s by Mahmoud Muhammad al Alawi, a pearl supplies merchant, near the bay in Muharraq, Bahrain. The house is of 2 storeys with a central courtyard and functioning wind tower. Muharraq is a city on the Pearling Path and with a strong history of pearl diving and pearl trade, where 17 buildings form part of a UNESCO World Heritage Site celebrating the pearl trade. Picture by Manuel Cohen
    LC19_BAHREIN_MC_009.jpg
  • Room with wall recesses in the Al Alawi House, built in the 1930s by Mahmoud Muhammad al Alawi, a pearl supplies merchant, near the bay in Muharraq, Bahrain. The house is of 2 storeys with a central courtyard and functioning wind tower. Muharraq is a city on the Pearling Path and with a strong history of pearl diving and pearl trade, where 17 buildings form part of a UNESCO World Heritage Site celebrating the pearl trade. Picture by Manuel Cohen
    LC19_BAHREIN_MC_010.jpg
  • Central courtyard in the Al Alawi House, built in the 1930s by Mahmoud Muhammad al Alawi, a pearl supplies merchant, near the bay in Muharraq, Bahrain. The house is of 2 storeys with a central courtyard and functioning wind tower. Muharraq is a city on the Pearling Path and with a strong history of pearl diving and pearl trade, where 17 buildings form part of a UNESCO World Heritage Site celebrating the pearl trade. Picture by Manuel Cohen
    LC19_BAHREIN_MC_249.jpg
  • Room with wall recesses in the Al Alawi House, built in the 1930s by Mahmoud Muhammad al Alawi, a pearl supplies merchant, near the bay in Muharraq, Bahrain. The house is of 2 storeys with a central courtyard and functioning wind tower. Muharraq is a city on the Pearling Path and with a strong history of pearl diving and pearl trade, where 17 buildings form part of a UNESCO World Heritage Site celebrating the pearl trade. Picture by Manuel Cohen
    LC19_BAHREIN_MC_250.jpg
  • Room in the Al Alawi House, built in the 1930s by Mahmoud Muhammad al Alawi, a pearl supplies merchant, near the bay in Muharraq, Bahrain. The house is of 2 storeys with a central courtyard and functioning wind tower. Muharraq is a city on the Pearling Path and with a strong history of pearl diving and pearl trade, where 17 buildings form part of a UNESCO World Heritage Site celebrating the pearl trade. Picture by Manuel Cohen
    LC19_BAHREIN_MC_251.jpg
  • Angels, detail from a stained glass window, 1930s, in the Eglise Notre-Dame-de-la-Visitation, a catholic church built 1878-79 in Neo Romanesque style by Gedeon Leblanc, 1832-1905, in Champlain, Mauricie, on the Chemin du Roy, Quebec, Canada. The interior was designed in 1881 by Louis-Joseph Bourgeois, 1856-1930. The Chemin du Roy or King's Highway is a historic road along the Saint Lawrence river built 1731-37, connecting communities between Quebec City and Montreal. Picture by Manuel Cohen
    LC18_QUEBEC_MC_130.jpg
  • Reinforced concrete frame of the roof structure of the 'berne' of the West Saltworks or Batiment des Sels Ouest, an 80m long space where water was evaporated from the brine in huge iron basins, strengthened with concrete by the architect Julien Polti, 1877-1953, in the 1930s, part of the Royal Saltworks or Saline Royale, begun 1775 in Neoclassical style by architect Claude Nicolas Ledoux, at Arc-et-Senans, Doubs, Bourgogne-Franche-Comte, France. The building is now used for exhibitions, shows, conventions and seminars. The saltworks site is designed in a semicircle, with the Director's House, 2 saltworks containing drying ovens, heating pots and salt stores, workers' accommodation and Director's stables. An Ideal City was also planned but never built. The site is listed as a UNESCO World Heritage site. Picture by Manuel Cohen
    LC17_FRANCE_MC_1004.jpg
  • Bust of Dr John Loudon, 1866-1955, Dutch ambassador to France, and honorary president of the committee of the Dutch College, in the entrance hall of the College Neerlandais, or Dutch College, designed by Willem Marinus Dudok, 1884-1974, and inaugurated in 1938, in the Cite Internationale Universitaire de Paris, in the 14th arrondissement of Paris, France. This is the only building in France designed by Dudok, one of the leading architects from the Dutch school of the 1920s and 1930s. The building is listed as a historic monument. The CIUP or Cite U was founded in 1925 after the First World War by Andre Honnorat and Emile Deutsch de la Meurthe to create a place of cooperation and peace amongst students and researchers from around the world. It consists of 5,800 rooms in 40 residences, accepting another 12,000 student residents each year. Picture by Manuel Cohen. Further clearances may be requested.
    LC17_FRANCE_MC_0489.JPG
  • The Grand Salon, with 2 monumental paintings by Hordjik and Doevel, with maps representing the colonial grandeur of the Empire, in the College Neerlandais, or Dutch College, designed by Willem Marinus Dudok, 1884-1974, and inaugurated in 1938, in the Cite Internationale Universitaire de Paris, in the 14th arrondissement of Paris, France. This is the only building in France designed by Dudok, one of the leading architects from the Dutch school of the 1920s and 1930s. The building is listed as a historic monument. The CIUP or Cite U was founded in 1925 after the First World War by Andre Honnorat and Emile Deutsch de la Meurthe to create a place of cooperation and peace amongst students and researchers from around the world. It consists of 5,800 rooms in 40 residences, accepting another 12,000 student residents each year. Picture by Manuel Cohen. Further clearances may be requested.
    LC17_FRANCE_MC_0487.jpg
  • Lamp by Pere Domenech i Roura, 1930s, and the decorative ceiling and cupola above the main staircase, with decorated ribs and bosses, stained glass by Rigalt, Granell & Cia and mosaics by Mario Maragliano, in the Administration Pavilion, built 1905-10, at the Hospital de Sant Pau, or Hospital de la Santa Creu i Sant Pau, built 1902-30, designed by Catalan Modernist architect Lluis Domenech i Montaner, 1850-1923, in El Guinardo, Barcelona, Catalonia, Spain. The original medieval hospital of 1401 was replaced with this complex in the 20th century thanks to capital provided in the will of Pau Gil. The hospital consists of 27 pavilions surrounded by gardens and linked by tunnels, using the Modernist Art Nouveau style with great attention to detail. On the death of the architect, his son Pere Domenech i Roura took over the project. The complex was listed in 1997 as a UNESCO World Heritage Site. Picture by Manuel Cohen
    LC16_SPAIN_MC249.jpg
  • Palazzo Dei Congressi or Palace of Congress, 1938-54, designed by Libera, built as part of the EUR or Expositione Universale di Roma (Rome Universal Exhibition), planned by Marcello Piacentini, Rome, Italy. The exhibition was to take place in 1942 to celebrate the 20th anniversary of the fascist regime. Fascist architecture developed in the late 1920s and 1930s, as a modernist style in times of nationalism and totalitarianism under Benito Mussolini. It is characterised by large, square, symmetrical buildings with little or no decoration, often inspired by ancient Rome and designed to convey strength and power. Picture by Manuel Cohen
    LC15_ITALY_MC133.jpg
  • Statue on the corner of the Palazzo della Civilita Italiana, 1938-43, designed 1937 by Giovanni Guerrini, Ernesto Bruno La Padula and Mario Romano, built as part of the EUR or Expositione Universale di Roma (Rome Universal Exhibition), planned by Marcello Piacentini, Rome, Italy. The exhibition was to take place in 1942 to celebrate the 20th anniversary of the fascist regime. Fascist architecture developed in the late 1920s and 1930s, as a modernist style in times of nationalism and totalitarianism under Benito Mussolini. It is characterised by large, square, symmetrical buildings with little or no decoration, often inspired by ancient Rome and designed to convey strength and power. Picture by Manuel Cohen
    LC15_ITALY_MC123.jpg
  • Chiesa dei Santi Pietro e Paolo, or Church of St Peter and St Paul, built 1938-55, designed by Arnaldo Foschini, built as part of the EUR or Expositione Universale di Roma (Rome Universal Exhibition), planned by Marcello Piacentini, Rome, Italy. The exhibition was to take place in 1942 to celebrate the 20th anniversary of the fascist regime. Fascist architecture developed in the late 1920s and 1930s, as a modernist style in times of nationalism and totalitarianism under Benito Mussolini. It is characterised by large, square, symmetrical buildings with little or no decoration, often inspired by ancient Rome and designed to convey strength and power. Picture by Manuel Cohen
    LC15_ITALY_MC122.jpg
  • The Ponte Flaminio, built 1938-51, designed by Armando Brasini, 1879-1965, in Fascist style, with columns and monumental sculptures of eagles, Corso di Francia, Rome, Italy. Fascist architecture developed in the late 1920s and 1930s, as a modernist style in times of nationalism and totalitarianism under Benito Mussolini. It is characterised by large, square, symmetrical buildings with little or no decoration, often inspired by ancient Rome and designed to convey strength and power. Picture by Manuel Cohen
    LC15_ITALY_MC117.jpg
  • Statues at the CONI (Comitato Olimpico Nazionale Italiano) swimming complex at the Foro Italico, Rome, Italy. The Foro Italico or Foro Mussolini is a sports complex built 1928-38 in Fascist style by Enrico Del Debbio and Luigi Moretti, inspired by Roman forums. Fascist architecture developed in the late 1920s and 1930s, as a modernist style in times of nationalism and totalitarianism under Benito Mussolini. It is characterised by large, square, symmetrical buildings with little or no decoration, often inspired by ancient Rome and designed to convey strength and power. Picture by Manuel Cohen
    LC15_ITALY_MC112.jpg
  • Stadio dei Marmi or Stadium of the Marbles, a stadium designed c. 1928 by Enrico Del Debbio and inaugurated 1932, at the Foro Italico, Rome, Italy. The stadium has Carrara marble steps lined by 59 marble statues of athletes in classical style. The Foro Italico or Foro Mussolini is a sports complex built 1928-38 in Fascist style by Enrico Del Debbio and Luigi Moretti, inspired by Roman forums. Fascist architecture developed in the late 1920s and 1930s, as a modernist style in times of nationalism and totalitarianism under Benito Mussolini. It is characterised by large, square, symmetrical buildings with little or no decoration, often inspired by ancient Rome and designed to convey strength and power. Picture by Manuel Cohen
    LC15_ITALY_MC109.jpg
  • Statue at the Stadio dei Marmi or Stadium of the Marbles, a stadium designed c. 1928 by Enrico Del Debbio and inaugurated 1932, at the Foro Italico, Rome, Italy, and behind, the Palazzo della Farnesina, a government building designed 1935 housing the Ministry of Foreign Affairs. The stadium has Carrara marble steps lined by 59 marble statues of athletes in classical style. The Foro Italico or Foro Mussolini is a sports complex built 1928-38 in Fascist style by Enrico Del Debbio and Luigi Moretti, inspired by Roman forums. Fascist architecture developed in the late 1920s and 1930s, as a modernist style in times of nationalism and totalitarianism under Benito Mussolini. It is characterised by large, square, symmetrical buildings with little or no decoration, often inspired by ancient Rome and designed to convey strength and power. Picture by Manuel Cohen
    LC15_ITALY_MC107.jpg
  • Relief of soldiers fighting by Vico Consorti, 1902-79, on the Ponte Duca d'Aosta, built 1939-42 in Fascist style by Vincenzo Fasolo, a bridge linking Lungotevere Flaminio to Piazza Lauro De Bosis, near the Foro Italico, Rome, Italy. Fascist architecture developed in the late 1920s and 1930s, as a modernist style in times of nationalism and totalitarianism under Benito Mussolini. It is characterised by large, square, symmetrical buildings with little or no decoration, often inspired by ancient Rome and designed to convey strength and power. Picture by Manuel Cohen
    LC15_ITALY_MC106.jpg
  • Reliefs, inscription and mural on the apartment buildings on the Piazza Augusto Emperatore, Rome, Italy, built in Fascist style with antique inspiration. Fascist architecture developed in the late 1920s and 1930s, as a modernist style in times of nationalism and totalitarianism under Benito Mussolini. It is characterised by large, square, symmetrical buildings with little or no decoration, often inspired by ancient Rome and designed to convey strength and power. Picture by Manuel Cohen
    LC15_ITALY_MC105.jpg
  • Relief of an angel on the apartment buildings on the Piazza Augusto Emperatore, Rome, Italy, built in Fascist style with antique inspiration. Fascist architecture developed in the late 1920s and 1930s, as a modernist style in times of nationalism and totalitarianism under Benito Mussolini. It is characterised by large, square, symmetrical buildings with little or no decoration, often inspired by ancient Rome and designed to convey strength and power. Picture by Manuel Cohen
    LC15_ITALY_MC103.jpg
  • Palazzo della Farnesina, a government building designed 1935 in Fascist style, housing the Ministry of Foreign Affairs, and the bronze sculpture Sfera con Sfera, or Sphere within a Sphere, by Italian sculptor Arnaldo Pomodoro, born 1926, Rome, Italy. Fascist architecture developed in the late 1920s and 1930s, as a modernist style in times of nationalism and totalitarianism under Benito Mussolini. It is characterised by large, square, symmetrical buildings with little or no decoration, often inspired by ancient Rome and designed to convey strength and power. Picture by Manuel Cohen
    LC15_ITALY_MC097.jpg
  • Buildings at the Foro Italico or Foro Mussolini, Rome, Italy, a sports complex built 1928-38 in Fascist style by Enrico Del Debbio and Luigi Moretti, inspired by Roman forums. Fascist architecture developed in the late 1920s and 1930s, as a modernist style in times of nationalism and totalitarianism under Benito Mussolini. It is characterised by large, square, symmetrical buildings with little or no decoration, often inspired by ancient Rome and designed to convey strength and power. Picture by Manuel Cohen
    LC15_ITALY_MC095.jpg
  • Statues at the Stadio dei Marmi or Stadium of the Marbles, a stadium designed c. 1928 by Enrico Del Debbio and inaugurated 1932, at the Foro Italico, Rome, Italy. The stadium has Carrara marble steps lined by 59 marble statues of athletes in classical style. The Foro Italico or Foro Mussolini is a sports complex built 1928-38 in Fascist style by Enrico Del Debbio and Luigi Moretti, inspired by Roman forums. Fascist architecture developed in the late 1920s and 1930s, as a modernist style in times of nationalism and totalitarianism under Benito Mussolini. It is characterised by large, square, symmetrical buildings with little or no decoration, often inspired by ancient Rome and designed to convey strength and power. Picture by Manuel Cohen
    LC15_ITALY_MC096.jpg
  • Statue at the Foro Italico University of Rome, created 1998 at the Foro Italico, Rome, Italy. The Foro Italico or Foro Mussolini is a sports complex built 1928-38 in Fascist style by Enrico Del Debbio and Luigi Moretti, inspired by Roman forums. Fascist architecture developed in the late 1920s and 1930s, as a modernist style in times of nationalism and totalitarianism under Benito Mussolini. It is characterised by large, square, symmetrical buildings with little or no decoration, often inspired by ancient Rome and designed to convey strength and power. Picture by Manuel Cohen
    LC15_ITALY_MC089.jpg
  • Obelisco Mussolini and Foro Italico University of Rome, created 1998 at the Foro Italico, Rome, Italy. The Foro Italico or Foro Mussolini is a sports complex built 1928-38 in Fascist style by Enrico Del Debbio and Luigi Moretti, inspired by Roman forums. Fascist architecture developed in the late 1920s and 1930s, as a modernist style in times of nationalism and totalitarianism under Benito Mussolini. It is characterised by large, square, symmetrical buildings with little or no decoration, often inspired by ancient Rome and designed to convey strength and power. Picture by Manuel Cohen
    LC15_ITALY_MC088.jpg
  • Palazzo degli Uffici, headquarters of EUR SpA, built 1937-39 in Fascist style, designed by Gaetano Minnucci, 1896-1980, and built as part of the EUR or Expositione Universale di Roma (Rome Universal Exhibition), planned by Marcello Piacentini, Rome, Italy. The exhibition was to take place in 1942 to celebrate the 20th anniversary of the fascist regime. Fascist architecture developed in the late 1920s and 1930s, as a modernist style in times of nationalism and totalitarianism under Benito Mussolini. It is characterised by large, square, symmetrical buildings with little or no decoration, often inspired by ancient Rome and designed to convey strength and power. Picture by Manuel Cohen
    LC15_ITALY_MC073.jpg
  • Apartment buildings on the Piazza Augusto Emperatore, Rome, Italy, built in Fascist style with antique inspiration. Fascist architecture developed in the late 1920s and 1930s, as a modernist style in times of nationalism and totalitarianism under Benito Mussolini. It is characterised by large, square, symmetrical buildings with little or no decoration, often inspired by ancient Rome and designed to convey strength and power. Picture by Manuel Cohen
    LC15_ITALY_MC064.jpg
  • Statue on the corner of the Palazzo della Civilita Italiana, 1938-43, designed 1937 by Giovanni Guerrini, Ernesto Bruno La Padula and Mario Romano, built as part of the EUR or Expositione Universale di Roma (Rome Universal Exhibition), planned by Marcello Piacentini, Rome, Italy. The exhibition was to take place in 1942 to celebrate the 20th anniversary of the fascist regime. Fascist architecture developed in the late 1920s and 1930s, as a modernist style in times of nationalism and totalitarianism under Benito Mussolini. It is characterised by large, square, symmetrical buildings with little or no decoration, often inspired by ancient Rome and designed to convey strength and power. Picture by Manuel Cohen
    LC15_ITALY_MC045.jpg
  • Relief of Benito Mussolini, 1939, by Publio Morbiducci, at the entrance of the Palazzo degli Uffici, headquarters of EUR SpA, built 1937-39 in Fascist style, designed by Gaetano Minnucci, 1896-1980,  and built as part of the EUR or Expositione Universale di Roma (Rome Universal Exhibition), planned by Marcello Piacentini, Rome, Italy. The exhibition was to take place in 1942 to celebrate the 20th anniversary of the fascist regime. Fascist architecture developed in the late 1920s and 1930s, as a modernist style in times of nationalism and totalitarianism under Benito Mussolini. It is characterised by large, square, symmetrical buildings with little or no decoration, often inspired by ancient Rome and designed to convey strength and power. Picture by Manuel Cohen
    LC15_ITALY_MC043.jpg
  • Relief of Benito Mussolini, 1939, by Publio Morbiducci, at the entrance of the Palazzo degli Uffici, headquarters of EUR SpA, built 1937-39 in Fascist style, designed by Gaetano Minnucci, 1896-1980, and built as part of the EUR or Expositione Universale di Roma (Rome Universal Exhibition), planned by Marcello Piacentini, Rome, Italy. The exhibition was to take place in 1942 to celebrate the 20th anniversary of the fascist regime. Fascist architecture developed in the late 1920s and 1930s, as a modernist style in times of nationalism and totalitarianism under Benito Mussolini. It is characterised by large, square, symmetrical buildings with little or no decoration, often inspired by ancient Rome and designed to convey strength and power. Picture by Manuel Cohen
    LC15_ITALY_MC042.jpg
  • Relief of Benito Mussolini, 1939, by Publio Morbiducci, at the entrance of the Palazzo degli Uffici, headquarters of EUR SpA, built 1937-39 in Fascist style, designed by Gaetano Minnucci, 1896-1980, and built as part of the EUR or Expositione Universale di Roma (Rome Universal Exhibition), planned by Marcello Piacentini, Rome, Italy. The exhibition was to take place in 1942 to celebrate the 20th anniversary of the fascist regime. Fascist architecture developed in the late 1920s and 1930s, as a modernist style in times of nationalism and totalitarianism under Benito Mussolini. It is characterised by large, square, symmetrical buildings with little or no decoration, often inspired by ancient Rome and designed to convey strength and power. Picture by Manuel Cohen
    LC15_ITALY_MC039.jpg
  • Statues in the arches of the Palazzo della Civilita Italiana, 1938-43, designed 1937 by Giovanni Guerrini, Ernesto Bruno La Padula and Mario Romano, built as part of the EUR or Expositione Universale di Roma (Rome Universal Exhibition), planned by Marcello Piacentini, Rome, Italy. The exhibition was to take place in 1942 to celebrate the 20th anniversary of the fascist regime. Fascist architecture developed in the late 1920s and 1930s, as a modernist style in times of nationalism and totalitarianism under Benito Mussolini. It is characterised by large, square, symmetrical buildings with little or no decoration, often inspired by ancient Rome and designed to convey strength and power. Picture by Manuel Cohen
    LC15_ITALY_MC023.jpg
  • The Ponte Flaminio, built 1938-51, designed by Armando Brasini, 1879-1965, in Fascist style, with columns and monumental sculptures of eagles, Corso di Francia, Rome, Italy. Fascist architecture developed in the late 1920s and 1930s, as a modernist style in times of nationalism and totalitarianism under Benito Mussolini. It is characterised by large, square, symmetrical buildings with little or no decoration, often inspired by ancient Rome and designed to convey strength and power. Picture by Manuel Cohen
    LC15_ITALY_MC021.jpg
  • Statue at the Stadio dei Marmi or Stadium of the Marbles, a stadium designed c. 1928 by Enrico Del Debbio and inaugurated 1932, at the Foro Italico, Rome, Italy. The stadium has Carrara marble steps lined by 59 marble statues of athletes in classical style. The Foro Italico or Foro Mussolini is a sports complex built 1928-38 in Fascist style by Enrico Del Debbio and Luigi Moretti, inspired by Roman forums. Fascist architecture developed in the late 1920s and 1930s, as a modernist style in times of nationalism and totalitarianism under Benito Mussolini. It is characterised by large, square, symmetrical buildings with little or no decoration, often inspired by ancient Rome and designed to convey strength and power. Picture by Manuel Cohen
    LC15_ITALY_MC017.jpg
  • Statue by Salvatore Cartaino Scarpitta, 1887-1948, at the swimming stadium, at the Foro Italico, Rome, Italy. The Foro Italico or Foro Mussolini is a sports complex built 1928-38 in Fascist style by Enrico Del Debbio and Luigi Moretti, inspired by Roman forums. Fascist architecture developed in the late 1920s and 1930s, as a modernist style in times of nationalism and totalitarianism under Benito Mussolini. It is characterised by large, square, symmetrical buildings with little or no decoration, often inspired by ancient Rome and designed to convey strength and power. Picture by Manuel Cohen
    LC15_ITALY_MC015.jpg
  • Statue by Salvatore Cartaino Scarpitta, 1887-1948, at the swimming stadium, at the Foro Italico, Rome, Italy. The Foro Italico or Foro Mussolini is a sports complex built 1928-38 in Fascist style by Enrico Del Debbio and Luigi Moretti, inspired by Roman forums. Fascist architecture developed in the late 1920s and 1930s, as a modernist style in times of nationalism and totalitarianism under Benito Mussolini. It is characterised by large, square, symmetrical buildings with little or no decoration, often inspired by ancient Rome and designed to convey strength and power. Picture by Manuel Cohen
    LC15_ITALY_MC014.jpg
  • Statue at the Stadio dei Marmi or Stadium of the Marbles, a stadium designed c. 1928 by Enrico Del Debbio and inaugurated 1932, at the Foro Italico, Rome, Italy. The stadium has Carrara marble steps lined by 59 marble statues of athletes in classical style. The Foro Italico or Foro Mussolini is a sports complex built 1928-38 in Fascist style by Enrico Del Debbio and Luigi Moretti, inspired by Roman forums. Fascist architecture developed in the late 1920s and 1930s, as a modernist style in times of nationalism and totalitarianism under Benito Mussolini. It is characterised by large, square, symmetrical buildings with little or no decoration, often inspired by ancient Rome and designed to convey strength and power. Picture by Manuel Cohen
    LC15_ITALY_MC012.jpg
  • Statue at the Stadio dei Marmi or Stadium of the Marbles, a stadium designed c. 1928 by Enrico Del Debbio and inaugurated 1932, at the Foro Italico, Rome, Italy. The stadium has Carrara marble steps lined by 59 marble statues of athletes in classical style. The Foro Italico or Foro Mussolini is a sports complex built 1928-38 in Fascist style by Enrico Del Debbio and Luigi Moretti, inspired by Roman forums. Fascist architecture developed in the late 1920s and 1930s, as a modernist style in times of nationalism and totalitarianism under Benito Mussolini. It is characterised by large, square, symmetrical buildings with little or no decoration, often inspired by ancient Rome and designed to convey strength and power. Picture by Manuel Cohen
    LC15_ITALY_MC010.jpg
  • Statue at the Stadio dei Marmi or Stadium of the Marbles, a stadium designed c. 1928 by Enrico Del Debbio and inaugurated 1932, at the Foro Italico, Rome, Italy. The stadium has Carrara marble steps lined by 59 marble statues of athletes in classical style. The Foro Italico or Foro Mussolini is a sports complex built 1928-38 in Fascist style by Enrico Del Debbio and Luigi Moretti, inspired by Roman forums. Fascist architecture developed in the late 1920s and 1930s, as a modernist style in times of nationalism and totalitarianism under Benito Mussolini. It is characterised by large, square, symmetrical buildings with little or no decoration, often inspired by ancient Rome and designed to convey strength and power. Picture by Manuel Cohen
    LC15_ITALY_MC008.jpg
  • Detail of mosaic floor with men hailing their leader between the Mussolini Obelisk and Olympic Stadium, Foro Italico, Rome, Italy. The Foro Italico or Foro Mussolini is a sports complex built 1928-38 in Fascist style by Enrico Del Debbio and Luigi Moretti, inspired by Roman forums. Fascist architecture developed in the late 1920s and 1930s, as a modernist style in times of nationalism and totalitarianism under Benito Mussolini. It is characterised by large, square, symmetrical buildings with little or no decoration, often inspired by ancient Rome and designed to convey strength and power. Picture by Manuel Cohen
    LC15_ITALY_MC005.jpg
  • Main area with mosaic floor between the Mussolini Obelisk and Olympic Stadium, Foro Italico, Rome, Italy. The Foro Italico or Foro Mussolini is a sports complex built 1928-38 in Fascist style by Enrico Del Debbio and Luigi Moretti, inspired by Roman forums. Fascist architecture developed in the late 1920s and 1930s, as a modernist style in times of nationalism and totalitarianism under Benito Mussolini. It is characterised by large, square, symmetrical buildings with little or no decoration, often inspired by ancient Rome and designed to convey strength and power. Picture by Manuel Cohen
    LC15_ITALY_MC006.jpg
  • Detail of a relief of a soldier by Vico Consorti, 1902-79, on the Ponte Duca d'Aosta, built 1939-42 in Fascist style by Vincenzo Fasolo, a bridge linking Lungotevere Flaminio to Piazza Lauro De Bosis, near the Foro Italico, Rome, Italy. Fascist architecture developed in the late 1920s and 1930s, as a modernist style in times of nationalism and totalitarianism under Benito Mussolini. It is characterised by large, square, symmetrical buildings with little or no decoration, often inspired by ancient Rome and designed to convey strength and power. Picture by Manuel Cohen
    LC15_ITALY_MC004.jpg
  • Universita La Sapienza, or the Sapienza University of Rome, new campus building built 1935 by Marcello Piacentini, 1881-1960, in Fascist architectural style, and statue of Minerva by Arturo Martini, 1889-1947, Rome, Italy. La Sapienza is the largest university in Europe, and was founded in 1303. Fascist architecture developed in the late 1920s and 1930s, as a modernist style in times of nationalism and totalitarianism under Benito Mussolini. It is characterised by large, square, symmetrical buildings with little or no decoration, often inspired by ancient Rome and designed to convey strength and power. Picture by Manuel Cohen
    LC15_ITALY_MC001.jpg
  • Universita La Sapienza, or the Sapienza University of Rome, new campus building built 1935 by Marcello Piacentini, 1881-1960, in Fascist architectural style, and statue of Minerva by Arturo Martini, 1889-1947, Rome, Italy. La Sapienza is the largest university in Europe, and was founded in 1303. Fascist architecture developed in the late 1920s and 1930s, as a modernist style in times of nationalism and totalitarianism under Benito Mussolini. It is characterised by large, square, symmetrical buildings with little or no decoration, often inspired by ancient Rome and designed to convey strength and power. Picture by Manuel Cohen
    LC15_ITALY_MC003.jpg
  • Portrait of Alban Berg, 1885-1935, Austrian composer, in a photograph taken in the 1930s. Copyright © Collection Particuliere Tropmi / Manuel Cohen
    LC_History_MC0051.jpg
  • The statue of the Sacred Heart of Jesus, built in the 1930s at the top of Cerro San Cristobal, San Cristobal Hill or Monte Laham, with the port of Almeria in the distance, in the Alcazaba, a 10th century fortified enclosure and royal residence in Almeria, Andalusia, Southern Spain. The Alcazaba was begun in 955 by Rahman III and completed by Hayran, Taifa king of Almeria, in the 11th century. It was later added to by the Catholic monarchs. Picture by Manuel Cohen
    LC14_ALMERIA_MC110.jpg
  • Tower of the Acropolis Castle, reconstructed in the 1930s on the hill of the acropolis, Butrint, Chaonia, Albania. Butrint was founded by the Greek Chaonian tribe and was a port throughout Hellenistic and Roman times, when it was known as Buthrotum. It was ruled by the Byzantines and the Venetians and finally abandoned in the Middle Ages. The ruins at Butrint were listed as a UNESCO World Heritage Site in 1992. Picture by Manuel Cohen
    LC14_Albania_MC242.jpg
  • Art deco apartment block with curved facade and balconies at 15 Boulevard Wilson, on the junction with Rue Elie Delcros, 1936, by Louis Tilhac, in Perpignan, Pyrenees-Orientales, Catalogne du Nord, France. With the demolition of its ramparts in the early 20th century, Perpignan grew and expanded, embracing the art deco style of the 1930s in its new housing estates. Picture by Manuel Cohen
    LC20_FRANCE_MC_1146.jpg
  • Shop selling and exhibiting ceramics at Ceramiques Saint Vincens, in Perpignan, Pyrenees-Orientales, Catalogne du Nord, France. The ceramics centre was founded in the 1930s by Firmin Bauby, and produces traditional catalan ceramics which are glazed and hand decorated. Picture by Manuel Cohen
    LC20_FRANCE_MC_1202.jpg
  • Claire Bauby at work hand painting ceramics in the workshop at Ceramiques Saint Vincens, in Perpignan, Pyrenees-Orientales, Catalogne du Nord, France. The ceramics centre was founded in the 1930s by Firmin Bauby, and produces traditional catalan ceramics which are glazed and hand decorated. Picture by Manuel Cohen
    LC20_FRANCE_MC_1190.jpg
  • Painted ceramic dish displayed in the exhibition room in the former wine cellar at Ceramiques Saint Vincens, in Perpignan, Pyrenees-Orientales, Catalogne du Nord, France. The ceramics centre was founded in the 1930s by Firmin Bauby, and produces traditional catalan ceramics which are glazed and hand decorated. Picture by Manuel Cohen
    LC20_FRANCE_MC_1180.jpg
  • Painted ceramic jug and dish displayed in the exhibition room in the former wine cellar at Ceramiques Saint Vincens, in Perpignan, Pyrenees-Orientales, Catalogne du Nord, France. The ceramics centre was founded in the 1930s by Firmin Bauby, and produces traditional catalan ceramics which are glazed and hand decorated. Picture by Manuel Cohen
    LC20_FRANCE_MC_1179.jpg
  • Parc de la Butte-du-Chapeau-Rouge, designed in 1930s modernist style by Leon Azema and opened in 1939, in the Quartier Amerique of the 19th arrondissement of Paris, France. Seen here are the stepped fountains of the buffet d'eau at the entrance on Boulevard d'Algerie, with a statue of Eve, 1938, by Raymond Couvegne. This and other sculptures in the park were originally exhibited at the Exposition Internationale des Arts et Techniques dans la Vie Moderne of 1937, held at the Trocadero. In the distance is La Plaine Saint-Denis. Picture by Manuel Cohen
    LC19_PARIS_MC_1304.jpg
  • Parc de la Butte-du-Chapeau-Rouge, designed in 1930s modernist style by Leon Azema and opened in 1939, in the Quartier Amerique of the 19th arrondissement of Paris, France. Seen here are the stepped fountains of the buffet d'eau at the entrance on Boulevard d'Algerie, with a statue of Eve, 1938, by Raymond Couvegne. This and other sculptures in the park were originally exhibited at the Exposition Internationale des Arts et Techniques dans la Vie Moderne of 1937, held at the Trocadero. In the distance is La Plaine Saint-Denis. Picture by Manuel Cohen
    LC19_PARIS_MC_1305.JPG
  • Parc de la Butte-du-Chapeau-Rouge, designed in 1930s modernist style by Leon Azema and opened in 1939, in the Quartier Amerique of the 19th arrondissement of Paris, France. Seen here are the stepped fountains of the buffet d'eau at the entrance on Boulevard d'Algerie, with a statue of Eve, 1938, by Raymond Couvegne. This and other sculptures in the park were originally exhibited at the Exposition Internationale des Arts et Techniques dans la Vie Moderne of 1937, held at the Trocadero. In the distance is La Plaine Saint-Denis. Picture by Manuel Cohen
    LC19_PARIS_MC_1306.jpg
  • Saint Denis, detail, stained glass window, 1930s, by Francois Decorchemont, 1880-1971, in the nave of the Eglise Sainte Odile, designed by Jacques Barge, 1904-1979, and built 1935-46, under Mgr Eugene-Edmond Loutil, 1863-1959, at the Porte de Champerret in the 17th arrondissement of Paris, France. The church is built in concrete with a nod to Romanesque Byzantine architecture. Picture by Manuel Cohen
    LC19_PARIS_MC_1278.jpg
  • Sainte Genevieve taking supplies to Paris, detail, stained glass window, 1930s, by Francois Decorchemont, 1880-1971, in the nave of the Eglise Sainte Odile, designed by Jacques Barge, 1904-1979, and built 1935-46, under Mgr Eugene-Edmond Loutil, 1863-1959, at the Porte de Champerret in the 17th arrondissement of Paris, France. The church is built in concrete with a nod to Romanesque Byzantine architecture. Picture by Manuel Cohen
    LC19_PARIS_MC_1280.jpg
  • Room with wall recesses in the Al Alawi House, built in the 1930s by Mahmoud Muhammad al Alawi, a pearl supplies merchant, near the bay in Muharraq, Bahrain. The house is of 2 storeys with a central courtyard and functioning wind tower. Muharraq is a city on the Pearling Path and with a strong history of pearl diving and pearl trade, where 17 buildings form part of a UNESCO World Heritage Site celebrating the pearl trade. Picture by Manuel Cohen
    LC19_BAHREIN_MC_011.jpg
  • Al Alawi House, built in the 1930s by Mahmoud Muhammad al Alawi, a pearl supplies merchant, near the bay in Muharraq, Bahrain. The house is of 2 storeys with a central courtyard and functioning wind tower. Muharraq is a city on the Pearling Path and with a strong history of pearl diving and pearl trade, where 17 buildings form part of a UNESCO World Heritage Site celebrating the pearl trade. Picture by Manuel Cohen
    LC19_BAHREIN_MC_248.jpg
  • The Pioneer Health Centre, designed in the 1930s by Owen Williams, 1890-1969, on Frobisher Place, St Mary's Rd, Peckham, London, England. The building opened in 1935 as part of the Peckham Experiment (1926-50), exploring the health of the working class in overcrowded London. The building contains a swimming pool, has natural light and openable windows. People could take part in exercise and workshops and were regularly medically assessed. Picture by Manuel Cohen
    LC17_ENGLAND_MC_224.jpg
  • Reinforced concrete frame of the roof structure of the 'berne' of the West Saltworks or Batiment des Sels Ouest, an 80m long space where water was evaporated from the brine in huge iron basins, strengthened with concrete by the architect Julien Polti, 1877-1953, in the 1930s, part of the Royal Saltworks or Saline Royale, begun 1775 in Neoclassical style by architect Claude Nicolas Ledoux, at Arc-et-Senans, Doubs, Bourgogne-Franche-Comte, France. The building is now used for exhibitions, shows, conventions and seminars. The saltworks site is designed in a semicircle, with the Director's House, 2 saltworks containing drying ovens, heating pots and salt stores, workers' accommodation and Director's stables. An Ideal City was also planned but never built. The site is listed as a UNESCO World Heritage site. Picture by Manuel Cohen
    LC17_FRANCE_MC_1049.jpg
  • Reinforced concrete frame of the roof structure of the 'berne' of the West Saltworks or Batiment des Sels Ouest, an 80m long space where water was evaporated from the brine in huge iron basins, strengthened with concrete by the architect Julien Polti, 1877-1953, in the 1930s, part of the Royal Saltworks or Saline Royale, begun 1775 in Neoclassical style by architect Claude Nicolas Ledoux, at Arc-et-Senans, Doubs, Bourgogne-Franche-Comte, France. The building is now used for exhibitions, shows, conventions and seminars. The saltworks site is designed in a semicircle, with the Director's House, 2 saltworks containing drying ovens, heating pots and salt stores, workers' accommodation and Director's stables. An Ideal City was also planned but never built. The site is listed as a UNESCO World Heritage site. Picture by Manuel Cohen
    LC17_FRANCE_MC_0966.jpg
  • College Neerlandais, or Dutch College, designed by Willem Marinus Dudok, 1884-1974, and inaugurated in 1938, in the Cite Internationale Universitaire de Paris, in the 14th arrondissement of Paris, France. This is the only building in France designed by Dudok, one of the leading architects from the Dutch school of the 1920s and 1930s. The building is listed as a historic monument. The CIUP or Cite U was founded in 1925 after the First World War by Andre Honnorat and Emile Deutsch de la Meurthe to create a place of cooperation and peace amongst students and researchers from around the world. It consists of 5,800 rooms in 40 residences, accepting another 12,000 student residents each year. Picture by Manuel Cohen. Further clearances may be requested.
    LC17_FRANCE_MC_0505.jpg
  • Entrance hall of the College Neerlandais, or Dutch College, designed by Willem Marinus Dudok, 1884-1974, and inaugurated in 1938, with a bust of Dr John Loudon, 1866-1955, Dutch ambassador to France, and honorary president of the committee of the Dutch College, in the Cite Internationale Universitaire de Paris, in the 14th arrondissement of Paris, France. This is the only building in France designed by Dudok, one of the leading architects from the Dutch school of the 1920s and 1930s. The building is listed as a historic monument. The CIUP or Cite U was founded in 1925 after the First World War by Andre Honnorat and Emile Deutsch de la Meurthe to create a place of cooperation and peace amongst students and researchers from around the world. It consists of 5,800 rooms in 40 residences, accepting another 12,000 student residents each year. Picture by Manuel Cohen. Further clearances may be requested.
    LC17_FRANCE_MC_0503.jpg
  • Entrance hall of the College Neerlandais, or Dutch College, designed by Willem Marinus Dudok, 1884-1974, and inaugurated in 1938, with a bust of Dr John Loudon, 1866-1955, Dutch ambassador to France, and honorary president of the committee of the Dutch College, in the Cite Internationale Universitaire de Paris, in the 14th arrondissement of Paris, France. This is the only building in France designed by Dudok, one of the leading architects from the Dutch school of the 1920s and 1930s. The building is listed as a historic monument. The CIUP or Cite U was founded in 1925 after the First World War by Andre Honnorat and Emile Deutsch de la Meurthe to create a place of cooperation and peace amongst students and researchers from around the world. It consists of 5,800 rooms in 40 residences, accepting another 12,000 student residents each year. Picture by Manuel Cohen. Further clearances may be requested.
    LC17_FRANCE_MC_0490.jpg
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