Week 4 - Cubism in Architecture

I. Cubism in architecture: Exceptional in the European context Against: Architecture that is too utilitarian Architecture that is too materialistic Architecture that lacks spiritual beauty Architecture that is not sufficiently theoretical Additional, organic decoration and ornament

Cubism claims: Architecture should be more poetic Architecture should be more expressive Architecture shoud be more dramatic Architecture should be more artistic (artistic thought and abstraction will take over practically) II. Cubist architects: The Group of Visual Artists: Pavel Jank, Josef Gor, Vlastislav Hofman Architects outside the Group: Josef Chochol, Otakar Novotn, Emil Krlek III. Theory: Vlastislav Hofman: "The orthogonal system of the geometric modern style came to be replaced by a system whose logic of form consists of diagonal or triangular compositional plan." Pavel Jank: in: The Prism and the Pyramid (1912) published in Arts Monthly "Constructive character of the geometrical modern style reflected dependence on matter and its weight. New cubist style reflected the active nature of human spirit and its ability to prevail over matter." Perfect example of this is a pyramid dematerialization toward the top Matter - monolithic, passive, dead substance X Artists spirit invests this dead substance, reshapes it (creating a spiritual form), and even wishes to destroy it. Cubist forms were also the outcomes of the speculative thinking about the optical effect of the play of light and shadow on the facades; Janks concept of frontality: faade turns out to face several frontal and side views simultaneously. IV. Cubism and Tradition Mere transposition of cubist approaches from painting to architecture would seem too speculative they tried to persuade themselves and the public that these designs were produced in accordance with the evolutionary laws. Imitation of historical buildings and the historicizing styles is considered highly immoral. X Studying architectural tradition leads to the understanding of the universal laws and the respect for tradition. Cubist architecture should thus coexist harmoniously with the genius loci. Inspiration by the Baroque Fras house in Pelhimov (1913-14) by Pavel Jank; rebuilt house in towns historical center; faade new conception of space and matter relationship (like in Picassos analytical cubism) where matter is diluted by space; architectural surface cubist folds, fractures and waves became a "mixture of the matter existing inside and the space on the outside." Kovaovic villa (1912-13) by Josef Chochol; structure reminds of a baroque residence with avant-corps and gables

Inspiration by Gothic Apartment block on Neklanova Street (1913-14) by Josef Chochol has a strong vertical layout; slender column of the corner balcony resembles an interior of a gothic church; crystalline shapes have the appearance of a late gothic diamond vault; ornamental character of the basement band and tilted main cornice: "The parts that appear to be ornamental are so necessary in the total organism of the work that under no circumstances it is possible to tear them out of the whole." Josef Chochol often composed his architecture on the bases of rhythmically set out grid that marked the point where the surface of his faade fractured On decoration: "We replace the former decorative detailing with the fuller and more concentrated expression of the 3D evolving matter." Inspiration by Neo-Classical architecture Spa of Bohdane (1911-12) by Josef Gor was inspired by neo classical architecture of spas built in the 2nd half of 18th century, articulated in an elegant cubist grammar Black Madonna house (1911-12) by Josef Gor; originally designed in the modern classicist mode (rational and clear structure) but after fundamental revision the reinforced concrete skeleton (inspired by Kotra and his skeletal compositions) acquired its distinctive cubist elements (the front entrance, capitals of columns between the windows); mansard roof resembles the baroque setting; fluted columns between the 3rd floor windows and the main cornice create classical impression V. Linsk of Czech Cubism and German Expressionism Similarities: Both interested in artistic goals Architecture should evoke dramatic feelings Both reflect the spiritual quality of the gothic style and the crystal shape Both aimed at the expression of the dynamic possibilities of a shape Werkbund Exhibition in Cologne (1914) Many projects by Czech architects were published in German Expressionist magazines: Der Sturm, Die Aktion

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Comparison: Czech Cubist architecture started earlier (German Expressionist Developed after the World War I and in the beginning of the 1920s) Czech Cubism was stylistically purer but less visionary Czech Cubism was less interested in the space and interior Czech Cubism was not interested in the apotheosis of light and glass Einstein Tower in Potsdam (1920-24) by Erich Mendelsohn became the icon of Expressionist architecture; its purpose is not rationally expressed in its structure but symbolically in its form (it houses a powerful telescope and an underground laboratory) mediated between heaven and earth; it evokes a sculpture made out of concave and convex shapes Woodcuts by Vlastislav Hofman; already in 1913 polemics with Jank over the nature of matter and its inner capacity (matter is alive and moves on its own accord organic coils) Project for the crematorium in Pardubice (1920-21) by Ji Kroha; he was interested in space (departing from the currant line of Czech architecture); the work of architecture is an expression of a spatial idea that preceded the conception of layout VI. Further examples Storehouse Diamond in Splen Street (1912 1913) by Emil Krlek Cubist lamppost on Jungmanns Square Apartment blocks for the Association of State School Teachers (1919-21) by Otakar Novotn; slightly decorative pyramidal cubism, colorful facades bordered with fan-shaped ornaments