170Launched in November 1930, l’Architecture d’Aujourd’hui (AA) proclaimed from its very first page a determination to shout the case for modern architecture and to denounce the old, the ugly and the corrupt. With its dark sans serif typeface, the bold contrast of its photographs and its punchy layout, André Bloc, the editor, set out to differentiate his new publication as sharply as possible from the staid imagery of the established journals. Best known were L’Architecture, whose soft half-tone reproductions served the interests of the architectural elite associated with the Bâtiments Civils et Palais Nationaux (BCPN), or La Construction Moderne that served the well-financed needs of architects working in the commercial sector and their friends in the building industry (Badouï, 1990; Jannière, 2002).