Eva Jiricna is a renowned architect and designer known for her elegant and innovative creations. From her early career in Prague to establishing her own practice in the UK, Jiricna has left a lasting impact on the industry. Her collaboration with fashion retailer Joseph Ettedgui shaped the iconic matte black style of 1980s London. With a blend of high-tech features and romanticism, Jiricna’s designs have garnered attention. She has worked on notable projects including the Joseph flagship store and collaborated with esteemed architects like Richard Rogers and Jan Kaplicky. Eva Jiricna Architects has expanded its scope to include product design and a wide range of commissions, solidifying Jiricna’s reputation as a visionary architect.
Formed in 1987, Atika was aligned with the Anti-Design orientation of Archizoom, Alchimia, and Memphis in Italy. One of its goals was to support Post-Modernism, seeking an outlet for experimentation and new means of expression. Its expressive language used signs of symbolic meanings that referred to nature, society, and urban destruction.
From 1922 to its close in 1931, he was a member of the Devétsil group and editor of the compendium Zivot II and journal Disk; in 1922, he worked in the office of architect Josef Gocar. In 1923, he set up his own office in Prague; was the Bauhaus representative in Czechoslovakia. He was a friend of Teige and the leading architect of the Devétsil group.
Marie Teinitzerová was born in a little town near Pelhimov called kov. However, she and her parents soon relocated to Jindichv Hradec. In Vienna and Brno, she studied painting. She attended the School of Applied Arts in Prague from 1905 to 1906, then a weaving school in Berlin in 1906. Her research tour took her to Denmark, Sweden, and France, where she attended tapestry workshops in Paris. She returned to Prague in 1908.
Vlastislav Hofman (1884 – 1964) was a Czech architect, designer and artist. He studied at the Czech Technical University. He worked in the building department of the Prague magistrate. He was a member of the Artel Cooperative and Mánes Association of Plastic Artists. In 1911 he left Mánes and joined the group of plastic artists. He wrote a number of theoretical articles for magazines. In 1912, he left the group and returned to Mánes.