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Arts Council to appreciate the value of the architect Dedeček's work for Slovak culture. The West has started to strongly recognise it as interesting, unique and original. Jan Tabor's energy in promoting Dedeček in Vienna, the comments of Daniel Libeskind, Greg Lynn, Wolf Prix and the whole Vienna architecture scene (Roman Delugan, PPAG...), Jan Neutellings, Peter Cook, Farshid Moussavi and many others were and still are in strong contrast with our statements.” 67 The curator and critic Jan Tabor noted in a magazine review of both above mentiond events: “... Dedeček's persecution is only a pose of the new heroic anti-communists in the era of post-communist well-being; the persecution of his architecture is often just the foolishness of the new era (...) oh, may it [the SNG bridging] have been done by Koolhaas..., my Vienna friends keep saying...”. 68 2012 the SNG curator Viera Dlháňová used the example of SNG building in her contribution that dealt with the issues of sustainability and protection of the late Modern architecture in Slovakia 69 . 2013 a group of authors from the Institute of Construction and Architecture of the Slovak Academy of Sciences renewed the discussion Moderné a/alebo totalitné v architektúre 20. storočia na Slovensku, 70 (The Modern and/or the Totalitarian in 20 th Century Architecture in Slovakia), this time in the book of the main editor Dr. Henrieta Moravčíková, that dealt with the topic of the totalitarian era architecture from the mid-1990s. 71 In the introduction, Professor Matúš Dulla compared Slovakia and other European countries (Germany, Italy, Spain and states of the former socialistic block) with the terms undemocratic regimes, benevolent totality, totalitarian/ authoritative and authoritarian regimes. This differentiation is 122
not characterised in more detail or further distinguished in other texts. Professor Dulla puts the relationship between the modern style and totality as follows: “... In the Slovak environment, the totalitarian regime managed to implement a unified artistic direction only for short period and in a restricted way and anyway the imposed direction was just an echo of a more distant foreign model. The structures of power were not able to formulate their own mental image of architecture and thus it could develop in a relatively peaceful way at least in a latent relationship with the international discussion. (...) Not even in the period of the harshest totalitarianism have the local conditions corresponded to the consistency of build of the dictatorships such as the Nazi Germany or Stalin Soviet Union. The term totalitarianism, as defined by Hannah Arendt, therefore partly corresponds only to conditions of the Slovak state in the years 1939–1945 and the dictatorship of the Communist Party of Czechoslovakia in the years 1948–1953.” 72 67 ZERVAN, Marián. Vladimír Dedeček's work in some books on Slovak, Czechoslovak as well as world architecture (contribution presented during the Marathon of fifteen-minute lectures dedicated to Vladimír Dedeček's architecture in domestic and international context. 17 July 2009, SNG in Bratislava). Digital document, p. 3, author's archive. 68 TABOR, Jan. Dedečkiáda. Arch, 14, 2009, No. 7–8, p. 54. 69 DLHÁŇOVÁ, Viera. Memento mori slovenská architektúra. Miera udržatel’nosti architektúry neskorej moderny na konkrétnom príklade Dedečkovej prístavby Slovenskej národnej galérie. In: BODNÁROVÁ, Katarína K. (ed.). Ročenka Slovenskej národnej galérie v Bratislave – Galéria 2011. Bratislava: Slovenská národná galéria, 2012, pp. 93–108.. 70 MORAVČÍKOVÁ, Henrieta – SZALAY, Peter – DULLA, Matúš – TOPOLČANSKÁ, Mária – POTOČÁR, Marián – HABERLANDOVÁ, Katarína. Moderné a/alebo totalitné v architektúre 20. storočia na Slovensku. Bratislava: Slovart 2013, pp. 90, 91, 93–95, 102, 188, 189, 215, 216. Fig. 15, 19–21, 30 on not numbered pages. 71 HAMMER-MORAVČÍKOVÁ, Henrieta. Bratislava a totalitné idey minulosti. Architektúra a urbanizmus, 28, 1994, No. 1–2, p. 22–33. See also STOLIČNÁ, Elena. S pečat’ou svastiky. Architektúra a urbanizmus, 34, 2000, No. 3–4, pp. 133–138. 72 DULLA, Matúš. Benevolentná totalita: mlčanlivá diskusia moderného s tradičným v slovenskej architektúre 1939–1956. In: MORAVČÍKOVÁ, Henrieta – SZALAY, Peter – DULLA, Matúš – TOPOLČANSKÁ, Mária – POTOČÁR, Marián – HABERLANDOVÁ, Katarína. Moderné a/alebo totalitné v architektúre 20. storočia na Slovensku. Bratislava: Slovart 2013, nonpaginated. 123
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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
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[26] [27] [26-29] Built edifices of
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03a. TEXTUAL INTERPRETATION OF COMP
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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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Page 96 and 97: 04. CHRONOLOGY monika mitášová,
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Page 116 and 117: in Bratislava was announced. The ju
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Page 120 and 121: totalitarian style haunting Europea
Page 122 and 123: Illah van Oijen prepared the first
Page 126 and 127: Selected works of Vladimír Dedeče
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Page 130 and 131: 05. PROJECT DESCRIPTION marián zer
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