{"id":4242,"date":"2022-01-03T22:13:41","date_gmt":"2022-01-03T21:13:41","guid":{"rendered":"https:\/\/www.sovamm.cz\/wordpress\/?page_id=4242"},"modified":"2022-01-03T22:13:41","modified_gmt":"2022-01-03T21:13:41","slug":"otakar-macel","status":"publish","type":"page","link":"https:\/\/sovamm.cz\/wordpress\/en\/exhibitions\/exhibition-macel-vajdis\/macel-vajdis-2\/otakar-macel\/","title":{"rendered":"Otakar M\u00e1\u010del"},"content":{"rendered":"

(25.\u200a8.\u200a1920 Brno \u2013 24.\u200a6.\u200a1997 Brno)<\/em><\/p>\n

He was born in Brno where he studied at a secondary school, and after his school-leaving exam he attended a two-year-long postsecondary education course at the Technical High School. At the same time, he privately studied painting with Franti\u0161ek Kal\u00e1b, which was terminated when Kal\u00e1b was arrested in 1941.Between 1942 and 1945 he did forced labour in Nazi Germany. After the war, between 1945 and 1949, he studied architecture and civil engineering at the University of Technology of Dr Edvard Bene\u0161 in Brno. After his studies, he was employed as head of the design department at the Folk Art Industry Cooperative in Bratislava, and between 1950 and 1952 as an assistant at the Department of the History of Architecture at the Brno University of Technology. In 1953 he moved to the Institute for Regional Planning, and in 1954 to the Brno branch of the Research Institute of Building Engineering and Architecture (V\u00daVA) in Prague. His work at V\u00daVA was a very fruitful period of his life, as evidenced by a number of studies focussed on the urban structure of the village and rural architecture. From 1968 until his retirement he worked at the Regional Centre of State Heritage Care and Nature Protection (KSSPPOP) in Brno, first as a specialist in vernacular architecture and the village, and later as a research fellow at the Brno agglomeration department. In the late 1960s, the management of the Institute of Folk Culture invited him to create the architectural concept of the planned Open-Air Museum of Rural Architecture in South-East Moravia in Str\u00e1\u017enice, which he dealt with for more than twenty year.<\/p>\n

\"\"<\/a><\/p>\n

Otakar M\u00e1\u010del in Str\u00e1\u017enice in 1980.<\/em><\/p>\n

At the turn of the 1960s and 1970s, he also created an unimplemented project of a museum of vernacular buildings in the grounds of the Veve\u0159\u00ed Castle, and an architectural concept and design of the exhibition \u201cEnsemble of Vernacular Buildings\u201d in P\u0159\u00edkazy. He also contributed to making monuments of vernacular architecture in situ accessible (e.g. Topoln\u00e1 No. 90 and 93).<\/p>\n

\"\"<\/a><\/p>\n

Restoration of the facade of house No. 145 in Pavlov
\nat the end of the 1960s.<\/em><\/p>\n

He personally took over the cellar house No. 145 in Pavlov, which is not only a cultural monument, but since 2014 also a national cultural monument; this building became a second home for him and his family and a place of meetings with his colleagues and friends.<\/p>\n

\"\"<\/a>\"\"<\/a><\/p>\n

Otakar M\u00e1\u010del in Pavlov.<\/em><\/p>\n

As an architect, he focussed on interior design and participation in competitions. He found a close collaborator in his second wife Emmy (1921-2012), n\u00e9e van den Broecke, an interior architect, whom he married in 1949.
\nHe founded the interior design section of the Association of Architects, of which he was a member from 1949 to 1969. He also applied his professional experience and language skills internationally. He became a member of CIAV, the ICOMOS Committee for Vernacular Architecture (Comit\u00e9 International d’Architecture Vernaculaire), member of AEOM (Verband europ\u00e4ischer Freilichtmuseen \/ Association des mus\u00e9es de plein air europ\u00e9ens \/ Association of European Open Air Museums), and later a member of DoCoMoMo (International Committee for Documentation and Conservation of Buildings, Sites and Neighbourhoods of the Modern Movement).
\nIn addition to Moravia, his research interest in traditional vernacular architecture and the village was focussed on southern Bohemia and the neglected area of the Germanized H\u0159ebe\u010dsko region.
\nHis paintings and photographic works, which he presented at many exhibitions, were an inseparable part of his life. His artistic focus is also reflected in his characteristic exploded view drawings, many of which date back to the period of his work at V\u00daVA.<\/p>\n

\u2192 M\u00e1\u010del \u2014 Vajdi\u0161<\/a><\/em><\/p>\n

Exhibitions:<\/h3>\n