Just south of the great French city of Lyon is the orange-topped suburb of Givors, huddled on the banks of the thundering Rhone River. It would be an unremarkable, cheerful little place with all the usual amenities found in French towns – cheerful boulangeries, leaf-strewn squares, poorly-parked cars, schools emitting the playful laughter, terraces serving the local plats du jour and vin de table. Givors could easily be overlooked as ordinary – if not for its strange and evocative Cité des Etoiles – the City of Stars. 270 interlocked apartments and businesses climb the hillside – each visibly in the unusual shape of a star. Part of the “Achieved Utopias” movement that swept through Lyon (largely thanks to famed urban architect Tony Garnier of the 1920s and 30s), the City of Stars was a project born in the 1970s at the behest of Givors’ mayor, Camille Vallin, who dreamed of quality but attractively-priced lodgings in downtown Givors permitting each resident to have their own garden. This great architectural undertaking evokes the socialist, urbanist and Utopic ideas and movements that swept through France – and beyond to Europe in general – throughout the 20th century. Made of cement – a favourite French building material even today – the City of Stars hangs from the steep slopes under the watchful eye of the old, crumbling Château Saint-Gérald. Though little remains of the once-magnificent castle, the ancient place and the amazing panorama it affords, is ample reward for the short climb.
Pro tip: The City of Stars is located very close to the Gare de Givors, about 30 minutes south of Lyon, and there are also several Lyon city buses to Givors that leave from Gare d’Oullins. Wander amongst the stars yourself or better yet, get a guided tour offered by the local tourism office. Keep in mind that people still live here! The castle is located above the City of Stars and can be accessed by a narrow path behind the City of Stars.
In the heart of Slovakia’s capital Bratislava, under the shadow of the imposing white walls of 17th century Bratislava Castle, is the aptly-named Blue Church. Initially painted in light pastels to lighten up the oval-shaped interior, this church dedicated to Elisabeth of Hungary was later repainted in dozens of shades of blue: the walls (both interior and exterior), alter, mosaics, the tower, the roof tiles. All varying degrees of blue, azure, cobalt, sapphire, cerulean, periwinkle, indigo. Built at the start of the 20th century, the evocative church utilises Hungarian Art Nouveau style. Art Nouveau is a short-lived but wildly-popular style that took Europe by storm at the turn of the century, and is characterised by its use of natural shapes and structures, curvy and fluid lines, as well as incorporation of graceful plants and flowers. Though this movement was started in the UK, it was France where it really took off, influencing architectural styles, art, sculpture and design across the main urban areas of Europe. This wildly unique style’s life was cut short by the sharp simplicity of Art Deco and even worse, the drab boxiness of Modernism – but not before the elegance of the Art Nouveau movement had spread its wings throughout Europe. From Riga to France, this Art Nouveau’s fingers left behind some of the strangest and most intriguing architectural wonders in modern Europe.
Fourteen haunting figures both slowly sink and emerge out of a sidewalk corner in the Polish city of Wrocław. Constructed by artist Jerzy Kalina in 2005, the figures are a memorial to the two-year period of harsh martial law inflicted by the People’s Republic of Poland. Martial law is normally established when civilian government fails to function properly, or during times of widespread disregard for the law. Military rule is then imposed temporarily upon citizens after traditional government fails until the problem is resolved. This happened in Poland between December 13, 1981 to July 22, 1983 under Communist rule in an attempt to crush opposition. Activists and dissenters were interned without charges or trials by the thousands; people were literally disappearing off the streets – some 100 people were even killed. Kalina demonstrates this period of terror with his statues of people who are literally being swallowed by the earth while going about their daily lives, reminding us of how much freedom we truly possess today. The fear during a time like this must have been rampant – which is only extenuated by how recent it was. Meandering the streets of today’s Poland, it is hard to imagine that this freedom-less period took place barely 30 years ago – and makes you appreciate just how far Poland has come.