Publication: Fractura en el movimiento moderno : revisión de la obra y fortuna crítica de Robert Mallet-Stevens desde las transferencias París-Viena
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2022-09-22
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Universidad Complutense de Madrid
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Abstract
En la historiografía de la arquitectura moderna producida en la segunda mitad del siglo XX la obra de Robert Mallet-Stevens (1886-1945) fue desplazada a un plano secundario. En un relato dominado por el racionalismo funcionalista, su sentido de la forma arquitectónica fue considerado peyorativamente decorativo, y su defensa de la belleza le alejaba irremediablemente del arquetipo de la arquitectura moderna y de la sociedad en la que estaba inserto. Esto contribuyó a crear una disonancia en la recepción e inclusión de su práctica arquitectónica dentro de la historiografía y, en especial, si se compara con la recibida por otros nombres del periodo. Esta tesis doctoral tiene como principal objetivo el contribuir a la restitución de la figura y práctica profesional de Mallet-Stevens más allá de los límites narrativos y malentendidos que han prevalecido en el relato crítico e histórico. Para ello, se desarrollan distintas líneas de análisis e interpretación centradas en sus primeros años de práctica entre 1903-23. Es decir, el periodo en el que Mallet-Stevens, aunque no llega a construir ningún edificio ––al menos del que tengamos constancia––, desarrolla una importante práctica arquitectónica desde la proyección y el dibujo, además de acumular toda una suerte de experiencias trascendentales, tanto en la consolidación de sus ideales, como en la creación de su arquitectura posterior. Para alcanzar tal objetivo, nos hemos centrado en aquellos aspectos menos referenciados, como sus abundantes escritos publicados en revistas especializadas o el material gráfico producido en esta etapa; se trata de una vuelta a las fuentes primarias como medio para reivindicar un nuevo protagonismo para Mallet-Stevens y evidenciar, así, aquellas cualidades que definieron su aportación original a la arquitectura y cultura modernas...
The work of Robert Mallet-Stevens (1886-1945) in the historiography of modern architecture, produced in the second half of the twentieth century, was relegated to a secondary plane. In a narrative dominated by functionalist rationalism, his sense of architectural form was seen as pejoratively decorative, and his idea of beauty as something that separated him from the archetype of modern architecture and the society in which it was embedded. This contributed to a dissonance in the reception and inclusion of his architectural work within this historiography, particularly when compared to other modern architects. The main aim of this doctoral thesis is to contribute to the restitution of the figure and professional practice of Mallet-Stevens beyond ideological stances and misunderstandings that have prevailed in critical and historical accounts. To this end, different strands of analysis and interpretation are developed, focusing on his early years of practice between 1903-23. That is to say, the period in which Mallet-Stevens developed an important architectural practice without building a single architectural project (at least none that we know of today). In order to achieve this objective, this thesis focuses on aspects of Mallet-Stevens’ oeuvre which are less referenced, such as his numerous publications in specialised and cultural journals or illustrations for unrealised projects. In other words, my research returns to primary sources as a means of claiming new prominence for Mallet-Stevens, in order to emphasise those qualities of his work that defined its original contribution to modern architecture and culture...
The work of Robert Mallet-Stevens (1886-1945) in the historiography of modern architecture, produced in the second half of the twentieth century, was relegated to a secondary plane. In a narrative dominated by functionalist rationalism, his sense of architectural form was seen as pejoratively decorative, and his idea of beauty as something that separated him from the archetype of modern architecture and the society in which it was embedded. This contributed to a dissonance in the reception and inclusion of his architectural work within this historiography, particularly when compared to other modern architects. The main aim of this doctoral thesis is to contribute to the restitution of the figure and professional practice of Mallet-Stevens beyond ideological stances and misunderstandings that have prevailed in critical and historical accounts. To this end, different strands of analysis and interpretation are developed, focusing on his early years of practice between 1903-23. That is to say, the period in which Mallet-Stevens developed an important architectural practice without building a single architectural project (at least none that we know of today). In order to achieve this objective, this thesis focuses on aspects of Mallet-Stevens’ oeuvre which are less referenced, such as his numerous publications in specialised and cultural journals or illustrations for unrealised projects. In other words, my research returns to primary sources as a means of claiming new prominence for Mallet-Stevens, in order to emphasise those qualities of his work that defined its original contribution to modern architecture and culture...
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Geografía e Historia, leída el 05-05-2022