Bohuslav Fuchs Award - awarded projects
foto: Kristýna Uhrová, Jan Schleider, Filip Fuchs, Patrik Kučavík
<VIII> Bohuslav Fuchs Award - awarded projects </VIII>
Art Workshop
Kristýna Uhrová, Jan Schleider, Filip Fuchs, Patrik Kučavík (2nd Year)
supervisors: Ing. arch. Jan Foretník, Ph.D., Ing. arch. Barbora Ponešová, Ph.D.
In the picturesque setting of Jaroslavicka in South Moravia, on the outskirts of a small village named Dyjákovice, there is a complex of old unused barns. The advantage of the location is its position on the edge of the village with a view of the surroundings and the mutual proximity of the barn structures, which we decided to use as an art workshop. The space of each barn is dedicated to a specific type of artistic creation: painting, sculpture, photography, and music.
We have tried to maximize the spatial potential of the barn. Inside, we placed a new object – a figure – which contains basic facilities and living spaces. The concept of the figures aims to respect the historical building, adapt to each type of art, and harmonize with the scale of the studio space. It is clearly visible what is new and what is old. Most of the barn remains undeveloped and serves as a studio and social space.
COMMUNITY - The idea of a shared studio where various arts will inspire and connect with each other. People will be able to rent the studio space during the season and live in a shared community with other artists.
VILLAGE - Communication with the local authority, school, etc... Excursions for art circles from the school, painting courses, photo developing workshops, can take place here, for instance.
(not only) REGION Attracting other artists and visitors to workshops, exhibitions, and concerts from surrounding villages and larger cities. Nature combined with art is a draw for tourists, who have the option to stay in a hostel.
Strategy for Tasovický Mill
Bc. Martin Surovec (6th Year)
supervisors: Ing. arch. Jan Foretník, Ph.D., Ing. arch. Barbora Ponešová, Ph.D.
“Without wilting and blooming, the same life prevails here, or rather the same permanent death. Only the rhythm of wear and renewal varies among the diverse array of objects, not their fate. A pencil lasts a week, then it is used up and replaced by another... A chair with a straw weave is allotted three years before it is replaced by another, that someone, who sits on that chair, has allotted thirty or thirty-five working years, and then some new someone will sit on the chair. A person is like a chair, no difference.”
At the beginning stands the effort to understand the structure that struggles with time, and the mentality of the builders who constructed it. I choose the symbol of a closet as an analogy for perceiving certainty and rooting in reality. I try to find a way to restore the interrupted continuity. I propose activation through the breaking of the scale of intervention, which increases with the growing certainty of functioning and thus determines the impact on a historically valuable object. Contingency and uncertainty become part of the strategy. My goal mainly concerns tools; I do not want to operate in an ideal scenario, I do not wish to program and control. I look for a compromise between the minimum and comfort. I am fascinated by the composition of the entire object and vainly seek the ambition within myself to compete with it. I do not wish to turn it into something it is not. I reject novelties that manifest externally. I seek differences in the perception of time and space, which are reflected in technology and building methods. I graduate the durations of different phases, thus trying to create a new relationship with the object.
Interpreter of Memory Landscape
Bc. Norbert Obršál (5th Year)
supervisors: Ing. arch. Jan Foretník, Ph.D., Ing. arch. Barbora Ponešová, Ph.D.
“Cast iron crosses were then replaced by stone and marble ones, which – if it were not for the communist interruption – would probably still be built today, as numerous contemporary examples of this type from Bavaria or Austria demonstrate.” (Kyselka, 2001:32)
The extinction of the village Ječmeniště is just a drop in the sea of vanished settlements and overall changes after 1945 and 1948. The main reason is the expulsion of Germans and the newly built Iron Curtain. Socialism means the greatest leap change for the landscape since the Ice Age. Centuries-old paths vanish, pilgrimage sites are lost, and the cultural landscape loses its memory. The cultural landscape experienced its greatest boom in the Baroque period. After the Thirty Years' War, during which 43% of the population perished, people relied completely on God again. Faith at that time accompanied people literally at every step. Even a single storm during harvest could mean death by starvation for the entire family. The reliance on God manifested in the landscape through the creation of small sacred architecture. Wayside crosses were found along main and pilgrimage routes. They are pillar sculptures depicting the suffering of Christ and one can turn to them with repentance. Chapels are established at pilgrimage sites and the honors along pilgrimage paths, which are niche chapels, from which one can first see the destination of the journey, and the pilgrim kneels there. The stops are located near the village at the four corners of the plowing fields and are part of the harvest procession. This ritual is performed by a procession led by a priest. Crosses and holy images are reminders of private experiences. Memorial crosses mark the spot of a resolved dispute or boundary of a property.
The design stems from the tradition of small architecture and with its story reminds of the greatest decline and genocide of the cultural landscape.
Students of Halenkov!
Romana Ema Pavlovská (3rd Year)
supervisor: Ing. arch. Jan Sochor
The two and a half thousand inhabitants of the village at the intersection of the Hostýnsko-Vsetín Mountains and Javorníky, not far from the Slovak border, offer a free area of about 13 ha in its core. Individual parts of the village are thus separated from each other, and bonds are disrupted, complicating life for residents, especially in terms of walking. Given the historical context, rooted industrial background, and the awkwardness of the existing development, the most natural solution would be to create a new residential area enriched with services. I decided to approach the task creatively, logically, but above all humanely. This is achieved by not treating the territory as one large block, but dividing it into smaller residential units with varying character and impact. All these parts, on the other hand, are connected by the scattered character of the original Wallachian villages with more buildings on the plot and almost free orientation towards cardinal directions. The individual functional units are also separated by greenery, paths, or communications. Since a large share of Halenkov's potential lies in a relatively large offer of job opportunities in industry, the industrial part is preserved, located in almost immediate proximity to the square, just in a new guise. A senior center is newly designed, combined with spaces for a range of services (pharmacy, doctor, bakery, and more as needed) in direct connection with train transport, public transport stops, and Thonet Villa. An important point of the project is a sports and recreational area, which connects the largest centers of entertainment (the fire station and football field), while simultaneously separating the operations of the industrial area from the housing area and further offers a traffic playground, a children's natural playground, a stay meadow, and a pétanque area, for example. Three types of regulations are created for housing to enable a diverse and variable solution for residential development.
Res Publica IV – Brno North – Černá Pole Barracks
Bc. Michal Stehlík (6th Year)
supervisor: Ing. arch. Pavel Jura
Phase Start->Awareness->Impulse->New Center of Brno North
Today, people perceive the territory of the barracks as a closed, impenetrable military area behind walls, completely cut off from the surroundings. The "Start" phase aims to raise awareness of the values of the territory. People will understand how the area functions within the entire city district. Based on the first low-cost use of the central zone for a summer scene and other social activities, the central zone will open to all public events and social activities. Without any interruptions, this central zone will form as a public space, a connecting link between the residential northern and eastern zones and the southern mixed zone along Provazníkova Street and the transport hub. The territory will begin to integrate into the surroundings and function as a new dignified center of the city district with a town hall & art center & library building. The rules for utilizing the zones are governed by the existing surrounding development and its influence, not artificially set rules of the territorial plan. Historically, squares were used as gathering places and marketplaces with clearly visible "backs" and an open space. In this philosophy, a new public space "interior block" is intended in the area of the barracks. It is based on the archetype of a square with recreational, commercial, social, and above all public functions that transform according to the needs of the residents, flexibly responding to their requests and remaining alive!
A cycle tourist’s shelter: Box in box
Bc. Jana Chlupová (5th Year)
supervisor: Ing. arch. Petra Žalmanová, Ph.D.
A CYCLE TOURIST’S SHELTER /BOX IN BOX is a shelter intended for cyclists. Daily, many cyclists from various corners of the world travel along the route around Loaira. In a year, even 850,000. At this location, passersby can stop and recharge. They can take shelter from the rain, make use of amenities, and at night, sleep in a sleeping box. The places by the river are in constant motion. Just as the Loaira flows or cyclists travel along the route, the box is open and its smaller parts move according to the wishes of those staying and relaxing. The shelter is based on the concept of diminishing boxes fitting into one another. With this principle, the overall volume increases, but the dimensions of the boxes continuously decrease. This infinitude is limited by the smallest usable dimension for human scale. The maximum dimension is given as 4m x 2.3m x 2.3m. The character of the shelter is determined by its open space. It creates a public covered area where anyone can stop. The next level consists of individual sleeping boxes. During the day, they serve as benches that can be moved. Thus, everyone can create their own view of the Loaira river. At night, the boxes are used for sleeping. They can be completely closed off and vertical blinds can be used to choose the degree of openness or closure of the walls.
Jáchymov – about people and houses
Bc. Tereza Kvapilová (5th Year)
supervisor: Ing. arch. Jan Mléčka, Ph.D.
Only when I moved away from there did I start to really like the place. Perhaps studying architecture taught me this, perhaps living in Brno – living in Brno is quite an exhausting affair, and one learns to see this dead city more as an oasis of peace than a depressing cemetery. It is a space for nostalgia, sentiment, and melancholy for me, for selective memories of childhood and experiences that are as bizarre as this strange municipality. I want to take people I love there – every lover of architectural landmarks gets misty-eyed at the sight of shattered Renaissance portals, urban planners get emotional walking down streets that trace the surface of the hills, artists experience a colorful composition of roofs. I want to take them all here, but at the same time, I don't want to. This city is mine. The more I realize that this city has defined me, I constantly have that self-centered feeling that no one, except for me, really understands it. That it is unappreciated.
And yet this city needs a psychoanalyst more than architects, urban planners, or artists.
Or is it just me?
Jáchymov, a city of faded glory, communist concentration camps, dead angels.
Alcohol, drugs, and rock and roll at the disco for seniors in the cultural house.
Hard mountains.
Achtung, baby!
Some houses in Jáchymov have already found owners who take care of them. Many have not, and if the situation in the city does not change, they will also never find owners. We can expect that once they spontaneously collapse and disappear, they will be cleared from our lives. Or instead, we can approach the heritage of previous generations with feeling, reason, and responsibility. Parts of unused houses can serve as gardens – whether urban or private, shared by surrounding neighbors.
They can become terraces. They can transform into typical passages to higher levels of the city and improve the environment for pedestrians. One cannot plan life for people. One cannot force them to love their city. To inhabit it. But opportunities can be created. Small things that stem from the nature of space, time, and matter. Just tiny pieces of hope. Perhaps when houses are brought closer to people, one day they will truly return to them.
Kristýna Uhrová, Jan Schleider, Filip Fuchs, Patrik Kučavík (2nd Year)
supervisors: Ing. arch. Jan Foretník, Ph.D., Ing. arch. Barbora Ponešová, Ph.D.
In the picturesque setting of Jaroslavicka in South Moravia, on the outskirts of a small village named Dyjákovice, there is a complex of old unused barns. The advantage of the location is its position on the edge of the village with a view of the surroundings and the mutual proximity of the barn structures, which we decided to use as an art workshop. The space of each barn is dedicated to a specific type of artistic creation: painting, sculpture, photography, and music.
We have tried to maximize the spatial potential of the barn. Inside, we placed a new object – a figure – which contains basic facilities and living spaces. The concept of the figures aims to respect the historical building, adapt to each type of art, and harmonize with the scale of the studio space. It is clearly visible what is new and what is old. Most of the barn remains undeveloped and serves as a studio and social space.
COMMUNITY - The idea of a shared studio where various arts will inspire and connect with each other. People will be able to rent the studio space during the season and live in a shared community with other artists.
VILLAGE - Communication with the local authority, school, etc... Excursions for art circles from the school, painting courses, photo developing workshops, can take place here, for instance.
(not only) REGION Attracting other artists and visitors to workshops, exhibitions, and concerts from surrounding villages and larger cities. Nature combined with art is a draw for tourists, who have the option to stay in a hostel.
Strategy for Tasovický Mill
Bc. Martin Surovec (6th Year)
supervisors: Ing. arch. Jan Foretník, Ph.D., Ing. arch. Barbora Ponešová, Ph.D.
“Without wilting and blooming, the same life prevails here, or rather the same permanent death. Only the rhythm of wear and renewal varies among the diverse array of objects, not their fate. A pencil lasts a week, then it is used up and replaced by another... A chair with a straw weave is allotted three years before it is replaced by another, that someone, who sits on that chair, has allotted thirty or thirty-five working years, and then some new someone will sit on the chair. A person is like a chair, no difference.”
Stefan Zweig
At the beginning stands the effort to understand the structure that struggles with time, and the mentality of the builders who constructed it. I choose the symbol of a closet as an analogy for perceiving certainty and rooting in reality. I try to find a way to restore the interrupted continuity. I propose activation through the breaking of the scale of intervention, which increases with the growing certainty of functioning and thus determines the impact on a historically valuable object. Contingency and uncertainty become part of the strategy. My goal mainly concerns tools; I do not want to operate in an ideal scenario, I do not wish to program and control. I look for a compromise between the minimum and comfort. I am fascinated by the composition of the entire object and vainly seek the ambition within myself to compete with it. I do not wish to turn it into something it is not. I reject novelties that manifest externally. I seek differences in the perception of time and space, which are reflected in technology and building methods. I graduate the durations of different phases, thus trying to create a new relationship with the object.
Interpreter of Memory Landscape
Bc. Norbert Obršál (5th Year)
supervisors: Ing. arch. Jan Foretník, Ph.D., Ing. arch. Barbora Ponešová, Ph.D.
“Cast iron crosses were then replaced by stone and marble ones, which – if it were not for the communist interruption – would probably still be built today, as numerous contemporary examples of this type from Bavaria or Austria demonstrate.” (Kyselka, 2001:32)
The extinction of the village Ječmeniště is just a drop in the sea of vanished settlements and overall changes after 1945 and 1948. The main reason is the expulsion of Germans and the newly built Iron Curtain. Socialism means the greatest leap change for the landscape since the Ice Age. Centuries-old paths vanish, pilgrimage sites are lost, and the cultural landscape loses its memory. The cultural landscape experienced its greatest boom in the Baroque period. After the Thirty Years' War, during which 43% of the population perished, people relied completely on God again. Faith at that time accompanied people literally at every step. Even a single storm during harvest could mean death by starvation for the entire family. The reliance on God manifested in the landscape through the creation of small sacred architecture. Wayside crosses were found along main and pilgrimage routes. They are pillar sculptures depicting the suffering of Christ and one can turn to them with repentance. Chapels are established at pilgrimage sites and the honors along pilgrimage paths, which are niche chapels, from which one can first see the destination of the journey, and the pilgrim kneels there. The stops are located near the village at the four corners of the plowing fields and are part of the harvest procession. This ritual is performed by a procession led by a priest. Crosses and holy images are reminders of private experiences. Memorial crosses mark the spot of a resolved dispute or boundary of a property.
The design stems from the tradition of small architecture and with its story reminds of the greatest decline and genocide of the cultural landscape.
Students of Halenkov!
Romana Ema Pavlovská (3rd Year)
supervisor: Ing. arch. Jan Sochor
The two and a half thousand inhabitants of the village at the intersection of the Hostýnsko-Vsetín Mountains and Javorníky, not far from the Slovak border, offer a free area of about 13 ha in its core. Individual parts of the village are thus separated from each other, and bonds are disrupted, complicating life for residents, especially in terms of walking. Given the historical context, rooted industrial background, and the awkwardness of the existing development, the most natural solution would be to create a new residential area enriched with services. I decided to approach the task creatively, logically, but above all humanely. This is achieved by not treating the territory as one large block, but dividing it into smaller residential units with varying character and impact. All these parts, on the other hand, are connected by the scattered character of the original Wallachian villages with more buildings on the plot and almost free orientation towards cardinal directions. The individual functional units are also separated by greenery, paths, or communications. Since a large share of Halenkov's potential lies in a relatively large offer of job opportunities in industry, the industrial part is preserved, located in almost immediate proximity to the square, just in a new guise. A senior center is newly designed, combined with spaces for a range of services (pharmacy, doctor, bakery, and more as needed) in direct connection with train transport, public transport stops, and Thonet Villa. An important point of the project is a sports and recreational area, which connects the largest centers of entertainment (the fire station and football field), while simultaneously separating the operations of the industrial area from the housing area and further offers a traffic playground, a children's natural playground, a stay meadow, and a pétanque area, for example. Three types of regulations are created for housing to enable a diverse and variable solution for residential development.
Res Publica IV – Brno North – Černá Pole Barracks
Bc. Michal Stehlík (6th Year)
supervisor: Ing. arch. Pavel Jura
Phase Start->Awareness->Impulse->New Center of Brno North
Today, people perceive the territory of the barracks as a closed, impenetrable military area behind walls, completely cut off from the surroundings. The "Start" phase aims to raise awareness of the values of the territory. People will understand how the area functions within the entire city district. Based on the first low-cost use of the central zone for a summer scene and other social activities, the central zone will open to all public events and social activities. Without any interruptions, this central zone will form as a public space, a connecting link between the residential northern and eastern zones and the southern mixed zone along Provazníkova Street and the transport hub. The territory will begin to integrate into the surroundings and function as a new dignified center of the city district with a town hall & art center & library building. The rules for utilizing the zones are governed by the existing surrounding development and its influence, not artificially set rules of the territorial plan. Historically, squares were used as gathering places and marketplaces with clearly visible "backs" and an open space. In this philosophy, a new public space "interior block" is intended in the area of the barracks. It is based on the archetype of a square with recreational, commercial, social, and above all public functions that transform according to the needs of the residents, flexibly responding to their requests and remaining alive!
A cycle tourist’s shelter: Box in box
Bc. Jana Chlupová (5th Year)
supervisor: Ing. arch. Petra Žalmanová, Ph.D.
A CYCLE TOURIST’S SHELTER /BOX IN BOX is a shelter intended for cyclists. Daily, many cyclists from various corners of the world travel along the route around Loaira. In a year, even 850,000. At this location, passersby can stop and recharge. They can take shelter from the rain, make use of amenities, and at night, sleep in a sleeping box. The places by the river are in constant motion. Just as the Loaira flows or cyclists travel along the route, the box is open and its smaller parts move according to the wishes of those staying and relaxing. The shelter is based on the concept of diminishing boxes fitting into one another. With this principle, the overall volume increases, but the dimensions of the boxes continuously decrease. This infinitude is limited by the smallest usable dimension for human scale. The maximum dimension is given as 4m x 2.3m x 2.3m. The character of the shelter is determined by its open space. It creates a public covered area where anyone can stop. The next level consists of individual sleeping boxes. During the day, they serve as benches that can be moved. Thus, everyone can create their own view of the Loaira river. At night, the boxes are used for sleeping. They can be completely closed off and vertical blinds can be used to choose the degree of openness or closure of the walls.
Jáchymov – about people and houses
Bc. Tereza Kvapilová (5th Year)
supervisor: Ing. arch. Jan Mléčka, Ph.D.
Only when I moved away from there did I start to really like the place. Perhaps studying architecture taught me this, perhaps living in Brno – living in Brno is quite an exhausting affair, and one learns to see this dead city more as an oasis of peace than a depressing cemetery. It is a space for nostalgia, sentiment, and melancholy for me, for selective memories of childhood and experiences that are as bizarre as this strange municipality. I want to take people I love there – every lover of architectural landmarks gets misty-eyed at the sight of shattered Renaissance portals, urban planners get emotional walking down streets that trace the surface of the hills, artists experience a colorful composition of roofs. I want to take them all here, but at the same time, I don't want to. This city is mine. The more I realize that this city has defined me, I constantly have that self-centered feeling that no one, except for me, really understands it. That it is unappreciated.
And yet this city needs a psychoanalyst more than architects, urban planners, or artists.
Or is it just me?
Jáchymov, a city of faded glory, communist concentration camps, dead angels.
Alcohol, drugs, and rock and roll at the disco for seniors in the cultural house.
Hard mountains.
Achtung, baby!
Some houses in Jáchymov have already found owners who take care of them. Many have not, and if the situation in the city does not change, they will also never find owners. We can expect that once they spontaneously collapse and disappear, they will be cleared from our lives. Or instead, we can approach the heritage of previous generations with feeling, reason, and responsibility. Parts of unused houses can serve as gardens – whether urban or private, shared by surrounding neighbors.
They can become terraces. They can transform into typical passages to higher levels of the city and improve the environment for pedestrians. One cannot plan life for people. One cannot force them to love their city. To inhabit it. But opportunities can be created. Small things that stem from the nature of space, time, and matter. Just tiny pieces of hope. Perhaps when houses are brought closer to people, one day they will truly return to them.
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