Modernity without rupture
Jurkovič held that being modern did not mean abandoning local craft.
Martin Strachoň — CC BY-SA 3.0 · Unknown authorUnknown author — Public domain · Matypaty — CC BY 4.0 · palickap — CC BY 3.0
Tugendhat is from 1930 and is the UNESCO-listed icon of functionalist modernism: clean lines, glass and steel, and a complete refusal of ornament. The Jurkovič Villa is from 1906 and represents the opposite position: a modernity that keeps craft and folk ornament. Seeing both in one day explains what changed in a quarter of a century.
If architecture interests you, yes, especially combined with Tugendhat on the same day. If not, Brno has the Mendel Museum, the old town and the technical museum, all closer in.
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A house built by the Slovak architect Dušan Jurkovič for himself in 1906, now a museum run by the Moravian Gallery. Jurkovič is a significant figure in central European architecture: he blended European Art Nouveau with the folk timber building of Moravia and Slovakia, producing a manner that resembles neither. He held that modernity did not require severing the link with local craft. The house is a complete example: Art Nouveau lines with timber and ornament drawn from village houses, and every interior detail from the furniture to the handles designed together as one whole. It was restored and reopened in 2011 after its original furniture had been reassembled. The visit is short and the house small, and it lies north-west outside the centre, reached by tram. It pairs naturally with the UNESCO-listed Villa Tugendhat in the same city — together they explain two consecutive phases in modern architecture.
Jurkovič held that being modern did not mean abandoning local craft.
Furniture, handles and details were all designed together for this house.
The two villas together explain two consecutive phases of modern architecture.
North-west Brno