There are places you feel you know without having ever seen them. And such is La Grande Motte, a place that may look either familiar or quaint, but whose powerfully evocative moniker will alone conjure up a fairy-tale vision of a land emerging from the unchartered territories of our psyche loaded with memories, images, sounds, colors, history.
Sixty years after the ambitious territorial development project was completed Charly Broyez and Laurent Kronental have captured the images of what could have been just a mirage. They approached a mysterious sleeping beauty that every summer wakes up with a vengeance and they caught it at dawn.
La Grande Motte was conceived and constructed back in the days of the Glorious Thirties when France was thriving through an unprecedented economic boom while paid leave was fueling mass tourism. The French authorities were worried the Spanish beaches attracted too many vacationers and embarked on the creation of sea resorts to keep them home.
The notion of creating a city from scratch was nothing new at the time as the triumph of modernity was spearheaded by visionary architects. Niemeyer had built up Brasilia on dry lands, Le Corbusier had erected the city of Chandigarh at the foot of the Himalayas and so would Jean Balladur raise La Grande Motte out of the Camargue marshes.
The DATAR-managed project was part of a broader mission tellingly entitled “Racine” (Root) with a view to founding a city on the sands but also to enthusing life in it. Vacationers would drop anchor in this summer paradise and float there on dreams of perfect bliss.
Charly Broyez and Laurent Kronental have walked up memory lane and found traces of undeleted past. There remain the marshes with the fishing-huts, the horses, and the mosquitoes. Under the guise of an avant-garde city, they have also found a hope for a contemporary future.
A seaside resort and port in one, La Grande Motte is also a garden city, a resplendent seaside resort that has been dubbed “the new Florida of the 1970s”.
Its luxuriant vegetation, naive shapes, pure colors, and altogether harmony are as many attempts at returning to a mythic origin halfway between the Mediterranean and pre-Columbian America.
The architecture, where water and concrete merge into a single flow, suggests the serene fusion of the being and the world. To endow the new-born city with a history, Jean Balladur planted the roots of a new city in this virgin land. It is now fertile ground to muse on the permanence of dreams and the utopia of human greatness.
While creating its cosmos, the god-like architect had also acted as a prophet of a new religion. Here, all roads lead to Man. These modern and primitive humans are heirs to the Inca cult of the Sun. They have left their flying saucer on the terrace, and swing between Yin and Yang while flowers doze in the shade of a Moai. They pray in futuristic chapels where portholes have replaced stained glass. This is a world of mirages.
It may look like a building but it is an egg that some turtle left on the beach to hatch. Further along, a crenellated bar of balconies winds its way while in the West, endless backs wave. Like abandoned toys, pyramids, balls, empty or full circles seem to be waiting for giant children to awaken them. This protruding wall is the mouth of a fish that gapes at finding itself out of water in the bluest sky. However, the walls themselves have eyes, ears, mouths such as the one licking a pine tree like a cone and ice cream ball. With its entwined branches, a tree embraces a trellis wall to the point of suffocation. And the church has dropped its cross to stretch to the sky the curve of infinty.
The architecture, where water and concrete merge into a single flow, suggests the serene fusion of the being and the world. To endow the new-born city with a history, Jean Balladur planted the roots of a new conquest in this virgin land. It is now fertile ground to muse on the permanence of dreams and the utopia of human greatness.
Beyond the aesthetic research This series is an invitation to viewing La Grande Motte as a space of life and crystallization of sensations. An apt symbol of a dreamy soul, it will make the vacationer, resident, or spectator feel that a journey of a thousand miles begins with a single step.
Captions in order:
7) La Grande Motte – depuis Mauguio – 2022
10) Canopée I – Le Levant de La Grande Motte – 2020
11) “Le Babylone” II – Le Levant de La Grande Motte – 2020
12) Hall d’entrée “Japonais” “Le Delta” – Le Levant de La Grande Motte – 2019
13) “Le Poséidon” – Le Couchant de La Grande Motte – 2019
14) “Cap Sud” – Le Couchant de La Grande Motte – 2020
16) Modénature – “Palomino” – Le Ponant de La Grande Motte – 2020
18) “Le Fidji” – Quartier du port de La Grande Motte – 2020
22) “Eglise Saint-Augustin“ I – Le Levant La Grande Motte – 2019
23) Le “Reymar“ – Le Levant de La Grande Motte – 2019
25) Modénature – “ Le Delta” – Le Levant de La Grande Motte – 2021
26) Entrée d’un bâtiment technique – Le Levant de La Grande Motte – 2020
29) “La Grande Pyramide” – Quartier du Port de La Grande Motte – 2020
34) “Résidence Bernard de Ventadour” – Le Levant de La Grande Motte – 2020
38) Passerelle des “Lampadophores” – Le Couchant de La Grande Motte – 2020
40) Point Zéro II – Quartier du point Zéro de la Grande Motte – 2019
41) La Grande Pyramide – Vue vers l’Etang de l’Or – Quartier du Port de La Grande Motte – 2019
42) Canopée II – Le Couchant de la Grande Motte – 2020
44) “Le Poséidon“ – Le Couchant de La Grande Motte – 2019
45) “Le Temple du Soleil” & “Les Voiles Blanches” – Le Levant de La Grande Motte – 2020
Laurent Kronental: Since 2011, I have been passionate about the new towns built between the 1950s and 1980s, particularly the large housing complexes in the Paris region. Through my photographic series Souvenir d’un Futur and Les Yeux des Tours, I have explored the modernist utopia that shaped these spaces—an optimistic future imagined after the war. My images highlight the evolution of these often-overlooked suburban neighborhoods, capturing the poetry of a universe that seems to age slowly while carrying the memories of a bygone era.
Charly Broyez: Since 2005, I have been particularly interested in abandoned places—silent witnesses of a forgotten past. My artistic work has focused on these deserted buildings, which, left to decay, seem to embark on a new existence marked by an atmosphere of melancholy. Unlike living architecture, these ruins are gradually overtaken by nature, with climbing plants and roots creeping into every crack, giving the places a sense of being frozen in time. In my series Archi Perdu[e] (2013–2018), I explored Paris’s tourist architecture under the rare and ephemeral effect of snow, transforming the city into a silent and almost surreal landscape.
© Text and pictures by Laurent Kronental & Charly Broyez