Practically the whole of 20th-century architecture is represented in Prague’s urban fabric. Even today you can admire examples of major achievements in the various styles that emerged over the last century. Here at My Vueling City we have prepared an introduction to these styles, as embodied in some of the city’s most emblematic buildings.

Modernism

Among other things, Modernism was born of a desire to harmoniously depict “a total artwork”. One of the most prominent illustrations of this in the Czech capital is Villa Bílek. The sculptor, graphic artist and illustrator František Bílek (1872–1941) – together with Alfons Mucha – was one of the leading exponents of Czech Art Nouveau. This studio and residential villa, located near Prague Castle, was built in 1911. It was designed as a backdrop to reflect a field of grain – indeed, many of its details give form to this idea. For instance, the columns are stylised sheaves of wheat. The villa now houses a permanent exhibition on František Bílek.

Cubist Architecture

Cubist architecture took hold solely in Czechoslovakia. In this style, artistic value prevails over practicality, which often ends up tending to an exercise in style. At any rate, well worth the visit is the House of the Black Madonna or Dům u Černé Matky Boží, designed by the acclaimed Czech architect, Josef Gočár. Design enthusiasts will be pleased to learn that this is the site of the Museum of Decorative Arts, featuring furniture, ceramics, posters, publicity graphics and other select works by the Cubist painter, Emil Filla, and Josef Čapek. There is also an exhibition of Czech Cubism which runs until 31 December 2017. And, there’s more – the building also houses the Grand Café Orient, the only Cubist café in the world.

Functionalism

Functionalism is an architectural principle by which the form of a building is derived from its function. It was the essence of modernity as opposed to traditionalism. The best example of this in Prague is the Villa Müller, designed by Adolf Loos and Karel Lhota for the owner of a construction company, František Müller. In this villa, built from 1928 to 1930, Loos applied both functionalist ideas and the Raumplan theory – instead of dividing available space into different levels or storeys, it is distributed in “cubes”. The latter are arranged so that each room is interspersed on different levels. The building belongs to the City of Prague Museum and the interior still features the original furniture and fixtures. There is also a small exhibition on the life of Adolf Loos.

Socialist Realism

Functionalism inadvertently created a kind of transition towards post-war Soviet realism. Prague was happily spared from being disfigured by the Communist regime and subsequent Soviet domination. It is not so long ago that half of Europe still lived under a Communist regime dominated by the USSR. Prague was one of the most important cities on the other side of the iron curtain, and it was there that the leading Soviet architects of the time were active – their work can still be admired today. It may not be one of the most widely applauded styles in the history of architecture, but it impresses in that it clearly fulfilled its mandate, becoming an identity trait for a whole era.

Socialist realism architecture tended to be monumental, historicist, symmetrical, decorative and studded with references to Stalinism. The most famous building from that period is the Hotel International Prague, in the Letná district, put up under the direction of the government of the time. Like Warsaw’s Palace of Culture and Science, it was a small-scale copy of seven similar, monumental buildings in Moscow. Completed in 1954, the building with the tallest tower is 16 storeys or 88 metres high.

Independence – Contemporary Architecture

Despite Prague regaining its freedom after the fall of the Communist Bloc, this did not prompt an architectural revival in the city. It did, however, spark a marshalling of valuable resources to restore the city’s historical areas and renovate its residential districts. The most internationally acclaimed achievement of recent times is held to be the celebrated Dancing House – also known as Ginger & Fred for its silhouette, which evokes the two dancers of Hollywood fame. Designed by Vlado Milunič, a native of Prague, and the American Frank Gehry, it initially stirred up considerable controversy due to its placement among Baroque, Gothic and Art Nouveau buildings, seriously rupturing the area’s urban profile. It now contains an art gallery, a bar, a restaurant and a hotel.

This, then, is My Vueling City‘s review of Prague’s most prominent architectural landmarks from the 20th century. We expect you to be surprised by them when you visit the city. Check out our flights here.

Text by Los Viajes de ISABELYLUIS

Images by Czech Tourism, Wikipedia Commons

John Waters shot to fame by directing outlandish, low-budget movies such as Pink Flamingos (1972) which glorify violence, sexual perversion and bad taste. He uses provocation as a weapon targeting the good-mannered hypocrisy, iron-fisted morals and religious values of the American way of life. However, few realise that the American dandy with a pencil moustache has also designed large-format collages and photomontages. He has chosen 40 of these pieces – including storyboards from his movies – for the exhibition, How Much Can You Take?, which runs until 1 November at the acclaimed Kunsthaus Zürich, coinciding with the murals by Joan Miró on display there until the end of January.

Paradoxically, the multifaceted filmmaker has other traits in common with Zürich, such as class, a sense of order and extreme cleanliness. Deep down, Waters also has a tenderness and fetishism that suggests he would delight in the bric-a-brac on sale in downtown Teddy’s Souvenir Shop, offering the music boxes, Swiss army knives, cowbells and cuckoo clocks so typical of Switzerland’s bucolic image. That same cliché embodied by Heidi, the children’s character created by the writer, Johanna Spyri who, like the poet, Gottfried Keller, is buried in the leafy park of Sihlfeld Cemetery, the first in Europe to incorporate a crematory. Waters would surely relish a visit there, both for his fascination for the macabre and his professed love of literature, which of late he is more engaged in than cinema. Hence, we might also recommend he visit Fluntern Cemetery, site of the beautiful tomb of James Joyce, who in Zürich gave himself over to a licentious alcoholism while writing much of Ulysses, a diatribe against Church and State. Another writer who also passed away in this city was the German author of The Magic Mountain, immortalised in the Thomas Mann Archives, a small museum housed in the ETH Zürich. This State university has also been graced by no fewer than twenty Nobel prizewinners, notably the scientist Albert Einstein, as much a rebel against conventional mores as Waters. Located in the same university is the spectacular Law Faculty Library, designed by the architect, Santiago Calatrava. However, the maker of morbid films would probably prefer to read in the old abbey housing the Zentralbibliothek Zürich, the city’s main library.

The filmmaker’s more iconoclastic side would relish the recollection that Zürich was the cradle of Dadaism, the anarchic “anti-art” so critical of middle-class society in World War I. That was when the artistic couple, Emmy Hennings and Hugo Ball, founded the celebrated Cabaret Voltaire in Niederdorf’s Old Town. Together with Tristan Tzara, the locale broke with all established canons. The building gradually became derelict until it was occupied in 2001 by a group of artivists and used to stage neo-Dadaist-style performances before vast crowds of Zurichers. After their eviction, the City Council overturned its original plan to demolish the building, which was then refurbished as an alternative cultural centre. Also located in the Old Town is the unusual Musée Visionnaire, where visitors choose what they want to see – and are encouraged to critique it – from a catalogue of Art Brut, a movement also known as Outsider Art – the work of amateurs, the mentally disabled and any creator alien to institutions and the boundaries set by official culture. In short, characters who would not be out of place among the Dreamlanders, counter-culture misfits and such regular collaborators of Waters as Mink Stole or Divine.

The young Waters who was so enthralled by gruesome accidents and bloodthirsty tales would also take a fancy to the Moulangenmuseum, a museum featuring wax representations of body parts twisted by disfiguring diseases, including exhibits in the University Hospital’s medical teaching collection dating from 1917. And, lured by the repulsive, he might also look up the dark oeuvre, biomechanical aesthetic and highly charged erotic sense of another illustrious native of Zürich who designed the visual effects for the movie, Alien – the recently deceased H.R. Giger. Although fans of the illustrator and sculptor have to choose between a visit to his comprehensive museum in the walled town of Gruyères (nearly two hours south of Zürich), and the stunning Giger Bar in his native Chur (about an hour’s drive from Zürich), situated, strangely enough, in the same land that inspired the pastoral Heidi.

To wind up this walk on the dark side, nothing better than supper at Blindekuh Zurich, the world’s first restaurant where diners eat in the pitch black. Fortunately, Waters is not the chef, so you needn’t worry about being served what Divine ate in Pink Flamingos. I assume you get my drift but, just to make sure, before you take the plunge you should go to a quality chocolaterie like Sprüngli.

In any event, remember that the Waters exhibition only lasts for a few more weeks, so get your tickets here!

Text by Carlos G. Vela para ISABELYLUIS Comunicación

Images by David Shankbone, Roland zh, Juerg Peter Hug, Absinthe, Edsel Little

Bordeaux can boast of having emerged from a sweet slumber, deservedly earning it the name of “the Sleeping Beauty”, later becoming the “Pearl of Aquitaine”. Here are the keys to enjoying a city that has become an irresistible tourist destination.

1. Taste Its Wines

Why deny it? Wine is the region’s economic driving force and the main reason for Bordeaux being famous all over the world. A trip to this city is clearly the perfect excuse for venturing into its extensive wine realm. The local tourist office has a roster of 60 different circuits for touring the viticultural region’s wineries that have edged their way onto the international scene. Needless to say, you don’t actually have to leave Bordeaux to discover its wines. All you need to do is head for one of the bars or bistros to find them. Here are our recommendations:

- The Bar à Vin du CIVB is a city classic and has an extensive Bordeaux wine list.

- For those who prefer to accompany their wine with some good cheese, Bistrot du Fromager is their best option.

- Those on a tasting tour who also want to take away the odd bottle as a keepsake should drop in on La Conserverie-Converserie.

- And, you can even sign up for a course in wine tasting at L’École du Vin.

2. Be Dazzled by the Largest Water Mirror in the World

The Place de la Bourse (Bourse Square). also known as the Place Royale, is undoubtedly one of the major landmarks in Bordeaux. It was designed by Jacques Ange Gabriel, royal architect to Louis XV, and built from 1730 to 1755.This square heralded the moment when the city broke out of its medieval walls, marking the start of its age of splendour. Rectangular in shape, one side opens onto the river Garonne, while the centre is taken up by the Fountain of The Three Graces. The main attraction, however, is Le Miroir d’Eau (Water Mirror), one of the largest in the world, with a surface area of 3.450 m². The interplay of reflections is fascinating and highly photogenic – if you’re travelling with children, it is sure to delight them.

3. Enjoy Its Heritage

After Paris, Bordeaux is the city with the largest number of protected monuments in France. One example of this is its harbour, known as the Port of the Moon, which was listed as UNESCO World Heritage in 2007. Set on a meander of the river Garonne, its nickname is derived from its crescent-moon or croissant shape. Most of the buildings in the harbour and environs reflect the ideals of the Enlightenment. Be sure to stroll through its streets and admire their unique beauty.

4. Take a Boat Ride Along the River Garonne

The river Garonne has long been a lynchpin of the city’s development. Indeed, in the 18th century, it was one of the most important ports in Europe. A novel way of viewing the city of Bordeaux is by taking in the different angles of it afforded by the river. All you need to do is turn up at the Port of the Moon and go on one of the available cruises. Of the myriad options to choose from, we recommend one that includes wine tasting and snacks while soaking up the views.

5. Be Inspired by Museum Offerings

Art lovers have a must-visit in the shape of the Museum of Fine Arts, noteworthy for its fine collection of Dutch paintings. If you’re an enthusiast of the latest in art trends, the place to be is the CAPC Musée d’Art Contemporain, located in a former warehouse for colonial goods. The Museum of Decorative Arts, housed in the Hôtel Lalande, is a showcase of bourgeois life in the 18th and 19th century, as seen through their decorative objects – furniture, sculpture, engravings, ceramics, cutlery and glassware.

6. Enjoy Nature in One of the Parks

Bordeaux has many parks where you can get a breather. The best known is the Jardin Public (Public Garden), set in the heart of the city. It was opened in 1755 and styled along the lines of Versailles, but subsequently re-styled as an English garden. It features an old carousel which children will love.

7. Eat Oysters in the Market

If you happen to spend a weekend in Bordeaux, make sure you head for the Marche des Capucines. This magnificent market offers top-notch produce and has a wonderful atmosphere. There, you will find stalls where you can taste oysters, seafood and fresh fish.

Book your Vueling here and see all the hidden charm of Bordeaux for yourself.

Text by ISABELYLUIS Comunicación

Images by SuperCar-RoadTrip.fr, Yann Chauvel, Bistro du Fromager

Berlin clearly lived through one of its most bizarre periods during the Cold War. Bizarre, in that erecting a wall dividing a city into two parts, separating families and neighbours and setting them in opposing universes, is an Orwellian experience to say the least.

Each part of the city obviously developed in a very different way. On the one hand, East Berlin stagnated within a system based on obsessive control by the regime, a pattern shared by the rest of the communist bloc. West Berlin, for its part, evolved in similar fashion to the rest of the capitalist world.

West Berlin – From the Mecca of the Underground to Hedonistic House

From the seventies on, in line with the new trends in England and the United States, a new musical scene began to gain currency in Berlin, based on creative freedom and the aesthetic of a clean break with the past. Berlin became one of the leading centres of punk and all its subsequent ramifications. Their outsider and underground art culture sediment attracted performers of the calibre of David Bowie, Brian Eno, Keith Haring and Lou Reed throughout the seventies. By then, a good number of bands were feeding such exciting circuits as those of London and Sheffield.

At the end of the seventies, the music of Joy Division and dabblers in electronic and industrial music were adopted as icons of the flourishing alternative scene of an open Berlin. Unlike the British or American varieties, German post-punk was characterised by a tension between politics and culture and aesthetically owes much to krautrock, as many of its themes are endless repetitions at a heady pace, notably Geld/Money by the arty band, Malaria, or the early recordings of DAF.

As of 1980, the exciting Berlin scene was always on the move, spawning an inexhaustible string of bands like Einstürzende Neubauten– headed by the controversial Blixa Bargeld – Die Unbekannten, Nina Hagen, Die Krupps, Mekanik Destrüktiw Komandoh, Die Tödliche Doris, Geile Tiere and Die Arztewith their punk funk distinguished by sarcastic lyrics.True to say, the scene was not made up of musicians alone, but by film stars and directors, writers, philosophers, artists and photographers, too. By the mid-eighties a process of disintegration had set in. Music became ever more commercial and groups began to sign up with multinationals. However, it was not long before a new sound revolution arose which had a marked impact on the city – the advent of acid house and techno. Recall that Berlin’s Love Parade was the first mass parade of electronic music in the world. The first Love Parade was in 1989. The event started out as a clamour for peace and mutual understanding through music. Just a few months later, the Wall came down and West Berlin was consigned to history.

The legendary SO36 was still going strong at that time. The club, located on the Oranienstrasse near Heinrichplatz in the Kreuzberg district, took its name from the area’s famed postal code – SO36. The district of Kreuzberg is historically the home of Berlin punk, and of other alternative German subcultures. SO36 was initially dedicated mainly to punk music. As of 1979 it attempted a crossover between punk, new wave and visual art. In those days the club rivalled New York’s CBGB as one of the world’s leading new wave spots. Others on the Berlin circuit included Metropol, the disco, Kino, the club 54 Kantstrasse and the Sputnik alternative cinema, where the cult film Christiane F. premiered.

Period Document on the Big Screen

The 13th Beefeater In-Edit Festival will be held in Barcelona from 29 October to 8 November. Prominent among the many films to be shown is B-Movie: Lust & Sound in West-Berlin 1979-1989, a documentary directed by Jörg A. Hoppe, Heiko Lange and Klaus Maeck on music, art and chaos in the Wild West of Berlin in the decade of the 1980s, the walled city that became a creative crucible for a special type of pop subculture which attracted brilliant dilettantes and world-famous celebrities of all kinds. However, prior to the fall of the Iron Curtain, artists, squatters, poets, music creators and hedonists came together to enjoy a highly unconventional lifestyle in Berlin. They all knew it would be short-lived but, who’s worried about tomorrow? It was a case of living for the here and now.

Featuring mostly unreleased television material and original footage, photos and interviews, B-Movie chronicles life in a divided city, a cultural interzone where anything seemed possible – a place different from anywhere else in Europe. It is a fast-moving collage of stories about a frenzied but creative decade starting with punk and ending with the Love Parade, in a city where days are short and nights are interminable.

Berlin is currently experiencing a youthful resurgence in terms of cultural activity – and music, too! Why wait to discover it all? Check out our tickets here.

Text by ISABELYLUIS Comunicación

Images by B-Moviem, SO36