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SOFFA ISSUE 18 IS DEDICATED TO THE BAROQUE SOFFA issue 18 offers the best from Czech Baroque. This exceptionally rich epoch touched all spheres of creativity – architecture, visual arts, literature, theatre, fashion and music – and we explore them all from different angles. Our stories reveal how the Baroque era was not just gloomy and pretentious, but also joyous and full of hyperbole. In addition to celebrated examples of Czech Baroque heritage, such as Kuks and the Waldstein Garden, we show you some lesser known Baroque gems. And to make sure you find your way there, we have made a special indestructible map! You will discover that the principles of the Baroque aesthetic are as relevant today as they were during Baroque times, whether in architecture, fashion or the art of scent. We also touch on other Baroque cultural phenomena, such as fairytales, annual pilgrimages, wayside shrines and sites commemorating the Stations of the Cross. Finally, we honour Baroque spas and Folk Baroque, a style typical of Czech folk architecture. If the goal of the Baroque was to amaze its patrons, our aim with this issue has been to amaze you – our beloved readers. Whether we have succeeded is for you to decide!
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ISSUE THEME: THE BAROQUE Grandiose, full of emotion and rich in detail – just like the Baroque period to which this issue is dedicated. Join us and indulge all your senses in the fabulous Baroque aesthetic.
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CONTENTS - VOLUME | 18
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EDITORIAL Baroque Through All The Senses
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Waldstein’s Garden
03 | LET’S BAROQUE Erratic – Erotic
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04 | SOFFA & VOLVO Acrobatics on Four Wheels 6
01 | BAROQUE AESTHETIC 18 02 | TIME OF SILENCE Baroque Principles Life in Baroque Times
05 | SOFFA & FEDRIGONI Where Paper is Born
Halo: A Triptych
06 | EDITORS’ CHOICE The Latest for Winter
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07 | MEMENTO MORI Sister Death
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08 | TRAVEL Baroque Treasure Pilgrimage
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Small Sacral Structures
09 | FASHION & PERFUME Scent and Sensibility
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Baroque in the Country
Café Morgal: Icing on the Cake
11 | INTERIORS Rediscovered Church
Return to the Landscape
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10 | BAROQUE HYGIENE No Soap No Water
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BA RO Q U E THRO U G H A L L T H E S EN S ES text: Adéla Kudrnová | photo: Adéla Havelková
Welcome to SOFFA issue 18, which is special to us for several reasons. First, the full issue was prepared in collaboration with the CzechTourism agency, which has selected ‘Baroque Through All The Senses‘ as the theme for 2017 to promote the Czech Republic. We have attempted to contribute to this rich theme mainly through the sense of sight, because whether we like it or not, we haven’t yet mastered how to imprint scent or taste onto our paper.
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In spite of this we hope that you find this issue to be lavish, splendid and stunning – such as befits the Baroque! Two new features should help in this endeavour – the embossed SOFFA logo on the cover and the indestructible Map of Czech Baroque printed on Tyvek. The map will take you to renowned but also lesser known Baroque gems and heritage sites, many of which are featured here. Inspired by this issue, we have also decided to help return statues to their rightful place in the landscape. Baroque epoch was a time when statues were purposefully placed in public spaces, and Baroque statues are today an inseparable feature of the Czech countryside. If you would like to help us return statues to the landscape, or if you know a place where a statue used to stand and could be returned – whether in an alleyway, roadside, village common, bridge or a hill – read more on page 112. Wishing you a winter rich in Baroque splendour, Your SOFFA team We thank the printing house H.R.G. for the embossed logo on the cover. We thank Europapier-Bohemia for the Tyvek and the printing house Žaket for the printing of the map.
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SOFFA 2017 CREATIVE CALENDAR
Size: A4 – six evocative and six creative pages Paper: Oikos Extra White 150 g and 300 g from Fedrigoni Illustration: Lucie Šatková/Eyeej.com
n The beginning of each year brings new hopes and expectations. The SOFFA 2017 Calendar features the six themes that will shape the six issues of the SOFFA magazine in 2017. Created in collaboration with the artist Lucie Šatková, the interactive calendar and its six themes are sure to inspire your creative spirit in 2017!
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BAROQUE AESTHETIC And Its Characteristics
BARO QU E PR I N C I PL ES text: Kristýna Drápalová | styling: Lenka Hlaváčová | photo: Adéla Havelková
THE BAROQUE PERIOD SPANNED NEARLY TWO CENTURIES AND LEFT BEHIND AN AESTHETIC LEGACY FEW OTHER ARTISTIC PERIODS CAN MATCH. MANY OF THE FEATURES OF THE CZECH LANDSCAPE WE CONSIDER QUINTESSENTIAL HAVE THEIR ROOTS IN BAROQUE TIMES – ROUNDED CUPOLAS OF VILLAGE CHURCHES, STATUES OF ST JOHN NEPOMUK PERCHED ATOP BRIDGES, AND PORTICOS WITH ELABORATELY SHAPED COLUMNS. JOIN US ON A JOURNEY TO UNVEIL THE PRINCIPLES OF THE BAROQUE AESTHETIC. To find the source of the Baroque aesthetic one must begin in Rome and then travel through northern Italy, Bavaria and Austria. Bohemia was introduced to the Baroque style through generations of architects, plasterers and painters who brought their craft from the Lake Como area and from the region of Ticino in today’s Switzerland. Aristocrats played an equally important role in the spread of Baroque art and architecture – desiring to emulate the fashionable style they encountered on travels through Italy, France and Germany, they commissioned the creation of many Baroque buildings and works of art. Although the spread of the Baroque aesthetic was influenced by outside sources, Czech Baroque is far from an adapted imitation. Indeed, the first three decades of the eighteenth century witnessed an extraordinary burst of original creativity in Czech Baroque art. During this brief period Prague was the creative centre for a generation of brilliant artists who were, without doubt, among Europe’s best. ‘Radical Baroque of Bohemia’ triumphed in the expressive contours of the cathedrals and chapels designed by Kryštof Dientzenhofer and Jan Blažej Santini, and Kryštof’s son Kilián Ignác followed Continues on page 16 ►
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HARMONY IN CONTRAST (PREVIOUS SPREAD LEFT): Contrast is inherent to the Baroque aesthetic, just as it was to life in the seventeenth and eighteenth centuries – contrast between life on earth and the afterlife, contrast between the poverty of villagers and the opulence of aristocrats, and contrast between everyday toil and the distraction of festivities. In Baroque art this contrast is evident in the sharply lit faces of saints emerging from a dark backdrop, or the stark white dome rising above undulating walls.
DYNAMICS & TEMPORALITY (PREVIOUS SPREAD RIGHT): Baroque art was about movement, epitomised in the quick strides and flowing capes depicted in Baroque paintings and in the wavy facades of elaborate buildings. The dynamics of movement in architecture were also carefully considered from the perspective of the visitor. One need only to take a few steps from a tightly spaced entranceway to find oneself in a monumental hall with a grand stairway branching out in three directions. The character of the place changes with every turn, offering new vistas and perspectives.
INTENSITY AND DRAMA (RIGHT): Baroque artists were bold in their expression of raw emotion. Every event depicted through the artist’s hand is accompanied by strong emotional display – the eyes of saints tell of exalted piety, the bodies of martyrs contort with suffering, and ancient heroes eagerly await to take their oaths. Drama also plays out in the walls of Baroque cathedrals, which stretch tightly like the strings of a bow, and architectural features become props for an unsettling theatre performance.
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ADORNMENT (LEFT): Richly coloured ceiling frescos compete for space with exquisite stucco or scroll topped columns. The carved vines on painting frames shimmer with gold leaf, and plague columns are lost under the folds of saints’ vestments and clouds of angels’ wings. Is too much decoration a crime? Not in Baroque times.
INTERPLAY OF LIGHT AND SHADOW (NEXT SPREAD LEFT): In spite of the Baroque penchant for expressing passion and emotion, rational symmetry reigns in Baroque architecture and art. The complex patterns of cloister and palace gardens were always symmetrically aligned, and balance ruled in the blueprints for chateaus and their rooflines – statues placed across from one another, pavilions designed to mirror each other. The Baroque need for symmetry even ‘corrected’ asymmetrical outlines of medieval castles and citadels by adding new towers or additions for improved balance.
SYMMETRY (NEXT SPREAD RIGHT): In spite of the Baroque penchant for expressing passion and emotion, rational symmetry reigns in Baroque architecture and art. The complex patterns of cloister and palace gardens were always symmetrically aligned, and balance ruled in the blueprints for chateaus and their rooflines – statues placed across from one another, pavilions designed to mirror each other. The Baroque need for symmetry even ‘corrected’ asymmetrical outlines of medieval castles and citadels by adding new towers or additions for improved balance.
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M O NA S T I C L I B R A RY text: Helena Stiessová | photo: Lina Németh
ROWS OF NEATLY ORDERED BOOKS CONTRAST AGAINST THE UNDULATING CURVES OF NEO-BAROQUE STUCCO. OAK BOOKSHELVES NESTLE IN THE PROTECTIVE ARMS OF GUARDIANS IN RELIEF, WHILE PASTEL CEILING FRESCOS FLOAT ABOVE. WELCOME TO THE DIZZYINGLY VAST LIBRARY OF THE MONASTERY IN TEPLÁ. The Premonstratensian monastery on the river Teplá in western Czechia was founded towards the end of the twelfth century by the Czech noble Venerable Hroznata. The first reference to a library on site comes from 1501, although books must have accompanied the lives of the religious brothers since the very beginning. The monastery experienced many difficult periods during its existence, including several fires that nearly burnt it to the ground. It always rose from the ashes, however, and survived even the devastating years of the Communist period, when knowledge and faith went out of favour. Over the centuries the library moved to different locations within the monastery, and suitable spaces were sought to house rare manuscripts and prints. In the eighteenth century the Baroque architect Kryštof Dienzenhofer designed the so-called ‘large library’ to house the growing collections, and at the beginning of the twentieth century the library moved to an entirely new wing. The Neo-Baroque design of architect Josef Schaffer remained true to the original Baroque style, and it included modern amenities like electricity and central heating. By placing the library in a wing located outside the seclusion area reserved for monks, the library could now be opened to the general public. Today the library collection holds more than 100,000 volumes. These can be admired for aesthetic pleasure or accessed for their historical knowledge. It is then that the true meaning of a book is realised, when treasured knowledge passes on. For more go to: www.klastertepla.cz
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L ET ’ S B A RO Q U E Fashion & Halo
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FULL FIGURE | Location: Church of the Assumption of Virgin Mary, Svatobor Two layers of skirts hid a metal pannier, stiffened petticoats and small padding pillows.
E R R AT I C – EROT I C text: Patrik Florián | costumes and styling: Terezie Dvořáková stylist’s assistant: Kateřina Kovaříková | flowers and styling: Lukáš Paderta | models: Terezie Kovalová, Dina Cassama and Kateřina Vintrová | make-up and hair: Margita Skřenková | postproduction: Petra Vokjan | photo: Alžběta Jungrová
SHE BEGINS WITH SEVERAL PETTICOATS. THEN THE CORSET, CINCHING THE WAIST TO EXAGGERATE HER BREASTS. SHE REVEALS HER NECKLINE AND COMBS HER HAIR HIGH, STEPS INTO THE METAL PANNIER AND ADDS PADDING, LOTS OF IT. TWO SKIRTS, A TRAIN, A SHIRTFRONT AND FINALLY THE DRESS. LACE AND MORE LACE, AND A SUMPTUOUS CLOAK ON TOP. THEN COME THE PEARLS, COLLAR AND JEWELS. SHE ARRANGES HER WIG, COMBS IT HIGH TO THE SKY, AND ADORNS IT WITH FLOWERS. ENOUGH? NOT IN A MILLION YEARS! Is it reality, fantasy or perhaps an illusion? To indulge in the endless play of seduction – the colours, the textures, the patterns. To run around the forest half naked and invite the attention of the whole world. To glisten in the sunlight and command everything around. To shed clothes and put them on again. To breathe in nature, caress it and adore its beauty, to abandon boundaries of ‘proper’ behaviour and live life to the fullest. Is it reality or an illusion? An intimate play of light and movement? A flirtation with epithets and allegories? There is nothing to regret. There is only a prayer, a grimace, a hide-out in the forest, and with the first rays of sun the continuing journey onwards with a smile on her face. Life is so beautiful, amazing and grandiose, it may seem at times too much to bear. In reality there is never enough! ■
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ENSEMBLE | Location: Ruin of a hunting lodge, Mořičov The dressing process had to be carefully arranged – garments were layered and folded, various shapes and colours were considered. Embroidered lace reached the height of its craft during the Baroque period, and floral motifs were highly prized.
COLOURS | Location: Interior of the Church of the Visitation of the Virgin Mary, Skoky u Žlutic Colours, drama and emotion. The Baroque period awoke all the senses – it celebrated movement and idealised rounded shapes like the oval.
TRIANGLE | Location: Chotěšov Convent Towards the end of the seventeenth century the manteau became a key wardrobe item – an outer gown with an open skirt that extended to a train. The manteau was fastened at the front and splayed open to reveal a stiffened triangle – a so-called punt. The beginning of the eighteenth century saw the arrival of the robe à la francoisse, inspired by an early version of the négligée. Wavy hairstyles gave way to backcombing and raised hair to new heights!
CORSET | Location: Glasshouse at Chateau ValeÄ? To be fashionable at the height of the Baroque period a woman relied on the corset, which shaped the torso into a curvy figure by narrowing the waist and exaggerating the bust and the hips. A corset was stiffened with up to one kilogram of metal or fish and whalebone.
LA GRANDE BELLEZA | Location: Chotěšov Convent Baroque buildings, works of art and fashion were intended to move human emotion and inspire awe with their magnificence, luxuriance and splendour.
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E DI TO R S ’ C H O I C E Not Just for Giving
THE L ATE S T F O R W I N T ER styling: Adéla Kudrnová | photo: company archives
WHETHER YOU LIKE THE WINTER OR NOT, YOU ARE SURE TO ENJOY THESE NOVELTIES THAT WILL WARM AND BRIGHTEN ANY COLD WINTER NIGHT. WE HAVE SELECTED ONLY THE BEST!
Stem Vase by DUBOKK, menu.as, $ 180 | Living Dish, www.boconcept, $ 139 | Phenomena Lighting, design Studio Dechem, lighting.bomma.cz, 53 000 Kč | 2017 My Guide to Barcelona, design David Ehrenstråhle, www.artilleriet.se, € 72 | iPone 6/6s Case, www.volcanohandmade.com, 1 990 Kč | Bag, Uashmama, www.nila.cz, Price upon request | Stool Moon, www.llev.cz, Price upon request 77
I NS PIR E D BY T HE BARO Q UE
styling: Adéla Kudrnová | photo: company archives
ALTHOUGH OUR 21ST CENTURY LIVES ARE DEPENDENT ON THE NEWEST MATERIALS AND TECHNOLOGIES, WE STILL RETURN TO BAROQUE TIMES IN THE SHAPES, COLOURS AND PATTERNS OF DECORATIVE OBJECTS. SEE FOR YOURSELF!
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Candelabra Chandelier, www.klarasumova.com, Price upon request | Bird Tray, design Klaus Haaapaniemi, www.klaush.com, £ 35 | Turkey Feather Pen, www.anthropologie.com, $ 12 | Cloud 1 Carpet, www.jan-kath.de, € 16 590 | Ring from Last Drop Collection, www.janjaprokic.com, 60 000 Kč | Ace Ottoman, Normann Copenhagen, www.finnishdesignshop.com, € 270
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M EM EN TO M O R I Still Life With Flowers
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T R AV EL Gems of Czech Baroque
B ARO Q U E TREA S U R E PI LG R I M AG E text: Adéla Kudrnová, Helena Novotná | styling: SOFFA photo: Adéla Havelková, Lina Németh
THE CZECH LANDSCAPE IS STUDDED WITH RENOWNED BUT ALSO LESSER KNOWN BAROQUE ARCHITECTURE AND STATUES – FROM SACRAL STRUCTURES LIKE CHURCHES, CLOISTERS AND CHAPELS TO PURELY SECULAR BUILDINGS OF FOLK BAROQUE AND THE ESTATES OF THE GENTRY. WE HAVE GONE IN SEARCH OF THE MOST INTERESTING AMONG THESE GEMS, ONES THAT ARE DEFINITELY WORTH YOUR VISIT. IN PLANNING YOUR TRIP BE SURE TO CONSULT THE MAP INCLUDED AT THE END OF THIS ISSUE. CHAPEL OF THE EPIPHANY OF OUR LORD, CHATEAU IN SMIŘICE The Baroque Chapel of the Epiphany of Our Lord – a true European gem of the High Baroque – adorns the chateau in Smiřice in eastern Czechia. The chateau chapel was built in the years 1699 to 1711 by Jan Josef, the Count from Sternberg. It was built as a solitary structure within the larger chateau complex and connected to the chateau via a corridor. The builder of the chapel is thought to have been Kryštof Dientzenhofer, although some sources attribute the work to Jan Blažej Santini. The chapel and the ceiling vault were built on a complicated concaveconvex plan that resembles the shape of the octagonal Star of Bethlehem. The star motif is repeated above the altar and brings to mind the Sternberg family’s coat of arms. The chapel is an exquisite example of the dramatic High Baroque style with a rare, stylistically uniform interior. ► THIS PAGE: The frescoes in the octagonal ceiling vault of the Chapel of the Epiphany of Our Lord in Smiřice were painted by Jan Jakub Steinfels. The frescoes depict the prophesy of the coming of Jesus Christ.
THIS SPREAD: Church of St Procopius in Bezděkov nad Metují
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FASHION & PERFUME Baroque Reminiscence
SCE NT A N D S EN S I B I L I T Y concept and text: Yasmin Keshmiri Hejduk | styling: Patrik Florián model: Jacqueline Kahlová | make-up: Aleksandra Sidorina hair: Tomáš Koblása | photo: Michaela Karásek Čejková
SCENT IS OUR MOST PERSONAL ARMOUR, DELICATE YET POTENT. IT HAS THE POWER TO CREATE ATTRACTIONS THAT LINGER DEEP INTO OUR CONSCIOUSNESS, FORMING MEMORIES AND CONNECTIONS TO LAST A LIFETIME. WITH A DELICATE VEIL OF SCENT A TRANSFORMATION OCCURS, CREATING AN INTENSE EMOTIONAL BRIDGE BETWEEN OUR INNER SELF AND OUR OUTWARD EXPRESSION. IN THIS STORY WE EXPLORE THE THEMES OF MOVEMENT, STILLNESS, DESIGN, ARCHITECTURE, SENSITIVITY AND STRENGTH, AND THE WAY IN WHICH THEY BALANCE OUR COLLIDING WORLDS. Light filters through muslin curtains, falling gently on wooden floors and filling the room with a magical touch. Everything is still, just like a tender moment before the setting of the moon and the rising of the sun. Still, quiet, lovely. The room is bare, with white walls, arched columns, and subtle hints of opulence. No distractions, no disturbances. Nostalgia lingers in the air, and the vapour – iridescent and fragrant – carries a hint of substance, just enough to awaken a thought, a memory. The curtains flutter gently on the breeze, each movement dispersing a delicate scent. The light, caressing the edges of the columns, casts shadows on the walls. Though it is bare the room feels rich in light, in texture, in emotion. There are many stories to be told here, not apparent on the surface but hidden under the layers of time. The simplicity of the room does not mask its sentiments – on the contrary, it provides a backdrop, a canvas on which to paint its mood. An eternity is condensed into a drop of scent, an ocean of fantasy. With every breath the mystery unveils, leaving only a trace of scent and sensibility. ■
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The UK based perfume brand Roads has created Cloud 9, a unisex scent with hints of chamomile, geranium and jasmine. The clean and light scent is a perfect daytime perfume to induce a feeling of serenity. Sold exclusively at www.dusni3.cz dress, Lukáš Lindner background book, Dialog tvarů [Dialogue of forms] by Vladimír Uher and Milan Pavlík
The new and innovative Czech cosmetics brand Onest has a deep respect for ingredients derived from nature. Derived from sugar cane, Squalane Face Oil creates velvety skin that is able to breathe and find its natural balance. For stockists visit www.onest.cz dress, Zuzana Kubíčková background book, Dialog tvarů [Dialogue of forms] by Vladimír Uher and Milan Pavlík
NO SOA P N O WAT ER text: Tereza Škoulová | photo: Tereza Menclová
WHAT APPEARS TO BE A BEAUTIFUL BAROQUE OBJET D’ART WAS IN ITS TIME A PERSONAL HYGIENE TOOL WITH AN ODIOUS PURPOSE. DOLLED UP LADIES LOOKED FABULOUS ON THE OUTSIDE, BUT UNDERNEATH THEY WERE PLAGUED BY STENCH AND FLEAS. WELCOME TO BAROQUE HYGIENE.
Today elegant fur collars are considered a symbol of luxury. In Baroque times they had another purpose – to attract the lice and fleas that thrived in noble courts. The warm bodies of lapdogs, ferrets and ermines were even more attractive to hungry fleas, and so the little darling pets were also living insect traps. Lady With an Ermine by Leonardo da Vinci? The lady had fleas!
Baroque toilets may have smelt to high heaven, but the cistern handle looked like a jewel. The first flushing toilet was commissioned for Queen Elizabeth I in 1597, and you can experience the same ‘Baroque’ toilet with a trap-door bottom when you visit a toilet on a train run by České dráhy [Czech Rails]. The flushing toilet with a water trap was patented by the English watchmaker Alexander Cummings in 1775.
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Annoying insects bothered people of all social classes, and nifty flea traps were an essential part of any outfit. Beautifully crafted insect traps made of wood, ivory or bamboo were worn as accessories or hidden in elaborately coiffed hair. The small perforated repositories held pieces of blood-soaked cloth, and when the cloth was full of feeding fleas the insect traps were submerged in hot water so the fleas would drown.
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A sundial for the geographical position of the Czech Republic. Cut out the gnomon around the periphery, foldAfollowing lines. Glue theposition gnomon on sundial the for dotted the geographical of thethe designated mark in the center of the sundial. Republic. Cut out the gnomon ADirect sundialitCzech for position of time. the Czech to the the geographical North and measure the Add around fold following Republic. Cutthe out periphery, the gnomon periphery, or substract minutes accordingaround to thethe legend located the dotted lines. Glue onon fold following the dotted lines. the Gluegnomon the gnomon in the bottom right corner. the designated mark in the center of the sundial. the designated mark in the center of Direct to the North and itmeasure time.and Add theit sundial. Direct to the the North or substract minutes according to the legend located measure the time. Add or substract in the bottom right corner. minutes according to the legend located in the bottom right corner.
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SOFFA 2017 CREATIVE CALENDAR The beginning of each year brings new hopes and expectations. The SOFFA 2017 Calendar features the six themes that will shape the six issues of the SOFFA magazine in 2017. Created in collaboration with the artist Lucie Šatková, the interactive calendar and its six themes are sure to inspire your creative spirit in 2017! Offer valid if payment received between 5. 12. 2016 and 1. 2. 2017 and while supplies last. Once payment is credited you will receive the first available SOFFA issue and the SOFFA 2017 CALENDAR as a gift. The Terms of Sale for annual subscriptions and information about SOFFA’s Privacy Policy can be found at shop.soffamag.com; the Terms and Conditions of Sale [Obchodní podmínky předplatného] of the subscription service provider can be found at send.cz.
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BARO Q U E I N T H E CO U N T RY text: Tereza Škoulová | styling: SOFFA | photo: Adéla Havelková
IT IS EIGHT IN THE MORNING, THE MIDDLE OF NOVEMBER, AND HOARFROST IS PAINTING BEAUTIFUL PATTERNS ON THE WINDOWS. WE ARE SETTING OFF TO VISIT ONE OF THE MOST STUNNING EXAMPLES OF BAROQUE FOLK ARCHITECTURE IN CZECHIA, TO THE VILLAGE OF DOUBRAVA IN THE WESTERN CHEB REGION. SEVERAL ENCHANTING TIMBERED HOMESTEADS HAVE SURVIVED THE CHEQUERED HISTORY OF THE SUDETEN BORDER AREA, AND ARE INDELIBLY LINKED TO THE CHEB LANDSCAPE AND THE DESTINIES OF THEIR OWNERS. Mist rises from the frosty fields, but the sun is shining and caressing the radiant colours of autumn. On the road we meet an errant cow. Cars stop spontaneously, halting time for a brief moment. A fitting introduction to the dreamy atmosphere of a sleepy, half-forgotten village that only a few residents call their home.
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The origins of the village date back to the fourteenth century, but it was only in the eighteenth century that beautiful folk architecture typical of the Cheb region began to be built here – homesteads with striking timber beams and richly ornate colourful gables. The homesteads were most often built on a square footprint and constructed with easily available natural material such as wood, straw and clay. Each homestead had its own colour scheme and many had their unique painted amulets, symbols that was meant to protect the inhabitants from harm. The village straddles the Czech and German border, and this cross-border position has predetermined its difficult history. Even before the often savage forced movements of people during the Second World War, ►
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C AF É M O RGAL : I C I N G O N T H E C A K E text: Helena Novotná | styling: SOFFA | photo: Adéla Havelková
THE GOVERNOR’S PALACE IN BRNO HOUSES THE MORAVIAN GALLERY WITH MANY ARTISTIC TREASURES FROM THE GOTHIC PERIOD THROUGH TO THE NINETEENTH CENTURY. THE PALACE IS ALSO HOME TO A CONTEMPORARY WORK OF ART – CAFÉ MORGAL, DESIGNED BY MARTIN HRDINA IN THE ‘NEW BAROQUE’ STYLE. Recent renovations in the Governor’s Palace revealed a ceiling fresco in the former vestry that was designated for the new museum café. The existence of the fresco was no surprise, as the Governor’s Palace had been a Cistercian abbey in the past, but what surprised the renovation team was how well the fresco was preserved. The muted colours, neutral tones and overt Baroque style inspired the architect Martin Hrdina in his design for Café Morgal. Martin did not see the fresco as a sacrosanct relic but as an interior element that would be featured in full view. The walls supporting the ceiling remained white, adorned only with the gold-lettered name of the café. The massive illuminated bar, blends seamlessly with the rest of the interior. The fit-out would have also remained subdued had Martin not invited the artist Vendula Chalánková to collaborate on the project. Vendula decorated the fifteen chairs by TON with ornamentation transferred from the fresco, so you can enjoy fifteen ‘originals’ while sipping your coffee or tea. The architect’s vision has turned the café into a work of art not to be missed. And the wonderful smells wafting from the kitchen make Café Morgal the icing on the Palatial cake! ■
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LEFT: Ceiling lights Silvia from Vita Copenhagen resemble rough pearls and bring to mind the original meaning of the Portuguese word barroco.
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DIY: YOUR OWN BAROQUE ORNAMENTATION BE INSPIRED BY THE FUSION OF BAROQUE AND MODERN ART AND DECORATE YOUR INTERIOR AS THEY HAVE DONE AT CAFÉ MORGAL. ALTHOUGH THE ARTIST VENDULA CHALÁNKOVÁ FOCUSES PRIMARILY ON THE MEDIUM OF COMICS AND ILLUSTRATION, AT CAFÉ MORGAL SHE USED BAROQUE ORNAMENTAL STENCILS TO BRING CHAIRS TO LIFE. AND AT SOFFA’S REQUEST VENDULA HAS CREATED A STENCIL ESPECIALLY FOR YOU!
Cut the stencil out, place it against a chair or anywhere else you wish to decorate, apply a colour spray and then a layer of varnish. Baroque patterns will look just as beautiful in your home as they do in Café Morgal!
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EDITORIAL STAFF
CONTRIBUTORS
Adéla Kudrnová I editor in chief adela@soffamag.com Lenka Hlaváčová I art director & designer lenka@soffamag.com Yasmin Keshmiri Hejduk I creative editor yasmin@soffamag.com Lina Németh I photographer lina@soffamag.com Adéla Havelková I photographer & graphic designer adela.h@soffamag.com Helena Novotná I editor & distribution manager helena@soffamag.com Patrik Florián I editor & fashion stylist patrik@soffamag.com Aleksandra Sidorina I production manager & make-up artist aleksa@soffamag.com Max Smrčka I production manager max@soffamag.com Terézia Bělčáková I marketing & PR terezia@soffamag.com Naďa Fidrmucová I marketing & PR nada@soffamag.com Miro Čenger I marketing & PR miro@soffamag.com
Kristýna Drápalová | editor Martin Sova | editor Helena Stiessová | editor Tereza Škoulová | editor Lukáš Paderta | editor & stylist Michaela Karásek Čejková | photographer Alžběta Jungrová | photographer Tereza Menclová | photographer Ladislav Babuščák | photographer & editor Petra Vokjan | postproduction Vendula Chalánková | illustrator Terezie Dvořáková | costumes & styling Margita Skřenková | make-up & hair Tomáš Koblása | hair
Ingrid Martonova I English translation Peter Stannard I English revision & proofreading
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