{"id":4226,"date":"2022-01-03T19:20:30","date_gmt":"2022-01-03T18:20:30","guid":{"rendered":"https:\/\/www.sovamm.cz\/wordpress\/?page_id=4226"},"modified":"2022-01-04T13:34:58","modified_gmt":"2022-01-04T12:34:58","slug":"macel-vajdis-2","status":"publish","type":"page","link":"https:\/\/sovamm.cz\/wordpress\/en\/exhibitions\/exhibition-macel-vajdis\/macel-vajdis-2\/","title":{"rendered":"M\u00e1\u010del \u2014 Vajdi\u0161"},"content":{"rendered":"

The names Otakar M\u00e1\u010del (1920\u20141997)<\/a> and Jaroslav Vajdi\u0161 (1920\u20142006)<\/a> are often mentioned together. It is not a coincidence, as there are many reasons for that. Both born in 1920, they belonged to a generation marked by the war. After the war, they met while studying at the Faculty of Architecture and Civil Engineering of the University of Technology of Dr Edvard Bene\u0161 (today’s Brno University of Technology) in Brno. They were delivered lectures even by Professor Anton\u00edn Kurial, who is mentioned, alongside Bohuslav Fuchs and Bed\u0159ich Rozehnal, in Jaroslav Vajdi\u0161’s memoirs, albeit with critical reservations.<\/p>\n

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Jaroslav Vajdi\u0161: B\u0159ez\u016fvky, 1948.<\/em><\/p>\n

It is probably not a coincidence that Vajdi\u0161’s first drawings of vernacular architecture were created in that period. As a student, Otakar M\u00e1\u010del documented for Kurial\u00b4s archive a half-demolished house, former No. 49 in Pavlov, a location to which he remained faithful for the rest of his life.<\/p>\n

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Otakar M\u00e1\u010del: Documentation of former No. 49 in Pavlov, <\/em>1948.<\/em><\/p>\n

Both architects also kept their interest in vernacular architecture and the village. Probably also the need to isolate themselves from the conditions in which architects and architecture found themselves after 1948 brought them to the Research Institute of Building Engineering and Architecture (V\u00daVA), where they had the opportunity to focus on the issue of the village and rural buildings. Their systematic research and documentation in that period resulted in their best-known and joint work, the monograph Slov\u00e1cko: architektonick\u00fd v\u00fdvoj vesnice<\/em> [Slov\u00e1cko: the Architectural Development of the Village], published in 1958. In the subsequent years – even after Jaroslav Vajdi\u0161 left for the State Institute for the Reconstruction of Historical Towns and Monuments (S\u00daRPMO) and later Otakar M\u00e1\u010del for the Regional Centre for State Heritage Care and Nature Protection (KSSPPOP) in Brno – they met on joint projects and on documentation and conceptual work for planned protected areas (village reserves and zones) and open-air museums.<\/p>\n

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Jaroslav Vajdi\u0161: Hill with terraces near \u017deletice, 1965.<\/em>
\nOtakar M\u00e1\u010del: Landscape, 1991.<\/em><\/p>\n

Both of them also had a considerable artistic talent and throughout their lives they dealt with visual arts. Although the photographic production of Jaroslav Vajdi\u0161 is probably better known, Otakar M\u00e1\u010del was also an excellent photographer, but it is his paintings that enjoy more attention. The artistic world of Otakar M\u00e1\u010del is much more colourful thanks to his talent for painting. Jaroslav Vajdi\u0161 not only photographed almost exclusively on black-and-white material, but the colour is marginalized also in his graphic works. This was also due to his limited ability of colour vision.<\/p>\n

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Jaroslav Vajdi\u0161: Drawing technique: white chalk on the wall, 1963.<\/em>
\nOtakar M\u00e1\u010del: From the set of photographs Disappearing Brno, 1965.<\/em><\/p>\n