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Introduction - Selection for Pavla Janák 1st place - A1ARCHITECTS 2nd place - MOBA 3rd place - Group |
Selection for Pavel Janák - GROUP (3rd place)
PAVEL JANÁK - ORGANIZER OF LIFE
Concept of the architectural solution of the exhibition
Pavel Janák is simple yet precise, constant yet searching
ORGANIZATION
SIMPLICITY
DIVERSITY
LAYERING
ADAPTABILITY
PURITY
SPARSENESS
ORNAMENT
Description of the solution:
The entrance to the exhibition on the ground floor is marked by introductory panels in the shape of a prism (ČJ) and a pyramid (AJ). This shape symbolism is also used for the signboard before entering the House of Art. We do not perceive it only as a symbol of Cubism, but of the entire work of P. Janák.
In the gallery of J. Král, we propose to place a grid of period and contemporary projections in the space (projection screens on tripods, a projector on the ceiling, dim lighting, sound…). In the Walking Hall, a supplementary program (catalog, related literature, etc.)
On the first floor, the main part of the exhibition is solved, which we present in two variants. The solution for early works (1899-1910 Expression through knowledge) and the final period (1940-1956 Reconstruction) is the same in both versions. Other periods are solved differently in terms of plan layout. Both variants represent a concept, i.e., a sketch of the solution that should be refined and adjusted together with the exhibition curator and other professions (graphic designer, AV technician, etc.).
VARIANT A
Given the curator's request for chronological installation, we present a version of longitudinal panels that clearly fulfill this requirement. The freestanding independent walls, which are also interconnected, symbolize the continuity of individual time periods. At the same time, they allow for a simple graphic connection with historical contexts.
VARIANT B
On the first floor, outlines of the facades of individual periods (tables, pedestals, columns, etc.) are projected into the floor plans of selected halls. A chronological line runs along the walls (description of individual time intervals and their placement in historical contexts). Striking graphic solutions, e.g., in brown color. Highlighted time periods.
Access:
Efforts to capture individual periods with an installation character, to honor the purity of Janák's architecture and to let individual exhibits stand out. The white color of the installation background and striking brown graphics. Geometric patterns as wallpaper can be used as a background for individual panels, grid - as agreed with the curator). Everything with an emphasis on the traveling nature of the exhibition and the possibility of dividing the exhibition into larger or smaller units (depending on the space available in individual institutions).
Material used:
The same board format - i.e., white wooden boards - is always used as needed (horizontally: tables, pedestals, vertically: panels, tilted: drawing boards).
Concept of the architectural solution of the exhibition
Pavel Janák is simple yet precise, constant yet searching
ORGANIZATION
SIMPLICITY
DIVERSITY
LAYERING
ADAPTABILITY
PURITY
SPARSENESS
ORNAMENT
Description of the solution:
The entrance to the exhibition on the ground floor is marked by introductory panels in the shape of a prism (ČJ) and a pyramid (AJ). This shape symbolism is also used for the signboard before entering the House of Art. We do not perceive it only as a symbol of Cubism, but of the entire work of P. Janák.
In the gallery of J. Král, we propose to place a grid of period and contemporary projections in the space (projection screens on tripods, a projector on the ceiling, dim lighting, sound…). In the Walking Hall, a supplementary program (catalog, related literature, etc.)
On the first floor, the main part of the exhibition is solved, which we present in two variants. The solution for early works (1899-1910 Expression through knowledge) and the final period (1940-1956 Reconstruction) is the same in both versions. Other periods are solved differently in terms of plan layout. Both variants represent a concept, i.e., a sketch of the solution that should be refined and adjusted together with the exhibition curator and other professions (graphic designer, AV technician, etc.).
VARIANT A
Given the curator's request for chronological installation, we present a version of longitudinal panels that clearly fulfill this requirement. The freestanding independent walls, which are also interconnected, symbolize the continuity of individual time periods. At the same time, they allow for a simple graphic connection with historical contexts.
1899-1910 Expression through knowledge
- study tables - board on metal bases (goats)
- sketches, drawings, photos, diplomas: on tables under glass, models on tables under plexiglass covers
1911-1918 Spirit moves matter
- walls broken into triangles, cantilevered glass showcases for models, ceramics; these walls form the background for period furniture, possibly also for wall ornaments
- others on pedestals (vases, books, magazines, etc.)
- replica of the exhibition of the Group of Fine Artists in the Municipal House, Prague 1912 (only a schematic drawing), with cubist furniture placed along its exterior according to the script
1918-1925 Engaged Art of Czechoslovakia
- walls broken into arches and pedestals (furniture, models, books, magazines, etc.)
1925-1940 Form for its function and client
- walls orthogonally broken and pedestals (models, books, magazines, etc.) - breaking allows for the possibility of an independent room for the presentation of a replica of part of the UMPRUM pavilion exhibition
- the walls carry a graphically created chronological line of historical contexts
1940-1956 Reconstruction
- drawing tilted tables and pedestals (furniture, models)
Material used:
- drywall with white paint or other board
- pedestals: board with a white coating.
- study tables - board on metal bases (goats)
- sketches, drawings, photos, diplomas: on tables under glass, models on tables under plexiglass covers
1911-1918 Spirit moves matter
- walls broken into triangles, cantilevered glass showcases for models, ceramics; these walls form the background for period furniture, possibly also for wall ornaments
- others on pedestals (vases, books, magazines, etc.)
- replica of the exhibition of the Group of Fine Artists in the Municipal House, Prague 1912 (only a schematic drawing), with cubist furniture placed along its exterior according to the script
1918-1925 Engaged Art of Czechoslovakia
- walls broken into arches and pedestals (furniture, models, books, magazines, etc.)
1925-1940 Form for its function and client
- walls orthogonally broken and pedestals (models, books, magazines, etc.) - breaking allows for the possibility of an independent room for the presentation of a replica of part of the UMPRUM pavilion exhibition
- the walls carry a graphically created chronological line of historical contexts
1940-1956 Reconstruction
- drawing tilted tables and pedestals (furniture, models)
Material used:
- drywall with white paint or other board
- pedestals: board with a white coating.
VARIANT B
On the first floor, outlines of the facades of individual periods (tables, pedestals, columns, etc.) are projected into the floor plans of selected halls. A chronological line runs along the walls (description of individual time intervals and their placement in historical contexts). Striking graphic solutions, e.g., in brown color. Highlighted time periods.
1899-1910 Expression through knowledge
- study tables - board on metal bases - goats
- sketches, drawings, photos, diplomas on tables under glass, models on tables under plexiglass covers
1911-1918 Spirit moves matter
- triangular presentation columns (vertical presentation) and pedestals (furniture, showcases for ceramics, vases, and models, books, magazines, etc.)
- replica of the exhibition of the Group of Fine Artists in the Municipal House, Prague 1912 (only a schematic drawing), with cubist furniture placed along its exterior according to the script.
1918-1925 Engaged Art of Czechoslovakia
- circular and square presentation columns (vertical presentation) and pedestals (furniture, models, books, magazines, etc.)
1925-1940 Form for its function and client
- rectangular presentation columns (vertical presentation) and pedestals (furniture, models, books, magazines, etc.)
1940-1956 Reconstruction
- drawing tilted tables and pedestals (furniture, models)
SUPPLEMENTARY PARTS
Projections in the J. Král gallery
- projection screens on tripods
- projectors suspended from the ceiling
Accompanying program in the Walking Hall
(catalog, accompanying literature, info on PC, internet, etc)
- study tables - board on metal bases - goats
- sketches, drawings, photos, diplomas on tables under glass, models on tables under plexiglass covers
1911-1918 Spirit moves matter
- triangular presentation columns (vertical presentation) and pedestals (furniture, showcases for ceramics, vases, and models, books, magazines, etc.)
- replica of the exhibition of the Group of Fine Artists in the Municipal House, Prague 1912 (only a schematic drawing), with cubist furniture placed along its exterior according to the script.
1918-1925 Engaged Art of Czechoslovakia
- circular and square presentation columns (vertical presentation) and pedestals (furniture, models, books, magazines, etc.)
1925-1940 Form for its function and client
- rectangular presentation columns (vertical presentation) and pedestals (furniture, models, books, magazines, etc.)
1940-1956 Reconstruction
- drawing tilted tables and pedestals (furniture, models)
SUPPLEMENTARY PARTS
Projections in the J. Král gallery
- projection screens on tripods
- projectors suspended from the ceiling
Accompanying program in the Walking Hall
(catalog, accompanying literature, info on PC, internet, etc)
Access:
Efforts to capture individual periods with an installation character, to honor the purity of Janák's architecture and to let individual exhibits stand out. The white color of the installation background and striking brown graphics. Geometric patterns as wallpaper can be used as a background for individual panels, grid - as agreed with the curator). Everything with an emphasis on the traveling nature of the exhibition and the possibility of dividing the exhibition into larger or smaller units (depending on the space available in individual institutions).
Material used:
The same board format - i.e., white wooden boards - is always used as needed (horizontally: tables, pedestals, vertically: panels, tilted: drawing boards).
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