kopec/portfolio 2021-2015 by Jakub Kopec

JAKUB KOPEC/PORTFOLIO/2021-2015

CONTENT: INFORMAL MO(NU)MENTS 4 GWERK 8 SPACE IS THE PLACE 12 ADAJ LEPERAS 16 CRYSTAL CHAIN 20 Y 24 INDEX FOSSIL 28 NEW PARK IN LEOPOLDOV 32 #OK 36 I AM NOT HERE, I AM IN ARCADIA 40 CITY INTERVENTIONS 44 FULL HOUSE 48 VIRTUAL BEHRENS 52 HOUSE IN STONE QUARRY SLUM 56 SQUARE/PARK 60 FOLIES 64 NET 68 AIRPORT CITY 72

Informal mo(nu)ments/installations in public space/ authors František Demeter, Jakub Kopec, Danica Pišteková, Juraj Rattaj, Paulína Gajerová, Adam Priecel, Simona Plachá, Karin Brániková, Jakub Čulák, Saša Smolková, Simona Svitková, Michal Golák, Michaela Kacsiová, Sophie Magnin, Vanesa Rybárová, Ema Hesterová, Jozef Pilát/realization Black Dog, Pathfinders Trucks s.r.o., Dionýz Troskó, Marcel Mališ, Lujza Stopková.../photo Šimon Parec/the project was supported by the Art Support Fund and the City of Bratislava Foundation/partners Bratislava-Petržalka, Cultural Facilities of Petržalka, HotDock project space/ under the auspices of Matúš Vallo, the Mayor of the Capital City of the Slovak Republic Bratislava/ Petržalka/2020-21 The idea of the exhibition arose during the summer semester 2019/20 at the AFAD as a part of the interdisciplinary project Amber Road. In parallel with the ancient trade route connecting northern and southern Europe, to which the name of the unfinished central communication axis of Petržalka, the Amber Road, refers, we want to revive cooperation at various levels. In the interdisciplinary framework among educators and students of architecture, sculpture, painting or intermedia, in the institutional framework between the university, municipal government and local organizations, in the participatory framework then between the professional and lay public. The result is a common exhibition of three works along the Croatian Arm. On the one hand, they react to the given situations in the park in connection with the planned tram line (along its route scattered concrete relics of housing estate construction, desire lines and paths that cross the line, or various types of forces, forms of imaginary intersections, platforms, stops or terminals), on the other hand, form methods that allow each project to work with the same rules based on a given situation, but with the potential for a different result elsewhere.

GWERK/exhibition architecture/author Jakub Kopec/ curator Zsófia Kiss-Szemán/visual identity Aurélia Garová, Tereza Maco/photo Peter Homola/City Gallery of Bratislava/2020 The "liquid" fundus of exhibition architecture reinterprets the dynamic landscape motifs of the master pieces of Edmund Gwerk. Painter's works leave the walls of the exhibition rooms and become part of an ephemeral labyrinth, bringing a new experience of space. The subtle support structure was created from recycled wooden boards modified on a CNC milling machine.

Space Is the Place/installation/authors Jan Čumlivski, František Demeter, Jakub Kopec/curator Mira Keratová/ photo Ján Kekeli/Permanent Exposition of Stano Filko in Central Slovakian Gallery - HYDROZOA, Part Four, Banská Bystrica/2020 According to Bergson, we do not find things and places in the space, but space in things and places. We found the space of Filko's Cosmos and started operating with it further. We complicate the ideal central space. When we turn one of its inlet openings upside down, stretch it and glue it to the other, we get a two-dimensional geometric shape - a Klein bottle. This variety has specific properties compared to the initial shape. Its surface is reversibly continuous, and it is not clear which of its sides is the back side and which one is the front. In order to retain its topological properties during subsequent transformations, it must remain continuous. In this way, by further stretching and shrinking, we adapted our new topological space to the space of the entrance to the Central Slovakian Gallery, a former Maßhaus. The installation fills it and at the same time it creates its continuation, which curls up into itself. It is soft, inflatable like Filko's Cosmos, but it also contains many other references. It refers to Kiesler and his endless house, to the spaces of soft radical architecture of the 1960s and 1970s, but also to the digital spaces of the turn of the 20th and 21st centuries. To avoid excessive perfection of the new object, or, conversely, tackiness of the product, we problematize the installation again. Its surface is covered with a grid, which is based on the geometry of the object and at the same time it allows us to further its optical transformation. In order for the grid to maintain its continuity as well as the entire object, we can further stretch or contract it, but we should not break it. In this way, the grid responds to selected points of the space that carry different charges. In the end, Čumlivski reacts uncontrollably to this process of a computer-controlled topological transformation, using the surface of the object as an outline for graphic intervention. Demeter too.

Adaj leperas/2nd prize in the international landscapearchitectural competition for the design of the Roma and Sinti Holocaust Memorial in Lety u Písku/authors Jakub Kopec, Klára Zahradníčková, Tomáš Džadoň/in cooperation with Paly Paštika (murals), Aurélia Garová (visual identity), Luboš Zbranek (visualizations), Lynda Zein (opponency)/2020 The Holocaust of the Roma and Sinti represents an open wound to the coexistence between various cultures, not only in the Czech context, but also in the European one. This rupture, which causes and consequences go far beyond the existence of the so-called Gypsy camp into the past and the present, can only be healed through the quest for a common dialogue. The proposal for the Memorial in Lety u Písku attempts to initiate a polyphonic dialogue through landscape and architectural means. It seeks to remind and reveal the individual layers, to understand the relationships between them and to further develop the diversity of the place, witness of this bent destiny.

Crystal Chain/exhibition architecture/author Jakub Kopec, co-author and curator Lucia Tkáčová/photo Ján Kekeli, Ján Viazanička/Jozef Kollár Gallery, Banská Štiavnica/2019 The architecture of the exhibition interprets the work of Wenzel Hablik, an influential member of the expressionist movement Crystal Chain. The colorful and compositional motifs of the painting of the dining room of his own house in Itzehoe, Germany, underwent analysis and re-synthesis to give rise to a new distinctive fantasy space in the space of exhibition hall. Synthetically hallucinogenic, stimulating as well as making uncertain, creating a soft textile background for the chain of exposed videos with similarly ambivalent content.

Y/exhibition architecture/author Jakub Kopec/curators Barbora Komarová, Luboš Kotlár, Miroslava Urbanová/ photo Kvet Nguyen/Gallery Umelka, Bratislava/2019 The architecture of the AFAD annual exhibition develops the grid motif of the paving of the hall of the functionalist gallery into a generous network covering the entire floor of the exhibition space, which responds to the exhibited works through various deformations.

Index Fossil/exhibition architecture/author Jakub Kopec/ curator Ivana Rumanová/visual identity Pinchof/photo Peter Snadík, Jakub Kopec/New Synagogue, Žilina/2019 The exhibition looks at the present from the position of its future archeology. The architecture of the exhibition consists of the plinths from the five gallery institutions. Their arrangement responds with the monumentality of the whole to the architecture of the exhibition space (dome and galleries) and with the imperfection of the details (aggregation of worn plinths complemented with several raw wooden beams) to the context of everyday gallery operation. The plinths served as a diverse fundus for the exhibited artworks and were reinstalled as an autonomous relict after the exhibition was interrupted due to the theater festival.

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NEW PARK IN LEOPOLDOV/public contract/authors Jakub Kopec, Klára Zahradníčková, Tomáš Džadoň, in cooperation with JV PROJEKT VH, s.r.o. (water management), Dubrovay, s.r.o. (electrical installation), Ondřej Fous (garden and landscaping consultations), Juraj Ondreas (visual identity), Luboš Zbranek (visualisations), Marek Repáň (restoration works), CS, s.r.o. (main contractor)/photo Ján Kekeli/Leopoldov/2017-19 The conversion of a former croft cemetery into a park with playground equipment for children transforms a half-forgotten walk-through garden into a site of active fun where people of all ages will find ways to wind down. The design works with three basic principles - activating the park boundary, enabling free movement within, and introducing new additions to the existing structures. The project was created in cooperation between an architect, a landscape architect and an artist based on winning the architectural design competition.

#OK/exhibition architecture/author Jakub Kopec/curators Mária Janušová, Erik Vilím/visual identity Pinchof/Jozef Kollár Gallery, Banská Štiavnica/2018 Architecture of the XII. Triennale of Small Object and Drawings, focused on the object-oriented ontology, plays with the least attractive and at the same time the largest object inside the exhibition space - faded heavy-duty carpet. It is transformed from the only superficial covering of gallery floors into spacemaking element, which correlates with different levels of exhibition rooms and plinths and creates a new topography undulated similar to the landscape of Banská Štiavnica. Besides the landscape of carpet is topological, it keeps a geometrical continuity of the original floor plan. Its folds partially uncover floor screeds and partially recycle or cover useless exhibition elements. A visitorwayfarer discovers art pieces situated in this landscape, (s)he can walk through or have a rest within for a while.

I AM NOT HERE, I AM IN ARCADIA/exhibition architecture/author Jakub Kopec/curator Maria Janušová/visual identity Aurélia Garová, Tereza Maco/ photo Ján Kekeli, Jakub Kopec/Nitra/2018 Architectural adjustments disrupted the centre line of the exhibition area that used to be a hallway connecting the exhibition rooms located by its sides. The dividing walls raised in the central hallway cost it both its dominance and its purpose, but expanded the Representative Halls of the Nitra Gallery by adding additional rooms. The new architectural layout resembles a labyrinth - the visitor is forced to keep exploring the exhibition area and search for new ways out or deeper inside the exhibition. The labyrinth symbol is also a part of the exhibition concept that refers to ancient philosophy and mythology in many ways. (Curatorial text)

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CITY INTERVENTIONS/exhibition architecture/authors Jakub Kopec, Filip Kusák/curators Jakub Kořínek, Lenka Sedláčková/visual identity Kutululu/Brno/2017 The installation transformed a street network of the city Brno onto surfaces of the exhibition hall in its centre. Each one of city interventions was exhibited as a model object, through which its author interpreted the idea of this intervention.

FULL HOUSE/exhibition architecture/authors Jakub Kopec, Filip Kusák/curatorial research Petra Hlaváčková, Barbora Benčíková/visual identity Anna Hrabalová/light design Pavel Richtr, Ladislav Mirvald/Brno/2017 The Alfa Passage, the multi-purpose palace in the Brno city centre, has been existing for eighty years. On the occasion of this anniversary an exhibition of a house in the house was created. The scale model 1:33 stands for the mass interpretation of the building, which spatial connections reveal through the characteristic longitudinal section along the passage, where the model is exhibited. The stereotomic mass formation substitutes for the tectonic composability of the building, its folds produced via CNC milling machine follow rather the living space of its users than the structural principles of the functionalist palace. During the 20th century the fundamental historical events were mirrored in this building. The curatorial research mediated through the exhibition catalogue reflects the architectural, historical and political aspects of the house transformations and their impact on the current image of the place.

VIRTUAL BEHRENS/installation/author Jakub Kopec/ curator Ivana Rumanová/Working Exhibition, New Synagogue, Žilina/2017 The architekt Jakub Kopec decided to complement and make present the visions of Peter Behrens in the space of the Nová synagóga, using virtual reality. In the end, he turned out to be equally interested in the central area of the dome and Behrens's absolute ideas as in the strange space of absence beneath it. If we were to make the dome into a complete spherical object in space, it would not touch the ground but rather levitate above it at the height of 68 cm. Jakub Kopec already worked with this specific space once in his Pódium (Stage) project of 2013. This time he addresses it in a completely different manner and using completely different means, but even now he transforms the space of deviation or imperfections of construction into a space for play, a possibility for a human being to enter or play with the architecture. (Curatorial text)

HOUSE IN STONE QUARRY SLUM/private contract/author Jakub Kopec/Brno/since 2010 In the project is merging a topography of the stone quarry with the original workers house, which is a part of the monumental heritage complex of the former slum. The building programme circulates through the new topography of the house. A sequence of confined rooms of the existing building is adapted into the generous living space, which is opened to the daylight rare in this area.

SQUARE/PARK/2nd prize in the public anonymous architectural, urban and landscape design competition/ authors Jakub Kopec, Klára Zahradníčková, in cooperation with Luboš Zbranek/park in Moravian Square, Brno/2016 The Moravian Square forms a transition in between a park system of the Brno ring road and a paved pedestrian zone of the city centre. The cityness is represented through the paving of its surfaces, the parkness thereafter through the form of underpassable tree tops which protect the generous square/park against the sunshine. The design loosens too exposed centre of the park through a concentration of cultural activities along its circumference. These activities try to resuscitate the park surroundings without disturbing the relaxing character of its inner area. The existing peripheral pavement is conspicuously enlarged (up to approx. 20 metres) to enable i. a. temporary buildings placement to relieve its excessive building on a spatially limited squares in the city centre. The inner park area is integrated with stabilized soil which enables free passing of pedestrians as well as provides a relaxing area in such generosity missing in the central area of the city. New surfaces and city furniture follow the existing ones which are in accordance with the project and don't fulfil their lifespan. On the circumference of the park can be used existing mobile buildings and furnishings.

FOLIES/festival architecture/author Jakub Kopec, in cooperation with Tomáš Řepa and Ladislav Mirvald/Malá Amerika, Brno/2016 An installation in a railway station storehouse reorganizes its interior according to needs of the 2nd International Comic Festival KOMA. A medium is a stretch foil tight in between inner structural elements which serves also as a billboard for exhibited comic strips.

NET/festival architecture/authors Jakub Kopec, Jiří Vítek/ Malá Amerika, Brno/2015 An ephemeral net created in a former storehouse served for hanging comic strips during the comics festival KOMA in order to let impress newly opened attic of this monumental protected building.

AIRPORT CITY/competition entry/authors Jakub Kopec, Michal Mačuda, Jiří Vítek, in cooperation with FlyingArchitecture/Prague/2015 A surplus of existing non-articulate areas is infilled with built-up volumes creating an urban score of a city which is diverse as well as Prague itself. The envelopes pose a main spatial regulation based on diagram. These are derived from a flight profile and shading parameters of surrounding buildings, the envelopes are optimalized in relation to views from a new control tower. Their programme is multiple, they are able to be actualized during the built-up process. The districts create rhizomatic, mutually non-hierarchic and autonomous quarters organized around inner public space. The flow of public areas is inscribed into the surface pattern via equipotential lines, which are generated from the kind of movement. If it is quicker, these lines are more liquid (transit around districts), if it is more quiet, lines create meanders and sediments (inner shared spaces).

5102-1202/OILOFTROP/CEPOK BUKAJ