DOI Heft:
No. 389 (August 1925)
DOI Artikel:Mourey, Gabriel: The Paris International Exhibition, 1925, [2]: the Czecho-Slovakian Pavillon
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.21403#0107
THE CZECHO-SLOVAKIAN PAVILION AT PARIS
"POTTERY." TAPESTRY IN SERIES REPRESENT-
ING THE ARTS AND CRAFTS OF CZECHO-
SLOVAKIA. DESIGNED BY F. KYSELA
EXECUTED BY M ME. TEINITZEROVA
(Internat. Exhibn. of Modern Decorative and
Industrial Arts, Paris)
vakia, a peculiar charm, which, however,
it is by no means easy to define, a a
The architecture of the Pavilion (by
M. Gocir) is in no sense " regional," but
is frankly modern in the most complete
significance of the word, by which I mean
that it owes nothing to the past and is
unreservedly utilitarian. Whether this is
to be considered a virtue or a defect
depends on one's point of view. In any
case, with its simplicity, the rigidity of
its lines, the adjustment of its masses
(sufficiently indicating to what functions
they correspond in the interior), the facingof
fluted red glass squares (sang de bceuf red)
up to a certain height, it is undeniable that
101
"POTTERY." TAPESTRY IN SERIES REPRESENT-
ING THE ARTS AND CRAFTS OF CZECHO-
SLOVAKIA. DESIGNED BY F. KYSELA
EXECUTED BY M ME. TEINITZEROVA
(Internat. Exhibn. of Modern Decorative and
Industrial Arts, Paris)
vakia, a peculiar charm, which, however,
it is by no means easy to define, a a
The architecture of the Pavilion (by
M. Gocir) is in no sense " regional," but
is frankly modern in the most complete
significance of the word, by which I mean
that it owes nothing to the past and is
unreservedly utilitarian. Whether this is
to be considered a virtue or a defect
depends on one's point of view. In any
case, with its simplicity, the rigidity of
its lines, the adjustment of its masses
(sufficiently indicating to what functions
they correspond in the interior), the facingof
fluted red glass squares (sang de bceuf red)
up to a certain height, it is undeniable that
101