SenÂ·toÂ¯i ve ValdÃ¶tejnskÃm palÂ·ci? - Tutorial.cz

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hing because that would announce anopinion. Nowadays we talk about asenate hall. When we say thearter,you can imagine for example theNational Theater. But what is a senatehall? Valdötejn Palace?Our class is preparing a trip for thearts. We are going to visit severalarchitecturally important places inhistory. I remember what Masaryksaid, "there is no progress in art:" tothe fact of "a lack of communicationin aesthetic experience." Through theprocess of nomenclature we arelosing the essence of excitement andsecrecy.National-ethnographic Museum inPragueJ·n Studen˝The idea of the Museum as an institutionof "the scientific picture of,our country," which was its name inthe 19th century, was attached to`development,' and needs adaptationto suit today's conditions. The actualthemes of the.work draw near theEthnographic Exhibition rendered in1995 and they consider their work asa benefit to the exhibition in Praguein 1895.I have created the museum as a collectionof the pavilions with the focusbeing the Kinsk˝ villas. The area issituated in the historical front of theKinsk˝ gardensThe Kinsk˝ villa, äv˝c·rna, and therestaurant all arose from the sameera (1828 - 31) and are .in the originalgarden: representing the classiciststyle in Bohemia.The New Building.In the lower part of the park, whereoriginally stood the SVU M·nesPavilion in 1902 (J. KotÏra), is locatedan entrance vilion. It is intended asa public information center (library,travel office, recreation hall) andsimultaneously could be used toaccommodate researchers and custodians.The exhibition pavilion for the expositionof popular creative art is in theupper part of the gardens, on the spacethat used to be an orange orchard.The spatial concept is established onthe contrast of massive material squeezedinto the narrow terrace withalternating dense and empty spaces.The Garden.The Kinsk˝ garden is a part of thescarce landscape in the Prague regionand therefore its character as anEnglish park is preserved as much aspossible. The upper part, the northwestpart of the garden is a renewedfruit orchard to conserve the historicalstock.Albertov University LibraryRudolf NetÌkThe concept arises from the idealvision of a university library. As aresult of the discussions on the contemporarytendencies to broadcastmass-media information, I am inclinedmore toward the classical conceptsof a library. The building's compositionis classical, and stems fromthe proportions and compositionprinciples of the Albertov building. I49 ARCHITEKT 1-2/96have attempted to describe the notionof this important building for publiclypresenting books and culture in amanner analogous to that whichwould be used by the building of thephilharmonic to present music, or amuseum, history.Addition to the Industrial ArtMuseum in PraguePavel RydloThe project starts with enhancingthe advantages of a museum buildingto exhibit objeets, and additions totheservice portion.The addition is in a T-configuration,with a modus of 3.5m, exactly like theSchulzt Museum. Its far side creates acorner to Palachov· n·m. Betweenthe addition and the museum is awaiting courtyard. The support constructionof the addition is exposed.There are square panels of milk-Okalux-glass with a circle viewpointof sheer glass. Toward the square thebuilding is surrounded by panels offinished concrete. The skirting of thebuilding is a rough surface, and thehigher parts are smooth - brushed.pp. 33-35ISLANDS OF CULTIVATIONOn Sborwitz's Reconstruction of TheMuseum of Art in Olomouc,1993-95Rostislau äv·chaA resultant disadvantage of the rapidcultural velopment in the CzechRepublic after 1989 is that today weend up without any balance of newlyopened galleries and exhibition halls.The personal activities of theOlomouc Museum of Art workersalong with the architecture of MichalSborwitz, helps to counteract thisimbalance.In 1989 the Olomouc Museum ofArt, in order to compensate for itslack of exhibition space, acquired abuilding complex on 47 Denisov· St.The construction history of this areacan be traced back as early as 1246; .after several different uses finally theoriginal historical building was demolishedin 1843, and a prison was builtin the Empire Style. The form of thecomplex today is the work ofOlomouc's builder Jaroslav Kova¯Ìkfrom 1915-20.Pavel Zatloukal, the manager of theMuseum of Art, with his colleagueMichal Soukup and other workersstarted the reconstruction of thiswing of the street. Their more or lessoriginal work was done in a highlyprofessional manner. However, as aresult of problems they faced in dealingwith the mezzanine level and thehuge late Empire Style trusses, theycalled upon the help of architectMichal Sborwitz, whose previouswork promised a sensitive and imaginativeapproach to the object.The small height of the mezzanineSborwitz dealt with through smoothdimensions of panels and built-in partitions.The next more complicatedtask he encountered in dealing withthe height of the floor, where themore bulky wood trusses obstructedfreedom of movement and made itimmensely more difficult to lay thenew floor. Michal Sborwitz respectedthe "valuable age" of the trusses andrevealed to the visitors them almost 'everywhere, as a result of which hehad to give the floor a peaceful slant.The space was named the "slopingsurface of the twentieth century." Inorder to complete the connectionthrough the halls with the more inferiorspace of the mezzanine, Sborwitzdared to stick to wood constructionwith a new steel spiral staircase: whoseNeo-functionalist dress resulted ina sign of the new central tloor, butalso remained a reminder of themodernity in the old noble environment.The narrow stair allowed theinclusion of the bridge and turret ofthe Mansard roof. The walls of theturret the architect opened, extendingthe beautiful panoramic view ofOlomouc to the visitors.In the museum hall Pavel Zatloukaland his workers are building a worldaround themselves suitable to theirhigh claims on architecture.Sborwitz's adjustments to theMuseum of Art give at least somedirection away from the mistakenpath of this building's history.p9. 44ENDANGERED BUILDINGSJan E. SvobodaThe recent demolition of the"fatraportion of »KD - on the southernside of Plzen St. in Prague-SmÌchov,will be followed by the more importantestablishment situated betweenPlzeÚsk· and Kartouzsk· Sts. thatwas created not only with the constructionof an interestingly supportedmain-hall structure (from c.1900), but as well with the nearbySecessionist Ringhoffer Villa by architectOsvald PolÌvek. The villa wasmost recently used as a health care.center.The conservationists absolutelyreject the extent of the the SmÌchovComplex demolition and demand there-development of the main-hall project,which could be used as a multifunctioncenter. This complex shouldbe developed in accordance with thehistorical character of the area.pg. 44MEDALIONJosef Saka¯ZdenÏk LukeöThis year will mark one hundredand forty years since the birth ofArch. Josef Saka¯, simultaneouslypassing sixty years since his death.Today he resides among the manypractically forgotten architects fromthe break of the century, however, inhis time he was a highly respectedpersonality.After studying in the CzechTechnical University he travelledthroughout Italy, and finally settledin Prague-KarlÌn. Throughout hislife he created Neo-Renaissance,
Secessionist, and Classism projects.Among the most prominent beingtwo buildings for the Charles'University Philosophy Faculty. If welook at the composition of the cornertoday, we can appreciate Saka¯'sClassicism, which gave the squaredignity and at the same time did notcompete with the most dominant piece- Rudolfinum.As a reminder of his abilities, Saka¯was awarded - one of the first - anhonorary doctorate in technical science,and was likewise a member ofthe Czech Academy of Science andArt.pp. 40-41EXHIBITION OF MIROSLAVLORENCZlin's Modern Architecture andPrague Avant-garde in the House ofArt in ZlÌnKate¯ina Paûoutoo·The Functionalist work of this 30'sZlÌn architect is introduced in thecontext of its relationship with therenowned Prague FunctionalistJaromÌr Krejcar.Miroslav Lorenc.The relationship between Krejcarand l.orenc could be taken as therelationship between "pupil" and"mentor." In fact though, a student ofKrejcar, Lorenc.was not. After completinghis studies at the PragueAcademy of Art (under Profs. JanKotÏr˝ and Josef GoË·r) he workedfrom 1927, for probably two years, inthe studio of Krejcar. Lorenc sharedin the work on several projects between1927-29, including the competitionproject of the parliament.inPrague, on the Lentensk· lay-out(1928), and on the realisation of thePrague cultural masterpiece - theUSSR Pavilion.After the working in Krejcar's studio,Lorenc managed two projects forBaùa in a newly built square inPrague - a hotel and a cinema (notrealised). He also worked on a schoolproject in an area where there werealready projects from Frantiöek LydieGahura. In this work he sustains theFunctionalistic schemes, with possibleinfluences of the project for theLetensk· layout, but which were nonethelessby no means common forFunctionalism. After he left Baùa,which occurred as a result of a disputeover the financing in the cinemaproject, Lorenc projected the cottagesand apartments for the Pod¯evn˝Coop (1931-33).During the next portion of Lorenc'swork in architecture he created severalcommercial and residential buildingsin ZlÌn. The influences of thework done with Krejcar are in no waydirectly manifested in the work here,though some indirect influence canbe found.The end of Miroslav Lorenc's life isconsiderably dramatic. Lorenc wasexecuted in 1943 in Vratislav afterbeing imprisoned for anti-nazi activity.From that last year of his life50 ARCHITEKT 1-2/96sprang several released architecturalsketches inspired by the PerretBasilica in La Raincy and SovietConstructivism.pg. 38LOOKING FOR THE BASE OF ART-WORKLenka Lindaurov·The Canadian artist DavidRabinowitch, currently living in NewYork, is exhibiting his work in Praguebased on his sketches from the sixties.He is coming back to the timewhen he was looking for the essenceof the work, after his painting and"color" years: going to simple andrandomly assembled sheets of curvedmetal and minimal shapes of basicgeometrical principles. In his workwe can also see similarities to thelater works of the Czech artistStanislav KolÌbal.pg. 41PRILIMINARY, BUT NOT PREMATUREThe Historicat Volume of CzechArchitecture,1945-1995Marek Pokorn˝The publication, which stood as thefirst attempt to summarise, or at leastdescribe, the "development" of architecturein the Czech Republic afterWWII; probably doesn't need criticism.The volume explicates a chronologicalreading of Czech post-war architecturalcreations, which are graspedabove all in their "individual" achievements- buildings. The urbanism,the reconstruction of historical complexesand buildings, landscaping,interiors, and design all receive sufficientdevotion in the "complete" study.A specific chapter creates theview of the work of architecturalimmigrants and generally formulatsthe summary of the transformationwhich they created in the 90's forCzech architecture.The chronological articulation inthe publication standardly orientsitself according to a combination ofsocial historical epochs (1948,1956,1970) - which do not only havemeaning for Czech post-war architecture- and the logical developmentof architectural ideas. The comprehensibleandnatural insufficiency andinconvincingness of the structuraldevelopment is well-balanced withthe specific chapters on the characterof certain architectural movements.There is, though, the question ifwhether for example there is not missinga study of the reception of Post-Modern paradigms in the CzechRepublic. It would have been usefulas well to configure the summary,which rose in the framework of projectedorganisation of old types, asattempts in cooperatÌon by officialspheres and from the 80's on thebasis of private studios or as the programsof coalitions.The standard of the volume is not,however, balanced and sways frombenefit to benefit as much from thestandpoint of presenting informationas from the standpoint of its presentationclarity The most exceptionallysuccessful studies undoubtedlybelong to Rostislav ävacha and PetrKratochvÌl. These exquisite examplesrepresent fundamental ingenuity anda carefully developed entrance intothe problems.In conclusion, it could be understood,in recognising the volume as anadvancement of the issues which it.helps to formulate, as well as in consideringits mistakes, that the volumequite successfully presents the mannerto begin the "construction" of thecomplex notions of Czech post-wararchitecture.pg. 8-11COMPETITION FOR THE HYPO-BANK PROJECT ON NAM. REPUB-LIKYReaction II -A Subjective View ofUrbanismMiroslav BaöeNot long ago the public presentationof the nam. Republiky/Hypobankcompetition, which had as an aim notonly the design for the new buildingbut also the solution for the square,was made. The square, which hasbecome a square essentially of its owndevelopment - that is without therehaving ever been any direct intentionto make it a square, was seen by thepromoters of the competition asbeing an important intersection ofthe Sts. Na Po¯ÌËf and V Celnici.With the lack an intentional direction,there spontaneously arose a rivaliybetween the completion of thesquare and the more concrete tasks,in which one architectural objectreigned supreme. This result wassupported by the opinion that thesquare is practically fixed to satisfactionand that it originally was not asquare in the first place. In this phasethe quasi-square was not able tosurmount its shadow as a "trafficintersection: ` Unfortunately.pg. 39MEIER DIDN'T PURSWAYED BUTFRAMPTON DIDKarel DoleûelThe general consensus in Brno ofMeier's presentation by most architecturalstudents and professionalswas that it lacked indepth value,being that he showed only slides withoutany developmental comments.On the other hand KennethFrampton wonderfully explicated hisconcept "Critical Regionalism," andadded that "if someone would translatehis recent publication into Czech,he would be willing to add to it a sectionon Bohemian and Moravianarchitecture between the world wars."Translation and SummaryJason P. Boisvert
Page 2 and 3: OBSAH 1/2 19961 V›STAVYSOUTÃéEK
Page 4 and 5: Interviews newyorsk˝marchitektemË
Page 6 and 7: Aktu·lnÏPRAéSK… GREMIUM KEKONC
Page 8 and 9: P R A é S K ›H R A DIvo Koukolÿ
Page 10 and 11: SoutÏûna budovuHypobankya n·mÏs
Page 13 and 14: uliËnÌho bloku, rovnÏû clonÌc
Page 15 and 16: P R A é S K ›H R A DSituace. Leg
Page 17 and 18: 14 ARCHITEKT 1-2/96
Page 19 and 20: VSTUP DO PRESIDENTSK… KANCEL¡ÿE
Page 21 and 22: P¯ÌËn˝ ¯ezzima, lÈtoAxonometr
Page 23 and 24: ÿezy20 ARCHITEKT 1-2/96
Page 25 and 26: PREDSTAVUJEME äKOLU ARCHITEKTURYpr
Page 29 and 30: PohledP¯ÌËn˝ ¯ezP˘dorys26 ARC
Page 33 and 34: Pohled z·padnÌP¯ÌËn˝ ¯ezP˘d
Page 35 and 36: MICHAL SBORWITZ OSTROV KULTIVOVANOS
Page 37 and 38: »elnÌ pohledPodÈln˝ ¯ezP¯ÌË
Page 39 and 40: Sk¯ÌÚ ÑPlechovkaî (1992), stol
Page 41 and 42: HvÏzdy v BrnÏKAPLICK›, MEIER,FR
Page 43 and 44: Nedostatek velk˝ch praûsk˝chzak
Page 45 and 46: Nepovažuji sám sebe za natolikkva
Page 47 and 48: A - praxeZPR¡VY Z KOMORYPOJIäTÃN
Page 49 and 50: LodûskÈ ulice mezi obytn˝mi domy
Page 51: ENGLISH SUMMARYpg.12THREE LECTURES

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