sng_2016-05-12_high-single-crop_k3

Recommendations

Info

This project The Care for Architecture: Asking the Arché of Archi - tecture to Dance was initiated by cooperation between Petr Hájek – Vít Halada’s studio (Faculty of Architecture and Academy of Fine Arts and Design /AFAD/, Department of Architecture), Ján Studený – Benjamín Brádňanský’s studio (AFAD, Department of Architecture) and architectural theorist Marián Zervan (AFAD and Trnava University, Department of Theory and History of Arts). It was developed further in cooperation with architectural theorist Monika Mitášová (Trnava University, Department of Theory and History of Arts) and exhibition commissioner The Slovak National Gallery in Bratislava. What they have in common is their lasting interest in the work of the architect Vladimír Dedeček. This can be found not only in their attitudes to the Slovak National Gallery edifices and other of his architectural works but also in a number of events / see Chronology, p. 119–<strong>12</strong>0 /. Just to mention a few of them, there are studio analyses of Vladimír Dedeček’s works or shared inter-studio project Iconic ruins in which students of architecture deal with the renewal and reconstruction of significant works from the 1960s and 70s in Slovakia, including the buildings of Vladimír Dedeček. The authors of the project, who are also its curators, have decided to show various ways of dealing with one of Vladimír Dedeček’s most significant as well as controversial works – the Slovak National Gallery area, designed and built between 1962 and 1979, and exhibit them in the national pavilion of the Czech and Slovak Republics. In various ways the authors of the exhibition project show the whole range of changes during the period of design, construction and use as well as the renewal and reconstruction: from changes in the project documentation to changes in shape, materials, technical equipment and various versions of use of the functioning or closed premises. Including its rebuilding, as well as a range of competitions and creative workshops aimed solely at the development of the testimony of the SNG buildings. The authors also show the manifold reactions of jury members, Slovak and foreign architects of different generations who had either visited the SNG or held lectures 130
there, leading political and cultural representatives and the media as well as professionals, non-professional and the general public that the project and the final approved work raised from the time of its birth to <strong>2016</strong>. Following the announcement of the theme of the 15 th International Architecture Exhibition in Venice the authors focused on the differentiation of various forms of care for architecture but also aimed to distinguish care (Sorge) from well-meant solicitude (Fürsorgen) without project or the various forms of pragmatic calculus concerned (concern, Besorgen) in the fight for the premises of the SNG. Working on this differentiation and as an alternative to a fight and a clash at the front-line, they offer a creative response of various architectural projects whose dance can give rise to unexpected solutions. The authors present this solution in the form of a diagram of options originating partly from Dedeček’s projects’ phases but especially from the architectural competition projects, workshops and studio designs dealing with SNG’s reconstruction and rebuilding. The form of the project presentation corresponds to the differentiating movement and solution. The central object of the pavilion is a three-dimensional metal model of the Slovak National Gallery premises in red, corresponding to the constructed premises on a reduced scale (1:17,78). The red colour, however, was just one of its colours, while the most distinctive polarity was the relationship between red and white. Some parts of the metal model are walkable and this makes it possible to see and understand some of the Dedeček’s original constructional and spatial solutions of the premises that contain compositional and cluster arrangements of agoras, amphitheatres, odea, pavilions and galleries. The model stands in the middle between the two side walls of the pavilion. The longer parallel walls represent two environments, two different strategies: the environment of fight, clash and the strategy of concern (Besorgen), solicitude (Fürsorgen) and the documentation of Dedeček’s work on one side, and the environment that asks the arché of Dedeček’s architecture to dance with the strategy of care (Sorge), and project on the other side. 131
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 and 10:
Architecture must never lose its pr
Page 11 and 12:
The SNG building/area has long been
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
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 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 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
show all

sng_2016-05-12_high-single-crop_k3

Create successful ePaper yourself

Delete template?

Save as template?