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Sur la façade abandonnée de l’hôtel Excelsior... #excelsior #urbex #abandonedplace #goldenage #logodesign Close-up vertical view of the abandoned façade of the former Hotel Excelsior in Ain el-Mreisseh, Beirut, a surviving landmark of Lebanon’s golden age. Against a pale concrete wall marked by cracks, stains and impact holes, a monumental fragment of the hotel’s oxidized metal signage remains: a flowing, calligraphic character resembling the letter “S” above a sharp geometric arrow pointing downward. Empty light-bulb holes and a weathered blue-grey patina preserve the bold visual language of mid-century hotel typography. Torn black netting sweeps diagonally across the façade like a veil, framed by dark balconies, rusted railings and decaying shutters. Beneath Beirut’s deep blue sky and harsh Mediterranean sunlight, the former luxury hotel—home to the legendary Les Caves du Roy nightclub—appears as an urban ruin suspended between modernist architecture, Lebanese heritage, war memory and nostalgia for cosmopolitan Beirut in the 1950s, 1960s and 1970s.
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Régie Libanaise des Tabacs et Tombacs — Bikfaya Foundation. #watertower #chateaudeau #concretelove #béton #brutalism Vue verticale rapprochée d’un ensemble d’architecture brutaliste en béton clair, partiellement enfoui dans une végétation dense. Au premier plan se dresse un imposant réservoir d’eau cylindrique, haut et légèrement évasé, dont la surface brute, blanchie et tachée par le temps, porte les traces du coffrage et des intempéries. La cuve repose sur une structure ajourée composée de piliers massifs, de plateformes circulaires, de jambes de force courbes et d’une échelle métallique verticale. Derrière elle s’étend un bâtiment bas aux façades minérales, percées de longues fenêtres horizontales sombres et de baies vitrées rectangulaires. Sa toiture alterne une dalle plate sombre et une succession de voûtes blanches en forme de vagues ou de coques. Un arbre mort aux branches noires et tortueuses se détache au centre de la composition, parmi les pins, les arbustes et les feuillages verts qui envahissent le pied des constructions. Des câbles électriques traversent obliquement l’arrière-plan boisé. La lumière solaire dure accentue les volumes géométriques, les ombres profondes et le contraste entre la monumentalité austère du béton brutaliste et la végétation méditerranéenne foisonnante.
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Oscar Neimeyer's fantastic planet in Tripoli. Thank you @brutalist.london for including my photo of Triploli's @rkif.rachidkaramifair in your Worldwide Brutalist Icons series. Here's a full carousel. #oscarniemeyer #tripolilebanon #brutalistarchitecture #concretelove #fantasticplanet A photographic exploration of Oscar Niemeyer’s Rachid Karami International Fair in Tripoli, documenting empty plazas, weathered concrete structures, geometric pavilions and the surrounding Lebanese cityscape with the detached precision of New Topographics photography. Brutalist monuments coexist with trees, mosques, apartment blocks and vacant public space, revealing a landscape shaped by modernist ambition, political history and abandonment. Neither conventional ruins nor functioning city, the fairground appears as a cinematic territory suspended between architecture, archaeology and science fiction.
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Some of these photographs of Électricité du Liban were published by @uhm.publishing in a booklet dedicated to Beirut’s Brutalist, concrete, and modernist buildings. A few copies are still available. DM me if you’d like one. #documentingbeirut #modernarchitecture #documentingspace #structure_bestshots #architecturalphotography Série Subsidence : EDL 73x43cm — Tirages numérotés 1/5 Jet d'encre pigmentaire PermaJet Museum Heritage 310 Natural White Textured Fine Art 310gsm Atelier : @coin.dart_ (Beyrouth) Hiver 2024 Les couleurs de ce post ne correspondent pas au couleurs du tirage papier. EDL Liban Série Subsidence. Les sculptures d'EDL 1 Les sculptures d'EDL 2 Some of these photographs of Électricité du Liban were published by @uhm.publishing in a booklet dedicated to Beirut’s Brutalist concrete architecture and modernist buildings. A few copies are still available. DM me if you’d like one. Some of these photographs of Électricité du Liban were published by @uhm.publishing in a booklet dedicated to Beirut’s Brutalist concrete architecture and modernist buildings. A few copies are still available. DM me if you’d like one. Some of these photographs of Électricité du Liban were published by @uhm.publishing in a booklet dedicated to Beirut’s Brutalist concrete architecture and modernist buildings. A few copies are still available. DM me if you’d like one. Brutalist Beirut بيروت الخمومية Close-up architectural view of the monumental Électricité du Liban headquarters in Beirut, Lebanon—a landmark of Lebanese modernist and Brutalist architecture. The sunlit concrete façade forms a dense geometric grid of repetitive windows, recessed openings, balconies, brise-soleil and exposed structural elements. Weathered surfaces, broken panes, air-conditioning units and an overgrown forecourt reveal the building’s gradual deterioration, while strong light and deep shadows emphasize its imposing scale and sculptural concrete design. A striking example of Beirut’s twentieth-century architectural heritage, urban decay and endangered modernism.
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Soon available in Beirut >> Brutalist Architecture in Beirut, a Uhm! publication. Part of @uhm.publishing's International Brutalism series, this special edition features my black-and-white photographs of seven Brutalist, modernist and raw concrete sites across the city. The publication is also a fundraising project in support of the Lebanese Red Cross. Limited edition: 20 copies. Beirut Waterfront Contractor: Bouygues Travaux Publics 2000, Beirut Central District, Beirut, Lebanon #rawconcrete #minimalmovement #betonbrut #brutalistbeirut #waterfront Concrete staircases and geometric sea defenses line Beirut's waterfront under a deep blue Mediterranean Sea. Strong perspective, clean architectural lines, minimalist composition, exposed concrete, modernist design, coastal infrastructure, urban landscape, Beirut, Lebanon, Mediterranean architecture, brutalist aesthetics, symmetry, light and shadow, contemporary city photography.
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Calder à la Fondation Louis Vuitton. Les deux dernières photos : Alexander Calder travaillant à #Escutcheon, Beyrouth, janvier 1954. Journal de Beyrouth: Janvier 1954 - Après une escale à Limassol, à Chypre, Alexander Calder et sa famille arrivent à Beyrouth. Ils séjournent pendant un mois chez les Seyrig et parcourent en voiture la Syrie et la Jordanie. À Beyrouth, Calder dispose d’une pièce transformée en atelier dans les bureaux encore en construction de la Middle East Airlines. C’est là qu’il travaille notamment à Escutcheon. Février 1954 - L’Université américaine de Beyrouth expose les œuvres réalisées par Calder au cours de son séjour. Du 4 au 6 février 1954 - La famille Calder visite Jérusalem et Bethléem. 11 février 1954 - Les Calder quittent Beyrouth en avion et retournent à Aix-en-Provence. #alexandercalder #frankghery #gustaveeiffel #louisvuitton Groupe de danseurs et musiciens en costumes traditionnels rouges et blancs avançant devant la Fondation Louis Vuitton à Paris. Les silhouettes se reflètent dans la façade vitrée spectaculaire dessinée par Frank Gehry, tandis que les voiles de verre et la structure métallique du musée se détachent sur un ciel nuageux. Une scène urbaine dynamique où l’architecture contemporaine, la performance collective, les reflets et la végétation du Bois de Boulogne se rencontrent.
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Banque de Beyrouth pour le Commerce Sakr Fakhri, architect Hamra, Beirut The headquarters of the Banque de Beyrouth pour le Commerce is a complex of offices and shops located on Sidani Street in Hamra. One of its basement levels houses the vaults, while the other two are used as parking areas. Its ten floors of exposed concrete feature a façade decorated with Eurocolor aluminium and blue mirrored glass. The contemporary lines of the building culminate on the roof in a series of arcades that soften its geometry, conceal the machinery and tanks, and emphasize the architecture’s Oriental identity. Thank you @omars.harb and @modernarchitecturefromlebanon for the information.
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concrete love in lisboa 🩶 ⬜ #lisboa #edpnovasede #brutalist_architecture #concretelove #brutgroup
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The Intra Bank building on Bank Street in Downtown Beirut remains one of the strongest expressions of Lebanese modernism. Originally designed in 1958 by architect Assem Salam, the headquarters reflected a period when Beirut was emerging as a major financial capital in the Middle East. Clean lines, geometric repetition and strong vertical proportions gave the building a disciplined modernist identity while responding to Beirut’s climate and light. Its façade is defined by a grid of deep concrete frames creating rhythm, shadow and depth across the elevation. Recessed windows reduce direct sunlight while giving the structure a sculptural quality that shifts throughout the day. The side elevation features a lattice-like brise-soleil filtering heat and light, while the vertical glazed façade reflects the surrounding city almost like an urban mirror. At street level, the dark base anchors the lighter upper volume, giving the structure monumentality without excess ornamentation. The entire composition reflects the international modernist language of the late 1950s interpreted through Beirut’s own architectural vocabulary. Behind the architecture lies one of Lebanon’s most dramatic financial stories. Founded by Palestinian-born financier Yousef Beidas, Intra Bank grew from a money exchange and trading business into Lebanon’s largest financial institution, expanding across the Middle East, Africa, Europe and the Americas. But in October 1966, the bank collapsed in an event that shook Lebanon and the wider region, triggering major banking reforms that reshaped the sector for decades. The controversy surrounding Intra’s fall and the limited intervention of the Central Bank remains debated to this day. The original Intra headquarters had first been located in Hamra in 1951 before the institution moved into this Downtown Beirut landmark. Today, the building no longer operates as Intra Bank and now serves as the headquarters of Banque de l’Habitat, while still carrying the memory of an era when Beirut projected financial ambition and modernity onto the world stage. Archival photos of Intra Bank courtesy of @omarharbarchitect
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Calder, Le Corbusier, Moore... et Eiffel. Merci @alyach22 pour cette virée au cœur de l'@unesco! #brutalism #monumentalart #unesco #parisbyday #sculpture
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elle est quand même plus élégante la montparnasse, non ? (que la triangle). #tourmontparnasse #montparnasse #urbanlayers #paris #streetphotography Rue de Rennes, entre Saint-Germain-des-Prés et Montparnasse, à Paris, France. Une perspective urbaine dense et très parisienne, bordée d’immeubles haussmanniens, de façades en pierre claire, de balcons en fer forgé et de toits gris. Au bout de l’axe, la tour Montparnasse domine la scène comme une masse noire, verticale et presque abstraite, contrastant avec l’architecture classique de la rive gauche. Sous un ciel gris chargé, la circulation, les voitures, les vélos, les feux rouges et les passants donnent à l’image une atmosphère de grande ville vivante, mélancolique et cinématographique. Une scène de rue parisienne où se rencontrent Saint-Germain, Montparnasse, le Paris historique, l’urbanisme moderne et la tension entre mémoire, élégance, brutalité architecturale et vie quotidienne.
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bon, rien à dire, elle est laide. #tourtriangle #vaugirard #urbanlayers #paris #gratteciel Old Paris compressed into a narrow street, with Haussmann façades, balconies, signs, pedestrians, scooters, and delivery traffic in the foreground. Behind the historic rooftops, a massive glass tower under construction dominates the skyline, creating a striking clash between nineteenth-century architecture and the new corporate vertical city. A cloudy sky, muted light, and urban density give the scene a cinematic feeling of transformation, pressure, and modern Paris rising over its older stone body.
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