Meritxell Jubany: “Domènech i Montaner has been overshadowed by the Gaudí brand”
Historiador, político, escritor, editor... y por supuesto arquitecto. Al más puro estilo Leonardo Da Vinci, Lluís Domènech i Montaner (1850-1923) fue prolífico en diversas disciplinas, aunque fue la de arquitecto la que le aseguró la inmortalidad. Considerado por muchos como el auténtico padre del Modernismo, fue director de la Escuela de Arquitectura de Barcelona, donde formó, entre otros, a Gaudí y a Puig i Cadafalch. Con ellos acabaría “compitiendo” en la célebre Manzana de la Discordia de paseo de Gràcia. Allí, la sociedad barcelonesa del momento se preguntaba cuál de las tres construcciones (Casa Lleó i Morera, Casa Amatller y Casa Batlló) era la más bella e imaginó una rivalidad entre los tres artífices que, en realidad, jamás existió.
On the centenary of his death, at Núñez i Navarro we have interviewed Meritxell Jubany, a cultural manager and collaborator of this house. Not in vain, she conducted guided tours at the Casa Lleó i Morera, restored by Núñez i Navarro in 2006. This experience began to leave its mark on her from the very moment she started to learn about Domènech's work, according to her own account: “Such was the admiration I felt for Domènech i Montaner that, from that moment on, in a self-taught manner, I began to expand my knowledge”, eventually discovering the strong connection of the Barcelona genius with the Maresme region, where the architect had maternal family roots.
Los conocimientos llevaron a Jubany a la especialización en el Modernismo, y, dentro de este en la obra domenechiana. Y la especialización la llevó al desarrollo de Espais amb Història, un proyecto personal “con el objetivo de dar a conocer el patrimonio histórico especializándome en modernismo en la comarca del Maresme”, cuyo hilo conductor fue la gestión del Castell de Santa Florentina, en Canet de Mar. Este edificio, uno de los proyectos más importantes de Lluís Domènech i Montaner fue “inicialmente un proyecto de rehabilitación por encargo de su tío, el editor Ramon Montaner i Vila”. Lo que a finales del siglo XIX empezó como una rehabilitación respetuosa y fiel al estilo medieval del edificio, continuó ya entrados en el siglo XX con una ampliación del castillo haciendo un palacio anexo. “Lo que realmente hace Domènech i Montaner junto al edificio medieval es hacer un palacio con un estilo neogótico para ser fiel al edificio original. La genialidad de la construcción se encuentra al incorporar elementos arquitectónicos del gótico catalán que procedían de edificios abandonados. Se compran piezas auténticas y se van incorporando a esta nueva parte del castillo”.
The Castle of Santa Florentina is not the only modernist gem hidden in the Maresme region. This area, very close to Barcelona, is particularly interesting in the architectural field thanks to the legacy of both Domènech i Montaner and Puig i Cadafalch, with the Casa Coll i Regàs as the prime example. “It was the first work he did as a municipal architect and as a newly graduated architect. Puig i Cadafalch was commissioned by a textile businessman from Mataró to build a family house”, says Meritxell Jubany about this icon that has been transformed into a house-museum after a rehabilitation process. As the saying goes, 'all good things come in threes,' the cultural manager completes her modernist triumvirate with the Casa Garí, “a private house, which is not open to visitors, but is an example of Puig i Cadafalch's architecture in the Maresme”.
Talking about architecture and Modernism inevitably leads us to talk about Gaudí and the eternal comparison between both Catalan geniuses. In this regard, Jubany is very clear about the injustice with which Domènech i Montaner has been treated. “He has been somewhat overshadowed by the Gaudí brand”, he states. “Gaudí was exceptional but many other architects, like Lluís Domènech i Montaner, have been equally exceptional”. To support his argument, he suggests a tour of the 'lost' buildings of the architect, “such as the Hotel Internacional or the Castell dels Tres Dragons, the latter in the Parc de la Ciutadella, currently in a state of neglect and disuse, with no medium-term rehabilitation plan”. His plea in favor of Domènech continues by recalling the enormous legacy for the city of Barcelona, ranging from the Palau de la Musica Catalana, “his great monumental work, which is also a World Heritage Site recognized by UNESCO”, to the Modernist Complex of the Hospital de Sant Pau, including Casa Fuster or the Casa Lleó i Morera.
Jubany speaks with authority, as she knows every detail of each and every building she mentions. Especially Casa Lleó i Morera, as we have already mentioned at the beginning. She knows the modernist building rehabilitated by Núñez i Navarro as if it were her own home and can explain even the smallest detail, such as the symbolism of the main floor, where the family of Dr. Morera lived because “it really represents what the family was like and their personal history”. As an example, Jubany cites the sculptural ensemble in the lobby, which represents a popular Catalan song. “It also refers to the son that the Morera couple lost just days after birth. It is then an artistic representation, which also speaks of this tragic experience of the family”. Along with the sculptural ensemble, the cultural manager also highlights the profuse decoration of the Lleó i Morera building, awarded in 1905 for its innovation, both inside and outside. “A wonderful example of decorative and modernist arts which, moreover, are in an excellent state of conservation” and that the rehabilitation area keeps excellently preserved.
The Casa Lleó i Morera is not the only example of the rehabilitation of a modernist building. At Núñez i Navarro we have already restored a number of unique buildings. This rehabilitation effort has allowed for a new lease on life for historic properties that had been falling into oblivion throughout the 20th century and that were, in some cases, in a state of ruin. Fortunately, since the Barcelona '92 era, Modernism has become a valued asset, mainly linked to the Gaudí brand, and has served to make Barcelona known throughout the world. The cultural manager applauds this initiative and clearly highlights the benefits it generates: “A heritage that has been preserved, restored, rehabilitated, and communicated is an opportunity to showcase the country's culture, to make certain figures known internationally, and also as a symbol of identity and belonging".
In the case of Domènech i Montaner, the commemoration of the anniversary of his death is a clear example of dissemination. “A good opportunity to refocus all efforts on the dissemination of the legacy of this architect, but not only his architectural legacy, but also everything he did as a historian, politician, etcetera”. Thus, according to Jubany, 2023 will be a year full of activities, conferences, visits, and... editorial novelties? Like the CIA in its statements, Meritxell Jubany neither confirms nor denies: “Perhaps I will take the opportunity to present a novel that I am in the process of publishing about the Castell de Santa Florentina and the Montaner lineage”. Take note because it promises to be a Best-Seller.
