sng_2016-05-12_high-single-crop_k3

Recommendations

Info

was that either to allow for or to ignore context. The historical Water Barracks building was an impulse to allow for context, as was Harminc’s Hotel Carlton Savoy, Fuchs’ Rosenthal rental residence and even Belluš’ Hotel Devín. The lay public understood, and still understands, Dedeček’s solution to be an example of acontextualism. There is some validation of this opinion in Dedeček’s text: “We did not speculate over the relationships in composition or arrangement between the SNG buildings and the buildings we proposed to demolish, for a range of objective and subjective reasons”. Yet this sentence addresses only some of the buildings, indeed those slated for razing; it particularly concerns a defined portion of architectural context. Even toward the buildings not meant to be knocked down, Vladimír Dedeček never showed a desire to play up their external similarity or historical morphology. To the contrary: he was building, as became customary for him, his own internal context for the whole site. All the alternatives in his design show that the individual SNG buildings share the inclusion of a variety of anterior architectural and urban design forms (for the gallery this is the amphitheatre or odeum [a roofed amphitheatre], or the stoa and agora or forum). The completed SNG buildings are for example raised on pillars or terraced, or have walkways or continuous balconies running around their perimeters. Contextually, they share facing materials; and after all there is the shared approach to design, such as shifting and terracing... / see …site’s genesis, analysis and reflection p. 33–37 and Architectural interpretation, p. 24, 74–75 /. The new formation of the site’s internal contextuality is significant in realization where, for example, the Water Barracks’ rear facades received a new facing in common with the entire site. This clustering of historical and contemporary surfacing is literally “acontextual-contextual”. Such generalization of common emblems contemporary and historical, transformed into Dedeček’s words, created (in contrast to the exterior similarities and preservation of historical morphology) conditions for contextuality, both on-site and outside the site, with the neighbouring buildings both historical and modernistic. In this way, for instance, 58
the stoa, peristyle or portico motifs could become a contextual nexus between the Water Barracks and the new SNG buildings, like the internal courtyard motif linking the SNG site to almost all the surrounding construction: not only did Harminc apply this to the Carlton Savoy, but also Belluš to the Hotel Devín and Fuchs to the Rosenthal residence. The Fuchs building connects to the SNG via the site’s terraces, i.e. to what is now Paulínyho ulica, and the morphology of the building is influenced by the sun’s movement through the sky. In terms of terraces, the corner residential building on Rázusovo nábrežie originally been slated for razing has commonalities with the SNG site. In all alternatives proposed for the site, the configuration of the horizontal prism of the library and study area and the vertical SNG administrative building was composed as an inversion of the vertical Hotel Devín and its horizontal support facilities. Placing a raised plinth in the Water Barracks courtyard, in fact, corresponds to the terrace placed by Hotel Devín. Beyond this, all these forms of indoor and outdoor architectural contextuality cooperate with the urbanist contextuality that from its inception defined the site’s design. The Water Barracks’ location and character offered as an area solution the interconnection of four significant urban spaces: to begin, two large town squares (Hviezdoslavovo, and what is now called Námestie L’udovíta Štúra) and the Hotel Devín’s foreground. These latter, in the first alternatives, were to be access points to the SNG as well as the riverfront; this latter was in the period’s urban planning conceptions seen as “... the showpiece of the city... with a very social function” / for more see …site’s genesis, analysis and reflection p. 19 /. This could be the basis for the SNG site area’s checkerboard raster, at the core of which is the Water Barracks courtyard with arcaded portico connected to the riverfront. Other fields in this checkerboard were occupied by the amphitheatre, separated from Riečna ulica by a wall of hollow concrete forms and interstitial space with pillars under the library; and by the entry space by the administrative building and parking area, on which was meant to be a garage with outdoor terrace sculpture gallery / see …site’s genesis, analysis and reflection p. 16 /. 59
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 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 132 and 133:
This project The Care for Architect
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

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?