This study traces in Mallet-Stevens' architecture a temporality proper to the photographic image, latent in the space of the moderns of the 1920--1930. To this end, I present both an analyses of Mallet-Stevens' work and a photomontage on the Noailles and Cavrois villas, which combines my photos with historical documents. The montage reveals in these spaces a perceptual quality of the image germane to Merleau-Ponty's notion of flesh. The analysis develops this notion along the lines of 'the grain and the skin'. It reveals in Mallet-Stevens' work the capital importance of his experience, as movie set designer. Indeed, space is conceived by Mallet-Stevens in relationship to a camera frame: therefore the primary medium is the surface (the grain), where the emotional effect of temporality takes place (the skin).
| Identifer | oai:union.ndltd.org:LACETR/oai:collectionscanada.gc.ca:QMM.30839 |
| Date | January 1999 |
| Creators | Boileau, Patricia. |
| Contributors | Perez-Gomez, Alberto (advisor) |
| Publisher | McGill University |
| Source Sets | Library and Archives Canada ETDs Repository / Centre d'archives des thèses électroniques de Bibliothèque et Archives Canada |
| Language | French |
| Detected Language | English |
| Type | Electronic Thesis or Dissertation |
| Format | application/pdf |
| Coverage | Master of Arts (School of Architecture.) |
| Rights | All items in eScholarship@McGill are protected by copyright with all rights reserved unless otherwise indicated. |
| Relation | alephsysno: 001808163, proquestno: MQ70539, Theses scanned by UMI/ProQuest. |
Page generated in 0.0022 seconds