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pressing. The architectural works that have not been accepted are in a worse position because they are tolerated and yet fixed in their concrete foundations for decades.” 17 1979 part of the Slovak National Gallery building in Bratislava was completed and a final inspection made. The whole premises have never been completed. in his book Československá architektura 1945–1977 (Czechoslovak Architecture 1945–1977 ), the architect and historian Josef Pechar compared the SNG extension to Czech architect Prager’s work, this time to the building of the Federal Assembly of the Czechoslovak Federal Republic in Prague (together with Kadeřábek and Albrecht, the construction took place between 1966–1973, the headquarters of Slobodná Európa Radio since 1995, currently one of the buildings of the National Museum in Prague). The four wings of the Federal Assembly are structurally designed as bridge beams on end supports, similar to the front wing of the SNG. “In many cases today we see ways in which architecture copes with the large dimensions of steel structures and industrial design which has an ingenious impact on the outer architectural form as well as the interior.” 18 In this text, Pechar regards Prager’s and Dedeček’s buildings as innovations in construction and material on one side and as new sources of the current architectural form on the other. 1980 the photography publication Soudobá architektura ČSSR 19 (Current Architecture of the CSSR ) by Jaroslav Veber also featured the extension of the SNG in Bratislava. Czech architectural historian Radomíra Sedláková described it in the book as a layer arrangement of the robust bridging volumes that give a new scale to the whole surrounding 100
area. 20 The monumentality of the bridging was, in her opinion, in contrast to the more delicate structure of the arcade courtyard of the historical Water Barracks building. The bridging is: “an object that is structurally courageous but architecturally somewhat contradictory.” 21 In other words: the greater is the contrast in scale, the greater is the architectural “contradiction”. While modernists understood monumentality as an expression of spiritual and cultural needs (in their view it was only possible at a time when an unifying knowledge and culture existed, representing the new spirit and collective feeling of the modern post-war times in cooperation with all artists 22 ), this modern view of monumentality – i.e. an innovative synthesis of old layers with new ones – was not considered to be the result of the social consensus at the beginning of the 1980s. What came to the fore in the historical centres of European cities was the maintenance of the layers and scales of historical architecture and the various forms of transfer between historical and current architecture in the post-modern way of thinking and urban planning and architectural design. 1981 a set of articles on the SNG building was published in Slovak architectural magazine Projekt. It contained a text by Jozef Liščák (for the Slovak Architects Society Committee 17 BEISTZER, Ladislav. Väzby architektúry. Dielo a verejnost’. Projekt. Revue slovenskej architektúry, 20, 1978, No. 9–19, pp. 67–68. 18 PECHAR, Josef. Československá architektura 1945–1977. Praha: Odeon, 1979, p. 38. 19 VEBR, Jaroslav – NOVÝ, Otakar – VALTEROVÁ, Radomíra. Soudobá architektura ČSSR. Praha: Panorama, 1980, p. <strong>12</strong>9 [Parallel introductory text of the chapter signed: rav. (Radomíra Valterová)]. 20 Ibidem, pict. No.1<strong>12</strong>, p. 137.. 21 Ibidem. 22 SERT, José Luis – LÉGER, Fernand – GIEDION, Siegfried. Neun Punkte über Monumentalität – Ein menschliches Bedürfnis [1943]. In: GIEDION, Siegfried. Architektur und Gemeinschaft: Tagebuch einer Entwicklung. Hamburg: Rowohlt, 1956, pp. 40–42. Quotation according to: SERT, José Luis – LÉGER, Fernand – GIEDION, Siegfried. Nine Points of Monumentality. In: OCKMAN, Joan: Architecture Culture 1943–1968. A Documentary Anthology. New York: Rizzoli 1993, pp. 29–30. 101
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CARE (SORGE ) FOR ARCHITECTURE mari
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15. Mostra Internazionale di Archit
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01. Statement p. 6 marián zervan 0
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Architecture must never lose its pr
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The SNG building/area has long been
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02. ON THE SLOVAK NATIONAL GALLERY
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investor : Povereníctvo pre škols
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Building(s) and spatial relationshi
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the arcaded palace with a “cour d
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give the quarter a new scale and ex
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founded earlier. Therefore construc
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in 1968) in 1966-1967 with the gall
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with its central square, to a field
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thing that had been outlived in the
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The commission discussed these expe
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In late 1969, i.e. after Czechoslov
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The ceiling is of waved metal plate
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The architect’s second alternativ
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unbuilt stages III and IV. The (fut
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“Doch gerade durch diese brachial
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associated project of reconstructio
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[1] [2]
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[4] [5] [4-5] Vladimír Dedeček, S
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[9] [10] [9-16] Vladimír Dedeček,
Page 52 and 53: [18] [19] [18-23] Vladimír Dedeče
Page 54 and 55: [26] [27] [26-29] Built edifices of
Page 56 and 57: 03a. TEXTUAL INTERPRETATION OF COMP
Page 58 and 59: The Slovak National Gallery area si
Page 60 and 61: was that either to allow for or to
Page 62 and 63: The administrative building’s ter
Page 64 and 65: Indeed the amphitheatre clusters ev
Page 66 and 67: locked it in places (the Water Barr
Page 68 and 69: 03b. ARCHITECTURAL INTERPRETATION O
Page 70 and 71: [d—02] Built SNG edifices {red} i
Page 72 and 73: [d—04] Paths of movement {red lin
Page 74 and 75: [d—06] Clusters of SNG “agoras
Page 76 and 77: [d—08] SNG interior “amphitheat
Page 78 and 79: C A B [d—10] Two introductory pro
Page 80 and 81: [d—12] Superimposition of 1 st an
Page 82 and 83: [d—14] Relationships of module fi
Page 84 and 85: [d—16] 1 st subterranean level wi
Page 86 and 87: [d—18] 2 nd level of administrati
Page 88 and 89: [d—20] 4 th level with paths of m
Page 90 and 91: [d—22] 6 th level with paths of m
Page 92 and 93: [d—24] Facade rasters {according
Page 94 and 95: [d—26] Built edifices of SNG area
Page 96 and 97: 04. CHRONOLOGY monika mitášová,
Page 98 and 99: 1961 the director of the SNG Dr. Ka
Page 100 and 101: 1969 a new initial project for the
Page 104 and 105: for Cultural and Educational Buildi
Page 106 and 107: 1987 journal Výtvarný život publ
Page 108 and 109: south Danube wing (closed due to it
Page 110 and 111: and demolished this square. (...) I
Page 112 and 113: not as an MP but as “the former d
Page 114 and 115: [is] a need to build any more so ca
Page 116 and 117: in Bratislava was announced. The ju
Page 118 and 119: down and changed the character of c
Page 120 and 121: totalitarian style haunting Europea
Page 122 and 123: Illah van Oijen prepared the first
Page 124 and 125: Arts Council to appreciate the valu
Page 126 and 127: Selected works of Vladimír Dedeče
Page 128 and 129: on 14 th March, the Týždeň magaz
Page 130 and 131: 05. PROJECT DESCRIPTION marián zer
Page 132 and 133: This project The Care for Architect
Page 134 and 135: The entrance wall in-between contai
Page 137 and 138: Metal exhibition model variants in
Page 139: Metal exhibition model (1:17,78) of
Page 143: 140 | 141
Page 146: This publication was made possible
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