Ještěd F Kleci #19 - award-winning works
winter semester 2017
JFK#19 Public Price
Mirka Baklíková, diploma thesis
Revitalization of the Mining Landscape of Karvinsko
Motto: “The landscape is a magical palimpsest, a notebook of history, where written words overlap yet can still be deciphered.” The extensive area between Karviná and Havířov has been marked by intense industrial use for the last 150 years, primarily through coal mining. The original character of the landscape has disappeared, as have the settlements and road systems. Everything was subordinated to mining. However, in the last decade, gradual mine closures have taken place. The landscape remains abandoned with solitary buildings of mining complexes, headframes, settling ponds, and transport infrastructure that has lost its original significance. The entire area is gradually overgrown with spontaneous vegetation and is losing the character of a cultural landscape. What should the new layer of this area be like? The motto of the entire thesis is the comparison of the landscape to a palimpsest. A palimpsest is an ancient document containing several layers of text from different periods. The original layers were intentionally removed for material savings and replaced with new ones. Upon detailed examination, however, traces of the old text can still be deciphered. The individual layers are imprinted in the landscape in a similar way. The old layers are overwritten and replaced with new ones, but traces of the original layers can still be deciphered. The first part of the thesis presents a view of the landscape as a whole. It includes a proposal to connect and make accessible the remnants of the individual layers via networks of hiking trails and bike paths. The second part involves the restoration of the original village, after which today’s Karviná is named. Only the leaning Church of St. Peter of Alcantara stands in its place. Due to subsidence, it has sunk by 37m and tilted by 6.8°. The village is restored as an orchard, with trees planted on the footprints of original houses that no longer exist. Beneath the trees, as if in front of the original houses, benches are placed. In the forest, old avenues are highlighted, and pathways that once existed in the miners' colonies are restored. The final part proposes the conversion of the former Gabriel mine, which is listed as a cultural monument. Currently, it has no use. A visitor and educational center for the post-mining landscape is proposed in the buildings of the former mine.
Nominations JFK#19
Jakub Dvořák
City Office of Lázně Bělohrad
Atelier Buček/Horatschke
Nominations JFK#19
Tereza Pištěková
Location behind the Church, Kuřívody
Atelier Suchánek/Janoš
From the place, I expect a behavior that is somewhat urban. Not to the extent that its identity and today’s - more village connections, are suppressed. I do not divide the landscape into individual built-up areas where everyone must or must not have their garden. I connect the place and treat it as a whole, stretching along the main axis, intersecting the newly emerging center and creating a square. The square is shared, the ground floor is shared, the gardens are shared, the orchard is shared, more or less everything above is transitioning into private space, all stretching in one band. Individual blocks of houses are formed in a grid, where in section it alternates 6m, 3m, 6m, 3m,... Sometimes the blocks merge, elsewhere they are completely absent. Individual cutting creates many smaller squares and recesses that enrich the public space and create a more intimate atmosphere. Three-meter gaps mainly serve as communication routes and in the ground floors as storage and facilities. I think of the new buildings as a block that is self-sufficient. Instead of moving into today’s emptiness in a beautiful landscape, I will move to the newly emerging Ralsko, where I will find housing and work; I do not have to worry about the extensive land around my house, but if I want, I can allocate my own little garden here, grow flowers or tomatoes, and when I don’t want to, I can just go with my neighbors to roast sausages and collect apples in the orchard. I can walk to the pub for coffee and lunch and send the kids to a club. I can do yoga or go to an exhibition in a gallery. The surrounding greenery is emphasized by inner gardens, orchards, green terraces, and small parks. The newly emerging square is defined by two axes - the axis of the urbanistically designed strip and the axis of the church - fortress. The fortress stands a few dozen meters from the church and together they form a line perpendicular to the strip. The square has a rectangular shape, its edges lined by the proposed buildings, the front remains open, with a view of the fortress and the possibility of future expansion of the square. The church is squeezed between new houses but remains a solitary feature. Housing, whether in apartment or family houses, is created with a similar layout, always on two to three floors. Family houses are complemented with their own front gardens, which maintain the outer street line. The center of the site features a "boulevard." It is perpendicular to the square, and the same paved surface suggests its widening. I do not have to walk along a busy road but would rather pass through the quieter interior of the block. This main street is full of shops and cafes, there is a bar and a restaurant. More than half of the ground floor is dedicated to smaller workshops. Carpenter's workshop, bike repair, ceramics class... I can step inside, or just watch how others create.
Nominations JFK#19
Daniel Volek, 1st year MA
Transformation of the atrium of the Faculty of Arts, Charles University
Atelier Frank/Raková
In a post-factual era, we have easy access to an enormous quantity of information, yet their quality is more obscure. Therefore, schools today can no longer be mere places for acquiring information, but rather spaces where we learn to orient ourselves in information and use it, spaces for critical thinking, discussion, and collaboration, spaces for personal and social relationship development.
The relationship between teacher and student is changing, blurring the boundaries between them and between the school as such. Each of us is a student and will never stop being one. Each of us can be a teacher, if only for a moment.
FF UK, with an average of four students in each of its sixty fields, is a symbol of fragmentation. The old house with a modular composition of spaces in a formal order preserves programmatic chaos. The new implant, on the other hand, establishes a new order through an open plan. It expands school spaces in a way that creates new modes of study and thus redefines the very notion of school.
CONSTRUCTION
The welded steel structure adheres to the module of the old building and utilizes some of its load-bearing walls, replacing them in places. The main load-bearing elements are, however, new elevator shafts and walls by the main staircase, both made of monolithic reinforced concrete. The library wing extends over the street space with support, thus reducing deflection.
CANTEEN
The school canteen is on the ground floor, ensuring easy access for food deliveries and diners. Two entrances allow for vehicle circulation. The only ambition of this underground culinary hell is to prevent the amount of waste from approaching the amount of meals sold.
COURTYARD
The school will expand its program towards the public, with the courtyard becoming a public space under a roof, a place for open lectures and conferences. A ramp ensures a smooth transition from the entrance spaces.
LECTURE HALL
The new lecture hall replaces the original, changing its orientation while maintaining its connection to the main staircase. It is the heart of the building, located at its spatial center. An escalator provides the highest transport capacity from the courtyard and back.
LIBRARY
The space designated for focused study includes areas for individual and group work in greater or lesser isolation. Physical books, as symbols of the pre-digital world, remain in the floor plan of the old building, positioned statically advantageously above supports.
CLUB
The student club is the soul of the school. A space formally and programmatically created by the students themselves allows for a relaxed atmosphere for discussion connected with consumption during the day and in the evening. It includes a stage for concerts and therefore anticipates an expansion of cultural events at the school. It adjoins a newly accessible terrace facing the panorama of Prague Castle.
TERRACE
The culmination of the new program is materialized in a large rooftop terrace. Summer movable stages allow for different forms of discussion, argument, or theater performances in combination. A supply elevator ensures a connection to the kitchen's production on the ground floor. The terrace is, above all, an empty space, a tabula rasa, a pure potential for further events.
Nominations JFK#17
Ondrej Jurčo
Theater in the Landscape of Baleal, Portugal
Atelier Suchomel/Šaml
I believe that architecture fulfills its mission when it brings new quality. The biggest question we ask ourselves when considering the assignment is simple: How to offer new quality without competing with already quality space? How to fulfill the building program in a space that lacks nothing? It would be a great pity to settle for the construction of a theater on the first island. The rock formation offers much more than it might seem. If we place the building at the very end of the entire chain of islands, a path across the entire peninsula would inevitably arise. Whether it is a sidewalk, a bridge, or stairs – the architecture of this path offers an experience that is unrelated to the theater. It allows for experiencing the rock formation as no one has experienced it before. Inaccessible islands can suddenly be explored. A new quality, therefore, does not necessarily relate to architecture, but to a new experience of the landscape. The first island cannot provide this new experience of the landscape. God is the best architect, and nature is the best architecture. We cannot surpass this. Acceptance of this simple fact liberates us from the need for extravagance, which in this case would be mere arrogance. Nothing else. And at the same time, it compels us to collaborate with the architecture of nature. What if we used the given surroundings in various theater typologies? We summarized it into four basic forms. Thrust, End Stage, Arena, Black Box. Small and large “halls” with various capacities and different backgrounds will emerge. However, we do not want to create landmarks but recesses. Subtle. Either far from the shore or hidden among the rocks. Architecture that hides to be discovered and surprise at the right moment. It can be rough but must also be welcoming. The concept of this theater path does not have to start with entering the first theater. Just as the concept erupts in the largest hall, it can start in the smallest hall – in one of the village houses. Occasional performances can also take place in one of the existing buildings. This leads to greater community involvement in the theater project. And it also allows for the performances to take place indoors, offering an intimate theater space.
More information >
Mirka Baklíková, diploma thesis
Revitalization of the Mining Landscape of Karvinsko
Motto: “The landscape is a magical palimpsest, a notebook of history, where written words overlap yet can still be deciphered.” The extensive area between Karviná and Havířov has been marked by intense industrial use for the last 150 years, primarily through coal mining. The original character of the landscape has disappeared, as have the settlements and road systems. Everything was subordinated to mining. However, in the last decade, gradual mine closures have taken place. The landscape remains abandoned with solitary buildings of mining complexes, headframes, settling ponds, and transport infrastructure that has lost its original significance. The entire area is gradually overgrown with spontaneous vegetation and is losing the character of a cultural landscape. What should the new layer of this area be like? The motto of the entire thesis is the comparison of the landscape to a palimpsest. A palimpsest is an ancient document containing several layers of text from different periods. The original layers were intentionally removed for material savings and replaced with new ones. Upon detailed examination, however, traces of the old text can still be deciphered. The individual layers are imprinted in the landscape in a similar way. The old layers are overwritten and replaced with new ones, but traces of the original layers can still be deciphered. The first part of the thesis presents a view of the landscape as a whole. It includes a proposal to connect and make accessible the remnants of the individual layers via networks of hiking trails and bike paths. The second part involves the restoration of the original village, after which today’s Karviná is named. Only the leaning Church of St. Peter of Alcantara stands in its place. Due to subsidence, it has sunk by 37m and tilted by 6.8°. The village is restored as an orchard, with trees planted on the footprints of original houses that no longer exist. Beneath the trees, as if in front of the original houses, benches are placed. In the forest, old avenues are highlighted, and pathways that once existed in the miners' colonies are restored. The final part proposes the conversion of the former Gabriel mine, which is listed as a cultural monument. Currently, it has no use. A visitor and educational center for the post-mining landscape is proposed in the buildings of the former mine.
Nominations JFK#19
Jakub Dvořák
City Office of Lázně Bělohrad
Atelier Buček/Horatschke
Nominations JFK#19
Tereza Pištěková
Location behind the Church, Kuřívody
Atelier Suchánek/Janoš
From the place, I expect a behavior that is somewhat urban. Not to the extent that its identity and today’s - more village connections, are suppressed. I do not divide the landscape into individual built-up areas where everyone must or must not have their garden. I connect the place and treat it as a whole, stretching along the main axis, intersecting the newly emerging center and creating a square. The square is shared, the ground floor is shared, the gardens are shared, the orchard is shared, more or less everything above is transitioning into private space, all stretching in one band. Individual blocks of houses are formed in a grid, where in section it alternates 6m, 3m, 6m, 3m,... Sometimes the blocks merge, elsewhere they are completely absent. Individual cutting creates many smaller squares and recesses that enrich the public space and create a more intimate atmosphere. Three-meter gaps mainly serve as communication routes and in the ground floors as storage and facilities. I think of the new buildings as a block that is self-sufficient. Instead of moving into today’s emptiness in a beautiful landscape, I will move to the newly emerging Ralsko, where I will find housing and work; I do not have to worry about the extensive land around my house, but if I want, I can allocate my own little garden here, grow flowers or tomatoes, and when I don’t want to, I can just go with my neighbors to roast sausages and collect apples in the orchard. I can walk to the pub for coffee and lunch and send the kids to a club. I can do yoga or go to an exhibition in a gallery. The surrounding greenery is emphasized by inner gardens, orchards, green terraces, and small parks. The newly emerging square is defined by two axes - the axis of the urbanistically designed strip and the axis of the church - fortress. The fortress stands a few dozen meters from the church and together they form a line perpendicular to the strip. The square has a rectangular shape, its edges lined by the proposed buildings, the front remains open, with a view of the fortress and the possibility of future expansion of the square. The church is squeezed between new houses but remains a solitary feature. Housing, whether in apartment or family houses, is created with a similar layout, always on two to three floors. Family houses are complemented with their own front gardens, which maintain the outer street line. The center of the site features a "boulevard." It is perpendicular to the square, and the same paved surface suggests its widening. I do not have to walk along a busy road but would rather pass through the quieter interior of the block. This main street is full of shops and cafes, there is a bar and a restaurant. More than half of the ground floor is dedicated to smaller workshops. Carpenter's workshop, bike repair, ceramics class... I can step inside, or just watch how others create.
Nominations JFK#19
Daniel Volek, 1st year MA
Transformation of the atrium of the Faculty of Arts, Charles University
Atelier Frank/Raková
In a post-factual era, we have easy access to an enormous quantity of information, yet their quality is more obscure. Therefore, schools today can no longer be mere places for acquiring information, but rather spaces where we learn to orient ourselves in information and use it, spaces for critical thinking, discussion, and collaboration, spaces for personal and social relationship development.
The relationship between teacher and student is changing, blurring the boundaries between them and between the school as such. Each of us is a student and will never stop being one. Each of us can be a teacher, if only for a moment.
FF UK, with an average of four students in each of its sixty fields, is a symbol of fragmentation. The old house with a modular composition of spaces in a formal order preserves programmatic chaos. The new implant, on the other hand, establishes a new order through an open plan. It expands school spaces in a way that creates new modes of study and thus redefines the very notion of school.
CONSTRUCTION
The welded steel structure adheres to the module of the old building and utilizes some of its load-bearing walls, replacing them in places. The main load-bearing elements are, however, new elevator shafts and walls by the main staircase, both made of monolithic reinforced concrete. The library wing extends over the street space with support, thus reducing deflection.
CANTEEN
The school canteen is on the ground floor, ensuring easy access for food deliveries and diners. Two entrances allow for vehicle circulation. The only ambition of this underground culinary hell is to prevent the amount of waste from approaching the amount of meals sold.
COURTYARD
The school will expand its program towards the public, with the courtyard becoming a public space under a roof, a place for open lectures and conferences. A ramp ensures a smooth transition from the entrance spaces.
LECTURE HALL
The new lecture hall replaces the original, changing its orientation while maintaining its connection to the main staircase. It is the heart of the building, located at its spatial center. An escalator provides the highest transport capacity from the courtyard and back.
LIBRARY
The space designated for focused study includes areas for individual and group work in greater or lesser isolation. Physical books, as symbols of the pre-digital world, remain in the floor plan of the old building, positioned statically advantageously above supports.
CLUB
The student club is the soul of the school. A space formally and programmatically created by the students themselves allows for a relaxed atmosphere for discussion connected with consumption during the day and in the evening. It includes a stage for concerts and therefore anticipates an expansion of cultural events at the school. It adjoins a newly accessible terrace facing the panorama of Prague Castle.
TERRACE
The culmination of the new program is materialized in a large rooftop terrace. Summer movable stages allow for different forms of discussion, argument, or theater performances in combination. A supply elevator ensures a connection to the kitchen's production on the ground floor. The terrace is, above all, an empty space, a tabula rasa, a pure potential for further events.
Nominations JFK#17
Ondrej Jurčo
Theater in the Landscape of Baleal, Portugal
Atelier Suchomel/Šaml
I believe that architecture fulfills its mission when it brings new quality. The biggest question we ask ourselves when considering the assignment is simple: How to offer new quality without competing with already quality space? How to fulfill the building program in a space that lacks nothing? It would be a great pity to settle for the construction of a theater on the first island. The rock formation offers much more than it might seem. If we place the building at the very end of the entire chain of islands, a path across the entire peninsula would inevitably arise. Whether it is a sidewalk, a bridge, or stairs – the architecture of this path offers an experience that is unrelated to the theater. It allows for experiencing the rock formation as no one has experienced it before. Inaccessible islands can suddenly be explored. A new quality, therefore, does not necessarily relate to architecture, but to a new experience of the landscape. The first island cannot provide this new experience of the landscape. God is the best architect, and nature is the best architecture. We cannot surpass this. Acceptance of this simple fact liberates us from the need for extravagance, which in this case would be mere arrogance. Nothing else. And at the same time, it compels us to collaborate with the architecture of nature. What if we used the given surroundings in various theater typologies? We summarized it into four basic forms. Thrust, End Stage, Arena, Black Box. Small and large “halls” with various capacities and different backgrounds will emerge. However, we do not want to create landmarks but recesses. Subtle. Either far from the shore or hidden among the rocks. Architecture that hides to be discovered and surprise at the right moment. It can be rough but must also be welcoming. The concept of this theater path does not have to start with entering the first theater. Just as the concept erupts in the largest hall, it can start in the smallest hall – in one of the village houses. Occasional performances can also take place in one of the existing buildings. This leads to greater community involvement in the theater project. And it also allows for the performances to take place indoors, offering an intimate theater space.
More information >
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