Editing Cubism (section)

==Architecture==
[[File:Palace of Assembly Chandigarh 2006.jpg|thumb|right|upright=1.25|Le Corbusier, Assembly building, [[Chandigarh]], India]]
Cubism formed an important link between early-20th-century art and architecture.<ref name="Blau & Troy">{{Cite book|url=https://www.worldcat.org/oclc/915987228|title=Architecture and cubism|date=April 19, 2002|publisher=Centre canadien d'architecture/Canadian Centre for Architecture : MIT Press|oclc=915987228|via=Open WorldCat}}</ref> The historical, theoretical, and socio-political relationships between avant-garde practices in painting, sculpture and architecture had early ramifications in France, Germany, the Netherlands and [[Czechoslovakia]]. Though there are many points of intersection between Cubism and architecture, only a few direct links between them can be drawn. Most often the connections are made by reference to shared formal characteristics: faceting of form, spatial ambiguity, transparency, and multiplicity.<ref name="Blau & Troy" />

Architectural interest in Cubism centered on the dissolution and reconstitution of three-dimensional form, using simple geometric shapes, juxtaposed without the illusions of classical perspective. Diverse elements could be superimposed, made transparent or penetrate one another, while retaining their spatial relationships. Cubism had become an influential factor in the development of modern architecture from 1912 (''La Maison Cubiste'', by [[Raymond Duchamp-Villon]] and [[André Mare]]) onwards, developing in parallel with architects such as [[Peter Behrens]] and [[Walter Gropius]], with the simplification of building design, the use of materials appropriate to industrial production, and the increased use of glass.<ref name="Christopher Green, Architecture">{{Cite web|url=https://www.moma.org/collection/|archive-url=https://web.archive.org/web/20120405115249/http://www.moma.org/collection/details.php?theme_id=10068&section_id=T020551|url-status=dead|title=The Collection &#124; MoMA|archive-date=April 5, 2012|website=The Museum of Modern Art}}</ref>

[[File:Zürich - Seefeld - Corbusier - Heidi Weber Museum IMG 1552.JPG|thumb|right|upright=1.25|Le Corbusier, [[Centre Le Corbusier]] (Heidi Weber Museum) in [[Zürich]]-[[Seefeld (Zürich)|Seefeld]] ([[Zürichhorn]])]]
Cubism was relevant to an architecture seeking a style that needed not refer to the past. Thus, what had become a revolution in both painting and sculpture was applied as part of "a profound reorientation towards a changed world".<ref name="Christopher Green, Architecture" /><ref>P. R. Banham. Theory and Design in the First Machine Age (London, 1960), p. 203</ref> The Cubo-Futurist ideas of [[Filippo Tommaso Marinetti]] influenced attitudes in avant-garde architecture. The influential [[De Stijl]] movement embraced the aesthetic principles of Neo-plasticism developed by [[Piet Mondrian]] under the influence of Cubism in Paris. De Stijl was also linked by [[Gino Severini]] to Cubist theory through the writings of Albert Gleizes. However, the linking of basic geometric forms with inherent beauty and ease of industrial application—which had been prefigured by Marcel Duchamp from 1914—was left to the founders of [[Purism (arts)|Purism]], [[Amédée Ozenfant]] and Charles-Édouard Jeanneret (better known as [[Le Corbusier]],) who exhibited paintings together in Paris and published ''Après le cubisme'' in 1918.<ref name="Christopher Green, Architecture" /> Le Corbusier's ambition had been to translate the properties of his own style of Cubism to architecture. Between 1918 and 1922, Le Corbusier concentrated his efforts on Purist theory and painting. In 1922, Le Corbusier and his cousin Jeanneret opened a studio in Paris at 35 rue de Sèvres. His theoretical studies soon advanced into many different architectural projects.<ref>Choay, Françoise, ''le corbusier'' (1960), pp. 10–11. George Braziller, Inc. {{ISBN|0-8076-0104-7}}</ref>

===La Maison Cubiste (Cubist House)===
{{main|La Maison Cubiste}}
[[File:Raymond Duchamp-Villon, 1912, Projet d'hôtel, Maquette de la façade de la Maison Cubiste, published in Les Peintres Cubistes, 1913.jpg|thumb|upright=1.25|[[Raymond Duchamp-Villon]], 1912, Study for ''La Maison Cubiste, Projet d'Hotel (Cubist House)''. Image published in ''Les 
Peintres Cubistes'', by Guillaume Apollinaire, 17 March 1913]]
[[File:La Maison Cubiste, Le Salon Bourgeois, Salon d'Automne, 1912, Paris.jpg|thumb|upright=1.25|''Le Salon Bourgeois'', designed by [[André Mare]] for  ''La Maison Cubiste'', in the decorative arts section of the {{lang|fr|Salon d'Automne|italic=no}}, 1912, Paris. Metzinger's ''[[Femme à l'Éventail]]'' on the left wall]]

At the 1912 {{lang|fr|[[Salon d'Automne]]|italic=no}} an architectural installation was exhibited that quickly became known as ''Maison Cubiste'' (Cubist House), with architecture by [[Raymond Duchamp-Villon]] and interior decoration by [[André Mare]] along with a group of collaborators. Metzinger and Gleizes in ''[[Du "Cubisme"]]'', written during the assemblage of the "Maison Cubiste", wrote about the autonomous nature of art, stressing the point that decorative considerations should not govern the spirit of art. Decorative work, to them, was the "antithesis of the picture". "The true picture" wrote Metzinger and Gleizes, "bears its ''raison d'être'' within itself. It can be moved from a church to a [[drawing-room]], from a museum to a study. Essentially independent, necessarily complete, it need not immediately satisfy the mind: on the contrary, it should lead it, little by little, towards the fictitious depths in which the coordinative light resides. It does not harmonize with this or that ensemble; it harmonizes with things in general, with the universe: it is an organism...".<ref>{{Cite web|url=http://www.learn.columbia.edu/monographs/picmon/pdf/art_hum_reading_46.pdf|archive-url=https://web.archive.org/web/20130602141918/http://www.learn.columbia.edu/monographs/picmon/pdf/art_hum_reading_46.pdf|url-status=dead|title=Albert Gleizes and Jean Metzinge, except from ''Du Cubisme'', 1912|archive-date=June 2, 2013}}</ref>

''La Maison Cubiste'' was a fully furnished model house, with a  facade, a staircase, wrought iron banisters, and two rooms:  a living room—the ''Salon Bourgeois'', where paintings by Marcel Duchamp, Metzinger (''Woman with a Fan''), Gleizes, Laurencin and Léger were hung, and a bedroom. It was an example of ''L'art décoratif'', a home within which Cubist art could be displayed in the comfort and style of modern, bourgeois life. Spectators at the {{lang|fr|Salon d'Automne|italic=no}} passed through the plaster facade, designed by Duchamp-Villon, to the two furnished rooms.<ref>[http://www.kubisme.info/kt324a.html La Maison Cubiste, 1912] {{webarchive|url=https://web.archive.org/web/20130313233214/http://www.kubisme.info/kt324a.html |date=2013-03-13 }}</ref> This architectural installation was subsequently exhibited at the 1913 [[Armory Show]], New York, Chicago and Boston,<ref>[http://www.kubisme.info/kt315s.html Kubistische werken op de Armory Show] {{webarchive|url=https://web.archive.org/web/20130313233210/http://www.kubisme.info/kt315s.html |date=2013-03-13 }}</ref> listed in the catalogue of the New York exhibit as Raymond Duchamp-Villon, number 609, and entitled ''"Facade architectural, plaster"'' (''Façade architecturale'').<ref>{{Cite web|url=https://www.aaa.si.edu/collections/items/detail/detail-duchampvillons-faade-architecturale-14604|archive-url=https://web.archive.org/web/20130314150144/http://www.aaa.si.edu/collections/images/detail/detail-duchampvillons-faade-architecturale-14604|url-status=dead|title=Detail of Duchamp-Villon's Façade architecturale, 1913, from the Walt Kuhn Family papers and Armory Show records, 1859–1984, bulk 1900–1949|archive-date=March 14, 2013|website=www.aaa.si.edu}}</ref><ref>{{Cite web|url=http://archive.org/details/catnter00unse|title=Catalogue of international exhibition of modern art: at the Armory of the Sixty-ninth Infantry|date=April 19, 1913|publisher=Association of American Painters and Sculptors|via=Internet Archive}}</ref>
[[File:Jacques Doucet's hôtel particulier, 33 rue Saint-James, Neuilly-sur-Seine, 1929 photograph Pierre Legrain.jpg|thumb|upright=1.00|[[Jacques Doucet (fashion designer)|Jacques Doucet]]'s hôtel particulier, 33 rue Saint-James, Neuilly-sur-Seine]]
The furnishings, wallpaper, upholstery and carpets of the interior were designed by [[André Mare]], and were early examples of the influence of cubism on what would become [[Art Deco]].  They were composed of very brightly colored roses and other floral patterns in stylized geometric forms.

Mare called the living room in which Cubist paintings were hung the ''Salon Bourgeois''. Léger described this name as 'perfect'. In a letter to Mare prior to the exhibition Léger wrote: "Your idea is absolutely splendid for us, really splendid. People will see Cubism in its domestic setting, which is very important.<ref name="moma.org"/>

"Mare's ensembles were accepted as frames for Cubist works because they allowed paintings and sculptures their independence", Christopher Green wrote, "creating a play of contrasts, hence the involvement not only of Gleizes and Metzinger themselves, but of Marie Laurencin, the Duchamp brothers (Raymond Duchamp-Villon designed the facade) and Mare's old friends Léger and Roger La Fresnaye".<ref>{{Cite book|url=https://books.google.com/books?id=vlY6SLmg-xEC&q=%22maison+cubiste%22+1912&pg=PA161|archive-url=https://web.archive.org/web/20161130140743/https://books.google.com/books?id=vlY6SLmg-xEC&pg=PA161&lpg=PA161&dq=%22maison+cubiste%22+1912&source=bl&ots=jv-hGOpwJc&sig=0m8pM6Oi2mPGtmB6uB0Fe3s9YAQ&hl=en|url-status=dead|title=Art in France, 1900–1940|first=Christopher|last=Green|date=January 1, 2000|archive-date=November 30, 2016|publisher=Yale University Press|isbn = 0300099088|via=Google Books}}</ref>

In 1927, Cubists [[Joseph Csaky]], [[Jacques Lipchitz]], [[Louis Marcoussis]], [[Henri Laurens]], the sculptor [[Gustave Miklos]], and others collaborated in the decoration of a Studio House, rue Saint-James, [[Neuilly-sur-Seine]], designed by the architect Paul Ruaud and owned by the French fashion designer [[Jacques Doucet (fashion designer)|Jacques Doucet]], also a collector of [[Post-Impressionist]] and Cubist paintings (including ''[[Les Demoiselles d'Avignon]]'', which he bought directly from Picasso's studio). Laurens designed the fountain, Csaky designed Doucet's staircase,<ref>{{cite book |url=https://books.google.com/books?id=vlY6SLmg-xEC&q=%22jacques+doucet%22+staircase+by+joseph+csaky&pg=PA57 |title=Joseph Csaky's staircase in the home of Jacques Doucet |isbn=0300099088 |access-date=18 December 2012 |url-status=live |archive-url=https://web.archive.org/web/20160430202312/https://books.google.com/books?id=vlY6SLmg-xEC&pg=PA57&lpg=PA57&dq=%22jacques+doucet%22+staircase+by+joseph+csaky&source=bl&ots=jvZeOQqDNb&sig=FF6sbrEJ7QnZEljAmyquHlR6oJI&hl=fr#v=onepage&q=%22jacques%20doucet%22%20staircase%20by%20joseph%20csaky&f=false |archive-date=30 April 2016 |last1=Green |first1=Christopher |year=2000 |publisher=Yale University Press }}</ref> Lipchitz made the fireplace mantel, and Marcoussis made a Cubist rug.<ref>{{cite web |first=Aestheticus |last=Rex |url=http://aestheticusrex.blogspot.com.es/2011/04/jacques-doucets-studio-st-james-at.html |title=Jacques Doucet's Studio St. James at Neuilly-sur-Seine |publisher=Aestheticusrex.blogspot.com.es |date=14 April 2011 |access-date=18 December 2012 |url-status=live |archive-url=https://web.archive.org/web/20130327104507/http://aestheticusrex.blogspot.com.es/2011/04/jacques-doucets-studio-st-james-at.html |archive-date=27 March 2013 }}</ref><ref>{{cite book |url=https://books.google.com/books?id=fcKfjM9OknEC&q=jacques+doucet%2C+rue+Saint-James%2C+Neuilly&pg=PA56 |title=''The Modernist Garden in France'', Dorothée Imbert, 1993, Yale University Press |isbn=0300047169 |access-date=18 December 2012 |url-status=live |archive-url=https://web.archive.org/web/20160430165254/https://books.google.com/books?id=fcKfjM9OknEC&pg=PA56&lpg=PA56&dq=jacques+doucet,+rue+Saint-James,+Neuilly&source=bl&ots=QqQ4m-jgXG&sig=5RJ8fjC4pmSaCE2b9sRNDNN3IfM&hl=en#v=onepage&q=jacques%20doucet%2C%20rue%20Saint-James%2C%20Neuilly&f=false |archive-date=30 April 2016 |last1=Imbert |first1=Dorothée |year=1993 |publisher=Yale University Press }}</ref>
<ref>{{cite book |url=https://books.google.com/books?id=rUPz18-QeyEC&q=jacques+doucet%2C+joseph+Csaky&pg=PA5 |title=Joseph Csáky: A Pioneer of Modern Sculpture, Edith Balas, 1998, p. 5 |isbn=9780871692306 |access-date=18 December 2012 |url-status=live |archive-url=https://web.archive.org/web/20160430153058/https://books.google.com/books?id=rUPz18-QeyEC&pg=PA5&lpg=PA5&dq=jacques+doucet,+joseph+Csaky&source=bl&ots=wywyzJn6BX&sig=SeI2no9a60nGo0uIEfOSpbjxWVM&hl=en#v=onepage&q=jacques%20doucet%2C%20joseph%20Csaky&f=false |archive-date=30 April 2016 |last1=Balas |first1=Edith |year=1998 |publisher=American Philosophical Society }}</ref>

===Czech Cubist architecture===
[[File:Dům U černé Matky Boží 02.JPG|thumb|[[House of the Black Madonna]] in Prague, built by [[Josef Gočár]] in 1912|left]]
{{main|Czech Cubism|Rondocubism}}
The original Cubist architecture is very rare. Cubism was applied to architecture only in [[Bohemia]] (today [[Czech Republic]]) and especially in its capital, [[Prague]].<ref name=bonek>{{cite book|last1=Boněk|first1=Jan|title=Cubist Prague|date=2014|publisher=Eminent|location=Prague|isbn=978-80-7281-469-5|page=9}}</ref><ref name=cztourism>{{cite web|title=Cubism|url=https://www.czechtourism.com/p/cubism-editorial/|website=www.czechtourism.com|publisher=CzechTourism|access-date=1 September 2015|url-status=live|archive-url=https://web.archive.org/web/20151016060851/https://www.czechtourism.com/p/cubism-editorial/|archive-date=16 October 2015}}</ref> Czech architects were the first and only ones to ever design original Cubist buildings.<ref name=radioprague>{{cite web|title=Cubist architecture|url=http://www.radio.cz/en/static/inventors/cubism|website=www.radio.cz|publisher=Radio Prague|access-date=1 September 2015|url-status=live|archive-url=https://web.archive.org/web/20150911055421/http://www.radio.cz/en/static/inventors/cubism|archive-date=11 September 2015}}</ref> Cubist architecture flourished for the most part between 1910 and 1914, but the Cubist or Cubism-influenced buildings were also built after [[World War I]]. After the war, the architectural style called ''Rondo-Cubism'' was developed in Prague fusing the Cubist architecture with round shapes.<ref name=czkubista>{{cite web|title=Czech Cubism|url=http://www.kubista.cz/en/cubism/profiles.html#|website=www.kubista.cz|publisher=Kubista|access-date=1 September 2015|url-status=live|archive-url=https://web.archive.org/web/20151008123014/http://www.kubista.cz/en/cubism/profiles.html|archive-date=8 October 2015}}</ref>

[[File:Vyšehrad_Kovařovicova_vila_7.jpg|thumb|Villa Kovařovic in Prague by [[Josef Chochol]]]]
In their theoretical rules, the Cubist architects expressed the requirement of dynamism, which would surmount the matter and calm contained in it, through a creative idea, so that the result would evoke feelings of dynamism and expressive plasticity in the viewer. This should be achieved by shapes derived from pyramids, cubes and prisms, by arrangements and compositions of oblique surfaces, mainly triangular, sculpted facades in protruding crystal-like units, reminiscent of the so-called [[diamond cut]], or even cavernous that are reminiscent of the late [[Gothic architecture]]. In this way, the entire surfaces of the facades including even the gables and dormers are sculpted. The grilles as well as other architectural ornaments attain a three-dimensional form. Thus, new forms of windows and doors were also created, e. g. [[hexagonal window]]s.<ref name=czkubista/> Czech Cubist architects also designed Cubist furniture.

The leading Cubist architects were [[Pavel Janák]], [[Josef Gočár]], [[Vlastislav Hofman]], [[Emil Králíček]] and [[Josef Chochol]].<ref name=czkubista/> They worked mostly in Prague but also in other Bohemian towns. The best-known Cubist building is the [[House of the Black Madonna]] in the [[Old Town of Prague]] built in 1912 by Josef Gočár with the only Cubist café in the world, Grand Café Orient.<ref name=bonek/> Vlastislav Hofman built the entrance pavilions of [[Ďáblice cemetery|Ďáblice Cemetery]] in 1912–1914, Josef Chochol designed several residential houses under [[Vyšehrad]]. A Cubist streetlamp has also been preserved near the [[Wenceslas Square]], designed by Emil Králíček in 1912, who also built the Diamond House in the [[New Town of Prague]] around 1913.