01 Twenty-five arches

The screen of arches is what justifies the trip. It does not hold the building up: it wraps it, working as a sunshade and a monumental façade at once. Seen head-on it is a continuous arcade ordering a façade over a hundred metres long; seen from beneath, in perspective, it becomes a succession of openings closing over one another.

A very long façade seen at an angle from a garden, under a blue sky with white clouds: a continuous arcade of tall, narrow, pointed concrete arches, all identical and closely spaced, runs the length of the building and recedes into perspective to the left; the arches are pale brown and stand in front of the built volume, which appears behind with several storeys of glazed façade divided into a very fine grid; at the right end, the volume finishes in a more solid body with a canopy; in front, at the foot of the building, cars and white vans are parked in a row, and in the foreground, filling the lower half of the frame, a terraced garden of ball-clipped shrubs and red and purple flowers on reddish earth.
The full screen of arches, running in front of the glazed façade. Completed around 1979.Koume marcel / Wikimedia Commons / CC0·CC0

02 What else there is, and by whom

The library on the same campus is the second piece. It is a low volume, half-buried under a grass roof, whose wall is resolved as a continuous mosaic mural: abstract forms in ochre, green, blue and white wrapping the building from end to end, leaving a band of horizontal windows across the middle.

A low, elongated building seen head-on from a landscaped courtyard: the volume sinks into the ground and its sloping, grass-covered roof begins almost at ground level behind; the wall facing the courtyard is entirely clad in a mosaic at once figurative and abstract, with interlocking curved and angular forms in ochre, white, black, olive green, blue and earth red covering both the vertical face and the overhang; across the centre of the wall runs a horizontal band of rectangular windows behind which shelving and lit fluorescent tubes can be made out; in front, two lawn platforms separated by a low concrete wall and a bed of red-flowering shrubs; in the foreground, red and white tiled paving; at the back on both sides, the arched colonnades of other campus buildings under a white sky.
The campus library: grass roof, continuous mosaic wall and a band of windows at mid-height.Cyriac Gbogou / Wikimedia Commons / CC BY-SA 3.0·CC BY-SA 3.0

Beyond the campus there are three more pieces. The Hotel Président, from 1973 and extended in 1980, is a 285-room concrete block by the Tunisian architect Olivier Cacoub, who also signed the Félix Houphouët-Boigny Foundation. The golf club, from 1980, was designed by the Frenchman Roger Taillibert — the architect of Montreal's Olympic stadium — with two large concrete shells. And the National Higher Institute of Technical Education, from 1983, is Pottier again, with colonnades.

Five works by three international architects in ten years, in a city that then had fewer than fifty thousand inhabitants.

03 How well it fits you

The fit, point by point
Architectural interest Five works signed between 1973 and 1983 by Pottier, Cacoub and Taillibert, all within a few kilometres.
Ease of seeing them Exteriors are straightforward; interiors depend on it being a teaching day and on whom you ask.
Information available No wall texts, no leaflets, no interpretation centre. Whatever you know, you bring with you.
State of repair The buildings are in use and maintained, but with stained concrete and uneven finishes.
Solitude You will almost certainly be the only person photographing these buildings.
Distances Several kilometres of shadeless avenue between pieces: you need a vehicle.

04 How to build the two days

Day one, the campus. Arrive in mid-afternoon: the screen of arches faces in such a way that late in the day it stands silhouetted against the light, and that is when the building reads best. Before going in, ask at the gatehouse; it is a working institution, with classes and halls of residence, and it is worth saying what you are there for.

A vertical view from inside a colonnade towards the campus garden: in the foreground to the left, a concrete pillar seen very close, stained and showing the formwork texture, and above it the edge of a slab closing the frame; behind, two single-storey covered walkways cross at an angle, built with slender metal posts and green sheet roofing, a paved path running beneath them; between the two walkways, on the lawn, two large irregular boulders in brown and white stand like sculptures; behind rises the arcade of concrete arches, silhouetted against a completely white sky, and beyond it a building with a gridded glazed façade; in the foreground to the right, a tiled path and a strip of lawn with a small gravel bed.
The covered walkways linking the campus volumes, with the arcade behind.Yohan YAO / Wikimedia Commons / CC BY-SA 4.0·CC BY-SA 4.0

Day two, the rest. The hotel and the golf club sit on the same axis and can be seen in a morning; the Foundation, with its monumental forecourt and ceremonial axis, deserves a good hour just to walk around the outside. Hire a taxi by the hour: walking between them means four or five kilometres with no shade.

Season matters more than usual for this trip. From November to January it rains little — between 15 and 50 millimetres a month — and there are 6 to 7 hours of sun a day, which is what you need to photograph concrete. Between June and September the sky is covered almost all the time and sunshine drops to 3.5 hours a day in August.

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Sofía Navarro

Made For You editor · Flowtravel

Sofía matches travellers with places, and says plainly when they do not fit.