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the arcaded palace with a “cour d’honneur”. The renowned cafe and dance hall “Espresso Taranda” rented space in the building until 1948 in the reinforced courtyard terrace. Around 1950, the historical barracks was first renovated to be used to preserve and present the Slovak National Gallery’s historical collections (František Florians and Karol Rozmány Sr were responsible for the design and renovation, 1949–1955). In the early 1950s, Professor Emil Belluš and his architecture students at the Slovak Technical University took part in site selection for a new SNG pavilion or addition. In the 1957–58 academic year, Belluš published his studio’s student projects, suggesting two locations: the first was a new SNG pavilion construction at Gottwaldovo námestie (currently Námestie slobody), with a detached pavilion gallery becoming part of the new “technical university city” (the new neighbourhood around technical university buildings); the second was an addition to the historic Water Barracks, with the new addition expanding exhibition space for the gallery’s burgeoning collection in the historic building, and becoming part of the river promenade. In 1952, Vladimír Dedeček graduated under Emil Belluš’ super vision, specifically with a thesis project on the Výstavný pavilón SNG (SNG exhibition pavilion) located at a third site: Kamenné námestie (the former Steinplatz, later Kiev Square) in Bratislava. After years of working with his students, Belluš made the following summary in the late 1950s: “[u]rban planning, architectural, operational and financial studies proved that the most realistic location for the expanded construction of the Slovak National Gallery is the current tract on Rázusovo nábrežie by the Danube, where a purposeful construction of a face wing can well assure the gallery’s growing needs, as well as creating an expedient and sufficiently spacious environment for occasional special exhibits and exhibits of contemporary art.” (BELLUŠ 1957, pp. 93–94.) This statement is in line with Belluš’ effort to complete a modernized river area with a new skyline, i.e. his abiding endeavour to finish a Danube promenade from Harminc’s 18
uilding, currently housing the directorate of the Slovak National Museum (originally the agricultural museum) and the area of Park kultúry a oddychu (now being demolished). But, in Dedeček’s words, the main “inspiration for the idea to complete the SNG with a modern facing wing that would enclose the yard in the spirit of Hillebrandt’s original concept” was always the SNG director Dr. Karol Vaculík (DEDEČEK, undated [1975], p. 1). The contemporary guidelines Smernica pre výstavbu mesta Bratislavy, from a group led by the city’s chief architect Milan Hladký and chief city planner Milan Beňuška in October 1963, states: “In terms of political administration, the commercial and social centre should be developed in the context of the current centre, expanded to subsume the tracts attached to the Danube at Podhradské nábrežie and near the harbour, reassessing the meaning of the Danube river area, building it up as the city’s most frequented zone and thus emphasizing the <strong>high</strong>ly social function of these spaces... By 1970, a road bridge to be constructed over the Danube in the Rybné námestie space.” 13 Thus some of the riverbank’s historical architecture was, in keeping with 1960s urban plans, demolished, in part in connection with the Most SNP bridge construction. Among these were burgher residences on Lodná ulica behind Belluš’ Hotel Devín; some of the residences survived on Ulica Paulínyho-Tótha, but the breadth and scale of the riverside had changed. In this spirit, in 1965 the Slovenský ústav pamiatkovej starostlivosti (the historical sites institute) issued the following judgment on modernizing and refurbishing the riverside, and Dedeček’s study for SNG renovation and construction: “In principle, the view of this comprehensive urbanism solution for the entire block and the modernity of the architectural style is correct; the historical buildings in this quarter are physically worn, and disrupt the additional new construction that would 13 BEŇUŠKA, Milan – HLADKÝ, Milan. Smernice pre výstavbu mesta Bratislavy. Bratislava : Útvar hlavného architekta mesta Bratislavy, October 1963, p. 10, 15 and 22. 19
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 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
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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
Page 82 and 83:
[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
Page 96 and 97:
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
Page 122 and 123:
Illah van Oijen prepared the first
Page 124 and 125:
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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