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The idea to build the SNG (Slovak National Gallery) came about after the Second World War. An emerging society, art historians and architects were all making efforts. Each group had its own conception, and took its own small steps. Society passed legislation, and provided space in the former military Vodné kasárne (Water Barracks). The SNG director Karol Vaculík desired expansion of collections, and therefore of the Gallery’s space. Architects tried out various sites and forms for the Gallery. These steps led to the decision to form the new SNG site by remodelling and adding to the Baroque Water Barracks, and linking the public spaces of the city square adjacent. The new site, and its individual architectural components, came about in several stages through the 1960s and 1970s. The architect Vladimír Dedeček found a phased solution, both bold and unusual for its time. The building of a fourth and front-facing side to the Water Barracks, along with the opening up of the square as public space, inspired Dedeček to employ a bridge construction, which connected the two wings of the existing historical structure. He made this bridging into exhibition space for modern and contemporary art. In this he abandoned the classical structure of storeys, creating three levels of floors that formed a total space and three progressive unenclosed storeys. He shifted self-contained forms like the office building, the library and the originally-planned outdoor sculpture gallery in different directions. This made possible clusters of contemporary new architecture and abstracted classical forms of agoras, amphitheatres, odeón halls and stoas. For a decade, he laboured to push through a complex building/area site, but never succeeded in winning others over, even in terms of proposed materials and technologies. The ultimate result was imposing, but has from the first even until now been misunderstood by the public, and many of Slovakia’s architects. After 1989 there were thoughts to level the whole site and build a new gallery structure. Public surveys and discussions ensured, and from these there emerged a competition for a renovation and addition. 8
The SNG building/area has long been seen as a nexus of multiple front lines: A) The struggle with prejudice and custom: generations of citizens are unable to overcome pseudo-historical beliefs in shaping the city, and hanker for conservation and restoration. B) Political disputes: after 1989’s Velvet Revolution, the site including the bridge was put forward as the embodiment of the monstrosities of the former (socialist/communist) regime and its aspirational megalomania. The political elite, with iconoclastic ambitions and rush to swap old models for new, wavered over what to do with the site. Only the next generation of architects, from here and abroad, proved able to de-politicize the issue of the SNG site, grasping it as a cultural and architectural challenge and opportunity. Then even the political elite saw it as an undertaking to be fostered. C) Developer power play: after 1989, building contractors and real estate developers in the new capitalism of post-socialistic countries came up with an ideological and pseudo-expert mask, intended to win commissions in favour of demolition. There is only one way that architects can contend with the combined forces of politicians and developers, and it is not in front-line words or even metaphors; rather they must do a verbal and metaphorical dance, in which no one is pushed and everyone voluntarily engages enjoyably in pursuing a common rhythm. D) Struggles among architects and pseudo-experts: architects and preservationists found themselves in mutually-incompatible discussions; in them, rather than looking for a project, they nitpicked at flaws in construction, technology and urban design, and suggested clearing the area and building a new SNG. On the other side were those who advocated in favour of the area as it is, who came to believe it could be saved only if they toned down the boldness of the problem. In the end it emerged that there were some who understood the SNG could only live through a renewal of Dedeček’s invitation to dance. Two architectural competitions for renovation came out of these discussions, for a refurbishment and an addition to the area, which would reflect the state of archi tectural thought in Slovakia. 9
Page 1 and 2: CARE (SORGE ) FOR ARCHITECTURE mari
Page 3: 15. Mostra Internazionale di Archit
Page 7 and 8: 01. Statement p. 6 marián zervan 0
Page 9: Architecture must never lose its pr
Page 14 and 15: 02. ON THE SLOVAK NATIONAL GALLERY
Page 16 and 17: investor : Povereníctvo pre škols
Page 18 and 19: Building(s) and spatial relationshi
Page 20 and 21: the arcaded palace with a “cour d
Page 22 and 23: give the quarter a new scale and ex
Page 24 and 25: founded earlier. Therefore construc
Page 26 and 27: in 1968) in 1966-1967 with the gall
Page 28 and 29: with its central square, to a field
Page 30 and 31: thing that had been outlived in the
Page 32 and 33: The commission discussed these expe
Page 34 and 35: In late 1969, i.e. after Czechoslov
Page 36 and 37: The ceiling is of waved metal plate
Page 38 and 39: The architect’s second alternativ
Page 40 and 41: unbuilt stages III and IV. The (fut
Page 42 and 43: “Doch gerade durch diese brachial
Page 44 and 45: associated project of reconstructio
Page 46 and 47: [1] [2]
Page 48 and 49: [4] [5] [4-5] Vladimír Dedeček, S
Page 50 and 51: [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
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was that either to allow for or to
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The administrative building’s ter
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Indeed the amphitheatre clusters ev
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locked it in places (the Water Barr
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03b. ARCHITECTURAL INTERPRETATION O
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[d—02] Built SNG edifices {red} i
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[d—04] Paths of movement {red lin
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[d—06] Clusters of SNG “agoras
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[d—08] SNG interior “amphitheat
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C A B [d—10] Two introductory pro
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[d—12] Superimposition of 1 st an
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[d—14] Relationships of module fi
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[d—16] 1 st subterranean level wi
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[d—18] 2 nd level of administrati
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[d—20] 4 th level with paths of m
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[d—22] 6 th level with paths of m
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[d—24] Facade rasters {according
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[d—26] Built edifices of SNG area
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04. CHRONOLOGY monika mitášová,
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1961 the director of the SNG Dr. Ka
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1969 a new initial project for the
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pressing. The architectural works t
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for Cultural and Educational Buildi
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1987 journal Výtvarný život publ
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south Danube wing (closed due to it
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and demolished this square. (...) I
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not as an MP but as “the former d
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[is] a need to build any more so ca
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in Bratislava was announced. The ju
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down and changed the character of c
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totalitarian style haunting Europea
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Illah van Oijen prepared the first
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Arts Council to appreciate the valu
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Selected works of Vladimír Dedeče
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on 14 th March, the Týždeň magaz
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05. PROJECT DESCRIPTION marián zer
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This project The Care for Architect
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The entrance wall in-between contai
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Metal exhibition model variants in
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Metal exhibition model (1:17,78) of
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140 | 141
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