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Indeed the amphitheatre clusters even within itself; examples of this include the lecture hall odeum cluster with the outdoor amphitheatre terrace above it, and clustering with other established, anterior forms of the context. A characteristic example is the facing, “bridging” SNG wing. The project’s initial alternatives brought together the forms of bridge and house, and later alternatives added the odeum. Three parallel exhibition levels, divided by moving panels, function as a multiplied stoa. This cluster of architectural meanings undoubtedly contributed to the conception of the extraordinary construction/spatial cluster of the bridging. Yet this came about from more than just an anterior architectural forms cluster, motivated by a balancing of architectural and urban planning aims. The form that the concept’s next developmental phase took is one of the central issues in Dedeček’s architectural thinking, expressed in the polarity of mono-block/pavilion. This issue subsumes another way that the architect links architecture and urban planning. The SNG site was intended chiefly as an exhibition area, and a basic need of the renovation and addition was to increase exhibition areas. However, in discussion with the SNG director, Vladimír Dedeček grasped the institution as purposed for communications and research as well as exhibition. Such a program was best suited for a pavilion arrangement. In this sense the SNG area can be read as an effort at interlinking contemporary pavilion buildings and the historical form of a three-wing arrangement, with the wings – in contrast to an enclosed four-wing form – anticipating the outcome of separate pavilions. Pavilions can be relatively independent monofunction units, of unrelated volumes and spaces, or differentiated by storey as in the three-tract administration building, which was originally designed as a mono-block. The architect’s text implies that the monofunction administrative storeys were hybridized to include exhibition spaces in various form. It might be the form of “art cabinet” (study room), as was the case with the graphics study room; or clustering a lecture and projection hall under an outdoor terrace and a walkway hub, connecting 62
administration corridors with the Water Barracks problematicizing three-tract arrangement. The proliferation of pedestals in the administrative building’s main stairway has an equally hybridizing effect, though functionally this serves to differentiate the vertical passage and the horizontal connection to hygiene facilities. The dominating pavilion arrangement refers to the architect’s linguistic syntagmatic working version of architecture; the rules of this were differentiated both in program and especially in composition, with clustering intending linking of of contextuality and meanings within architecture. This “salami method” 6 in distributing programs in sections led to a “domino” game of playing with them. The shifting of pavilion storeys in the administrative building, or raising and shifting them in the bridging, were leading to two goals: to create clusters of galleries and terraces, and to make the courtyard accessible; Dedeček’s agora-based urban planning for the SNG site confirms this. Ultimately, the third version of the elaborated concept became the architect’s “factor-based” (factorial) working version. The decisive factor in the formation became light in its various forms: from direct and diffuse natural lighting to artificial varieties. Vladimír Dedeček has on various occasions explicitly affirmed this / see Textual interpretation, p. 55 and Architectural interpretation, p. 78 /. Thus bringing in light was to be the regulator behind shifting the exhibition halls of the bridging into a cluster of a hall space and spatial levels, as proved by figurative architectural clustering and selection of the bridge’s roofing materials. Dedeček let the light into the SNG site differentially (the natural light in the bridging versus the Water Barracks artificial lighting), but also 6 The first step was to order all the sections and sectors in a continual syntagmatic sequence that is potentially open, both in length and in height. The program of the building was decisive in determining the sequence's closure. Here, two basic rules run the show: typological/functional, and constructive. Dedeček metaphorically referred to this first step as a so-called salami method. The second step consisted of cutting this section/ sector continuum into compositional units (storeys, pavilion wings...). Dedeček usually called this second step domino. 63
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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
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 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
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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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