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The Slovak National Gallery area site came into existence over almost twenty years, from the early 1960s to the early 1980s, in several stages. Project documentation has been preserved for each stage / see …site’s genesis, analysis and reflection p. 15 /. This relatively lengthy period of design and the subsequent staged realization meant that the form of the designed work fundamentally changed, and the architecture was never completed as a whole. The staging also enabled Vladimír Dedeček to work into it aspects of his earlier solutions (such as the urbanism of the checkerboard raster and the natural lighting methods of Bratislava’s Secondary economics school on Ulica Februárového vít’azstva), and to ponder them in parallel with work on other projects (such as Bratislava’s Comenius University Natural Science faculty in Mlynská dolina, and Bratislava-Petržalka’s Multipurpose exhibition facility). While the SNG was conceived as a renovation of the Vodné kasárne (Water Barracks), which after 1948 were already in the service of the new Slovak National Gallery, but altogether entailed razing many buildings and building a series of new ones. Working closely with then-director of the SNG Karol Vaculík, Vladimír Dedeček came out against the concept of reserving the Water Barracks as the domain of older art while housing modern and contemporary art in another appropriate location; instead he advocated combining these two forms in a single area site, based around the same Water Barracks. Thus the assignment was to become the linking of two gallery types, not in one building but in a single area. This in turn conditioned Dedeček’s conceptual working version 4 of architecture. First of all, it pushed the period’s preconceptions on the gallery to be rethought, so as not to be in a single mono-block building or a pavilion arrangement of multiple buildings, but also in the sense of interlinking the site’s interior and exterior spaces, and putting into contact the SNG outdoor spaces with those of the city. Interlinking urban planning and architectural aspects had from the first been characteristic of Dedeček’s work and became a constant in his thinking, but the SNG project boasts even more striking and noteworthy layering and proliferation. 56
These tendencies conditioned both the selection from historically established (anterior 5 ) urban planning and architectural forms and the use of the clusters approach. The architect’s text on the SNG site signals the interlinking of both optics – urban planning and architectural – in part by frequently using the word space, and with a special emphasis on differentiation of indoor and outdoor spaces. On the other hand his thoughts on intentional minimizing, or downplaying, in the architectural interior, in favour of the space under the facing wing, imply that differentiating processes were occurring not just between outdoor and indoor spaces, but also between indoor space and the architectural interior. Secondly, Dedeček implemented his conceptual working version of architecture in that this interconnection occurred in stages. Though even early variations clearly envisage such staging, in practice the stages crystallized into a definitive form gradually; they thus took on the changing ideas of the time regarding both the SNG site and architectural thought itself. This took place not just in the architect’s project, but also through ongoing discussion and opinions by the architectural competition commission’s members, including Dedeček’s teacher / see …site’s genesis, analysis and reflection p. 18, 27 /. Thus the concept is not just a monologue, but rather the SNG site area design was exceptional for its dialogues and even “clusters of many voices”. Vladimír Dedeček took three approaches to developing the concept. The first was classical composition infected by creation of clusters on various levels. This manifested itself chiefly in the resolution of two types of alternatives, the first of which 4 There are four identifiable working versions of architecture in Dedeček's architectural thinking: 1. conceptual (architecture identifies with geometric thinking or the spirit of the age as formed in space), 2. compositional (architecture is the arrangement of volumes, spaces and typical figures based on the relation between symmetry and asymmetry), 3. linguistic (architecture comes into existence by putting syllables/cells into words/ sections, sentences/sectors etc), and 4. factor-based or factorial (architecture comes into existence by taking into consideration a variety of factors, from the natural to the socio-cultural). 5 EISENMAN, Peter. Diagram Diaries. London : Thames and Hudson, 1999. 57
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CARE (SORGE ) FOR ARCHITECTURE mari
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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 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
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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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