U k á z k a k n i h y z i n t e r n e t o v é h o k n i h k u p e c t v í w w w . k o s m a s . c z , U I D : K O S 2 2 3 5 3 1 Ukázka knihy z internetového knihkupectví www.kosmas.cz ADMIRED AS WELL AS OVERLOOKED BEAUTY Contributions to Architecture of Historicism, Art Nouveau, Early Modernism and Traditionalism Jan Galeta – Zuzana Ragulová (eds.) Barrister & Principal Masarykova univerzita Brno 2015 U k á z k a k n i h y z i n t e r n e t o v é h o k n i h k u p e c t v í w w w . k o s m a s . c z , U I D : K O S 2 2 3 5 3 1 Ve věci autorských práv ilustrací je každý autor odpovědný za publikované ilustrace. Obecně se ale tato publikace řídí ust. § 31 zákona č. 121/2000 Sb. (autorský zákon), kde je v odst. 1, písm. c) výslovně řečeno: „Do práva autorského nezasahuje ten, kdo užije dílo při vyučování pro ilustrační účel nebo při vědeckém výzkumu, jejichž účelem není dosažení přímého nebo nepřímého hospodářského nebo obchodního prospěchu, a nepřesáhne rozsah odpovídající sledovanému účelu; vždy je však nutno uvést, je-li to možné, jméno autora, nejde-li o dílo anonymní, nebo jméno osoby, pod jejímž jménem se dílo uvádí na veřejnost, a dále název díla a pramen.“ In the matter of copyright, every author is responsible for the illustrations published. In general, this book follows § 31 of the law no. 121/2000 Coll. (Copyright Act), where in paragraph 1 c explicitly stated: “Copyright shall not be infringed by whoever uses a published work in a lecture exclusively for scientific, teaching or other instructive or educational purposes; the name of the author, unless the work is an anonymous work, or the name of the person under whose name the work is being introduced in public must, however, always be indicated; the title of the work and source must also be indicated.” © 2015 Jan Galeta and Zuzana Ragulová (eds.) © 2015 Eva Belláková, Aurelia Bladowska, Sixtus Bolom-Kotari, Jan Galeta, Maša Hrustek-Sobočan, Jan Ivanega, Ivan Klas, Jiří Kroupa, Věra Laštovičková, Franci Lazarini, Veronika Lukešová, Anna Perz, Zuzana Ragulová, Daniel Resch, Ruth Sacks, Gaspár Salamon, Dániel Veress, Sanja Zadro, Lilla Zámbó © 2015 Barrister & Principal © 2015 Masarykova univerzita ISBN: 978-80-7485-118-6 U k á z k a k n i h y z i n t e r n e t o v é h o k n i h k u p e c t v í w w w . k o s m a s . c z , U I D : K O S 2 2 3 5 3 1 Introduction Introduction The PhD candidate’s conference held by the Department of Art History Masaryk University on 3rd and 4th of October 2014 in the Museum of Applied Arts in Brno was focused on the architecture of Historicism, Art Noveau, Early Modernism and Traditionalism, in the period between 1850 and 1920, but mostly focused on the turn of the century. Maybe a slightly poetic title – Admired As well as overlooked beauty – tries to express that architectonic production of this period suffered from disrespect and is only slowly beginning to be admired again. Participants of the Conference were from the Czech Republic, Slovakia, Hun- gary, Poland, Austria, Slovenia and Croatia. The gathering of researchers interested in the architecture of the second half of the 19th and beginning of 20th Century from the territory of the former Austria-Hungary and German Empire was very inspir- ing. An obvious, but not always considered fact emerged clearly – in the examined period this area (we may call it “Central Europe”) shared very similar culture, not divided by boundaries that arose after WWI and Austria-Hungary of course existed also as political whole. So, in the sphere of architecture it is not possible to limit ourselves by today’s borders, but it is necessary to think in a broader (and so period) context. This approach is difficult and requires to be familiarised with foreign bibliography and foreign conditions which is not easy, but on the other hand it may bring new points of view hidden to the local researchers. It is admira- ble that despite all difficulties the papers were made in this way. It was interesting how the contributions were unwittingly connected to each other and how researchers from different countries explored very similar topics and were interested in similar questions. Let us mention some of them, such as the still attractive question of so called national styles and how nationalism, nationality and political commission affected architecture. Also the question of proper style for different functions and the requirements and character of different building types were broadly discussed. Other shared topics were e.g. the relationship between Early Modernism and Historicism, approaches to city planning in the times of defortifica- tion, the phenomenon of the villa as a part of the industrial complex, attitude to the monuments of Historicism and Art Noveau in the 20th Century, or the research of the periphery – of the towns and townlets which are (contrary to capitals and cities) only rarely explored by historians of architecture, albeit its architecture forms an irreplaceable piece of the global mosaic of architectonical heritage. 5 U k á z k a k n i h y z i n t e r n e t o v é h o k n i h k u p e c t v í w w w . k o s m a s . c z , U I D : K O S 2 2 3 5 3 1 Like the conference, this book is also opened by a contribution from Professor Jiří Kroupa from the Art History Department of Masaryk University who intro- duces the architecture of the hosting city of Brno in the discussed period. And as well as the conference itself also these proceedings are divided into some sections, but in a slightly different way. The chapter called Personalities contains four papers united by strong figures, such as the preservationist and architect in the service of the noble House of Schwarzenberg in the contribution of Jan Ivanega, such as the architect Hermann Muthesius and his search for a proper form of modern house explored by Daniel Resch, such as architects Jan Kotěra and Eliel Saarinen compared by Veronika Lukešová, or the members of the entrepreneurial Sochor family and architect of their villas Josef Gočár who are in the focus of Zuzana Ragulová’s contribution. The second chapter is called Institutions and Building Types and the buildings for cultural institutions in Slovenia are discussed by Franci Lazarini, Anna Perz focused on public buildings erected in areas of former fortification in the city of Gdańsk, Dániel Veress concentrated on four Exhibition Halls in the centres of the Austro-Hungarian Empire and Jan Galeta discussed the phenomenom of so called National Houses and how these buildings were treated in the 20th century. The next chapter introduces some admirable Sites and their building traditions. Ivan Klas describes the traditional rural architecture in the Zahorie region and Eva Belláková concentrates on the development of the industrial site in Valaská- -Piesok, both in Slovakia. Aurelia Bladowska explores the intense growth of the Gdańsk suburb Wrzeszcz and in a similar way Sanja Zadro explores the building development of Mostar, including question of the fascinating Moorish Revival style. Finally Maša Hrustek Sobočan explains the building activities in smaller town of Čakovec in northern Croatia. The last chapter with a mixture of themes is called Influences and is opened by the paper of Gáspár Salamon who aims at the concept of architectural education in Vienna and Budapest. Věra Laštovičková goes through theoretical writings from the 18th and early 19th century that have also influenced architectural theory in later times. Ruth Sacks clarifies the link between Belgian colonialism and Art Noveau, Lilla Zámbó explains how Art Noveau buildings in Prague and Budapest became monuments and Sixtus Bolom-Kotari thinks about protestant architecture. Last but not least great thanks belong to Ondřej Jakubec, Rostislav Švácha, Jiří Slavík and many others, including all participants, who supported the conference or this proceeding. Jan Galeta and Zuzana Ragulová 6 U k á z k a k n i h y z i n t e r n e t o v é h o k n i h k u p e c t v í w w w . k o s m a s . c z , U I D : K O S 2 2 3 5 3 1 Jiří Kroupa Personalities, institutions and styles: Brno circa 1900 Personalities, institutions and styles: Brno circa 1900 Jiří Kroupa In the wider European context the period of architectural production around 1900 has been marked as a significant milestone in the history of architecture but at the same time it was a period of various architectural cultures which appeared side by side. Václav Richter, a founder of architectural history at Masaryk University, commented on this situation in 1966: “.... 20th century reached modern architecture by a leap in a historical “moment”. So far, the history of art has not been able to determine the chronology of this situation. [...] There is no such thing as old art without the new one (and new art without the old one)”.1 Nevertheless, to a wide range of critics it seemed like the end of non-creative, historicist architecture and as a slow beginning of new and modern future architec- ture.