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for Cultural and Educational Buildings) together with a text by the author of SNG (Author's comments). The new director of the SNG Štefan Mruškovič 23 also gave his critical view as the user. 1982 historians Tibor Zalčík and Matúš Dulla mentioned several of Dedeček's buildings in their book Slovenská architektúra 1976–1980 (Slovak Architecture 1976–1980 ). They put the Slovak National Gallery building together with works such as the Community Centre in Dunajská Streda by Jozef Slíž, Eva Grébertová and Alexander Braxatoris and the House of Arts in Piešt’any by Ferdinand Milučký in the chapter “Mohutnost’ formy a tvaru” (The massiveness of form and shape) compiled as the Slovak analogy or parallel of the international movement of new brutalism in Great Britain. “This visual-art expression, however, has not reached the extreme brutal forms in our country and it has always been softened, mainly by the introduction of the classic harmonic principles of human-scale composition.” 24 The authors of the book – in line with the magazine articles of architect and historian Dr. Martin Kusý – stated that the strong point of the gallery extension was the generosity and the extent of the intention 25 to construct the first gallery building ever to exhibit modern art in Slovakia (generosity seems here to represent another, more acceptable side of the coin of the criticized hugeness, massiveness replacing the more complex concept of monumentality). They also saw the visual effect of the contrast between the horizontal lines of the new wing and the arcade arches of the historical building as a strong point of the SNG bridging. The “colossal scale” of the SNG front façade and its “insensitive connection to neighbouring buildings” was considered less convincing. 26 Zalčík and Dulla also criticized the symmetrical composition relationships between the historical building and the new front wing (bridging) with the asymmetrical operation (entrance to the building in the right 102
front “corner” of the courtyard). In fact they described the whole courtyard and the area under the front Danube wing, i.e. the bridging, as non-functional. “The solution of the back wing together with its material and colour finish is also contradictory from the composition point of view.” 27 At the same time they admitted that these contradictions are also derived from the incomplete and unfinished implementation of Dedeček's design and observed that if the building had been finished in its entirety according to Dedeček’s project, the contradiction would have been “partially moderated”. 28 23 See DEDEČEK, Vladimír. [Areál Slovenskej národnej galérie v Bratislave]. Slovo autora. Projekt. Revue slovenskej architektúry, 23, 1981, No. 1-2, pp. 9–11; LIŠČÁK, Jozef. Areál Slovenskej národnej galérie v Bratislave (za Komisiu pre kultúrne a školské stavby ÚV ZSA). Projekt. Revue slovenskej architektúry, 23, 1981, No. 1-2, pp. 4–5; MRUŠKOVIČ, Štefan. 1981. [Areál Slovenskej národnej galérie v Bratislave]. Slovo užívatel’a – i v mene návštevníkov. Projekt. Revue slovenskej architektúry, 23, 1981, No. 1-2, pp. 5–9. See also OHRABLO, František – ČERNÍK, Peter. Zasklená strecha nad výstavným objektom SNG. Projekt. Revue slovenskej architektúry, 23, 1981, No. 1-2, p. 15. 24 ZALČÍK, Tibor – DULLA, Matúš. Slovenská architektúra 1976–1980. Bratislava: Veda, 1982, p. 63. 25 Ibidem, p. 72. 26 “The massive steel construction bridges a 54,5 m span, enabling visual interconnection and views from the waterfront to the glassed arcades of the courtyard. This interconnection and contrast of horizontal lines of the new wing with the arcade arches represent the strong points of the visual-art effect of the gallery's architecture. The colossal scale of the front façade as well as its insensitive connection to neighbouring buildings are less convincing. The author himself admitted that evaluators' wishes had forced him to a jump in which he felt the scale and framework of the environment as well as the material and technical possibilities had been exceeded.” In: ibidem, p. 65. 27 Ibidem. 28 “It needs to be observed that the building has not been finished in the range envisaged by the original project. The completion of the whole unit would have partially moderated the contrast with the surrounding housing. The overall contrast and the dimensional pathos that make primary impression and that are, together with elementary geometric forms used, also characteristic for other author’s works, could be considered positive if they were not accompanied by some disturbing moments that we have briefly pointed out.” In: ibidem, pp. 65–66. 103
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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,
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[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 102 and 103: pressing. The architectural works t
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
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Page 146: This publication was made possible
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