Ladislav Jackson
PhDr. Ladislav Jackson, Ph.D., is an art historian from the Czech republic. Between 2015 and 2018 he was a lecturer at the University of South Bohemia (20th century architecture and interior design history) and between 2015 to 2018 a researcher at the University of Hradec Králové. In 2016–2017 he received a Fulbright scholarship to be a visiting scholar at the University of California Department of History of Art in Berkeley researching queer visual artists, collectors and architects (supervisor Dr. Whitney Davis). Starting 2018 he became a faculty member of the Department of Theories and Histories of Art at the Faculty of Fine Arts, Brno University of Technology where he teaches 20th Century Global Art History, 20th Century Czech History and Queer and Feminist Studies in Art History.
He graduated from art history at Charles University in Prague and Masaryk University in Brno. In 2009–2011 he was a director of a house museum Villa Trmal in Prague (architect Jan Kotěra). In 2009 he was a co-founder of queer organisation Charlie at the Charles University. In 2011 he co-authored a book Homosexuality in the History of the Czech Culture (chapters on the visual arts). He has received his doctoral degree (PhDr.) in architecture history in 2015 with a thesis Structure of the City in the Green (on modern architecture in Hradec Králové) at Masaryk University in Brno. In 2013 he published a book The Museum House in Hradec Králové, 1909–1913, Jan Kotěra followed by a recent 2016 book Jan Kotěra in Hradec Králové. He edited books on the 20th century architecture and interior design (Experimental Housing Estate Invalidovna in 2014 and Design / Furniture / Interiors in the same year). In 2012 he curated exhibition What a Material: Queer Art from Central Europe followed by Spaces of Desire: Is Architecture Sexy (2016), Shapes, Colors, Comfot: Jitona Furniture (2018–2019), Sun City: Architectural Heritage from 1948–1989 (2019) and two exhibitions on the architect Jan Kaplický (Jan Kaplický: Story of a Visionary, 2015 and JKOK: The Infinity of Jan Kaplicky, 2016).
Supervisors: Jiří Kroupa, Jindřich Vybíral, and Whitney Davis
He graduated from art history at Charles University in Prague and Masaryk University in Brno. In 2009–2011 he was a director of a house museum Villa Trmal in Prague (architect Jan Kotěra). In 2009 he was a co-founder of queer organisation Charlie at the Charles University. In 2011 he co-authored a book Homosexuality in the History of the Czech Culture (chapters on the visual arts). He has received his doctoral degree (PhDr.) in architecture history in 2015 with a thesis Structure of the City in the Green (on modern architecture in Hradec Králové) at Masaryk University in Brno. In 2013 he published a book The Museum House in Hradec Králové, 1909–1913, Jan Kotěra followed by a recent 2016 book Jan Kotěra in Hradec Králové. He edited books on the 20th century architecture and interior design (Experimental Housing Estate Invalidovna in 2014 and Design / Furniture / Interiors in the same year). In 2012 he curated exhibition What a Material: Queer Art from Central Europe followed by Spaces of Desire: Is Architecture Sexy (2016), Shapes, Colors, Comfot: Jitona Furniture (2018–2019), Sun City: Architectural Heritage from 1948–1989 (2019) and two exhibitions on the architect Jan Kaplický (Jan Kaplický: Story of a Visionary, 2015 and JKOK: The Infinity of Jan Kaplicky, 2016).
Supervisors: Jiří Kroupa, Jindřich Vybíral, and Whitney Davis
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Videos by Ladislav Jackson
In 1946, Jaroslav J. Polívka introduced himself to the “starchitect” Frank Lloyd Wright. On this particular story and a social matrix evolving around Henry Kaiser and Frank Lloyd Wright, the lecture seeks to rethink architectural global modernism as a cooperative project rather than a series of individual innovations manifested by isolated genius figures.
In 1931, the Vienna publishing house Anton Schroll & Co. published Heinrich Kulka’s extensive monograph on Adolf Loos. In his text, Kulka discussed Loos’s idea of being an architect, he wrote about ornament and the reduction of ornament, and then, on about one page, he outlined Loos’s space concept, which he named “raumplan”. After Loos’s death in 1933, many of his apprentices continued designing “in the Loos manner”, as Heinrich Kulka promoted his projects from the mid-1930s. What was the real purpose of the invention and use of the term “raumplan“ by Loos’s pupils and has there been anything like that after Loos’s death? The lecture will try to answer this question using examples of post-Loos works by Heinrich Kulka and Kurt Unger from 1933 to 1939.
Urbanista Vladimír Zákrejs spolu s Josefem Šejnou a Václavem Rejchlem ml. vytvořili v letech 1908–1909 vítězný regulační plán města Hradce Králové. Pro Zákrejse to ovšem byla i první příležitost ověření jeho projektu tzv. metodického územního plánování. Jeho součástí mělo být řešení daleko širších, nadnárodních/mezinárodních i národních krajinných a infrastrukturálních vztahů, ale také lokální podmínky. Ty představovaly hlavně systematická péče o nemovité a přírodní památky. Vladimír Zákrejs ze své vůle v souvislosti s regulačním plánem vytvořil dokonce dva podrobné seznamy nemovitých a přírodních památek v Hradci Králové. Co z nich můžeme vyčíst o jeho představě o památkové péči a řadí to Vladimíra Zákrejse k zapomenutým pionýrům památkové péče v regionu?
Books by Ladislav Jackson
In the late 1910s, Hradec Králové saw a variety of villas. One trend was represented by conservative architects, such as Jaroslav Pažout, František Jaroslav Černý, Václav Rejchl Snr., and Josef Fanta, who were inspired by historicisms, traditional architecture (half-timbering, cyclopean walls), and Art Nouveau ornaments. Oldřich Liska developed a remarkable decorative synthesis of cubism and classicism in his project of three villas in 1912—1913 for himself, Marie Sálová, and the Hypius family. They were opposed by progressive architects who were inspired by modern architecture represented by Jan Kotěra and his school. Vladimír Zákrejs, who build the villa for Václav Charvát and Václav Píša, ranked among his apprentices. In 1909, Josef Gočár designed a villa for Antonín Petrof and it was one of the most progressive designs published in Volné směry magazine. However, the Petrof family opted for more conservative designs that were realized for brothers Jan and Antonín Jr. Although some architects, such as Rudolf Němec, designed mostly conservative buildings, they were rather modern in the case of the villas, such as Němec’s villa for Robert Schmidt. František J. Černý designed several Renaissance Revival villas back in 1912, yet he designed a much more modern house for himself at the same time.
Some villas in traditional decorativism were designed after WWI, such as terraced houses by Josef Mudra or Čeněk Vorlíček’s villa. In about 1925, when the principles of purism and avant-garde international style started to arrive in the Czech Republic, these ideas were implemented in the villa architecture in Hradec Králové as well. The illustration may be the terraced houses by Josef Sedlák, Emílie Waldeková-Kmochová’s villa designed by František Janda, who was Jan Kotěra’s apprentice, or Anna Urbanová’s villa designed by Ondřej Rádl. The combination of traditional elements and modern space and elements was massively spread in Hradec Králové in the 1930s. The villas were designed by Jan Rejchl, Milan Babuška, Oldřich Liska, and Bohumil Waigant. The villa of the Cee family designed by Karel Horák is the only construction in Hradec Králové build in the international style inspired by Le Corbusier. The villas designed by the Jewish architect Kurt Spielmann are rather noteworthy; he designed the villa for the Fuchs family and the villa for the doctor Oldřich Smetana. The villas are designed traditionally, yet the interiors are connected and are functionally divided by zones and levels as in Adolf Loos’s work. His villas usually featured two staircases – the main and the operational ones – that made the operation of the house dynamic.
The beginning of WWII saw the construction of 11 houses for German workers and 5 houses for the employees of the Škoda factory located in Slezské Předměstí. The author of the practical minimum living for five-member families was František Dus. The wooden prefabricated houses made of Swedish wood were inspired by the Hartl Austrian design, named after Wenzel Hartl, and built in the north-eastern part of Slezské Předměstí after the end of the war in 1950. This was the end of building the villas, houses, and houses for the employees funded by the individuals. After 1948 the construction was either self-built and self-funded, performed through the building cooperative, or the state and municipality.
In 1946, Jaroslav J. Polívka introduced himself to the “starchitect” Frank Lloyd Wright. On this particular story and a social matrix evolving around Henry Kaiser and Frank Lloyd Wright, the lecture seeks to rethink architectural global modernism as a cooperative project rather than a series of individual innovations manifested by isolated genius figures.
In 1931, the Vienna publishing house Anton Schroll & Co. published Heinrich Kulka’s extensive monograph on Adolf Loos. In his text, Kulka discussed Loos’s idea of being an architect, he wrote about ornament and the reduction of ornament, and then, on about one page, he outlined Loos’s space concept, which he named “raumplan”. After Loos’s death in 1933, many of his apprentices continued designing “in the Loos manner”, as Heinrich Kulka promoted his projects from the mid-1930s. What was the real purpose of the invention and use of the term “raumplan“ by Loos’s pupils and has there been anything like that after Loos’s death? The lecture will try to answer this question using examples of post-Loos works by Heinrich Kulka and Kurt Unger from 1933 to 1939.
Urbanista Vladimír Zákrejs spolu s Josefem Šejnou a Václavem Rejchlem ml. vytvořili v letech 1908–1909 vítězný regulační plán města Hradce Králové. Pro Zákrejse to ovšem byla i první příležitost ověření jeho projektu tzv. metodického územního plánování. Jeho součástí mělo být řešení daleko širších, nadnárodních/mezinárodních i národních krajinných a infrastrukturálních vztahů, ale také lokální podmínky. Ty představovaly hlavně systematická péče o nemovité a přírodní památky. Vladimír Zákrejs ze své vůle v souvislosti s regulačním plánem vytvořil dokonce dva podrobné seznamy nemovitých a přírodních památek v Hradci Králové. Co z nich můžeme vyčíst o jeho představě o památkové péči a řadí to Vladimíra Zákrejse k zapomenutým pionýrům památkové péče v regionu?
In the late 1910s, Hradec Králové saw a variety of villas. One trend was represented by conservative architects, such as Jaroslav Pažout, František Jaroslav Černý, Václav Rejchl Snr., and Josef Fanta, who were inspired by historicisms, traditional architecture (half-timbering, cyclopean walls), and Art Nouveau ornaments. Oldřich Liska developed a remarkable decorative synthesis of cubism and classicism in his project of three villas in 1912—1913 for himself, Marie Sálová, and the Hypius family. They were opposed by progressive architects who were inspired by modern architecture represented by Jan Kotěra and his school. Vladimír Zákrejs, who build the villa for Václav Charvát and Václav Píša, ranked among his apprentices. In 1909, Josef Gočár designed a villa for Antonín Petrof and it was one of the most progressive designs published in Volné směry magazine. However, the Petrof family opted for more conservative designs that were realized for brothers Jan and Antonín Jr. Although some architects, such as Rudolf Němec, designed mostly conservative buildings, they were rather modern in the case of the villas, such as Němec’s villa for Robert Schmidt. František J. Černý designed several Renaissance Revival villas back in 1912, yet he designed a much more modern house for himself at the same time.
Some villas in traditional decorativism were designed after WWI, such as terraced houses by Josef Mudra or Čeněk Vorlíček’s villa. In about 1925, when the principles of purism and avant-garde international style started to arrive in the Czech Republic, these ideas were implemented in the villa architecture in Hradec Králové as well. The illustration may be the terraced houses by Josef Sedlák, Emílie Waldeková-Kmochová’s villa designed by František Janda, who was Jan Kotěra’s apprentice, or Anna Urbanová’s villa designed by Ondřej Rádl. The combination of traditional elements and modern space and elements was massively spread in Hradec Králové in the 1930s. The villas were designed by Jan Rejchl, Milan Babuška, Oldřich Liska, and Bohumil Waigant. The villa of the Cee family designed by Karel Horák is the only construction in Hradec Králové build in the international style inspired by Le Corbusier. The villas designed by the Jewish architect Kurt Spielmann are rather noteworthy; he designed the villa for the Fuchs family and the villa for the doctor Oldřich Smetana. The villas are designed traditionally, yet the interiors are connected and are functionally divided by zones and levels as in Adolf Loos’s work. His villas usually featured two staircases – the main and the operational ones – that made the operation of the house dynamic.
The beginning of WWII saw the construction of 11 houses for German workers and 5 houses for the employees of the Škoda factory located in Slezské Předměstí. The author of the practical minimum living for five-member families was František Dus. The wooden prefabricated houses made of Swedish wood were inspired by the Hartl Austrian design, named after Wenzel Hartl, and built in the north-eastern part of Slezské Předměstí after the end of the war in 1950. This was the end of building the villas, houses, and houses for the employees funded by the individuals. After 1948 the construction was either self-built and self-funded, performed through the building cooperative, or the state and municipality.
Publikace mapuje cestu k experimentální výstavbě a její inspirace, utváření urbanistické koncepce hlavními architekty Vojtěchem Šaldou a Josefem Polákem, jednotlivé stavby, občanskou vybavenost a zeleň, umělecká díla ve veřejném prostoru a podrobně se věnuje ukázkovým interiérům, které navrhoval Ústav bytové a oděvní kultury a které byly v rámci výstavy zpřístupněny v roce 1964 jako vzorové bydlení.
Publikace přináší současnou dokumentaci historické snímky a plány, rozhovory s žijícími tvůrci tohoto ojedinělého celku poválečné architektury a urbanismu.
Studie ukazuje, jak se proměnily podmínky pro architekty mezi dvacátými lety, dekádou hojnosti a stavebního kvasu, a třicátými lety, dobou hospodářské krize a jejích následků, a jak se promítly do konkurenčního prostředí. Současně se na probíhajícím konkurenčním boji vyjevují vztahy mezi jednotlivými aktéry – architekty samotnými i zástupci korporací, města, stavitelských firem ad. Královéhradeckou architektonickou scénu je tak možné interpretovat jako pole agentnosti, kde soupeří jednotlivé zájmy, a nemusíme rozlišovat, zda jsou osobní či korporátní, ekonomické či umělecké.
The transdisciplinary conference welcomes papers on general, social and cultural history, historical anthropology, literary history, history of art and aesthetics, music, film and TV studies, library and archive studies, museum studies etc.
Paper topics may focus, among other topics, on:
• Emancipation history, fighting for LGBTIQ+ rights, cross-sections of these attempts and those with other emancipation or modernization movements
• History of oppression, criminalization and disciplination of LGBTIQ+ people
• Self-interpretation of LGBTIQ+ people in various periods of the past
• LGBTIQ+ presence and visibility, life experience in archives, museums and libraries
• Medical, legal, social and other discourses about trans* people
• Representation of LGBTIQ+ people in visual arts, literature, performing arts, film and TV genres
• LGBTIQ+ people as authors of artworks and cultural values and their (queer) reception
• Queer space and spatiality: queer people in private and public space
• Queer history in the course of WWII: queer holocaust history, queer everydayness in the Protectorate, collaboration of queer people with the Nazi regime, queer resistance movement
• Queer oral history
Deadline for proposal submission: May 30, 2019
Date and venue: November 29–30, 2019 (Fri–Sat) at Faculty of Arts, Charles University, Prague
Ursula Prokop is an architectural and cultural historian, who focuses on the multicultural environment in Vienna between 1900 and 1938. Most significant publications of hers are Wien, Aufbruch zur Metropole (Vienna: The Rise of a Metropolis, 1994), Margaret Stonborough-Wittgenstein: Bauherrin, Intellektuelle, Mäzenin (Margaret Stonborough-Wittgenstein: builder, intellectual, patron, 2005, in 2010 published in English under the title Margaret Stonborough Wittgenstein) and, rather recently, Zum Judischen Erbe in Der Wiener Architektur: Der Beitrag Judischer Architektinnen Am Wiener Baugeschehen 1868‒1938 (On the Jewish legacy in Viennese architecture: The contribution of Jewish architects to the Viennese building process 1868‒1938, 2016). Ursula Prokop, nowadays the independent researcher, ranks among researchers, whose outcomes have been consistent for decades and are characterized by truly accurate and nearly exhaustive archive research. While the original book was published in German, the English edition excels in outstanding translation by Dr. Laura McGuire, assistant professor of history and theory of architecture at the School of Architecture, University of Hawai'i at Mānoa.
Ke knize je však možné mít i několik celkem závažných výhrad. První se týká podtitulu: už v úvodní kapitole Je brutalismus brutální? autoři zpochybňují současnou tendenci označovat za brutalismus kdeco. Píší: „Pojmem brutalismus je dnes označována velmi široká plejáda projevů z různých období (včetně současnosti), s odlišnými etickými nebo estetickými východisky. [To ale] tématu brutalismu škodí, poněvadž kromě myšlenkově spřízněných projevů jsou pod tento termín paušálně řazeny také stavby jen punkiové, betonové, syrové nebo svou estetikou manýristicky vytěžující původní morálně sevřený záměr.“ Zůstává tedy otázkou, proč se přesto autoři rozhodli pro stejnou sterategii, kterou tak trefně kritizují. Nelze si to vysvětlit jinak, než trochu schizofrenní snahou prodat knihu pod „brandem“ brutalismu a věc pak na prvních stranách uvést na pravou míru. Daleko větší problém je ale s klasifikací staveb do sedmi myšlenkově-formálních kategorií. Jak ukazují i výše použité citace, jejich charakteristika je příliš vágní (třeba pojem „osobitý“ se objevuje skoro ve všech výkladech) a čtenář se může právěm ptát, proč je která stavba zařazena právě tam, kam je. Autoři totiž jako by trochu zapomněli, že architektonická díla jsou z podstaty ambivalentní, vícevýznamové stavaby a tak je třeba hotel Praha stejně tak krajinný, jako plastický, telefonní ústředna v Dejvicích je stejně technicistní, jako konstruktivní či geometrická. Jakkoli originální a pluralitní kategorie autoři zavádějí a stavby k nim přiřazují, zapomínají, že tím stavby v očích čtenáře obírají o další významy, výklady a vrstvy, které jsou v nich implicitně obsaženy.
Anotace: Měsíc queer historie zakončí přednáška historika umění Ladislava Zikmunda-Lendera v Autonomním sociálním centru Klinika.
Ve stejné době, kdy se začal Edward Carpenter angažovat v hnutí utopického socialismu, začal také psát o soudobé kultuře a umění a současně bojovat za emancipaci neheterosexuálních lidí. Jak dokázal tyto tři oblasti veřejného působení skloubit a propojit?