出版社：Institute of the History of Art of the Academy of Sciences of the Czech Republic
摘要：To date, many art historians have devoted themselves to the study of the history
of Surrealism and Functionalism. Still, we do not know very much of the actual
interrelationship between both -isms. A group of scientific Functionalists
formed itself around Karel Teige in Czech architecture in the early 1930s. These
were mostly orthodox rationalists who denied that architecture could have any
artistic status and who also ignored the psychological impact of architectural
form. Under Teige's leadership they pointed a critical finger at Le Corbusier.
But as Teige began to get closer to Surrealism, he could hardly ignore Breton's
onslaughts against agitated rationalism in modern architecture, particularly so
when Breton had repeated such attacks in Prague in 1935. Teige was also
impressed by Breton's call to overcome the contradictions existing between
reality and dream, science and art, between rationality and emotivity. Even
though the Prague theoretician had not abandoned his ideal of science-based
architecture, he did admit that Functionalism would be still more scientific if,
using psychoanalysis, it would explore the impact of its architectural form on
the human soul. Theses and hypotheses of this kind appeared in Teige's
Sovétská architektura (Soviet Architecture, 1936), in a preface to the
book by Ladislav Žák Obytná krajina (Inhabited Landscape, 1947), and may
also be found in the texts written by architects Karel Janů, Jiří Štursa, Jiří
Voženílek, Jiří Kroha, eventually Vít Obrtel, who, however, had stood outside
Teige's circle at that time. Employing psychoanalytical arguments taken over
from Georges Bataille, Teige also began criticizing the tendencies in Soviet
architecture of the 1930s towards what he called pompous and menacing
monumentality. The interest of Czech scientific Functionalists in Surrealism and
psychoanalysis did not lead to the emergence of any "Surrealist architecture".
It was, however, instrumental in enriching architectural form by adding
emotional components, even leading to a certain affinity between Functionalism
and organic architecture. Le Corbusier's architecture also ceased to be tabooed
by Teige's circle. The most interesting testimony to that shift comes in the
Volman Villa in Čelákovice near Prague (1938-1939), built by a team of
architects Janů - Štursa, representing a kind of collage collected from Le
Corbusieresque elements, features that eventually came to be discussed by
Surrealists during the 1930s.
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