MI XVII 2002 tanulmányút Prága by ÉME Mesteriskola

PRÁGA

2002

ÉME MESTERISKOLA XVII. CIKLUS

Ò7,.g1<9 PRÁGA

2002

ÉME MESTERISKOLA XVII. CIKLUS

Ò7,.g1<9

PROGRAM 2002.11.07 05.45 06.00

Talรกlkozรณ a Borรกros tรฉri Duna-hรกz (BILLA) parkolรณban Indulรกs Brnรณ

7XJHQGKDW YLOD EHOpS| &=. 0LHV YDQ GHU 5RKH

14.00 15.00 15.30 16.30 17.00

Brnรณi vรกsรกrterรผlet Dopravnรญ podnik โ irodahรกz Kapitol โ irodahรกz Kรถnyvtรกr Josefskรก โ irodahรกz

20.00

ร rkezรฉs a szรกllรกsra (Hotel Abri, Prรกga)

Fuchs, Rudis (2) Rusรญn, Wahla Grym, Skrabal, Sapรกk (3) Kuba, PilaU

Hrusa, Pelcak

2002.11.08 Prรกga Reggeli a szรกllรณban (a szรกllรกskรถltsรฉgben benne van)

09.30 11.00 11.30 12.00 13.30 14.00 14.30 15.00 16.30 17.00 17.30

Muzo โ irodahรกz Budejovickรก โ irodahรกz Kavci hory โ lakรณhรกz Hotel Holiday Inn TรกcoIรณ hรกz โ irodahรกz Andel - bevรกsรกrIรณ kรถzpont Andel โ mozi Andel โ irodahรกz Nรกrodnรญ - รผgyvรฉdi kamara Vรกclavskรฉ nรกm.- รผzlet, iroda Cernรก rรบze - รกrkรกd

18.30

vacsora az ร pรญtรฉszklubban (egyรฉni fizetรฉssel kb. 200,- CZK)

D3A - Stanislav Fiala (5) Omikron โ Kotรญk (6) Mrรกzek, Thรฉr A.D.N.S. Frank Gehry, Vlado Milunic (7) D3A - Prouza, Zima D3A - Prouza, Zima Jean Nouvel (8) Atelier 8000 - Krupauer, Strรญteckรฝ DaM - Dolezal, Malinskรฝ A.D.N.S. (9)

Sapรกk Jan

08.00

fax:

kapcsolat: A.D.N.S. architekti Na pr kope 12 Praha 1 Stempel Jan tel.: 00 420 221014237 00 420 602222767 00 420 777632648 t

2002.11.09 Prรกga

15.00 Indulรกs vissza 23.00 kb. ร rkezรฉs

.= & |Sp O HE

2002.11.09 Prรกga vacsora az ร pรญtรฉszklubban (egyรฉni fizetรฉssel kb. 200,- CZK)

18.30

09.30 11.00 11.30 12.00 13.30 14.00 14.30 15.00 16.30 17.00 17.30

Reggeli a szรกllรณban (a szรกllรกskรถltsรฉgben benne van)

08.00

2002.11.08 Prรกga ร rkezรฉs a szรกllรกsra (Hotel Abri, Prรกga)

20.00

Brnรณi vรกsรกrterรผlet Dopravnรญ podnik โ irodahรกz Kapitol โ irodahรกz Kรถnyvtรกr Josefskรก โ irodahรกz

14.00 15.00 15.30 16.30 17.00

Fuchs, Rudis (2) Rusรญn, Wahla Grym, Skrabal, Sapรกk (3) Kuba, Pila Hrusa, Pelcak

HKR 5 U HG QDY V H L 0 .= & |Sp O HE D OL Y W DKGQHJX 7

Brnรณ 05.45 06.00

Talรกlkozรณ a Borรกros tรฉri Duna-hรกz (BILLA) parkolรณban Indulรกs

2002.11.07

PROGRAM

kapcsolat: A.D.N.S. architekti Na prtkope 12 Praha 1 Stempel Jan tel.: 00 420 221014237 00 420 602222767 Sapรกk Jan fax: 00 420 777632648

Reggeli a szรกllรณban

Plecnik , Jiricnรก, Sรฉpka, Hraclecnรฝ, Hรกjek, Sรญpek, Pleskot

08.00

Prรกgai Vรกr

A.D.N.S. (10) A.D.N.S. (11) A.D.N.S. (12) Plecnik (13) Loos (14) (15) Smetana, Kulรญk (16) Fuks

09.00

Rรกdiรณszรฉkhรกz OMG โ irodahรกz SOB โ bank Jiriho z Podebrad โ templom Villa Mรผller ( Baba - funkcionalista negyed Alfrรฉd โ szรญnhรกz Veletrznรญ palรกc - Nemzeti galรฉria

Reggeli a szรกllรณban

09.00 09.45 10.00 10.30 12.30 14.00 17.00 17.30

08.00

2002.11.10 Prรกga

Reggeli a szรกllรณban

A.D.N.S. (10) A.D.N.S. (11) A.D.N.S. (12) Plecnik (13) Loos (14) (15) Smetana, Kulรญk (16) Fuks

08.00

Rรกdiรณszรฉkhรกz OMG โ irodahรกz &SOB โ bank Jiriho z Podebrad โ templom Villa Mรผller (EHOpS| &=.

Baba - funkcionalista negyed Alfrรฉd โ szรญnhรกz Veletrznรญ palรกc - Nemzeti galรฉria

Plecnik , Jiricnรก, Sรฉpka, Hraclecnรฝ, Hรกjek, Sรญpek, Pleskot

09.00 09.45 10.00 10.30 12.30 14.00 17.00 17.30

Prรกgai Vรกr

Reggeli a szรกllรณban 09.00

08.00

pilseni sĂśr

KUW \ Q O HK 8Âł ] RKiNVF D 0 W p . $ Â´ N HĂž RN XRY G 8 U p\ QHN V W U HSH W V HY H OO DF DS U |V DQU DE

12Â°-os barna sĂśr U provaznice

ProvaznickĂĄ 3.

iNV QHW H/Âł HF Q L S V i PD 7 W ] 6 Â´

PiQ pNV QiW HU R/

Âł ] |KU |N g V |U | 9 $ Â´ D O RY RKpQHYU HĂž 8

U zlatĂŠho Tygra â&#x20AC;?Az Arany Tigrishezâ&#x20AC;&#x153; csapolt Pisner Urquell, sĂśrsajt, virslicskĂŠk

Husova 17.

HG] I U |V W i M DV

iQĂž H-

HASZNOS INFORMĂ CIĂ&#x201C;K

PXG \NVU DY RYL 3 Qt ]VW iKV pW U HV WO Â V HG] I U |V W i M DV

Âł HG] I U H 6 L V RU iYM Ă&#x2019;

DY RF QH PH .

VO ( Â´ U DY RYL S ĂŞNVW

PRY RQ t QYU 3

(nem szabad kihagyni) U Flek â&#x20AC;&#x153;Flekâ&#x20AC;&#x153;, hozzĂĄ gulyĂĄs

DY RNĂžL GR 9

ĂĄrfolyam: 1 CZK = 8.2 HUF 1 EUR = 31.0 CZK

â&#x20AC;&#x153;Kecskebak- sĂśrâ&#x20AC;&#x153;, prĂĄgai kolbĂĄsz

V i PR 7 YV 8

] |U |V

segĂŠlyhĂvĂł telefonok:

szĂĄllĂĄs: Hotel ABRI *** Jana Masaryka 36, 120 00 Praha 2 tel.: 00 420 222515124 00 420 222516714 fax: 00 420 224254240 abrilogin.cz e-mail:

1230, 124

felvilĂĄgosĂtĂĄs: Prague Tourist Center RytĂrVNi tel./fax: 00 420 24212209 00 420 24236047 PIS Na pUikope 20 tel.: 00 420 24482018 fax: 00 420 24234399

iNV

Baleseti segĂŠlyszolgĂĄlat:

diplomĂĄciai kĂŠpviselet: NagykĂśvetsĂŠg CeskomalĂnskĂĄ 2, 16000 Praha 1 tel.: 00 420 33324454 Ăźgyelet: 00 420 33320393 fax: 00 420 33322104 Konzuli Hivatal ul. Badeniho 1, 16000 Praha 1 tel.: 00 420 33323584 Ăźgyelet: 00 420 33320393 fax: 00 420 33322103

1230, 124

felvilĂĄgosĂtĂĄs: Prague Tourist Center RytĂ tel./fax: 00 420 24212209 00 420 24236047 Na p ikope 20 00 420 24482018 00 420 24234399

Baleseti segĂŠlyszolgĂĄlat:

PIS tel.: fax:

7X]ROWyN

szĂĄllĂĄs: Hotel ABRI *** Jana Masaryka 36, 120 00 Praha 2 tel.: 00 420 222515124 00 420 222516714 00 420 224254240 abrilogin.cz

5HQGRUVpJ VHJpO\N|]SRQW

fax: e-mail:

0HQWRN RUYRVL VHJpO\

N yWO R]

W QRS] |N\O pJHV JpVU

GQH 5

\O pJHV L V RYU R N W QH 0

segĂŠlyhĂvĂł telefonok: (nem szabad kihagyni) U FlekX .UHPHQFRYD

â&#x20AC;&#x153;Flekâ&#x20AC;&#x153;, hozzĂĄ gulyĂĄs

V|U|]RN

ĂĄrfolyam: 1 CZK = 8.2 HUF 1 EUR = 31.0 CZK

3UYQt QRYRPLWVNĂŞ SLYRYDU Â´(OVR Ă&#x2019;MYiURVL 6HUIR]GHÂł 9RGLFNRYD

VDMiW V|UIR]GH VÂ OW VHUWpVKiWV]tQ

VDMiW V|UIR]GH

U zlatĂŠho Tygra â&#x20AC;?Az Arany Tigrishezâ&#x20AC;&#x153; (Husova 17.) csapolt Pisner Urquell, sĂśrsajt, virslicskĂŠk 8 HHUYHQpKR YROD Â´$ 9|U|V gN|UK|]Âł /RUHWiQVNp QiP

â&#x20AC;&#x153;Kecskebak-sĂśrâ&#x20AC;&#x153;, prĂĄgai kolbĂĄsz 8 VY 7RPiVL Â´6]W 7DPiV SLQFHÂł /HWHQVNi

12Â°-os barna sĂśr U provaznice (ProvaznickĂĄ 3.) EDUQD V|U SDFDOOHYHV WHSHUWRV NHQ\pU 8 GYRX NRHHN Â´$ .pW 0DFVNiKR]Âł 8KHOQ\ WUK

pilseni sĂśr

HASZNOS INFORMĂ CIĂ&#x201C;K

3LYRYDUVN\ GXP -HFQi

1 HAUS TUGENDHAT BRNO ARCHITECT: LUDWIG MIES VAN DER ROHE

Im Dezember 1927 nimmt das Projekt Formen an. Ende 1930 ziehen die Tugendhats ein. Von dem Haus mit Hanglage sieht man die Strasse lediglich vom Obergeschoss aus, das aus zwei einfachen, rechteckigen Volumen unter einem Dach besteht; in dem einen Teil befinden sich die Arbeitsraume und die Garage, in dem anderen der Haupteingang und die Schlafraume. Zwischen diesen beiden Blöcken bildet eine Öffnung den Rahmen für den Blick auf die Stadt. Eine halbrunde Wand aus Opaleszentglas weist auf den Eingang hin und beleuchtet die Halle mit Travertinfussboden. Die Lage der Schlafraume ist beiderseits des Korridors höchst traditionell. Die Schlafzimmer mit Südlage verfügen über eine Terrasse mit Blick auf den Garten. Die untere, etwa siebenhundert Quadratmeter umfassende Ebene ist mit Ausnahme der Serviceraume eine freie, fünfzehn mal vierundzwanzig Meter grossen Flache: Hier kommt Mies van der Rohes ganze Kunst voll zum Ausdruck. Die Ost- und Südfassade sind dank der drei mal fünf Meter grossen Glasflachen zur Landschaft hin geöffnet. Zwei dieser Glasflachen können mittels einer einfachen Vorrichtung in den Boden eingelassen werden. Zwischen innen und aussen gibt es keinerlei Unterbrechung, denn der nach Osten gelegene Wintergarten gewahrleistet einen temperierten Übergang. Aber auch im Innern wird nichts abgegrenzt: Die beiden Wande, die eine gerade und aus goldfarbenem und rotem Onyx, die andere halbkreisförmig und aus Ebenholz, umfassen den Wohn- und Speiseraum, das Büro und die Bibliothek, ohne sie voneinander zu trennen. Die Materialien, sind einfach und üppig: das Holz, der Onyx, das elfenbeinfarbene Linoleum des Fussbodens, die Sei de der Vorhange, die Wolle der Teppiche, rhythmisch gegliedert durch die diskreten Vertikale der kreuzförmigen Stützen aus verchromtem Metall. Die Möbel, teils für den Pavillon in Barcelona, teils für das Haus entworfen, wurden mit jener ein wenig strengen Genauigkeit aufgestellt, auf die Mies van der Rohe sich besonders gut verstand. Die Türklinken, Fussleisten und Schlösser, all diese Details, von denen Mies sagte, darb Gott sich in ihnen befande, werden mit beinahe übertriebener Sorgfalt behandelt. Im Untergeschoss finden sich Vorratsraume und Installationen, die in der damaligen Zeit auf dem letzten Stand waren: Heizung und Klimaanlage mit Befeuchtungsvorrichtung, ein elektromechanisches System zum Heben und Senken der Glasfassaden. In seinem spartanischen Luxus ist das Haus Tugendhat noch immer das ideale Modell der modernen Architektur seiner Zeit.

ARCHITECT: LUDWIG MIES VAN DER ROHE

HAUS TUGENDHAT BRNO

2 PAVILON G AT THE EXHIBITION GROUNDS BVV AREA, BRNO ARCHITECT: VIKTOR RUDIS, MARTIN RUDIS, ZDENKA VYDROVÁ The centre of the pavilion is the preserved glass tower by Bohumlr Cermik from 19261928. The wings of the original pavilion (of U-shaped plan), however, had to be demolished. The new composition reacts to the extension of the exhibition area and suggests the continuation of one of the communication axes. The new wings combine the classicizing tendency (axial symmetry of the cour d'honneur) with the elegance of high-tech architecture. The exhibition halls provided with aluminium cladding offer large undivided areas of maximum flexibility of use. Services are concealed within the void of the double watts. Out of the two lower towers in the facade one is also Cermik's original work, the other its paraphrase.

The centre of the pavilion is the preserved glass tower by Bohumlr Cermik from 19261928. The wings of the original pavilion (of U-shaped plan), however, had to be demolished. The new composition reacts to the extension of the exhibition area and suggests the continuation of one of the communication axes. The new wings combine the classicizing tendency (axial symmetry of the cour d’honneur) with the elegance of high-tech architecture. The exhibition halls provided with aluminium cladding offer large undivided areas of maximum flexibility of use. Services are concealed within the void of the double watts. Out of the two lower towers in the facade one is also Cermik’s original work, the other its paraphrase. ARCHITECT: VIKTOR RUDIS, MARTIN RUDIS, ZDENKA VYDROVÁ

PAVILON G AT THE EXHIBITION GROUNDS BVV AREA, BRNO

3 KAPITOL HOUSE ADMINISTRATIVE BUILDING RASINOVA 4, BRNO ARCHITECT: JINDRICH SKRABAL, JAN SAPÁK, LUDVÍK GRYM (BRNO) Rasín Street - the only new street in the centre of Brno - was not cut through the druse of houses until the beginning of the 20th century. The town-planning detail of the site was designed by Camillo Sitte as his only work in the town. Its purpose was to open a vista of the tower of St. James’church. Two different positions of the street line have become the most important, although not formulated conditions of the brief for the designers of the new building. They integrated the trace of the facades of both adjacent buildings both into the body and into interiors of the new building. They restored the initial significance of the staircase, enabling the correct perception of the house. They situated the entrance in the position assuring the best effect both for the house itself and its close environs, thus giving rise to a semicircular square anhanceing the house and vice versa. The substructure consists of slurry-seal underground walls and pressure- grouted anchors underpinning the surrounding buildings. The whole structure incl. foundations is composite. The shafts are of cast-in-place concrete with coarse-ground surface. Another important visual element are the glazed party walls creating a transparent staircase. The facade consists of three significant materials – the fluted grey-white alpine gneiss, the sand-blasted stainless steel shop window frames on the ground floor and the aluminium system facade. Stone slabs of extraordinary dimensions enhance the order of the building. The austere expression of the glazed aluminium cladding is achieved by the prevailing horizontal articulation and details of individual design. Wooden windows are made of high-quality pine wood. The steps and landings of the staircase are of coarse-grained grey-black terrazzo. The other floors are covered with natural linoleum, in sanitary rooms with coloured cast screeds. The ground floor is paved with grey-black granite.

Rasín Street - the only new street in the centre of Brno - was not cut through the druse of houses until the beginning of the 20th century. The town-planning detail of the site was designed by Camillo Sitte as his only work in the town. Its purpose was to open a vista of the tower of St. James’church. Two different positions of the street line have become the most important, although not formulated conditions of the brief for the designers of the new building. They integrated the trace of the facades of both adjacent buildings both into the body and into interiors of the new building. They restored the initial significance of the staircase, enabling the correct perception of the house. They situated the entrance in the position assuring the best effect both for the house itself and its close environs, thus giving rise to a semicircular square anhanceing the house and vice versa. The substructure consists of slurry-seal underground walls and pressure-grouted anchors underpinning the surrounding buildings. The whole structure incl. foundations is composite. The shafts are of cast-in-place concrete with coarse-ground surface. Another important visual element are the glazed party walls creating a transparent staircase. The facade consists of three significant materials – the fluted grey-white alpine gneiss, the sand-blasted stainless steel shop window frames on the ground floor and the aluminium system facade. Stone slabs of extraordinary dimensions enhance the order of the building. The austere expression of the glazed aluminium cladding is achieved by the prevailing horizontal articulation and details of individual design. Wooden windows are made of high-quality pine wood. The steps and landings of the staircase are of coarse-grained grey-black terrazzo. The other floors are covered with natural linoleum, in sanitary rooms with coloured cast screeds. The ground floor is paved with grey-black granite. ARCHITECT: JINDRICH SKRABAL, JAN SAPÁK, LUDVÍK GRYM (BRNO)

KAPITOL HOUSE ADMINISTRATIVE BUILDING RASINOVA 4, BRNO

4 LIBRARY BUILDING BRNO ARCHITECT: KUBA, PILAR The hidden facade of the library building in Brno has a very interesting surface. The object is not lining the street, but is set in the existing faculty courtyard. In this environment no disturbance occurs thanks to the use of the contemporary almost zero facade style. The building reflects the dignity of the institution and something like a nobly translucent skin is charming its neighbourhood. Modest ways are used to present a high aim here.

The hidden facade of the library building in Brno has a very interesting surface. The object is not lining the street, but is set in the existing faculty courtyard. In this environment no disturbance occurs thanks to the use of the contemporary almost zero facade style. The building reflects the dignity of the institution and something like a nobly translucent skin is charming its neighbourhood. Modest ways are used to present a high aim here. ARCHITECT: KUBA, PILAR

LIBRARY BUILDING BRNO

5 MMUZO CENTRUM ADMINISTRATIVE BUILDING U VESNY A V OLSINACH, STRASNICE, PRAGUE 10 ARCHITECT: STANISLAV FIALA, DANIELA POLUBEDOVOVĂ (PRAHA)

The building serves as the control centre of the magnetic credit cards system for the whole Czech Republic. An exacting programme with an extreme number of data transmission line and electronic devices, together with a number of special security requirements, have influenced the layout as well as the exterior of the building. The aim of the designer was to treat these special requirements so as to incorporate the building into the urban structure as a standard administrative building, which it is not because of the complexity of its operation. The designer selected a maximally simple shape of the building. The only layout limitations in the individual storeys consist in floor slabs, columns and the stiffening elliptical core with all vertical circulation and communication corridors. In accordance with the virtual activities of the company the appearance of the building was maximally dematerialized. Its transparent outer skin of glass and irregularly placed exterior and interior louvres represents the optimum compromise between appearance, efficiency and financial requirements of the facade which reacts to any changes of lighting conditions, wind and rain as well as interior and exterior operation. Also the partitions are mostly of glass and can be displaced as required. The raised floors enable the wiring network connection to any target point. Particular attention was afforded to the symbiosis of the building with vegetation. The building is protected from urban noise by a high concrete wall with creepers.

ARCHITECT: STANISLAV FIALA, DANIELA POLUBEDOVOVĂ (PRAHA)

MMUZO CENTRUM ADMINISTRATIVE BUILDING U VESNY A V OLSINACH, STRASNICE, PRAGUE 10

6 THE BUILDING OF THE CZECH SAVINGS BANK POLACKOVA 1976/2, PANKRAC, PRAGUE 4 ARCHITECT: MARTIN KOTÍK, LEOS ZEMAN, DANIEL DVORÁK (PRAHA)

The new building of the Czech Savings Bank supplements the group of its buildings in Budejovické námestí (Budejovice Square) in Prague 4. The purpose of its construction was concentration of various scattered offices of the company in the proximity of its headquarters. The design was based on the town-planning concept of the square and the fact that every existing building represented a solitary feature of distinct architecture and a large scale of its own. As the volume of the new building was smallest of all, it was necessary to find a scale commensurate with other solitary buildings and to create a mass not giving a too robust impression. The designers managed to achieve this goal by the rhythmicization of the principal administrative areas and, above all, by the provision of a circulation gallery. The design should solve also a non-contrasting transition between the solitary buildings on the square and the ambient existing buildings. The facade made major use, for the first time in the Czech Republic, of the Cotto ceramic cladding. The circulation gallery was provided with a very refined transparent element – a glass structure projecting into the very interior of the building (glass flooring, frameless lifts, etc.). The new building has five storeys above ground level divided into three blocks. The structural span Of 12 m without intermediate supports enables considerable variability of interiors. The fifth storey in all three blocks houses the management offices with terraces and highstandard interiors. The four underground storeys provide parking space and house technical facilities serving the whole group of the Czech Savings Bank buildings in the area.

ARCHITECT: MARTIN KOTÍK, LEOS ZEMAN, DANIEL DVORÁK (PRAHA)

THE BUILDING OF THE CZECH SAVINGS BANK POLACKOVA 1976/2, PANKRAC, PRAGUE 4

7 F. 0. Gehry co-operated in the design of the building with the Czech architect V. Mitunic who had prepared his own design for the same site earlier. The building is situated on a site exposed to view on a representative 19th century embankment. However, its sculptural concept offers an adequate answer to the given context. The marked couple of towers provides a new accent in the continuous embankment front and forms a counterpart to the historical tower near by. Apart from teased offices the ground floor and the top floor house restaurants, the latter with a terrace offering an exquisite panorama of Prague Castle.

THE DANCING HOUSE RASÍNOVO NÁBRÉZÍ 80, NOVÉ MESTO, PRAGUE 2

ARCHITECT: VLADO MILUNIC, FRANK 0. GEHRY ARCHITECT: VLADO MILUNIC, FRANK 0. GEHRY

THE DANCING HOUSE RASÍNOVO NÁBRÉZÍ 80, NOVÉ MESTO, PRAGUE 2

F. 0. Gehry co-operated in the design of the building with the Czech architect V. Mitunic who had prepared his own design for the same site earlier. The building is situated on a site exposed to view on a representative 19th century embankment. However, its sculptural concept offers an adequate answer to the given context. The marked couple of towers provides a new accent in the continuous embankment front and forms a counterpart to the historical tower near by. Apart from teased offices the ground floor and the top floor house restaurants, the latter with a terrace offering an exquisite panorama of Prague Castle.

8 ANDEL PROJECT PRAGUE ARCHITECT: JEAN NOUVEL The architecture of this project is characterised by the typological diversity of its urban forms. It is a lively, accessible urban place, consisting of specific- built objects in harmony with the city orientation, which continues the line of shops along the street, with differentiated office facades which are graphics and which constitute a support of image thanks to some serigraphied glass. The architectural concept of the facade is developed from two themes: the idea of Prague’s traditional coloured facades; the idea of an angel, existing historically in this area and embodied by the subway station Andel. The facades of our building develop these two thernes by using a graphic system that includes typical glass facades and specific serigraphy. The latter differ according to the urban orientation of the building, the type of building, and according to its particular solar orientation. The east and north facades are fully glazed, and solar protection is achieved graphically on the facade glass. The south and west facades are partially glazed. They have external sun-shading made from glass panels with a louver slat system. The angel concept is expressed in the B2 building which formally reaches towards the intersection - like the bow of a boat - with curved glass that thins out like hair in a series of balconies, which then progressively step back at each level. The head of Bruno Ganz, the human angel in Winn Wenders’ Wings of Desire, is superimposed on the facade by serigraphy or transparent film. Excerpts from Czech poems about angels are superimposed on four facades, over both the glazed and opaque parts, on a scale large enough for pedestrians to read them. The glazed facades of the shops are covered with illuminated advertising signs as well as with movable fabric blinds that can also be used as a medium for advertising graphics. The roof and facades of the restaurant on the terrace are protected with sun-shades. The rear delivery areas are clad in enamelled steel or aluminium. Some vertical and horizontal translucent areas allow the penetration of natural daylight. A tree-garden acts as a transition place between the two delivery areas and provides a visual transition from Our project to the band of the semidetached buildings behind.

The architecture of this project is characterised by the typological diversity of its urban forms. It is a lively, accessible urban place, consisting of specific-built objects in harmony with the city orientation, which continues the line of shops along the street, with differentiated office facades which are graphics and which constitute a support of image thanks to some serigraphied glass. The architectural concept of the facade is developed from two themes: the idea of Prague’s traditional coloured facades; the idea of an angel, existing historically in this area and embodied by the subway station Andel. The facades of our building develop these two thernes by using a graphic system that includes typical glass facades and specific serigraphy. The latter differ according to the urban orientation of the building, the type of building, and according to its particular solar orientation. The east and north facades are fully glazed, and solar protection is achieved graphically on the facade glass. The south and west facades are partially glazed. They have external sun-shading made from glass panels with a louver slat system. The angel concept is expressed in the B2 building which formally reaches towards the intersection - like the bow of a boat - with curved glass that thins out like hair in a series of balconies, which then progressively step back at each level. The head of Bruno Ganz, the human angel in Winn Wenders’ Wings of Desire, is superimposed on the facade by serigraphy or transparent film. Excerpts from Czech poems about angels are superimposed on four facades, over both the glazed and opaque parts, on a scale large enough for pedestrians to read them. The glazed facades of the shops are covered with illuminated advertising signs as well as with movable fabric blinds that can also be used as a medium for advertising graphics. The roof and facades of the restaurant on the terrace are protected with sun-shades. The rear delivery areas are clad in enamelled steel or aluminium. Some vertical and horizontal translucent areas allow the penetration of natural daylight. A tree-garden acts as a transition place between the two delivery areas and provides a visual transition from Our project to the band of the semidetached buildings behind. ARCHITECT: JEAN NOUVEL

ANDEL PROJECT PRAGUE

9 CERNÁ RUZE ARCADE NOVE MESTO, PRAGUE ARCHITECT: VÁCLAV ALDA, JÁN STEMPEL, PETR DVO2ÁK, MARTIN N,MEC – A.D.N.S. ARCHITEKTI (PRAHA) Cerná ruze (The Black Rose) arcade, built in the 30s to the design by Oldrich Tyl, is one of the recently reconstructed shopping arcades in Prague. The purpose of the reconstruction - the restoration of its original state - was served also by the removal of all subsequent additions in the so-called ’’Brussels style’’ The most radical present intervention is the installation of new escalators and sliding glass entrance doors. The accurate workmanship of details, respecting the character of Tyl’s original design, ranks this reconstruction among the most successful ones.

Cerná ruze (The Black Rose) arcade, built in the 30s to the design by Oldrich Tyl, is one of the recently reconstructed shopping arcades in Prague. The purpose of the reconstruction - the restoration of its original state - was served also by the removal of all subsequent additions in the so-called ’’Brussels style’’ The most radical present intervention is the installation of new escalators and sliding glass entrance doors. The accurate workmanship of details, respecting the character of Tyl’s original design, ranks this reconstruction among the most successful ones. ,

ARCHITECT: VÁCLAV ALDA, JÁN STEMPEL, PETR DVO ÁK, MARTIN N MEC – A.D.N.S. ARCHITEKTI (PRAHA) 2

CERNÁ RUZE ARCADE NOVE MESTO, PRAGUE

10 NEW STUDIO BUILDING OF CZECH BROADCASTING CORPORATION RIMSKÁ ULICE 13, PRAGUE 2 ARCHITECT: VÁCLAV ALDA, JÁN STEMPEL, PETR DVO5ÁK, MARTIN N,MEC – A.D.N.S. ARCHITEKTI (PRAHA)

The new building of the Czech Broadcasting Corporation was erected on the site of a demolished building dating from the beginning of the century, adjacent to the headquarters of the Corporation, and the building of the STE (formerly Transgas). Therefore, the studio building is inconspicuous on the outside; its main facade merely links up with the height of adjacent buildings and its lateral reflective wall, assisting the natural lighting of the next building at present, enables future construction and closing of the block. The disadvantage of the site consists in the direct neighbourhood of the tunnels of Czech Railways and Prague Underground. The transmission of noise and vibrations is eliminated by noise dampers supporting the studio part of the building from the third above-ground storey upwards. The requirements of the layout and the different use of individual parts resulted in a complex quest for the satisfactory layout. The necessity to provide the maximum number of adequately lit rooms in spite of insufficient facade area have resulted in the design of an interior space glazed on both sides. The only street facade was clad with Scotch sandstone. The main broadcasting building, linking up with the new building in the courtyard, is connected with the new building by three -storey gallery leading straight to the broadcasting studios. To conceal the eleven storey part of the building projecting above the cornice level from the street the office block was placed in the courtyard above the studio roof level. The load-bearing structure of the buildings is of reinforced concrete. At the client’s request most concrete surfaces were left without additional finishing thus emphasizing visual concrete in its interiors. All other finishing materials, such as wood, steel and glass, merely accompany and supplement the visual concrete surfaces.

ARCHITECT: VÁCLAV ALDA, JÁN STEMPEL, PETR DVO ÁK, MARTIN N MEC – A.D.N.S. ARCHITEKTI (PRAHA) 5

NEW STUDIO BUILDING OF CZECH BROADCASTING CORPORATION RIMSKÁ ULICE 13, PRAGUE 2

11 OMG PANORAMA LEGEROVA UL., PRAGUE 2 ARCHITECT: VÁCLAV ALDA, JÁN STEMPEL, PETR DVO5ÁK, MARTIN N,MEC – A.D.N.S. ARCHITEKTI (PRAHA)

ARCHITECT: VÁCLAV ALDA, JÁN STEMPEL, PETR DVO ÁK, MARTIN N MEC – A.D.N.S. ARCHITEKTI (PRAHA) 5

OMG PANORAMA LEGEROVA UL., PRAGUE 2

12 ý62% ANGLICKÁ UL., PRAGUE 2 ARCHITECT: VÁCLAV ALDA, JÁN STEMPEL, PETR DVO5ÁK, MARTIN N,MEC – A.D.N.S. ARCHITEKTI (PRAHA)

ARCHITECT: VÁCLAV ALDA, JÁN STEMPEL, PETR DVO ÁK, MARTIN N MEC – A.D.N.S. ARCHITEKTI (PRAHA) 5

ANGLICKÁ UL., PRAGUE 2

ý62% 12

13 Monumentaler Sakralbau mit eigenartiger Mischung an klassizistischen und orientalischen Elementen. Der Innenraum, von sehr kontemplativer Atmosphäre, ist mit einer Holzkassettendecke abgeschlossen. Der Turm ist im Inneren über ein Rampensystern begehbar. Durch das gläserne Ziffernblatt der Kirchenuhr hat man einen Blick auf die Prager Burg. ARCHITECT: JOSIP PLECNK

HERZ-JESU-KIRCHE NÁMESTÍ JIRÍHO Z PODEBRAD, VINOHRADY, PRAGUE 3

ARCHITECT: JOSIP PLECNK Monumentaler Sakralbau mit eigenartiger Mischung an klassizistischen und orientalischen Elementen. Der Innenraum, von sehr kontemplativer Atmosphäre, ist mit einer Holzkassettendecke abgeschlossen. Der Turm ist im Inneren über ein Rampensystern begehbar. Durch das gläserne Ziffernblatt der Kirchenuhr hat man einen Blick auf die Prager Burg.

14 VILLA MÜLLER NAD HRADNÍM VODOJEMEM 14/642., STRESOVICE, PRAGUE 6 ARCHITECT: ADOLF LOOS, KAREL LHOTA

Adolf Loos designed this villa within a few weeks of being commissioned by Frantisek Müller. Müller, who was a partner in the Kapsa & Müller construction firm, negotiated the building permit with the local authority. Permission was granted on appeal after several attempts as the villa ’s footprint was larger than permitted and the intricate interior layout did not clearly follow the allowable twostorey height limit. This villa is a plain and unassuming building from the outside and on approaching one wonders what all the fuss is about. The windows seem too small to allow enough light to the interior. In fact the exterior confirms Adolf Loos’s determination ’not to build a beautiful house but a house with a simple roof and simple windows’. But what a revelation once inside. The spaces ace just the right size, and the windows let the correct quantity of sunlight in to set the villa alight. Interwoven rooms partly overlooking each other, yet secluded enough to provide privacy, ace carved out of the cubic volume and connected together with a central staircase which serves all levels and spreads with a few steps into all the major rooms. Entering each space, you ace confounded by the three-dimensional complexity of the layout; it is difficult to establish where you ace in relation to the rest of the villa. Colourful finishes of cipollino de Sion marble, Silesian syenite granite, lemonwood, maple, oak and mahogany hard woods, Opaxit glass, ceramic and Delft tiles, curtain fabrics, mirrors, carpets, polished parquet floors, leather upholstery, and purpose- designed light fittings and ironmongery give richness to the whole experience. Here Loos exchanged the decoration of the past for something more magnificent. 'Rich materials and good workmanship should not only be considered as making up for lack of decoration but as far surpassing it in sumptuousness. Noble materials ace a gift from God!' From the roof terrace is another view of Prague, this time confined by the extended side walls. The wall on the right has a large opening to frame the view of St Vitus Cathedral. This remarkable creation is an architectural jack-in-a-box and there is no other building like it in Prague or possibly anywhere else. Loos's belief was that space was something to be experienced, and on leaving the villa one genuinely feels exhausted from the mental effort required to appreciate all the qualities of this exceptional 2.oth century architectural masterpiece. Villa Müller is true to Loos’s notion that ’a building should be dumb on the outside and reveal its wealth only on the inside’.

Adolf Loos designed this villa within a few weeks of being commissioned by Frantisek Müller. Müller, who was a partner in the Kapsa & Müller construction firm, negotiated the building permit with the local authority. Permission was granted on appeal after several attempts as the villa ’s footprint was larger than permitted and the intricate interior layout did not clearly follow the allowable twostorey height limit. This villa is a plain and unassuming building from the outside and on approaching one wonders what all the fuss is about. The windows seem too small to allow enough light to the interior. In fact the exterior confirms Adolf Loos’s determination ’not to build a beautiful house but a house with a simple roof and simple windows’. But what a revelation once inside. The spaces ace just the right size, and the windows let the correct quantity of sunlight in to set the villa alight. Interwoven rooms partly overlooking each other, yet secluded enough to provide privacy, ace carved out of the cubic volume and connected together with a central staircase which serves all levels and spreads with a few steps into all the major rooms. Entering each space, you ace confounded by the three-dimensional complexity of the layout; it is difficult to establish where you ace in relation to the rest of the villa. Colourful finishes of cipollino de Sion marble, Silesian syenite granite, lemonwood, maple, oak and mahogany hard woods, Opaxit glass, ceramic and Delft tiles, curtain fabrics, mirrors, carpets, polished parquet floors, leather upholstery, and purpose- designed light fittings and ironmongery give richness to the whole experience. Here Loos exchanged the decoration of the past for something more magnificent. ’Rich materials and good workmanship should not only be considered as making up for lack of decoration but as far surpassing it in sumptuousness. Noble materials ace a gift from God!’ From the roof terrace is another view of Prague, this time confined by the extended side walls. The wall on the right has a large opening to frame the view of St Vitus Cathedral. This remarkable creation is an architectural jack-in-a-box and there is no other building like it in Prague or possibly anywhere else. Loos's belief was that space was something to be experienced, and on leaving the villa one genuinely feels exhausted from the mental effort required to appreciate all the qualities of this exceptional 2.oth century architectural masterpiece. Villa Müller is true to Loos’s notion that ’a building should be dumb on the outside and reveal its wealth only on the inside’.

ARCHITECT: ADOLF LOOS, KAREL LHOTA

VILLA MÜLLER NAD HRADNÍM VODOJEMEM 14/642., STRESOVICE, PRAGUE 6

15 WERKBUNDSIEDLUNG BABA 1928-1940 PRAGUE DIE STIDTEBAULICHE LOSUNG STAMMT VON PAVEL JANÁK Im Unterschied zu Stuttgart und Wlen wurde die Siedlung nicht von der Stadtverwaltung finanziert. Private Bauherren, die sich zu einer Vereinigung zusammenschlossen, wählten Architekten aus dem Tschechoslowakischen Werkbund und als einzigen Ausländer den Holländer Mart Stam. Der urspringliche Pian, typisierte Elnfamillen- und Relhenhäuser zu errichten, wurde von den Bauherren nicht akzeptiert. So finden sich hier differenzierte Formen des individuellen Wohnens. Lediglich Infrastruktureinrichtungen wie Kanalisierung, Verkehrswege, Umfriedungen und Energieversorgung wurden einheitlich durchgeführt. Die Straßen folgen den Höhenlinien. An nahezu allen Häusern wurden später größere Anderungen vorgenommen (Garagenzubauten, Riffputz, der den Häusern die räumliche Wirkung nimmt).

Im Unterschied zu Stuttgart und Wlen wurde die Siedlung nicht von der Stadtverwaltung finanziert. Private Bauherren, die sich zu einer Vereinigung zusammenschlossen, wählten Architekten aus dem Tschechoslowakischen Werkbund und als einzigen Ausländer den Holländer Mart Stam. Der urspringliche Pian, typisierte Elnfamillen- und Relhenhäuser zu errichten, wurde von den Bauherren nicht akzeptiert. So finden sich hier differenzierte Formen des individuellen Wohnens. Lediglich Infrastruktureinrichtungen wie Kanalisierung, Verkehrswege, Umfriedungen und Energieversorgung wurden einheitlich durchgeführt. Die Straßen folgen den Höhenlinien. An nahezu allen Häusern wurden später größere Anderungen vorgenommen (Garagenzubauten, Riffputz, der den Häusern die räumliche Wirkung nimmt). DIE STIDTEBAULICHE LOSUNG STAMMT VON PAVEL JAN~K

WERKBUNDSIEDLUNG BABA 1928-1940 PRAGUE

16 ALFRED PANTOMIME THEATRE HOLESOVICE, PRAGUE ARCHITECT: TOMAS KULĂ?K, JINDRICH SMETANA This miniature theatre is remarkable for the way it is built into an urban block yard, the way it makes use of its space and the way of its concrescence with it. Also its structural design and arrangement of masses are unique. It is built very economically, applies inexpensive, banal materials (walls of flooring metal plate, windows of glass strips), but manages to grant them a high cultural standard. The exterior of the building recalls telescopically extended prisms separated by peripheral glass bands. In the interior the auditorium drops towards the stage below ground level which has made it possible to use the cellars below the ambient buildings for the purposes of the theatre (dressing rooms, foyer, exit).

This miniature theatre is remarkable for the way it is built into an urban block yard, the way it makes use of its space and the way of its concrescence with it. Also its structural design and arrangement of masses are unique. It is built very economically, applies inexpensive, banal materials (walls of flooring metal plate, windows of glass strips), but manages to grant them a high cultural standard. The exterior of the building recalls telescopically extended prisms separated by peripheral glass bands. In the interior the auditorium drops towards the stage below ground level which has made it possible to use the cellars below the ambient buildings for the purposes of the theatre (dressing rooms, foyer, exit). ARCHITECT: TOMAS KULĂ?K, JINDRICH SMETANA

ALFRED PANTOMIME THEATRE HOLESOVICE, PRAGUE

17 GADMINISTRATIVE BUILDING OF LÉCIVA KE KABLU 130, LO-DOLNÍ MÊHOLUPY, PRAGUE ARCHITECT: RUDOLF NETIK, MOJMIR RANNG The new joint-stock administrative project is built in the north- west, most exposed corner of the site, next to the main entrance to the company. The concept was to horizontally connect the new building with the existing administrative center into one building. The elliptical building consists of five levels. The skin of the facade is from a combination of wood and glass. The central space of the building is an atrium void cutting through all the floors. The atrium is glazed in the north part of the facade and in the roof section. The curve of the facade is further disrupted by an enclosed fire tower. The construction consists of a monolithic reinforced concrete skeleton resting on a monolithic reinforced concrete foundation plate. All the vertical monolithic constructions are rendered i direct-finish concrete. The entire building has suspended floors; the interior partitions are prefabricated and movable. The ground floor houses meeting and conference rooms - the dominant feature being a conference room seating 105. Beside the main conference room, there are meeting lounges and a small restaurant. The second through levels include offices with the ancillary facilities and amenities, filing rooms with a storage space, and a small meeting room. The technical facilities are on the basement (approximately 1 m below terrain level).

The new joint-stock administrative project is built in the north-west, most exposed corner of the site, next to the main entrance to the company. The concept was to horizontally connect the new building with the existing administrative center into one building. The elliptical building consists of five levels. The skin of the facade is from a combination of wood and glass. The central space of the building is an atrium void cutting through all the floors. The atrium is glazed in the north part of the facade and in the roof section. The curve of the facade is further disrupted by an enclosed fire tower. The construction consists of a monolithic reinforced concrete skeleton resting on a monolithic reinforced concrete foundation plate. All the vertical monolithic constructions are rendered i direct-finish concrete. The entire building has suspended floors; the interior partitions are prefabricated and movable. The ground floor houses meeting and conference rooms - the dominant feature being a conference room seating 105. Beside the main conference room, there are meeting lounges and a small restaurant. The second through levels include offices with the ancillary facilities and amenities, filing rooms with a storage space, and a small meeting room. The technical facilities are on the basement (approximately 1 m below terrain level). ARCHITECT: RUDOLF NETIK, MOJMIR RANNG

GADMINISTRATIVE BUILDING OF LÉCIVA KE KABLU 130, LO-DOLNÍ MÊHOLUPY, PRAGUE

18 &(6.È 32-,â7291$ 9 .2/Ë1, PRAGUE ARCHITECT: VÁCLAV ALDA, JÁN STEMPEL, PETR DVO5ÁK, MARTIN N,MEC – A.D.N.S. ARCHITEKTI (PRAHA)

ARCHITECT: VÁCLAV ALDA, JÁN STEMPEL, PETR DVO ÁK, MARTIN N MEC – A.D.N.S. ARCHITEKTI (PRAHA) 5

&(6.È 32-,â7291$ 9 .2/Ë1, PRAGUE

19 PHOTOLABORATORY KIOKNEROVA 2278, CHOCLOV, PRAGUE 2 ARCHITECT: VÁCLAV ALDA, JÁN STEMPEL, PETR DVO5ÁK, MARTIN N,MEC – A.D.N.S. ARCHITEKTI (PRAHA) The brief required the design of a photolaboratory, warehouse, and offices, as the building serves simultaneously as the headquarters of the company in the Czech Republic. The design consequently, did not copy analogous laboratories in Germany designed as plain industrial buildings. The designed building consists of the laboratory hall and warehouse and a taller office part with the main entrance. The layout and division of the building are subordinated to the traffic taking place in it, the natural centre of which is the entance and the staircase hall. This space provides direct access to all principal parts of the building. The whole building is clad with zink plate components overlapping like shingles. The wood and aluminium windows are protected with horizontal sunbreakers providing adequate working environment in glazed offices.

The brief required the design of a photolaboratory, warehouse, and offices, as the building serves simultaneously as the headquarters of the company in the Czech Republic. The design consequently, did not copy analogous laboratories in Germany designed as plain industrial buildings. The designed building consists of the laboratory hall and warehouse and a taller office part with the main entrance. The layout and division of the building are subordinated to the traffic taking place in it, the natural centre of which is the entance and the staircase hall. This space provides direct access to all principal parts of the building. The whole building is clad with zink plate components overlapping like shingles. The wood and aluminium windows are protected with horizontal sunbreakers providing adequate working environment in glazed offices. ,

ARCHITECT: VÁCLAV ALDA, JÁN STEMPEL, PETR DVO ÁK, MARTIN N MEC – A.D.N.S. ARCHITEKTI (PRAHA) 5

PHOTOLABORATORY KIOKNEROVA 2278, CHOCLOV, PRAGUE 2

20 NEW MULTI-PURPOSE B OF PRAGUE CONGRESS CENTRE 5. KVETNA I640/65, PANKRÁC, PRAGUE 4 ARCHITECT: VÁCLAV ALDA, JÁN STEMPEL, PETR DVO5ÁK, MARTIN N,MEC – A.D.N.S. ARCHITEKTI (PRAHA) The new building in the close proximity of the Congress Centre originated from the need of providing adequate background facilities for the congress of the International Monetary Fund and the World Bank in September 200o. Therefore, the first phase comprised goo offices with the assumption that after the congress a part of the building will be converted to a hotel and the remaining part will continue to be used as offices. The building closes a block along Na Pankráci street and improves the integration of the cumbersome Congress Centre volume into the minor scale of ambient older buildings. To improve the natural lighting of the building interiors the facade facing the Congress Centre is castellated. The vertical design of the building provides a transition of the scale of the Congress Centre to that of the blocks of flats in the Na Pankráci street. In the northern wing of the administrative part there is a passage to the Na Bucance street with oversized stairs. The envisaged trade areas on the ground floor of the building will enliven the public space in the environs of the Congress Centre which has been lifeless so far. The expression and articulation of the facades is simple, differing according to function and orientation of the individual parts of the building. The applied materials are traditional – natural stone, plaster, cladding, aluminium windows. The new building in the close proximity of the Congress Centre originated from the need of providing adequate background facilities for the congress of the International Monetary Fund and the World Bank in September 200o. Therefore, the first phase comprised goo offices with the assumption that after the congress a part of the building will be converted to a hotel and the remaining part will continue to be used as offices. The building closes a block along Na Pankráci street and improves the integration of the cumbersome Congress Centre volume into the minor scale of ambient older buildings. To improve the natural lighting of the building interiors the facade facing the Congress Centre is castellated. The vertical design of the building provides a transition of the scale of the Congress Centre to that of the blocks of flats in the Na Pankráci street. In the northern wing of the administrative part there is a passage to the Na Bucance street with oversized stairs. The envisaged trade areas on the ground floor of the building will enliven the public space in the environs of the Congress Centre which has been lifeless so far. The expression and articulation of the facades is simple, differing according to function and orientation of the individual parts of the building. The applied materials are traditional – natural stone, plaster, cladding, aluminium windows. ,

ARCHITECT: VÁCLAV ALDA, JÁN STEMPEL, PETR DVO ÁK, MARTIN N MEC – A.D.N.S. ARCHITEKTI (PRAHA) 5

NEW MULTI-PURPOSE B OF PRAGUE CONGRESS CENTRE 5. KVETNA I640/65, PANKRÁC, PRAGUE 4

21 "RIVER CITY PRAGUE" PRAGUE 8 ARCHITECT: VÁCLAV ALDA, JÁN STEMPEL, PETR DVO5ÁK, MARTIN N,MEC – A.D.N.S. ARCHITEKTI (PRAHA)

ARCHITECT: VÁCLAV ALDA, JÁN STEMPEL, PETR DVO ÁK, MARTIN N MEC – A.D.N.S. ARCHITEKTI (PRAHA) 5

"RIVER CITY PRAGUE" PRAGUE 8

22 APARTMENT HOUSES VRBOVECKJ 4,6,8 A 10, BRNO-BYSTRC ARCHITECT: JAN AULIK, JAKUB FISER - STUDIO A (PRAHA)

The architectural concept was determined by the transitional nature of the site which is located at the edge of pre-fabricated housing estates and the natural, open landscape. Both houses are designed as self-contained structures featuring different layouts and architectural solutions while anchored by a common belowgrade parking base. The architectural conception is based on cardinal orientation, on the pre-existing development, and on the reflection of the internal lay-out, The north facades facing the housing estate are flat, lacking any marked articulation, with the exception of enhanced entrances to the buildings (or rather the individual sections). The south-oriented facade boasts a more conspicuous solution, both in terms of shape and material, with its plastic, molded balconies and their ancillary elements. The color schemes used on individual surfaces and elements complement. The four-storey building consists of three separate staircase sections, while the five-storey building employs corridors with access routes alongside the north facade. Both buildings contain a total Of 71 apartment units and loo basement car parking places. The apartments range from 31 M2 for studio flats to two atypical 5-room duplex apartments Of 120 M2 The layouts of the apartments favor the open natural environment on the south side. In terms of construction, both buildings are based on a transverse, 7.2 M module wall system with monolithic structural walls and floors, perimeter brickwork, and interior nonbearing walls. The facades are rendered in smooth coat and completed with padded, ventilated slab facing. The balconies are fitted with exterior lights and sockets. Louvres can be installed above the balcony windows while the straight balconies of the five-storey building can be screened with fixed panels with impregnated timber strips.

ARCHITECT: JAN AULIK, JAKUB FISER - STUDIO A (PRAHA)

APARTMENT HOUSES VRBOVECKJ 4,6,8 A 10, BRNO-BYSTRC

23 COMMUNITY CARE APARTMENT BUILDING SLEJNICKÁ ULICE 5, PRAHA 6-DEJVICE, PRAGUE ARCHITECT: JAN NÉMEC, ZDENEK ZILKA - AR 18 (PRAHA) The investor and the architects involved in the community care apartment building project wished to build a modern, cosmopolitan house with 65 apartments for urban dwellers. The project occupies a previously undeveloped, infill site. Despite a host of restrictions (north- east main street facade, mature existing trees, complex foundation work), the investor strove for a balanced approach to the project, Regulatory zoning restrictions had to be complied while balancing to attain optimum capacity, reasonable user comfort, and space for works of art. The town house, the last of the row houses, has six above-grade storeys, a living terrace and one basement. The ground plan is L-shaped with the south wing built in the internal block. Although the orientation of the street facade is unfavorable, its composition is virtually classical and representative. A consistent orientation of apartments towards the sunny garden facades The flat roof is conceived in the spirit of the functionalist ideal as a living and panoramic terrace planted with vegetation, and opening onto an adjoining winter garden pavilion. Most of the apartments include living balconies or terraces with sun exposure. Some of the apartments enable handicap access.

The investor and the architects involved in the community care apartment building project wished to build a modern, cosmopolitan house with 65 apartments for urban dwellers. The project occupies a previously undeveloped, infill site. Despite a host of restrictions (north-east main street facade, mature existing trees, complex foundation work), the investor strove for a balanced approach to the project, Regulatory zoning restrictions had to be complied while balancing to attain optimum capacity, reasonable user comfort, and space for works of art. The town house, the last of the row houses, has six above-grade storeys, a living terrace and one basement. The ground plan is L-shaped with the south wing built in the internal block. Although the orientation of the street facade is unfavorable, its composition is virtually classical and representative. A consistent orientation of apartments towards the sunny garden facades The flat roof is conceived in the spirit of the functionalist ideal as a living and panoramic terrace planted with vegetation, and opening onto an adjoining winter garden pavilion. Most of the apartments include living balconies or terraces with sun exposure. Some of the apartments enable handicap access. ARCHITECT: JAN NÉMEC, ZDENEK ZILKA - AR 18 (PRAHA)

COMMUNITY CARE APARTMENT BUILDING SLEJNICKÁ ULICE 5, PRAHA 6-DEJVICE, PRAGUE

24 GARDEN HOUSE MUKAROV, PRAGUE ARCHITECT: IVAN KROUPA A pavilion in a suburban Prague garden shows ingenuity in planning and construction, and a delicate sensibility to the properties of materials, particularly wood.

In the long garden in Mukarov, a southern suburb of Prague, is a new little wooden building that is in many ways a masterpiece of compression and flexibility. Rectangular, its long sides face north and south, both of which elevations are largely imperforate, while the east and west sides are mainly glass, offering fine long vistas of the well-grown existing garden. (A predominantly south-facing house would have looked point-blank at the gardenâ&#x20AC;&#x2122;s boundary hedge.) East, west and south sides have covered terraces. The most generous, on the east side, has a long slot in both cleck and roof so that a tree and other plants can be grown through it. Structure is timber, with spruce board cladding. Waterproof ply covers the south side while, on the north elevation, the zinc roof covering (still shining) is drawn down over the wall. The most dramatic move in the little building is a large pivoted partition towards the west end of the plan. With it open and orientated east-west, almost the whole space is thrown together as a spruce-lined studio cavern, with the kitchen separated to the south. When the partition is orientated north-south, the western end of the house becomes a living room with the kitchen built in, and a separate bedroom to the east. In both cases, the multi-optional storage wall - formed, like the south elevation and the swinging partition, of bluishgrey marine plywood - defines the spaces and even contains the retractable bed. The building has been a temporary family dwelling, used until the main house is finished. After that, it is to be a studio. Its architect Ivan Kroupa says experience shows that it works perfectly well as a place in which two people can live permanently.

A pavilion in a suburban Prague garden shows ingenuity in planning and construction, and a delicate sensibility to the properties of materials, particularly wood. ARCHITECT: IVAN KROUPA

GARDEN HOUSE MUKAROV, PRAGUE

25 CCHURCH OF JACOB'S LADDER FARNI SBOR CESKOBRATRSKÉ CIRKVE EVANGELICKÉ, U SKOLSKÉ ZAHRADY 1, KOBYLISY, PRAGUE 8 ARCHITECT: RADOVAN SCHAUFLER, JAKUB ROSKOVEC SCHAUFLER + ROSKOVEC (PRAHA) In 1971, a congregation house was built in Prague- Kobylisy according to a design by the Swiss architect, E. Gisel. Originally, the building contained facilities for religious services, guest rooms, and the parish priest’s apartment. After two decades, however, it became apparent that an addition to the building was required and that the old building needed remodelling. The new project preserves the original character to the greatest extent possible. Drawbacks in the layout are rectified by carefully conceived alterations without radical and challenging interventions. A lift was built to ensure handicap access, and amenities were added. The entrance area was re-paved and covered with a marquee. Its steel construction is suspended from the second level beam and glazed at the bottom face of the supporting beams. The alterations include a protruding glazed entrance space. The 26 m bell-tower is designed to be visible from access routes and form a clear point of orientation in the incongruous surrounding context. A concrete plinth wall of identical height to that of the original building gives way to a steel frame with two bells suspended from the top span. The perimeter loadbearing walls were inserted behind the original attic gable. Fair-faced Tesuz blocks are used in the interior. The outer skin of the facade with thermal insulation is formed by horizontal timber strips. The perimeter of the facade is segmented byjambs placed at regular intervals and supporting pillars which bear the eaves. The glazed, south-oriented walls of two new apartments open onto roof terraces offering a panoramic view of Prague. The addition of an accommodation wing on the first level is yet to be executed. Its roof will form a part of the church garden elevated to the level of the ground level.

In 1971, a congregation house was built in Prague-Kobylisy according to a design by the Swiss architect, E. Gisel. Originally, the building contained facilities for religious services, guest rooms, and the parish priest’s apartment. After two decades, however, it became apparent that an addition to the building was required and that the old building needed remodelling. The new project preserves the original character to the greatest extent possible. Drawbacks in the layout are rectified by carefully conceived alterations without radical and challenging interventions. A lift was built to ensure handicap access, and amenities were added. The entrance area was re-paved and covered with a marquee. Its steel construction is suspended from the second level beam and glazed at the bottom face of the supporting beams. The alterations include a protruding glazed entrance space. The 26 m bell-tower is designed to be visible from access routes and form a clear point of orientation in the incongruous surrounding context. A concrete plinth wall of identical height to that of the original building gives way to a steel frame with two bells suspended from the top span. The perimeter loadbearing walls were inserted behind the original attic gable. Fair-faced Tesuz blocks are used in the interior. The outer skin of the facade with thermal insulation is formed by horizontal timber strips. The perimeter of the facade is segmented byjambs placed at regular intervals and supporting pillars which bear the eaves. The glazed, south-oriented walls of two new apartments open onto roof terraces offering a panoramic view of Prague. The addition of an accommodation wing on the first level is yet to be executed. Its roof will form a part of the church garden elevated to the level of the ground level. ARCHITECT: RADOVAN SCHAUFLER, JAKUB ROSKOVEC SCHAUFLER + ROSKOVEC (PRAHA)

CCHURCH OF JACOB'S LADDER FARNI SBOR CESKOBRATRSKÉ CIRKVE EVANGELICKÉ, U SKOLSKÉ ZAHRADY 1, KOBYLISY, PRAGUE 8

26 26

ST. PROKOP'S COMMUNITY CENTER SLUNECNI NÁMESTI, NOVÉ BUTOVICE, PRAGUE 13

Slunetni Square is defined by the community centre and the land plot to be developed for the construction of a cultural and social centre, including a library (today, a private clinic). The oval body of the chapel and the main congregation areas of the community contrast the basic, grid like volumes of the adjacent clinic and the profane parts of the church center, thus accentuating the urban landscape. The building consists of two main volumes - a dominating ellipse which contains the sacral parts and the main congregation areas, and a two-storey cuboid structure with a cellar where the service facilities are concentrated. The main congregation areas in the ellipse are the chapel for loo worshippers, a multipurpose hall serving mainly as a lecture hall, and a club room. The central hall can be interconnected with both the chapel and the club room. The larger congregation hall (seating 200) is on the first floor and can be interconnected with the chapel by opening the acoustic shutters.The chapel is illuminated by light filtering through shed rooflights, while other areas. The project which united the local authorities, the local community, the StodOlky Roman Catholic Parish, and the Prague Archbishoprie was realized by an unusual system of contracting and sponsorship. The selection of the individual contractors was based on their willingness to help finance this project for the benefit of the community.

ARCHITECT: ZDENEK JIRAN, MICHAL KOHOUT JIRAN.KOHOUT.ARCHITEKTI (PRAHA)

ST. PROKOP'S COMMUNITY CENTER SLUNECNI NÁMESTI, NOVÉ BUTOVICE, PRAGUE 13

27 CULTURAL AND SHOPPING CENTRE NOVÝ SMICHOV ULICE PLZENSKÁ, SMÍCHOV, PRAGUE 5 ARCHITECT: MARTIN RAJNIS, STANISLAV FIALA, TOMÁS PROUZA, JAROSLAV ZIMA - D3A (PRAHA)

The project replaced the industrial halls of the former Ringhoffer factory, later Tatra UID, in Smichov. The original factory was a self-contained campus spanning several urban blocks. The Landmark Conservation applied both to Small and Large Ringhoffer's Villas (which are not a part of the project) and the Art Nouveau street facade of a forge at Plzenská Street. It was impossible to preserve a greater part of the facilities, e.g., the factory chimneys. The shopping centre opens itself to the city and complements the street network with a system of arcades. The main arcade cuts through the centre in the nort-south direction while the transverse arcade forms a new connection to the Sacre Coeur. The scale of the project is best perceived from the Sacre Coeur park. The structure resembles a gently sloping green hill pierced by the main glazed arcade. The 14 500 m, roof is planted with vegetation and contains an usable terrace. In the future, two levels of apartments will be built behind the arcade, thus enclosing the block by Kefánikova Street. The street facades of nearly 6oo m in length are divided into smaller volumes featuring a variety of materials: titanium-zinc strips, smooth and ornamental glass, direct-finish prefabricate concrete, Trespa boards, stainless steel sheet, plaster and greenery. The centre is defined by three below-grade levels of parking, and three above-grade levels of retail space, including one hypermarket and over 100 boutiques and shops. The third level is dominated by catering outlets and a multi-cinema with 12 projection halls completing the main arcade. The original idea, i.e. an arcade assuming the character of a ’’glazed street’’ lined with trees, glazed bridges, and galleries, was not accepted by the new owner.

ARCHITECT: MARTIN RAJNIS, STANISLAV FIALA, TOMÁS PROUZA, JAROSLAV ZIMA - D3A (PRAHA)

CULTURAL AND SHOPPING CENTRE NOVÝ SMICHOV ULICE PLZENSKÁ, SMÍCHOV, PRAGUE 5

28 SINGLE FAMILY HOUSE PURKYNOVA ULICE, BLANSKO ARCHITECT: TOMÁS BERÁNEK, ZDENEK EICHLER, ROSTISLAV JAKUBEC, FRANTISEK JAKUBEC - ATX ARCHITEKTI (BRNO) The building is located on a sloping site zoned for the construction of five singlefamily houses after the removal of a former sanatorium. The design maximizes the north-west area of the plot facing the Hofice Ridge. This explains the position of the main living space on the upper floor, while the technical facilities are located facing the service road to act as a natural screen insulating the living space. The two-storey building is partly sunk-in and can be accessed on both levels. The roof is a combination of pitch and flat roofs. The main entrance occurs in the upper level which is occupied by the main living space. It is enhanced by a generous floor-to-ceiling height with ample use of glass in the part facing west, which opens onto an exterior terrace screened with an awning. The living space includes a dining room interconnected with the kitchen. The upper floor features a guest bedroom, amenities, and support facilities. The ground floor, accessed by a stairway from the entrance hall, houses the children's rooms, master bedroom with a dressing room, amenities, and technical facilities. A garage, from monolithic reinforced concrete, is sunk into the, slope and its walk-on roof is planted with grass. This separate , The outer face of the house combines structured face bricks, Ceramitz plaster and titanium-zinc sheet. Openings are lined with wood and aluminium and screened with exterior horizontal aluminium louvres.

The building is located on a sloping site zoned for the construction of five singlefamily houses after the removal of a former sanatorium. The design maximizes the north-west area of the plot facing the Hofice Ridge. This explains the position of the main living space on the upper floor, while the technical facilities are located facing the service road to act as a natural screen insulating the living space. The two-storey building is partly sunk-in and can be accessed on both levels. The roof is a combination of pitch and flat roofs. The main entrance occurs in the upper level which is occupied by the main living space. It is enhanced by a generous floor-to-ceiling height with ample use of glass in the part facing west, which opens onto an exterior terrace screened with an awning. The living space includes a dining room interconnected with the kitchen. The upper floor features a guest bedroom, amenities, and support facilities. The ground floor, accessed by a stairway from the entrance hall, houses the children's rooms, master bedroom with a dressing room, amenities, and technical facilities. A garage, from monolithic reinforced concrete, is sunk into the, slope and its walk-on roof is planted with grass. This separate , The outer face of the house combines structured face bricks, Ceramitz plaster and titanium-zinc sheet. Openings are lined with wood and aluminium and screened with exterior horizontal aluminium louvres. ARCHITECT: TOMÁS BERÁNEK, ZDENEK EICHLER, ROSTISLAV JAKUBEC, FRANTISEK JAKUBEC - ATX ARCHITEKTI (BRNO)

SINGLE FAMILY HOUSE PURKYNOVA ULICE, BLANSKO

29 BUSINESS AND ADMINISTRATIVE BUILDING B-BB CENTRUM VYSKOCILOVA 2, MICHLE, PRAGUE 4 ARCHITECT: JAN AULIK, PETR KAHOUN, JAKUB FISER, JAN KUCERA STUDIO A (PRAHA)

The building office and retail programme targets large renters (the minimum area to let being approximately i,ooo m), with a total rentable office area of 13,000 m’ The 700 MI first level includes a bank’s branch, a food store, and a catering service. The underground car park accommodates 282 parking places, The building’s office typology does not allow for innovative, conceptual design regarding the layout, technical solutions, fittings and furnishings, facade aesthetics; however, it does allow for a variety of accepted requirements, such as fully flexible storeys, rational vertical and horizontal circulation, and certain technical environmental standards. This building type is usually delineated by rather monotonous expression due to certain established sequence of layouts, facades and volumes. The new building was inspired by the stark contrast of its context where the highway cuts through most of the urban links in the area. The building is designed so that the highway elevation is conceived differently from the elevation facing the existing development. The atypical facade on the south side neither presents the latest high-tech systems in the area of curtain walls, nor is it a self-serving decoration: instead, its construction makes it possible to ventilate the offices. The standard framing systems of the individual facades realistically transcribe the building’s internal work layout. More conspicuous interior elements appear more prominent against this background. Renter’s logos are a further important part of the facades

ARCHITECT: JAN AULIK, PETR KAHOUN, JAKUB FISER, JAN KUCERA STUDIO A (PRAHA)

BUSINESS AND ADMINISTRATIVE BUILDING B-BB CENTRUM VYSKOCILOVA 2, MICHLE, PRAGUE 4

30 HAUS WINTERNITZ 1931-1932 NA CIHLÀRCE 10, SMÍCHOV 2092, PRAGUE 5 ARCHITECT: ADOLF LOOS, KAREL LHOTA Vorkragender Kubus des Wohnraumes, der über sieben Stufen mit dem Eßpiatz und der Halle verbunden ist und mit diesen zusammen eine Raumeinheit bildet. Der Zutritt zum Wohnraum liegt hier in der Achse des Hauses. Der Anteil von Loos bei den Planungsarbeiten ist ungewiß, da er zu dieser Zeit schon erkrankt war.

Vorkragender Kubus des Wohnraumes, der über sieben Stufen mit dem Eßpiatz und der Halle verbunden ist und mit diesen zusammen eine Raumeinheit bildet. Der Zutritt zum Wohnraum liegt hier in der Achse des Hauses. Der Anteil von Loos bei den Planungsarbeiten ist ungewiß, da er zu dieser Zeit schon erkrankt war. ARCHITECT: ADOLF LOOS, KAREL LHOTA

HAUS WINTERNITZ 1931-1932 NA CIHLÀRCE 10, SMÍCHOV 2092, PRAGUE 5

31 RECONSTRUCTION OF THE MUSEUM OF ARTS AND CRAFTS HUSOVA 14, BRNO ARCHITECT: IVAN KOLECEK, VIKTOR RUDIS, ZDENKA VYDROVĂ ATELIER RUDIS + RUDIS (BRNO)

The museum from 1883 was further enlarged shortly after completion. While the facades hide the virtual double addition of the original volume, the interior makes it immediately apparent, in particular the vestibule, whose ample decoration became greatly subdued because of loss of light due to the remodelling. The current remodelling reintroduces light into this space by means of a newly operable skylight cutting across the entire building and capped by a glazed roof. It restores the character of the original concept. For practical reasons, a new stairway was added on one end, symmetrical to the main axis, and a lift was installed on the other end. The division of the building resulted in the use of double bridge to connects both parts. The reconstruction helps the building (which was gradually transformed into a single large depository) return to its original purpose exhibition. The new depository occupies the basement under the atrium. There was no forma I problem ,in the synthesis between the original style and contemporary intervention. The original fragments and morphology are restored, while new elements are typical of the period in which they originated. The visitor is not deceived with replicas and copies. The new elements introduced into the building originated from an intense conceptual effort and endeavor to find precisely the right form. The expression is determined by the material selection as well as the high level of technical execution and craftsmanship. The Museum of Arts and Crafts was conceived as an edifice demonstrating 19th century craftsmanship and artistic concepts. The current reconstruction aims at maintaining this objective.

ARCHITECT: IVAN KOLECEK, VIKTOR RUDIS, ZDENKA VYDROVĂ ATELIER RUDIS + RUDIS (BRNO)

RECONSTRUCTION OF THE MUSEUM OF ARTS AND CRAFTS HUSOVA 14, BRNO

32 NOVY DVUR MONASTERY ARCHITECT: JOHN PAWSON

Simplicity, utility, economy: these are the principles at the heart of the Cistercian aesthetic. There is something strikingly contemporary in the desire to eliminate what is ostentatious and superfluous, to choose the simplest solutions and materials whilst making no concessions on the quality of the workmanship, to harness the dramatic qualities of natural light. Novy Dvur currently consists of a baroque manor house and associated farm buildings, ranged around a courtyard. In its existing configuration, the site cannot accommodate the needs of the community, which will make its life there. Early on in the design process, decisions had to be taken concerning, firstly, what was to be kept and what removed and, subsequently, the relationship between the architecture of new and existing buildings. The badly decayed manor house will be painstakingly restored. The courtyard will also be retained intact. The remains of the barns which run along the north side are, however, to be demolished to make way for the church. The aim will be to fuse together new and old in a way which is not seamless, but which does not over-dramatize the junction. The main floor of the renovated manor house will form the administrative heart of the community. The upper floor will house quarters for visiting abbots, the novitiate, classrooms and washrooms. The cloister is the very heart of a monastic complex. The design for the cloister at Novy Dvur has to take into account the steep gradient of the site and also potentially awkward junctions between buildings of different styles and functions. The intention is to construct the cloister on a single level, set by the ground floor of the manor house. The downhill wing of the cloister will be entered at first floor level. A simple, closely cropped lawn will form the cloister garden. Access to the major spaces within the community - the church, the sacristy, the chapter-house, the infirmary, scriptorium, chapels, parlours, refectory and library - will be gained from the cloister. From within, the shifting play of light and glimpses of the landscape beyond will give a sense of the passage of time and the seasons. The church will be used by outsiders as well as by monks. Its elongated rectangular form with a semi-circular east end is designed to provide a modest but fitting context for worship. Visitors approach on a path from the guesthouse, finding their way sheltered by overhanging screen walls which allow diffused light into the side walls of the church. Members of the Order enter through doors from the cloister. An upward shift in level allows the altar to be visible to lay visitors. A drop in the floor level behind the altar, in conjunction with light entering at a low level, will create the illusion that the apse is floating in a haze of luminescence. Daylight filtering into the lime-rendered interior will give the church as a whole a radiant but muted quality.

ARCHITECT: JOHN PAWSON

NOVY DVUR MONASTERY

33 OPERA BUSINESS PARK - BUILDINGS E AND D VRCHLICKÉHO 1E A 1D, DONÁTOVA 3 A 1, KOSIRE, PRAGUE 5 ARCHITECT: TADEÁS MATOUSEK, MIROSLAV FRECER AUKETT (PRAHA, BRATISLAVA) The office buildings are a part of fairly extensive premises of OBP Praha, consisting of a reconstructed building of a former brewery and several new buildings. The underlying town-planning concept of the premises, defined by Vrchlick6ho Street in the north-west and the sloping Husovy sady in the southeast, works with two distinctive layouts. In the first layout, the new buildings integrates with the classical building, today serving as music school, into a system of smaller volumes on a similar scale. In the second layout, the remodelled former brewery, the current residential houses and a large office building form a cluster of buildings sited at a higher grade. The original concept of E and D, as twolevel buildings without basements, serve as a purely administrative programme only changed at the final design stage. in both cases, the centre of the layout is a twolevel vestibule with a stairway and zenith illumination. The ground floor of the E building includes commercial space and amenities, and technical facilities. The first floor is occupied by offices. The D building serves as the company’s headquarters and training centre. The E building employs a steel skeleton, while in case of the D building, the reinforced concrete wall construction system was replaced with a steel skeleton with masonry fillings. The floors are from composite steel and concrete constructions. The perimeter skin with a ventilated gap is clad in Eternite facade boards. The E building, with its transparent skin, is fitted with mobile screening grids of galvanized steel which reduce direct sun exposure and lend a more intimate feel to the internal environment. The more compact, street facing D building has small facade fenestrations, as the interior lighting is given greater emphasis by a roof skylight.

The office buildings are a part of fairly extensive premises of OBP Praha, consisting of a reconstructed building of a former brewery and several new buildings. The underlying town-planning concept of the premises, defined by Vrchlick6ho Street in the north-west and the sloping Husovy sady in the southeast, works with two distinctive layouts. In the first layout, the new buildings integrates with the classical building, today serving as music school, into a system of smaller volumes on a similar scale. In the second layout, the remodelled former brewery, the current residential houses and a large office building form a cluster of buildings sited at a higher grade. The original concept of E and D, as two-level buildings without basements, serve as a purely administrative programme only changed at the final design stage. in both cases, the centre of the layout is a twolevel vestibule with a stairway and zenith illumination. The ground floor of the E building includes commercial space and amenities, and technical facilities. The first floor is occupied by offices. The D building serves as the company’s headquarters and training centre. The E building employs a steel skeleton, while in case of the D building, the reinforced concrete wall construction system was replaced with a steel skeleton with masonry fillings. The floors are from composite steel and concrete constructions. The perimeter skin with a ventilated gap is clad in Eternite facade boards. The E building, with its transparent skin, is fitted with mobile screening grids of galvanized steel which reduce direct sun exposure and lend a more intimate feel to the internal environment. The more compact, street facing D building has small facade fenestrations, as the interior lighting is given greater emphasis by a roof skylight. ARCHITECT: TADEÁS MATOUSEK, MIROSLAV FRECER AUKETT (PRAHA, BRATISLAVA)

OPERA BUSINESS PARK - BUILDINGS E AND D VRCHLICKÉHO 1E A 1D, DONÁTOVA 3 A 1, KOSIRE, PRAGUE 5

34 KAVCÍ HORY RESIDENCE PRAGUE ARCHITECT: KAREL NARÁZEK, KAREL THÉR - THER + KAAMA (PRAHA) The house is located in elose proximlty of the K2vti hory natural park, at the very edge of the valley of the Moldau river, with an exquisite panoramIc view of Prague.The design focuses on the optimum plot utilization for all housing-related functions. The designers strnve ta integrate the building iri contextual urban fabric and its scale (the boundary between villas in Pddoli and the large volumes of the Czech Television buildings), while creating an original living Space The residential project consists of two structures interconnected by a basement. House A is designed as a transverse, 4o x 6 m six-block structure, with five above-grade and one below grade level5, with a total of eight apartment units. The structure is deliberately segmented by a castelled form receding towards the west, offering an attractive view and allowing western 5un Into the individual apartments. Hjuse B was designed with an Qrgarrically- shalped ground plan of approximately 12 X 10 m and a promirent communications tower. The structure consists of four so vegr3de levels, and its rounded shape accommodates three luxury apartments with views of the city. 7here are 22 parking places (16 Inside and 6 outside) in the basements and under the cantilevered garden. The underground structure is adequately covered with soil (0 7 W) allowing the huildinEs is Jesigned as d garden grove. The facades are cladded from Cc bunit boards and natural rten sheets; the openings feature clear glass in eloxated aluminum; the roof Is clad In t1trunjurn- zinc foil. Other constructions use natural and artificial store,frosted glass, Corten sheet, and other materials.

The house is located in elose proximlty of the K2vti hory natural park, at the very edge of the valley of the Moldau river, with an exquisite panoramIc view of Prague.The design focuses on the optimum plot utilization for all housing-related functions. The designers strnve ta integrate the building iri contextual urban fabric and its scale (the boundary between villas in Pddoli and the large volumes of the Czech Television buildings), while creating an original living Space The residential project consists of two structures interconnected by a basement. House A is designed as a transverse, 4o x 6 m six-block structure, with five above-grade and one below grade level5, with a total of eight apartment units. The structure is deliberately segmented by a castelled form receding towards the west, offering an attractive view and allowing western 5un Into the individual apartments. Hjuse B was designed with an Qrgarrically- shalped ground plan of approximately 12 X 10 m and a promirent communications tower. The structure consists of four so vegr3de levels, and its rounded shape accommodates three luxury apartments with views of the city. 7here are 22 parking places (16 Inside and 6 outside) in the basements and under the cantilevered garden. The underground structure is adequately covered with soil (0 7 W) allowing the huildinEs is Jesigned as d garden grove. The facades are cladded from Cc bunit boards and natural rten sheets; the openings feature clear glass in eloxated aluminum; the roof Is clad In t1trunjurn-zinc foil. Other constructions use natural and artificial store,frosted glass, Corten sheet, and other materials. ARCHITECT: KAREL NARÁZEK, KAREL THÉR - THER + KAAMA (PRAHA)

KAVCÍ HORY RESIDENCE PRAGUE

35 SINGLE FAMILY HOUSE U LADRONKY, BREVNOV, PRAGUE 6 ARCHITECT: PETR KOLÁR, ALES LAPKA - ADR (PRAHA) The single-family house site is located in one of the most elevated spots in Prague, formerly an argillite quarry, near the Strahov plain. The borders of the plot are flanked by land undulations (although the house stands on level land), differing in height on each side. The surrounding context consists mainly from older, single family houses from the 1930's, as well as contemporary houses from the 1970's and 1980's. The intention was to design a small, very simple house tailored ) to the space requirements of a family of five. The original program was later amended to include a swimming pool, sauna, work-out room, and a studio flat and, as a result, the original projected volume had to be expanded, especially at basement level. The building, with a rectangular floor area Of 9 x 15 m, is located virtually in the center of the plot. Traditional masonry technology with concrete ceilings and wooden roof was employed. The basic materials used are direct-finish concrete and ash wood paneling. Window frames are from wood with light glazing paint. All the railings and accessory metal constructions are from zinc-coated steel. The three-storey house consists of one underground and two i above-ground levels. The basement houses technical facilities, a two-car garage, the main entrance, swimming pool, and a self-contained studio flat. The living area and master bedroom with amenities are on the ground floor while the children's rooms with amenities and a study are on the first floor. The single-family house site is located in one of the most elevated spots in Prague, formerly an argillite quarry, near the Strahov plain. The borders of the plot are flanked by land undulations (although the house stands on level land), differing in height on each side. The surrounding context consists mainly from older, single family houses from the 1930’s, as well as contemporary houses from the 1970’s and 1980’s. The intention was to design a small, very simple house tailored ) to the space requirements of a family of five. The original program was later amended to include a swimming pool, sauna, work-out room, and a studio flat and, as a result, the original projected volume had to be expanded, especially at basement level. The building, with a rectangular floor area Of 9 x 15 m, is located virtually in the center of the plot. Traditional masonry technology with concrete ceilings and wooden roof was employed. The basic materials used are direct-finish concrete and ash wood paneling. Window frames are from wood with light glazing paint. All the railings and accessory metal constructions are from zinc-coated steel. The three-storey house consists of one underground and two i above-ground levels. The basement houses technical facilities, a two-car garage, the main entrance, swimming pool, and a self-contained studio flat. The living area and master bedroom with amenities are on the ground floor while the children’s rooms with amenities and a study are on the first floor. ARCHITECT: PETR KOLÁR, ALES LAPKA - ADR (PRAHA)

SINGLE FAMILY HOUSE U LADRONKY, BREVNOV, PRAGUE 6

36 SINGLE FAMILY HOUSE PRAGUE ARCHITECT: STANISLAV FIALA - D3A (PRAHA) A plot planted mainly with fruit trees is surrounded with houses in a variety of styles. A gently sloping terrain gives way to a short slope at the street line, which called for a two-storeyed building with a sunk-in ground floor. A footprint of 9 x 6 m serves as a two car park area and provides access to the main entrance.The main transparent communication axis is sequenced from the entrance, through the vestibule, to the hall which connects to all other accessible spaces on this level (two dens, a workroom, boiler room with a laundry room, gym, sauna and amenities). The entire right side of the communication hall is occupied by closets, the left side is formed by the central supporting wall rendered in fair-face masonry. Following this wall, a stairway ascends to the main living space which is separated from the garden by a large-scale glazed wall. Thanks to the sliding components and a substantial overlap of the roof, the house can be interconnected with the garden in summer. There is a long, 2.5 m wide terrace in front of the west facade. Alongside the stairway, a kitchen is enclosed by glass walls; it can be interconnected with the dining and living rooms. In the dining room, a fireplace is placed on the north side. An exterior fireplace was also designed behind the glass wall (in the frontal section of the roofed- over terrace). The five bedrooms are entered from the living area behind the central supporting wall. They all have their own amenities, a dressing room, and direct access to the garden. The west and east sides of the building were back filled, the rooms on the ground floor receive light only from the south and the north, while the inside of the house is lit by a skylight above the stairway. The flat roof is intended for planting, the north and south facades are covered with ivy plants. The house is meant to create a peaceful atmosphere, such that of ’’wrapped up’’ utilitarian enveloped space.

A plot planted mainly with fruit trees is surrounded with houses in a variety of styles. A gently sloping terrain gives way to a short slope at the street line, which called for a two-storeyed building with a sunk-in ground floor. A footprint of 9 x 6 m serves as a two car park area and provides access to the main entrance.The main transparent communication axis is sequenced from the entrance, through the vestibule, to the hall which connects to all other accessible spaces on this level (two dens, a workroom, boiler room with a laundry room, gym, sauna and amenities). The entire right side of the communication hall is occupied by closets, the left side is formed by the central supporting wall rendered in fair-face masonry. Following this wall, a stairway ascends to the main living space which is separated from the garden by a large-scale glazed wall. Thanks to the sliding components and a substantial overlap of the roof, the house can be interconnected with the garden in summer. There is a long, 2.5 m wide terrace in front of the west facade. Alongside the stairway, a kitchen is enclosed by glass walls; it can be interconnected with the dining and living rooms. In the dining room, a fireplace is placed on the north side. An exterior fireplace was also designed behind the glass wall (in the frontal section of the roofed-over terrace). The five bedrooms are entered from the living area behind the central supporting wall. They all have their own amenities, a dressing room, and direct access to the garden. The west and east sides of the building were back filled, the rooms on the ground floor receive light only from the south and the north, while the inside of the house is lit by a skylight above the stairway. The flat roof is intended for planting, the north and south facades are covered with ivy plants. The house is meant to create a peaceful atmosphere, such that of ’’wrapped up’’ utilitarian enveloped space. ARCHITECT: STANISLAV FIALA - D3A (PRAHA)

SINGLE FAMILY HOUSE PRAGUE

37 NAD ZÀMECNICI STUDIO, PRAGUE ARCHITECT: ROMAN KOUCKY, SÁRKA MALÁ (PRAHA) The basic design layout was inspired by a simple grouping of large gray cuboids Of a 1932 villa with a soft drinks factory. The insertion of a new cube into the existing terrace resulted in the creation of a spacious studio with excellent daylight. As the studio is interconnected with the third floor of the house, it enjoys direct access to the amenities. The body of the study protrudes beyond the face of both facades, therefore, clearly defining its new function and hierarchy withi~i the entire building. The overall composition is determined by three volumes - the house proper, the vertical body of the staircase, and the horizontal body of the new study. Each of them is rendered in a different shade of gray and a markedly different surface finish. The timber supporting frame, facade and interior details consistently follow a o.9 m module: the module of the current house. Four cubes with 3.6 m flanks form the volume of the interior of the house’s body. Three cubes serve as a studio, the fourth one as a loggia. The glazed front of the cube protrudes beyond the outer skin by o.g m. Horizontal bands forming the metal sheet skin of the front part and the inside sections of the terrace railing are from segments Of 0.3 m, the south facade is 0.3 x 3.6 m, windows facing north o.g x o.6 m. Gazed wails measure o.g m, planks o.iS m, grates of the heating system 0.03 M. The outer skin is gray; interior surfaces including the wood floor and walkon heating grates and the terrace are white. The meta( sheet casings of all the windows, sights and passageways, as well as the bevelled frontal part of the cube, serve as a transition between the ’’interior and exterior’’, white and gray. In the pure whiteness of the studio, strong colors of paintings dominate the space. Large glass panes are frame(ess, massive white wood frames have only two operable flaps. The glazed sections can be screened with white curtains suspended from a rail along the entire perimeter of the room and the loggia.

The basic design layout was inspired by a simple grouping of large gray cuboids Of a 1932 villa with a soft drinks factory. The insertion of a new cube into the existing terrace resulted in the creation of a spacious studio with excellent daylight. As the studio is interconnected with the third floor of the house, it enjoys direct access to the amenities. The body of the study protrudes beyond the face of both facades, therefore, clearly defining its new function and hierarchy withi~i the entire building. The overall composition is determined by three volumes - the house proper, the vertical body of the staircase, and the horizontal body of the new study. Each of them is rendered in a different shade of gray and a markedly different surface finish. The timber supporting frame, facade and interior details consistently follow a o.9 m module: the module of the current house. Four cubes with 3.6 m flanks form the volume of the interior of the house’s body. Three cubes serve as a studio, the fourth one as a loggia. The glazed front of the cube protrudes beyond the outer skin by o.g m. Horizontal bands forming the metal sheet skin of the front part and the inside sections of the terrace railing are from segments of 0.3 m, the south facade is 0.3 x 3.6 m, windows facing north o.g x o.6 m. Gazed wails measure o.g m, planks 0.15 m, grates of the heating system 0.03 M. The outer skin is gray; interior surfaces including the wood floor and walk-on heating grates and the terrace are white. The meta( sheet casings of all the windows, sights and passageways, as well as the bevelled frontal part of the cube, serve as a transition between the ’’interior and exterior’’, white and gray. In the pure whiteness of the studio, strong colors of paintings dominate the space. Large glass panes are frame(ess, massive white wood frames have only two operable flaps. The glazed sections can be screened with white curtains suspended from a rail along the entire perimeter of the room and the loggia. ARCHITECT: ROMAN KOUCKY, SÁRKA MALÁ (PRAHA)

NAD ZÀMECNICI STUDIO, PRAGUE

38 VESTIBULE OF KOLBENOVA SUBWAY STATION METRO B, VYSOCANY, PRAGUE 9 ARCHITECT: MAREK CHALUPA, MIROSLAV HOLUBEC, STEPÁN CHALUPA, KARNILA VENCLÍKOVÁ - D. U. M. ARCH ITEKTI (PRA HA) The ground level vestibule of the Kolbenova subway station in Prague was designed within the parameters of an existing massive reinforced concrete construction, built five years ago, which was to serve as a substructure for an eight- level building. In the design of the vestibule, the massive reinforced concrete construction remained undisguised and was merely clad by a glazed, protruding facade. The operational transport facilities, made from light prefabricated construction, were placed inside the load-bearing construction of the skeleton. The outer skin is ’’porous’’ allows light, air, and communication inlets wherever desirable in terms of operation and function. This is made possible by the range of materials used on the facade: fixed and operable Eternite boards and glass panes, and metal meshing. The public space intended for the passengers - the vestibule - is defined against the operating facilities by a stainless steel interior wall which reflects the vehicular and pedestrian traffic. These phenomena creates a set of ephemeral spatial conditions. In other words, the vestibule and the street are integrated and interchanged.

The ground level vestibule of the Kolbenova subway station in Prague was designed within the parameters of an existing massive reinforced concrete construction, built five years ago, which was to serve as a substructure for an eight-level building. In the design of the vestibule, the massive reinforced concrete construction remained undisguised and was merely clad by a glazed, protruding facade. The operational transport facilities, made from light prefabricated construction, were placed inside the load-bearing construction of the skeleton. The outer skin is ''porous'' allows light, air, and communication inlets wherever desirable in terms of operation and function. This is made possible by the range of materials used on the facade: fixed and operable Eternite boards and glass panes, and metal meshing. The public space intended for the passengers - the vestibule - is defined against the operating facilities by a stainless steel interior wall which reflects the vehicular and pedestrian traffic. These phenomena creates a set of ephemeral spatial conditions. In other words, the vestibule and the street are integrated and interchanged. ARCHITECT: MAREK CHALUPA, MIROSLAV HOLUBEC, STEPÁN CHALUPA, KARNILA VENCLÍKOVÁ - D. U. M. ARCH ITEKTI (PRA HA)

VESTIBULE OF KOLBENOVA SUBWAY STATION METRO B, VYSOCANY, PRAGUE 9

39 VILLAS NEUMANNOVA ULICE V MASARYKOVE CTVRTI, BRNO ARCHITECT: TOMÁS PILAF, EVA PILAROVÁ (BRNO) The villas are located on a high-quality development plot from the 192o’s and 193o’s. The south-west slope and an attractive view of the Kohoutovice woods dictated the orientation of the project. The houses are set in a steep slope - twolevels face the street side, four-leve15 the 5outh side. There is an underground parking garage between the houses and the street in the north- east, (places connected to the first below-grade level of the villas). The rooftop of the garage, planted with lawn and vegetation, provides access to the houses, the car park, and a garbage can shed. The basic mass of the villas is formed by three abovegrade levels, with the fourth level partly receding. South facing loggias are protected from the sun by suspended glass panels and awnings. Timber laminate panels form the transparent side walls of the loggias. The east and west facades are articulated by means of horizontal and vertical windows which reflect the interior functions. Villa A, with a footprint of 15 x 15 m, contains a total of five apartments (two on the first and one on the second above-grade level, and two duplexes on the first and second below-ground levels). Each of the apartments has a main living area with a kitchen, a seating area and a loggie facing south. The apartments contain two bathrooms which are adjacent to the bedrooms. The duplexes and the apartment on the second above- grade level also include dens. Each apartment has a storage space on the second above-grade storey. Villa B, with a footprint of a 12 X 12 m, houses three apartments (one on each floor, and a duplex on the first and second below-grade levels). Similarly to Villa A, the apartments are divided into ''public'' and ''private'' sections. In terms of construction, a monolithic reinforced concrete system with masonry fillings was used. Further materials include timber, steel, Comaxit and Connex glass, and direct finish concrete.

The villas are located on a high-quality development plot from the 192o’s and 193o’s. The south-west slope and an attractive view of the Kohoutovice woods dictated the orientation of the project. The houses are set in a steep slope - twolevels face the street side, four-leve15 the 5outh side. There is an underground parking garage between the houses and the street in the north-east, (places connected to the first below-grade level of the villas). The rooftop of the garage, planted with lawn and vegetation, provides access to the houses, the car park, and a garbage can shed. The basic mass of the villas is formed by three abovegrade levels, with the fourth level partly receding. South facing loggias are protected from the sun by suspended glass panels and awnings. Timber laminate panels form the transparent side walls of the loggias. The east and west facades are articulated by means of horizontal and vertical windows which reflect the interior functions. Villa A, with a footprint of 15 x 15 m, contains a total of five apartments (two on the first and one on the second above-grade level, and two duplexes on the first and second below-ground levels). Each of the apartments has a main living area with a kitchen, a seating area and a loggie facing south. The apartments contain two bathrooms which are adjacent to the bedrooms. The duplexes and the apartment on the second above-grade level also include dens. Each apartment has a storage space on the second above-grade storey. Villa B, with a footprint of a 12 X 12 m, houses three apartments (one on each floor, and a duplex on the first and second below-grade levels). Similarly to Villa A, the apartments are divided into ''public'' and ''private'' sections. In terms of construction, a monolithic reinforced concrete system with masonry fillings was used. Further materials include timber, steel, Comaxit and Connex glass, and direct finish concrete. ARCHITECT: TOMÁS PILAF, EVA PILAROVÁ (BRNO)

VILLAS NEUMANNOVA ULICE V MASARYKOVE CTVRTI, BRNO