{"id":539,"date":"2020-01-10T09:00:51","date_gmt":"2020-01-10T09:00:51","guid":{"rendered":"http:\/\/gobetween.wpengine.com\/?p=539"},"modified":"2020-10-08T13:06:24","modified_gmt":"2020-10-08T13:06:24","slug":"mia-gainsford-utopia-or-incubator-le-corbusiers-lunite-dhabitation-as-photographed-by-lucien-herve","status":"publish","type":"post","link":"https:\/\/sites.courtauld.ac.uk\/digitalmedia\/2020\/01\/10\/mia-gainsford-utopia-or-incubator-le-corbusiers-lunite-dhabitation-as-photographed-by-lucien-herve\/","title":{"rendered":"Mia Gainsford: Utopia or Incubator? Le Corbusier\u2019s L\u2019Unit\u00e9 d\u2019Habitation as Photographed by Lucien Herv\u00e9"},"content":{"rendered":"<h3>Audio Version<\/h3>\n<p>Read by Francesca Humi<\/p>\n<p><iframe loading=\"lazy\" title=\"Spotify Embed: Utopia Or Incubator? Le Corbusier\u2019s L\u2019Unit\u00e9 D\u2019Habitation As Photographed By Lucien Herv\u00e9\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" src=\"https:\/\/open.spotify.com\/embed\/episode\/3kFANYTbG8Xw1JdBivhnvK?utm_source=oembed\"><\/iframe><\/p>\n<h3>Text Version<\/h3>\n<p><em>La maison du fada<\/em>, or rather \u201cthe madman\u2019s house\u201d, is the colloquial name given to <a href=\"https:\/\/en.wikipedia.org\/wiki\/Le_Corbusier\">Le Corbusier<\/a>\u2019s <a href=\"https:\/\/en.wikipedia.org\/wiki\/Unit%C3%A9_d%27habitation\"><em>L\u2019Unit\u00e9 d\u2019Habitation<\/em><\/a> housing project in Marseilles. The name arouses intrigue and renders the project a diversion. It has a childish appeal, like the building itself, which jumps out of its surroundings and sings colour from its windows.<\/p>\n<figure id=\"attachment_540\" aria-describedby=\"caption-attachment-540\" style=\"width: 600px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/sites.courtauld.ac.uk\/digitalmedia\/files\/2019\/12\/CON_B04326_F001_010.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-540\" src=\"https:\/\/sites.courtauld.ac.uk\/digitalmedia\/files\/2019\/12\/CON_B04326_F001_010.jpg\" alt=\"Image in colour of housing project\" width=\"600\" height=\"759\" srcset=\"https:\/\/sites.courtauld.ac.uk\/digitalmedia\/wp-content\/uploads\/sites\/26\/2019\/12\/CON_B04326_F001_010.jpg 948w, https:\/\/sites.courtauld.ac.uk\/digitalmedia\/wp-content\/uploads\/sites\/26\/2019\/12\/CON_B04326_F001_010-237x300.jpg 237w, https:\/\/sites.courtauld.ac.uk\/digitalmedia\/wp-content\/uploads\/sites\/26\/2019\/12\/CON_B04326_F001_010-809x1024.jpg 809w, https:\/\/sites.courtauld.ac.uk\/digitalmedia\/wp-content\/uploads\/sites\/26\/2019\/12\/CON_B04326_F001_010-768x972.jpg 768w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\" \/><\/a><figcaption id=\"caption-attachment-540\" class=\"wp-caption-text\">CON_B04326_F001_010. The Courtauld Institute of Art. CC-BY-NC.<\/figcaption><\/figure>\n<p><em>L\u2019Unit\u00e9 d\u2019Habitation<\/em> was Le Corbusier\u2019s attempt at a utopia. Completed in 1952, it was an architectural project which sought to heal the wounds of post-war Marseilles and incubate the next generation. In photographing Le Corbusier\u2019s housing project, <a href=\"https:\/\/en.wikipedia.org\/wiki\/Lucien_Herv%C3%A9\">Lucien Herv\u00e9<\/a> made children his focus. However, it is important to stress just how rare human subjects are, of any age, in architectural photography; if people are photographed, they are photographed with a purpose. Thus, in Herv\u00e9\u2019s photography it is important to ask whether the focus of children intends to enhance the optimism of Le Corbusier\u2019s architectural utopia, employing them as a symbol of hope, or if instead, they are chosen as subjects susceptible to the \u201cmadman\u2019s\u201d diverting.<\/p>\n<figure id=\"attachment_541\" aria-describedby=\"caption-attachment-541\" style=\"width: 600px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/sites.courtauld.ac.uk\/digitalmedia\/files\/2019\/12\/CON_B04326_F001_022.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-541\" src=\"https:\/\/sites.courtauld.ac.uk\/digitalmedia\/files\/2019\/12\/CON_B04326_F001_022.jpg\" alt=\"Young girl pushing on the door\" width=\"600\" height=\"768\" srcset=\"https:\/\/sites.courtauld.ac.uk\/digitalmedia\/wp-content\/uploads\/sites\/26\/2019\/12\/CON_B04326_F001_022.jpg 938w, https:\/\/sites.courtauld.ac.uk\/digitalmedia\/wp-content\/uploads\/sites\/26\/2019\/12\/CON_B04326_F001_022-235x300.jpg 235w, https:\/\/sites.courtauld.ac.uk\/digitalmedia\/wp-content\/uploads\/sites\/26\/2019\/12\/CON_B04326_F001_022-800x1024.jpg 800w, https:\/\/sites.courtauld.ac.uk\/digitalmedia\/wp-content\/uploads\/sites\/26\/2019\/12\/CON_B04326_F001_022-768x983.jpg 768w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\" \/><\/a><figcaption id=\"caption-attachment-541\" class=\"wp-caption-text\">CON_B04326_F001_022. The Courtauld Institute of Art. CC-BY-NC.<\/figcaption><\/figure>\n<p>In discovering Herv\u00e9\u2019s photographs amongst the Courtauld\u2019s Conway archive and participating in the broader volunteering scheme, I could not help but reflect upon the act of labelling and giving something a name. Each image has its own code which refers to its box, folder and then place in a sequence. <a href=\"https:\/\/sites.courtauld.ac.uk\/digitalmedia\/2019\/09\/20\/mary-shelton-hornsby-the-five-main-tasks-behind-the-project\/\">This act of labelling<\/a> creates its own narrative; the code tells the wider story of the Courtauld\u2019s efforts to organise and digitise the Conway photographs with the help of hundreds of volunteers, and in this, <em>humanise<\/em> the archive too.<\/p>\n<p>Although this narrative is of a second order to the narrative of the photographs themselves, the Courtauld\u2019s emphasis on retaining the physicality of the photographs, from the fibre of the brown paper they are mounted upon to the spidery annotations around an image, means that no narrative is prioritised over another. The Courtauld is striving to aggrandise the photograph\u2019s status as object, rather than objectifying an image completely on the institute\u2019s own terms and erasing its history. The Conway digitisation project honours how an image has been objectified in the past, and with this, creates a layering of meaning and proffers a plethora of stories which frustrates the idea that labelling is an industrial process and therefore a reductive or homogenising way to treat the photos.<\/p>\n<p>In the Marseillaises\u2019s nicknaming of Le Corbusier\u2019s work \u201cthe madman\u2019s house\u201d, we see a similar supplementing and creation of narrative to that of the Courtauld. However, here the name <em>personifies<\/em> the housing project, rather than objectifying it by commenting on its physical form, like its other name \u201cthe Radiant City\u201d does. This character of the \u201cmadman\u201d disrupts Le Corbusier\u2019s na\u00efve, attempted narrative of <em>L\u2019Unit\u00e9 d\u2019Habitation<\/em> as utopia. The invocation of madness becomes <em>confusingly<\/em> human. We can imagine this mythologised figure in the same vein as Carroll\u2019s <a href=\"https:\/\/en.wikipedia.org\/wiki\/Hatter_(Alice%27s_Adventures_in_Wonderland)\">Mad Hatter<\/a>, dancing with joy and performing his hospitality, but if \u201cmadman\u201d is to be taken more literally, he becomes a victim of the trauma of war too, a man haunted by the contemporaneous austerity, as well as the past, and still suffering below his colourful pretence. <a href=\"https:\/\/sites.courtauld.ac.uk\/digitalmedia\/?s=corbusier\">Le Corbusier<\/a> saw <em>L\u2019Unit\u00e9 d\u2019Habitation<\/em> as a remedy to \u00ab<em>les maladies de villes<\/em>\u00bb but for the Marseillaises, the project, as a person, was still ill.<\/p>\n<figure id=\"attachment_558\" aria-describedby=\"caption-attachment-558\" style=\"width: 600px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/sites.courtauld.ac.uk\/digitalmedia\/files\/2020\/01\/CON_B04326_F001_017.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-558\" src=\"https:\/\/sites.courtauld.ac.uk\/digitalmedia\/files\/2020\/01\/CON_B04326_F001_017.jpg\" alt=\"Black and white image mounted on card of the building's profile.\" width=\"600\" height=\"769\" srcset=\"https:\/\/sites.courtauld.ac.uk\/digitalmedia\/wp-content\/uploads\/sites\/26\/2020\/01\/CON_B04326_F001_017.jpg 1444w, https:\/\/sites.courtauld.ac.uk\/digitalmedia\/wp-content\/uploads\/sites\/26\/2020\/01\/CON_B04326_F001_017-234x300.jpg 234w, https:\/\/sites.courtauld.ac.uk\/digitalmedia\/wp-content\/uploads\/sites\/26\/2020\/01\/CON_B04326_F001_017-799x1024.jpg 799w, https:\/\/sites.courtauld.ac.uk\/digitalmedia\/wp-content\/uploads\/sites\/26\/2020\/01\/CON_B04326_F001_017-768x984.jpg 768w, https:\/\/sites.courtauld.ac.uk\/digitalmedia\/wp-content\/uploads\/sites\/26\/2020\/01\/CON_B04326_F001_017-1199x1536.jpg 1199w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\" \/><\/a><figcaption id=\"caption-attachment-558\" class=\"wp-caption-text\">CON_B04326_F001_017. The Courtauld Institute of Art. CC-BY-NC.<\/figcaption><\/figure>\n<p>The two narratives of <em>L\u2019Unit\u00e9 d\u2019Habitation<\/em> as utopia, as well as a place of great instability and pretence, are in opposition. The full extent of the connotations which derive from naming a housing development \u201cthe madman\u2019s house\u201d unsettles Le Corbusier\u2019s idealistic vision. The colloquial label is more understanding of the history before <em>L\u2019Unit\u00e9 d\u2019Habitation<\/em>; it is an interaction with the past, which acknowledges the preceding trauma rather than reacting to it like Le Corbusier\u2019s project does. It is this idea of interacting over reacting, and subsequently overwriting a narrative, which founds the Courtauld\u2019s sensitive approach to handling the Conway archive too.<\/p>\n<figure id=\"attachment_542\" aria-describedby=\"caption-attachment-542\" style=\"width: 600px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/sites.courtauld.ac.uk\/digitalmedia\/files\/2019\/12\/CON_B04326_F001_028.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-542\" src=\"https:\/\/sites.courtauld.ac.uk\/digitalmedia\/files\/2019\/12\/CON_B04326_F001_028.jpg\" alt=\"Old Man staring out of window\" width=\"600\" height=\"764\" srcset=\"https:\/\/sites.courtauld.ac.uk\/digitalmedia\/wp-content\/uploads\/sites\/26\/2019\/12\/CON_B04326_F001_028.jpg 943w, https:\/\/sites.courtauld.ac.uk\/digitalmedia\/wp-content\/uploads\/sites\/26\/2019\/12\/CON_B04326_F001_028-236x300.jpg 236w, https:\/\/sites.courtauld.ac.uk\/digitalmedia\/wp-content\/uploads\/sites\/26\/2019\/12\/CON_B04326_F001_028-805x1024.jpg 805w, https:\/\/sites.courtauld.ac.uk\/digitalmedia\/wp-content\/uploads\/sites\/26\/2019\/12\/CON_B04326_F001_028-768x977.jpg 768w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\" \/><\/a><figcaption id=\"caption-attachment-542\" class=\"wp-caption-text\">CON_B04326_F001_028. The Courtauld Institute of Art. CC-BY-NC.<\/figcaption><\/figure>\n<p>Moreover, as subjects in Herv\u00e9\u2019s photography, the children probe at the dual nature of <em>L\u2019Unit\u00e9 d\u2019Habitation<\/em>. The child\u2019s indiscriminate and unassuming qualities mean that their interactions with the housing project are not marred by history like the adult\u2019s. In Herv\u00e9\u2019s work, adults are clearly preoccupied, turning away from the camera and staring listlessly at that which lies outside of the development. However, the children do not remember that which Le Corbusier is trying to forget with <em>L\u2019Unit\u00e9 d\u2019Habitation<\/em>. By consequence, they simultaneously complement the utopian idea of starting again, but also offer a vulnerability to the photographs, akin to believing that this so-called \u201cunity of living\u201d is the norm.<\/p>\n<figure id=\"attachment_544\" aria-describedby=\"caption-attachment-544\" style=\"width: 600px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/sites.courtauld.ac.uk\/digitalmedia\/files\/2019\/12\/CON_B04326_F001_026.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-544\" src=\"https:\/\/sites.courtauld.ac.uk\/digitalmedia\/files\/2019\/12\/CON_B04326_F001_026.jpg\" alt=\"Children playing in light\" width=\"600\" height=\"765\" srcset=\"https:\/\/sites.courtauld.ac.uk\/digitalmedia\/wp-content\/uploads\/sites\/26\/2019\/12\/CON_B04326_F001_026.jpg 941w, https:\/\/sites.courtauld.ac.uk\/digitalmedia\/wp-content\/uploads\/sites\/26\/2019\/12\/CON_B04326_F001_026-235x300.jpg 235w, https:\/\/sites.courtauld.ac.uk\/digitalmedia\/wp-content\/uploads\/sites\/26\/2019\/12\/CON_B04326_F001_026-803x1024.jpg 803w, https:\/\/sites.courtauld.ac.uk\/digitalmedia\/wp-content\/uploads\/sites\/26\/2019\/12\/CON_B04326_F001_026-768x979.jpg 768w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\" \/><\/a><figcaption id=\"caption-attachment-544\" class=\"wp-caption-text\">CON_B04326_F001_026. The Courtauld Institute of Art. CC-BY-NC.<\/figcaption><\/figure>\n<p>Herv\u00e9\u2019s photographs which comprise children chasing each other between shafts of light and shadow come to represent the housing project\u2019s competing aspects of the hopeful and the haunted. To the children, contradiction becomes a game, the light and shade facilitate play, they are suspended in <em>L\u2019Unit\u00e9 d\u2019Habitation<\/em>\u2019s utopian narrative, creating imagined stories of their own, only related to Le Corbusier\u2019s project through location. Through play, the radiance of the housing project with its floor to ceiling windows is equated to shadows created by the sun overhead. Here, the implications of the two names are not in opposition for the children; the children\u2019s presence in the photographs becomes rehabilitative of competition and divisions in all their forms and thus inform the most pertinent of all the post-war reflections to come from the housing project, that unity can be found anywhere.<\/p>\n<p>In July 2016, Le Corbusier\u2019s <em>L\u2019Unit\u00e9 d\u2019Habitation<\/em> project in Marseilles and its other iterations in major cities such as Berlin and Nantes were listed as a UNESCO world heritage site. This accolade adds yet another label to Le Corbusier\u2019s work and develops the narrative further. It is Le Corbusier\u2019s utopia which meets the criterion of &#8220;providing an outstanding response to certain fundamental architectural and social challenges of the 20th century&#8221;, rather than the public\u2019s \u201cmadman\u201d. However, again, through Herv\u00e9\u2019s photography of children and <em>L\u2019Unit\u00e9 d\u2019Habitation<\/em>, we see a visual recalibration and simplification of this criterion, as for a child, the project has succeeded if it makes him or her feel safe and content.<\/p>\n<figure id=\"attachment_543\" aria-describedby=\"caption-attachment-543\" style=\"width: 600px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/sites.courtauld.ac.uk\/digitalmedia\/files\/2019\/12\/CON_B04326_F001_050.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-543\" src=\"https:\/\/sites.courtauld.ac.uk\/digitalmedia\/files\/2019\/12\/CON_B04326_F001_050.jpg\" alt=\"Children playing on roof terrace\" width=\"600\" height=\"764\" srcset=\"https:\/\/sites.courtauld.ac.uk\/digitalmedia\/wp-content\/uploads\/sites\/26\/2019\/12\/CON_B04326_F001_050.jpg 943w, https:\/\/sites.courtauld.ac.uk\/digitalmedia\/wp-content\/uploads\/sites\/26\/2019\/12\/CON_B04326_F001_050-236x300.jpg 236w, https:\/\/sites.courtauld.ac.uk\/digitalmedia\/wp-content\/uploads\/sites\/26\/2019\/12\/CON_B04326_F001_050-805x1024.jpg 805w, https:\/\/sites.courtauld.ac.uk\/digitalmedia\/wp-content\/uploads\/sites\/26\/2019\/12\/CON_B04326_F001_050-768x977.jpg 768w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\" \/><\/a><figcaption id=\"caption-attachment-543\" class=\"wp-caption-text\">CON_B04326_F001_050. The Courtauld Institute of Art. CC-BY-NC.<\/figcaption><\/figure>\n<p>I was very moved by the happiness captured in this photograph by Herv\u00e9. The mother, who stares directly at the camera playing with her child, bypasses the adults\u2019 preoccupation seen elsewhere in Herv\u00e9\u2019s work; she is present in the moment, laughing and diverting the children herself. The skyline in the background creates a heavenly quality to the scene, the community of mothers and children are propelled above their surroundings, no longer contained by their apartments. Whilst the climbing frames themselves, with their abstract shapes and sloping angles, suggest another world entirely. The euphoria of this image becomes unearthly. The children and mothers are in a place together which supersedes the tangibility of Le Corbusier\u2019s utopia and the \u201cmadman\u2019s house\u201d. They are genuinely happy and bolstered by a new-found sense of safety and longevity in this contentment. In this image, Herv\u00e9 recognises that happiness alone is unchartered territory in the wake of the war, before we begin to consider the new spatial sensation of housing projects like Le Corbusier\u2019s.<\/p>\n<p>Ultimately then, Herv\u00e9\u2019s work is no more about the children propagating an ideology of hope as it is about them being distracted from the outside world by an eccentric figure who himself, is somewhat afraid of the outside. Rather, I want to say that the photographs centre on a notion of individual transportation, a building of a habitat within above slotting oneself into a pre-packaged utopia. Whilst Le Corbusier\u2019s architecture is certainly instrumental, and credited so in Herv\u00e9\u2019s photography, to facilitating the contentment of the children, it only does so on a superficial basis. The children care for the light and shadows created by the huge windows and the paddling pool on the roof terrace, they do not care for, nor have need for the ideology behind their way of life. Children can make themselves happy through the living out of their own narratives, in both times of adversity and security. Furthermore, as with the Conway archive, narratives surpass labels in their power to evoke real emotion, and it is Herv\u00e9\u2019s subversion of his own label, &#8220;architectural photographer&#8221;, which gave way to such touching and thought-provoking responses to Le Corbusier\u2019s <em>L\u2019Unit\u00e9 d\u2019Habitation<\/em>.<\/p>\n<figure id=\"attachment_559\" aria-describedby=\"caption-attachment-559\" style=\"width: 600px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/sites.courtauld.ac.uk\/digitalmedia\/files\/2020\/01\/CON_B04326_F001_042.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-559\" src=\"https:\/\/sites.courtauld.ac.uk\/digitalmedia\/files\/2020\/01\/CON_B04326_F001_042.jpg\" alt=\"Black and white image of children heading to the roof swimming pool.\" width=\"600\" height=\"775\" srcset=\"https:\/\/sites.courtauld.ac.uk\/digitalmedia\/wp-content\/uploads\/sites\/26\/2020\/01\/CON_B04326_F001_042.jpg 1440w, https:\/\/sites.courtauld.ac.uk\/digitalmedia\/wp-content\/uploads\/sites\/26\/2020\/01\/CON_B04326_F001_042-232x300.jpg 232w, https:\/\/sites.courtauld.ac.uk\/digitalmedia\/wp-content\/uploads\/sites\/26\/2020\/01\/CON_B04326_F001_042-793x1024.jpg 793w, https:\/\/sites.courtauld.ac.uk\/digitalmedia\/wp-content\/uploads\/sites\/26\/2020\/01\/CON_B04326_F001_042-768x992.jpg 768w, https:\/\/sites.courtauld.ac.uk\/digitalmedia\/wp-content\/uploads\/sites\/26\/2020\/01\/CON_B04326_F001_042-1189x1536.jpg 1189w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\" \/><\/a><figcaption id=\"caption-attachment-559\" class=\"wp-caption-text\">CON_B04326_F001_042. The Courtauld Institute of Art. CC-BY-NC.<\/figcaption><\/figure>\n<hr \/>\n<p>Mia Gainsford<br \/>\nCourtauld Connects Digitisation Oxford Micro-Internship Participant<\/p>\n<div id=\"gtx-trans\">\n<div class=\"gtx-trans-icon\"><\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>Audio Version Read by Francesca Humi Text Version La maison du fada, or rather \u201cthe madman\u2019s house\u201d, is the colloquial name given to Le Corbusier\u2019s L\u2019Unit\u00e9 d\u2019Habitation housing project in Marseilles. The name arouses intrigue and renders the project a diversion. It has a childish appeal, like the building itself, which jumps out of its&hellip;<\/p>\n<p><a class=\"more-link\" href=\"https:\/\/sites.courtauld.ac.uk\/digitalmedia\/2020\/01\/10\/mia-gainsford-utopia-or-incubator-le-corbusiers-lunite-dhabitation-as-photographed-by-lucien-herve\/\" title=\"View &lsquo;Mia Gainsford: Utopia or Incubator? Le Corbusier\u2019s L\u2019Unit\u00e9 d\u2019Habitation as Photographed by Lucien Herv\u00e9&rsquo;\">View <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":204,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[62,4,128,6,418],"tags":[248,253,412,240,246,244,53,247,245,250,249,251,252],"class_list":["post-539","post","type-post","status-publish","format-standard","hentry","category-internship","category-photographic-library-digitisation-project","category-photographic-prints","category-the-conway-library","category-volunteer-audio","tag-architectural-utopia","tag-arts-council","tag-audio","tag-france","tag-lunite-dhabitation","tag-la-maison-du-fada","tag-le-corbusier","tag-lucien-herve","tag-marseilles","tag-post-war","tag-the-madmans-house","tag-the-radiant-city","tag-unesco"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.5 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Mia Gainsford: Utopia or Incubator? 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