Robert MALLET-STEVENS was a French architect and designer born in Paris on 24 March 1886 into a family of collectors and a nephew of Suzanne Stevens, wife of the Belgian financier Adolphe Stoclet who built the famous palace in Brussels that bears his name. He trained at the École spéciale d’architecture in Paris between 1906 and 1910, and was interested in collaboration between different art forms, initially focusing on the creation of furniture and film sets for some twenty years. At the Salon d’automne in 1922, he exhibited a highly acclaimed model for an aeroclub project. In 1923-1928, the Viscount Charles de Noailles commissioned him to design the Villa Noailles in Hyères, the first core of which was completed in 1925 and whose extensions followed one another until 1933. For the swimming pool, he created the “Fauteuil Transat” in 1923-1925, made of lacquered sheet metal and canvas, which was one of the very first modern pieces of furniture with a metal structure. At the 1925 International Exhibition of Modern Decorative and Industrial Arts, he designed the pavilion of tourism with its 36-metre high campanile, which was to become a model for the whole world, the hall of the French embassy, as well as cubist trees made of reinforced concrete with the sculptors Jean and Joël Martel. From 1926 to 1934, he designed several private mansions along the rue Mallet-Stevens in Paris, including that of the Martel brothers at number 10, decorated by Francis Jourdain and Charlotte Perriand, as well as his own, which housed his architectural practice and for which he designed lacquered metal furniture in 1927. Between 1929 and 1931, he created his famous small tubular steel chair with a curved back, used for the kitchen of the Villa Cavrois, which was produced in several versions until 1939. In 1929, he was one of the founders, and the first president, of the Union des Artistes modernes (UAM), which brought together avant-garde decorators and architects. Robert MALLET STEVENS built almost exclusively for private clients, his only public commission being the construction of a fire station in Paris in 1936, but he is considered today as one of the major figures of French architecture between the wars, as one of the main representatives of the Modern Movement. It was only in the 1980s that the work of Robert MALLET STEVENS began to be recognised as a kind of optimum of the 1930s between aesthetic research and the demand for functionality, leading to the rehabilitation of several buildings from 2005.