Given the latest news of Jean-Luc Godard’s death at the age of 91, the networks paid homage to the great French filmmaker by filling in some of his most famous scenes, among which we can highlight Brigitte Bardot and Michel. Piccoli, the true hero of his masterpiece Le Mépris (Respect, 1963), descends the iconic stairs of his Malaparte house.
Godard’s film perfectly captures the sad state of the house over the years. Today, the house in the hands of its heirs is protected thanks to the huge canon that some of the most well-known brands (from Louis Vuitton to Yves Saint Laurent) are willing to pay for a report.
However, few know the history behind this house. Not only was it a sublime piece of Italian rationalist architecture, but it was made almost without an architect.
And not because it lacks an architect. In fact, the original project is attributed to the great Italian architect Adalberto Libera, a professional closely associated with the dominant fascist currents of the time (like the contemporary Giuseppe Terragni). His political affiliation was one of the reasons his client, journalist and writer Curzio Malaparte, decided to propose the commission. At that time, the landscape of the island of Capri, where the house is located, was specially protected. Designed by Libera and Malaparte, the project argued that the house was completely unnoticed and camouflaged on the beach, although in the plans the prismatic volume of the house appeared as a resounding and not at all discreet piece of work. An architect well-known by the Mussolini regime, the Libera influence, along with close association with the Italian dictator’s son-in-law, Galeazzo Ciano, meant that a license was eventually granted for a work with these characteristics.
Whether the house was more the responsibility of Libera or Malaparte and even what role each played in the executive process is still debated today. However, based on the correspondence between Malaparte and the builder, it is indisputable to confirm that the role of the customer is decisive for the final result. Malaparte was the ideologue of the famous staircase (Does his steps lead to infinity? Robert Venturi wondered as he first climbed the stairs); Malaparte placed each of the windows in the living room along the raw floor and strategically placed them according to preferred views; Malaparte had the idea to place a window behind the chimney so that the sea could be seen; Malaparte designed the furniture, etc.
Undoubtedly, the house of Malaparte has survived as one of the most beautiful images of modern architecture of the time, beyond being a work of breaking away from the meticulous local and traditional architecture of the Capriense coast.
And we knew by now that there were some films that surpassed their directors, what the house of Malaparte showed us is that some architectural pieces are capable of transcending the cinematographic work they were once part of. Rest in peace Godard.
Source: Informacion