The beginning of the 20s of the last century was a real avant-garde breakthrough to new art. One of his directions was cubism, which is associated in painting with the names French artists. But in architectural cubism, the palm does not belong to Paris, but to Prague. Czech cubism has become a unique phenomenon in world architecture. Primary and most interesting period The development of this architectural style took place in 1911-1914, although cubic buildings were still erected until the end of the 1920s.
The founder of this architectural style was the architect Pavel Janák (1882-1956). He formulated the foundations of cubism in his work Prism and Pyramid. Janak's source of inspiration was the natural process of crystallization. The essence of his theory was that there is a force in nature that causes matter to change and take on a geometric shape.
Crystallization is the clearest example of this dynamic force. To bring this dynamic process into architecture and to give buildings a crystalline form - such an unusual and fascinating task was set by Pavel Janak. The practical embodiment of his ideas and the first monument of cubism in architecture was the house of the Yakubek family in Jicin built according to his design in 1911-1912.
By 1913, several buildings were erected in Prague, geometrically shaped, reminiscent of crystals. The most striking and expressive of them is the "House at the Black Madonna" (U Černé Matky Boží), which is located on Celetnaya Street next to the Powder Tower. It was the creation of the architect Josef Gonczar, who brilliantly played with the combination of blunt and sharp corners building located on a plot of irregular shape.
The corner facade of this house is not flat, but rather broken. The building is completed by a two-story attic, similar to the top of a crystal. The sculpture of the Black Madonna, which gave the name to the house, was borrowed and transferred from the building of the previous building, belonging to XVII century. Black color Mother of God associated with the fact that it symbolizes the earth from the moment of fertilization to its revival by the sun's rays.
Historians also suggest that the black color of the statue of the Virgin Mary is associated with a mixture of the cult of the Mother of God with the cult of the ancient Egyptian goddess Isis. Be that as it may, the statue of the Black Madonna looks amazingly good on a cubic-style house and gives it grandeur and originality. All interior decoration of the house was designed in the same style.
Unfortunately, the interiors have not survived to this day - they were changed at the request of the owners or tenants of the building. In 1994, the capital reconstruction of the building was completed. Residents of Prague and its guests can admire the "House of the Black Madonna" in its original form.
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Glancing over photographs of buildings built in the 20th century, I am reminded of Borges' metaphor of the "garden of forking paths." It is not customary to read Borges now, so I will take on a terrible job - I will retell the thought of a genius. He suggests imagining that, every time a person is given a choice, he chooses not one, but all at once. possible options, while reality splits or triples (according to the number of choices made). A similar assumption is made by quantum mechanics (see "many-worlds interpretation").
“There are moments in history when the world seems to be presented with several options for the future”
There are moments in history when the world seems to be presented with several options for the future, and it hesitates, not knowing which one to prefer (here it is worth looking at Stefan Zweig's collection of short stories " star clock humanity"). The thought that history could have turned out differently is a teasing thought. This is not about an alternative history (no matter how good inventors Nosovsky and Fomenko are, they always lose, since the reality they describe is limited by the limits of their texts, but true story rich in endless details) - I'm talking about those cases where the world really could move along a different path. And since he actually could do it, it means that the alternative path has some reality, albeit incomplete, but real. It seems that we vaguely distinguish the features of another modernity, looking at it through some kind of veil, and if we move it and press our face closer to the keyhole, we can see a little more.
Raymond Duchamp-Villon and others. Cubist house. 1912. Fragment
Andre Mare. One of the rooms in the "Cubist House"
Joseph Holol. Cubist house in Prague, 1912
Joseph Khokhol. Cubist house in Prague, 1913
Joseph Khokhol. Villa Kovarovich in Prague, 1913
Joseph Gochar. House of the Black Madonna in Prague, 1912. Fragment of the facade
Joseph Gochar. House of the Black Madonna in Prague, 1912. Lamp in a cafe
Joseph Gochar. House of the Black Madonna in Prague, 1912. Cubist coat hooks in a cafe
Joseph Gochar. Bauer's Villa in Libodric, 1914
Emil Kralicek. Street light in Prague, 1914
Armchairs by Pavel Janak at the Museum of Cubism in Prague
Otokar Novotny. Czech Pavilion at the German Werkbund exhibition in Cologne, 1914
Milevsko, Czech Republic. Former New Synagogue. 1914
But if we can at least look into another modernity, then something from there can get to us. It is possible that part of our everyday life is aliens "from there", objects that have a different causal series behind them. Such things seem to me the later buildings of Gio Ponti. This is the architecture of modernism, but no other modernism. It has too much spectacle, too much form. This architecture has other roots. And recently I realized what.
The architecture of classical modernism was not created on the first try. Its appearance was preceded by several unsuccessful experiments. The largest of them is the cubist one. Cubism is one of many artistic movements beginning of the 20th century, but its creators had larger ambitions. They thought cubism was a new style era, which means - a universal style common to all types of art. They almost succeeded in creating cubist architecture. Under absinthe, I think, they also started talking about Cubist music, but little progress was made in this direction.
"Cubism is a new style of the era, which means it is a universal style common to all types of art"
Raymond Duchamp-Villon and others. Cubist house. 1912
Cubist architecture started off spectacularly. At the Autumn Salon in Paris in 1912, a team of authors exhibited a large, 10 by 3 meters, model of the "Cubist house". The facades were designed by the sculptor Raymond Duchamp-Villon; the interiors of the rooms (it seems that they could be seen by going around the layout and looking behind) were made by several people, among whom Andre Mare was the main one. The rooms were fully furnished and small paintings by Cubist artists hung on the walls. After Paris, the "cubist house" was shown at the Armory Show in New York.
The first buildings of cubist architects immediately appeared. But not in Paris, but in Prague, largest center cubist art outside of France. They were built in short period 1912 - 1914 architects Josef Khokhol, Josef Gochar, Pavel Janak, Otokar Novotny and some others. In addition, during these three years, Czech architects created quite a lot of cubist furniture and interior items.
Cubist architecture is avant-garde yet strikingly traditional. We see in it all the same symmetrical facades, pediments, lucarnes, portals, as in the buildings of past years; only subjected to the characteristic triangular pixelation. These are like Art Nouveau mansions seen through the eyes of Robert Delaunay. The architecture of cubism did not subject the experience of the past to total denial. She only offered to decorate the facades of buildings that remained structurally the same with new ornaments.
Bauhaus Manifesto, 1919. Right - engraving "Temple of Socialism" by Lionel Feininger
Walter Gropius. Villa Sommerfeld in Berlin. 1921
Walter Gropius. Villa Sommerfeld in Berlin. 1921. Interior. Stair railing - Jost Schmidt, armchairs - Marcel Breuer
Walter Gropius. Villa Sommerfeld in Berlin. 1921. Doors
Josef Albers. Vintages of Villa Sommerfeld in Berlin. 1921
Nikolay Ladovsky. Community house project. 1920
Walter Gropius. Monument to the Fallen in March. Weimar. 1921
Erich Mendelsohn. Hat factory in Luckenwalde. 1923
Hans Poelzig. Administrative building in Hannover. 1923. Fragment of the facade
Ferdinand Shanu et al. Shop at the Oviatt Building in Los Angeles. 1927 - 1929. Canopy lamp over the entrance
Ernst Paulus and Ludwig Paulus. Evangelical Church of St. Cross in Berlin, 1927 - 1929.
Ernst Paulus and Ludwig Paulus. Evangelical Church of St. Cross in Berlin, 1927 - 1929. Interior
Joseph Frank. Church of St. Cross in Gelsenkirchen. 1927 - 1929. Interior
Jean Doucet's mansion in Neuilly-sur-Seine, 1929. Staircase by Jozsef Chaka. Photo by Pierre Legrain
William van Allen. Chrysler Building. NY. 1930. Portal fragment
Timothy Pfluger. Paramount Theater in Oakland, USA. 1931.
Czech cubism was fleeting. After World War I, the same architects, now citizens of the independent Czechoslovak Republic, returned to the profession; but their buildings were already different. Having played enough in triangles, in the 20s they fell in love with semicircles and cylinders. What they created during this period is called Rondocubist architecture. It does not look like their pre-war buildings at all.
This is where the history of cubist architecture ends. She all kept within the three pre-war years. But its individual motifs are often found in buildings built in subsequent decades.
Ferdinand Shanu et al. Store interior at the Oviatt Building in Los Angeles. 1927 - 1929
It is known that Cubist artists greatly influenced the formation of the Art Deco style. Actually, they were the authors of this style. André Marais, interior designer of the "Cubist house" of 1912, became a popular Art Deco furniture designer after the war. At the famous Paris exhibition of 1925, he designed two pavilions together with Eugene Sue. The most important interior of French Art Deco - the furnishings of the house of Jacques Doucet in Neuilly-sur-Seine (1929) - was created by a whole team of cubist artists. At the same time, of course, the vocabulary of Art Deco is not limited to cubist motifs. This style draws from many sources.
In addition, the painting of cubism changed. The “analytical” cubism of the 1920s is not at all like the painting of the pre-war exhibitions, which subjected reality to a monotonous triangular deconstruction. It is all the more surprising that in art deco architecture motifs of precisely pre-war angular cubism are often found - we notice them in the lamps built into the ceiling of Oviatt's store in Los Angeles (1928, architect - Frenchman Ferdinand Chanu), in the ceilings of the Paramount Theater in Oakland (1931, architect Timothy Pfluger), etc.
Numerous trends in painting of the 20s, arguing with each other for the right to be the successors of cubism, almost all used its techniques in one way or another. Its crushing, crystalline forms are the common heritage of all avant-garde painting of that time. We find these motifs, in particular, in the paintings of the Expressionists; as well as in buildings that were built by German expressionist architects. From a formal point of view, some of these buildings (for example, the Mendelssohn factory in Luckenwalde and the Sommerfeld house in Berlin, a lost masterpiece of young Bauhaus professors) can rightfully be called cubist. However, Wright's strong influence is also seen in the Sommerfeld house.
Frank Lloyd Wright. Meeting room of the First Unitarian Society in Madison. 1949 - 1951
Frank Lloyd Wright. Car service in Cloquey, 1958
The Milanese architects of the second half of the 20th century were closely within the framework of the modernist canon, and they all violated it in one way or another. Most famous architect Northern Italy, Gio Ponti (he started in the 1920s as a moderate classicist) in his later buildings suddenly turned to the experience of cubism, which had not previously interested him. In his Venezuelan Villa Planchard, the cornices and facades are broken, their pieces, like ice floes, crawl on top of each other, and in some places one can look at the facade plane, as thin as a sheet, from the end. It was as if someone froze the villa, and then hit it with a hammer, and it cracked. In the Church of San Francesco a Foppopino and the Cathedral of Taranto, Ponti recalls the experience of the German Expressionists, who subjected Gothic motifs to Cubist geometrization.
"The Cubists reformed art and did not covet more"
Cubist architecture is a failed project. And it's easy to see why. In the mid-1920s, the founders of modern movement» developed new principles of architecture, reinvented it from scratch. In the early 10s, the cubists only figured out how to decorate it in a new way. The modernists were seriously building a new, unprecedented world, a paradise on earth. The social ambitions of the Cubists were limited to the dream of a wealthy collector. The Cubists reformed art and did not covet more; modernists turned the world inside out. This task is more interesting. That is why both German Expressionist architects (although not all) and Czech Cubists (all) in the mid-20s, easily forgetting the experience of previous years, enthusiastically began to build white houses with screen windows and flat roofs. And this direction dominated architecture for thirty years, spread to the entire planet and determined the appearance of the environment in which the majority of mankind still lives. But all this time, he seemed to be accompanied by the ghost of cubist architecture, hiding in the semi-darkness, in the folds of history, and from time to time looking out from there, as if trying to live out his life, cut short too soon.
Czech cubism in architecture May 11th, 2013
I have always been far from architecture, but today I had to deal with it in a "working" moment when translating an article from Czech into Russian for a scientific journal...
The topic of the article is "Czech Cubism in Architecture".
Cubism (French cubisme, from cube - cube) – artistic direction in french art beginning of the twentieth century, the founders and major representatives which were Pablo Picasso and Georges Braque. The term "cubism" arose from a critical remark about the work of J. Braque that he reduces "cities, houses and figures to geometric schemes and cubes." In essence, cubism is a primitivism that perceives the world through the forms of geometrically correct figures.
Czech cubism- a short-lived but unique movement, born around 1910 in Prague, when avant-garde designers began to apply the principles of cubist painters to architecture, furniture and decorative objects. Czech cubism had no analogues in world architectural creativity.
In 1910-1925. this style gave a number of innovative architectural objects, which were, as it were, composed of geometric shapes and crystal structures.
The most significant contribution to the architecture of Prague in the cubist style was made by Josef Chochol- Czech architect, furniture designer.
His famous triple house on Rašinově nábřeží near Vyšehrad, just a few dozen meters from the Vyšehrad tunnel - here Josef Khokhol, however, allowed himself to deviate a little from strict Cubist principles. Three buildings form a single composition and are planned in the way that Baroque palaces were usually planned. The middle one is also decorated sculptural composition.
Not far from the family Triple House is located Villa Kovařoviče on the corner of Libushina street and Rashinova embankment - another architectural masterpiece Joseph Khokhol. From the side of the street and from the embankment, the villa looks like two completely different buildings. From the side of the garden, the house is expressed by a risalit * of a polygonal layout. And the original site had a multifaceted shape, and even the fence leading to the embankment was made in the style of cubism. However, the road was later widened with a garden, so its layout was changed (the fence, however, was restored to its original form). The impressive staircase hall was later reconstructed, the layout of the floors was changed, so that the most valuable interior cubist element was lost. But despite this, Villa Kovarzovica is a unique example of Khokhol's radical cubist solutions. It was built in 1913.
*
Rezalit - the part of the building that protrudes beyond the main line of the building along its entire height.
Another unique building of that era by the architect Josef Hohol is Angular tenement house at the intersection of Přemyslov and Neklanova streets, which was completed in 1914.
Chohol worked in these styles for only 4 years, but left behind a unique architectural work - three-dimensional facades on his house in Vinohrady in Prague, which are considered a model of cubism in Czech architecture.
Khokhol, in collaboration with František Menzl, proposed at the end of the twenties a reinforced concrete bridge across the Vltava, originally called Troysky, which, however, has not survived to this day.
In the following years, Josef Chohol began sketching facades in simple forms that foreshadowed further development architecture in the avant-garde direction - to purism and constructivism.
But more on that in future posts....
Paris became the birthplace of cubism, where it arose as a trend in fine arts in 1907 with a light filing of Pablo Picasso and Georges Braque. The basis of this modernist trend was the desire to split objects into conditional geometrized forms. The founders of cubism proclaimed the cube the main physical form, and works made up of cubic figures were called more expressive and rich.
A few years later, cubism reached the Czech Republic, and later became a real phenomenon in Czech architecture. Czech Cubism developed in a unique way in a very short period: from 1911 to 1914. The power with which he influenced arts and crafts and architecture in the Czech Republic is unparalleled in Europe.
Before the First World War, Prague was a significant center of the avant-garde, and Czech artists were influenced by French creativity began to promote a new style under the universal name "new art". official year The emergence of Czech cubism is considered to be 1911. It was then that the Group of Cubist Artists was founded, of which he became the main protagonist. The backbone of the Group consisted of sculptor, writer and painter, artists Vincenc Beneš and architects and designers Pavel Janak, Josef Gočár, Vlastislav Hofman, and others.
Emil Filla, "Artist"
The first general exhibition of Czech Cubists in the Public House was held in 1912 and aroused sharp criticism from the public. The second exhibition of the Group in the autumn of the same year was the culmination of the general activity of the Cubists. Works by Czech authors were presented along with paintings by contemporary French and German artists in an unusual architectonic installation by Josef Gočár. The next Prague exhibition showed the sources of Cubist inspiration: foreign and folk art, exotic and rare works of art 15th-17th centuries
Czech Cubists exhibited several times abroad. chief international event was their participation in the exhibition of the Union of German Creativity Werkbund in Cologne, where a complete interior from the Prague Art Workshops with furniture by Josef Gočar and accessories by František Kisela was presented.
Poster for an exhibition of cubism in 1912, czkubismus.cz
The authors themselves called cubist furniture “serious art of solid content”: this was stated in the program manifesto of the Prague Art Workshops, founded by architects Pavel Janak and Josef Gočár. Cubist furniture was not very popular: it was "ordered" for themselves by the creators themselves or their friends in creative or intellectual circles. The complex design of architecture and interiors in the cubist style was the only exception.
czkubismus.cz
Cubists soon began to work with relatively easy-to-work ceramics and metal objects. The glass was harder to take on broken shapes. And yet, on the model of the German company Wiener Werkstätte, with the suggestion of Vaclav Wilem Stech, the atelier of arts and crafts “Artel” (Artěl) was founded in 1908, which set as its goal the cultivation of art and good taste in Everyday life. Ceramics and glass from Artel began to sell well.
czkubismus.cz
The most striking manifestation of cubism - - has taken an absolutely unique place in the European context. In no country has this style reached such a scale as in the Czech Republic. Local architecture began to acquire Cubist features in a rather radical form even before the First World War and outside the Group. To the most prime examples include designs for a monument to F. L. Riegra or a sculpture by Jan Zizka on Vitkov. Unfortunately, most of the most daring works remained on paper.
Most cubist ideas were implemented by the architect Pavel Janak. But almost all of them were residential buildings beyond Prague. The first cubist building in Prague - the trading house At the Black Mother of God (1911-12) - was proposed by Josef Gočár, who at that time was only 31 years old. A bold cubist reconstruction was carried out by the architect Vlastislav Hofman during the renovation of the buildings of the Devil's Cemetery.
House At the Black Mother of God, Prague
The ideological differences between the representatives of Czech Cubism gradually deepened. The disintegration of the Group hastened the onset of the First World War in 1914.
Although the Cubist period in the Czech Republic was very short, it influenced Czech art on for a long time. Orthodox cubist forms eventually turned into a kind of synthesis of cubism and expressionism - cubo-expressionism, which found its embodiment in graphic design, posters and book illustrations.
In 1918, a new direction began to develop in the architecture and design of the Czech Republic - rondocubism, which is called a kind of calling card Czechoslovakia. Ideologically, he supported the official movement decorative arts and architecture, declaring the artistic identity of young Czechoslovakia.
Adria Palace, Prague
Rondocubism broke the rules of classical cubism by using curvilinear shapes and details. For example, if you look at the main attraction in the rondocubist style - the Adria Palace in Prague (architects Pavel Janak and Josef Zashe, 1924), then you will see few pure square and rectangular shapes.
You can learn more about this interesting direction in art and architecture at, which takes place in the cubist House of the Black Mother of God. Here you can not only see the works of prominent Czech Cubists, but also visit the world's only cubist-style Grand Café Orient (look at the chandeliers and bar counter). This cafe worked for 10 years, and then it was destroyed due to the loss of people's interest in cubism. Recently, the interior of the cafe was restored, and everyone can again be transported to the beginning of the 20th century.
Cubism created an important link between early 20th century art and architecture. The historical, theoretical, and socio-political relationship between avant-garde practices in painting, sculpture, and architecture had significant implications in France, Germany, the Netherlands, and Czechoslovakia. Although there are many points of intersection between cubism and architecture, however, only a few direct connections can be drawn between them. Most often, connections are made by mentioning common formal characteristics: shape cut, spatial ambiguity, transparency, and multiplicity.
The architectural interest of Cubism is centered on the disintegration and reunification of three-dimensional forms, using simple geometric forms superimposed on each other without the illusion of classical perspective. Various elements can be added, made transparent or penetrating each other, while maintaining their spatial relationships. Cubism became an influential factor in the development modern architecture since 1912 (Cubist house of Raymond Duchamp-Villon and André Marais), developing in parallel with the architects Peter Behrens and Walter Gropius, thanks to the simplification of building design, the use of materials suitable for industrial production and increased use of glass.
Le Corbusier, Le Corbusier Center (Heidi Weber Museum) in Zurich, Seefeld quarter (Zurichhorn), photo duncid - KIF_4646_Pano,
Cubism in architecture strove for a style that would not need to refer to the past. Thus, what became a revolution in painting and sculpture was directed towards "a profound reorientation of the changed world." The cubo-futuristic ideas of Filippo Tommaso Marinetti influenced the relationship in avant-garde architecture. The influential "Style" movement used aesthetic principles neoplasticism, developed by Piet Mondrian under the influence of cubism in Paris. Thanks to Gino Severini, the Style was also linked to Cubist theories through the writings of Albert Gleizes. However, the combination of basic geometric shapes with characteristic beauty and ease of industrial use - which Marcel Duchamp anticipated in 1914 - was left to the founders of purism, Amédé Ozenfant and Charles-Édouard Jeanneret (better known as Le Corbusier), who jointly exhibited paintings in Paris, and in 1918 published the book "After Cubism". Le Corbusier's ambitions were to bear the peculiarities of his own style from cubism to architecture. Between 1918 and 1922, Le Corbusier focused his efforts on purist theory and painting. In 1922, he and his cousin Jeanneret opened a studio in Paris at 35 Rue de Sèvres. theoretical studies soon spread to many different architectural projects.
Raymond Duchamp-Villon, model of La Maison Cubiste (Cubist House). Image published in Les Peintres Cubistes by Guillaume Apollinaire on March 17, 1913.
La Maison Cubiste (Cubist house)
The Salon d'Automne of 1912 exhibited an architectural installation that quickly became known as the Maison Cubiste (Cubist House), signed by Raymond Duchamp-Villon and André Marais, along with a group of collaborators. Metzinger and Gleizes, in a manifesto "On Cubism" written during the assembly of "Maison Cubiste", wrote about the independent nature of art, emphasizing that decorative aspects should not govern the spirit of art. decorative work for them was "the antithesis of the image". The “true image,” wrote Metzinger and Gleizes, “carries its own raison d” être (meaning) in itself. It can be transferred from church to living room, from museum to office. Essentially independent, inevitably completed, it does not necessarily immediately satisfy the mind : on the contrary, it should lead him, little by little, to fictitious depths in which light resides. It does not harmonize with this or that ensemble; it harmonizes with things in general, with the universe: it is an organism ... ". "Ensembles Mare were accepted as framing Cubist works because they allowed paintings and sculptures to maintain their independence", writes Christopher Greene "creating a game of contrasts, as a result of the participation not only of Gleizes and Metzinger themselves, but also of Marie Laurencienne, the Duchamp brothers (Raymond Duchamp-Villon developed façade) and old friends Marais, Léger and Roger de la Fresnais.La Maison Cubiste was a fully furnished house with stairs, wrought iron railings, a living room - the Bourgeois salon, where paintings by Marcel Duchamp, Metzinger ("Woman with a Fan"), Gleizes , Laurencin and Léger, and a bedroom. It was an example of L "art décoratif (decorative art), a home in which cubist art is displayed in the comfort and style of modern, bourgeois life. Spectators at the Autumn Salon passed through a full-scale 10-by-3-meter plaster model of the first floor of the facade, designed Duchamp-Villon This architectural installation was subsequently exhibited at the "Arsenal Exhibition" of 1913 in New York, Chicago and Boston, and is listed in the catalog of the New York Exhibition as Raymond Duchamp-Villon, number 609 and under the name "Facade architectural, stucco ".
photo: Ymblanter, Cubist house (apartment building), architectYosef Khokhol, Prague-2, Vysehrad, Neklanova 98/30,
Original cubist architecture is very rare. There is only one country in the world where cubism was actually applied to architecture - namely Bohemia (today the Czech Republic) and especially in its capital, Prague. Czech architects were the first and only ones in the world to ever design original Cubist buildings. Cubist architecture flourished mainly from 1910-1914, but Cubist or Cubist-influenced buildings were also built after World War I. After the war, Prague developed architectural style, called rondocubism, the amalgamation of cubist architecture with circular shapes.
In their theoretical rules, the cubist architects expressed the need for a dynamism that would prevail over the essence and peace contained in it, through creative idea, so that the result evokes in the viewer a sense of dynamism and expressive plasticity. This must be achieved through forms derived from pyramids, cubes and prisms, the arrangement and juxtaposition of inclined surfaces, mainly triangular, sculpted facades in projecting crystal-like elements similar to the so-called brilliant cut, or even cells that resemble late gothic architecture. In this way, all surfaces of the facades are given shape, including even gables and dormer-windows. Lattices, as well as other architectural decorations, acquire 3D shapes. At the same time, new forms of windows and doors were created, such as hexagonal windows. Czech Cubist architects also designed Cubist furniture.
The leading architects of cubism were: Pavel Janak, Josef Gočár, Vlastislav Hoffman, Emil Kralicek and Josef Chohol. They worked mainly in Prague, but also in other Czech cities. The most famous Cubist building is the House "At the Black Mother of God" in the Old Town of Prague, built in 1912 by Josef Gočár with the only Cubist cafe in the world, the Grand Café Orient. Vlastislav Hoffman built the entrance pavilions of the Dyablitz cemetery in 1912-1914, Josef Khokhol designed several residential buildings near Vyšehrad. Not far from Wenceslas Square, there are also Cubist lanterns designed by Emil Kralicek in 1912, who also built the Diamond House in the New Town of Prague around 1913.
House "At the Black Mother of God" in Prague, built by Josef Gočár in 1912, photo: VitVit,
Villa Kovařovica in Prague built by Josef Hochol
tags: architecture public buildings, cubism
