Palmovka Jihlava

Process

From design to occupancy in 104 weeks
The reconstructed industrial building, originally a villa from 1912 with adjacent manufacturing and storage spaces in the Jihlavan, a. s. complex, is located near the center of Jihlava on Znojemská street.
The client approached us based on previous positive collaboration on his own house. The assignment was comprehensive project documentation from the initial study to workshop documentation for the production of interior elements. Even at the moment we started work on the study, it was clear that time would be tight. We began processing the project in the autumn of 2011, and because it was a candidate for obtaining European funding, the entire preparatory process was quite rapid. The construction took place from the issuance of the building permit for twelve months, including interior furnishing with furniture designed by us. The occupancy permit was issued two years after the first meeting regarding the study, which was not only a success for a project of such scale but also a fulfillment of the original plan.

Comprehensive solution
At Palmovka, we were given a free hand to complete the entire project. All design and coordination work was our responsibility, and we certainly broke a sweat. The attractiveness of the opportunity to engage with even the smallest detail, in fact, places great responsibility on the shoulders of the architect due to its complexity and scope, and is also a significant test for the entire implementation team.

Uncovering the old
The condition of the building was very poor. The qualities of the old villa with the production hall were obscured by many layers from the time it belonged to the factory for manufacturing components for aircraft. The basic principle of the reconstruction was to find old hidden qualities and complement them with contemporary design so that the complex could serve the operations of a modern administrative building and training center. As layers of drywall, plasters, and carpets were removed, remnants of original materials began to emerge, which we tried to revive in the project. Every control day was full of "on-line" decisions about which fragments to preserve and what to replace with new design.

Old iron should not be scrapped
Many remnants of the industrial history of the site were left in the complex. Everything that could be reused was reused. The concrete ceiling and pillars of the old production hall were sandblasted, industrial lamps are hung refurbished in the interior, and new furniture has been made from the original wooden floors. The interior is not a relic of old iron; all original artifacts have come back to life, whether through their original or new functions.

Designing a good table is a science
The building ultimately features over twenty newly designed interior elements. We designed several tables, bookshelves, and chandeliers. Completing the full vision of the design is the best reference for the architect. However, the volume of work on such an assignment is considerable, and it is very important to have a clear understanding of the time demands of such a task at the outset and to reflect that in the fees. The financial modesty of the architect is not appropriate in this case, and poorly set financial evaluation can lead to the collapse of the architectural office or negatively affect the quality of the proposed design. Clients requesting this service should realize that the added value of comprehensive design positively reflects in the homogeneity of the proposal itself and the utility value of the building as a whole.

Art
Part of the entrance lobby's interior is an artistic installation simulating atmospheric phenomena by Richard Loskot. It was created based on a competition we organized, which involved around twenty artists, graphic designers, and architects. The main benefit of the competition was not just its outcome. Thanks to the competition, we found several other talents with whom we would like to collaborate at the first opportunity.

Subsidies, joy, or worry
At the beginning of the collaboration, we agreed with the client to attempt to obtain financial support from EU funds. The training center for qualifying technicians in plastic injection molding seemed to be an ideal candidate for funding. Unfortunately, this source of money had already been exhausted by the time of the application, so the funding target changed at the last minute to the program Real Estate / Workshop for repairing, testing, and upgrading molding machines/. This turned out to be more suitable, as it precisely fulfills the functional essence of the site with its focus on brownfields.
From our perspective, EU subsidies are an interesting initiating motivation for technological development, the creation of new jobs, and strengthening the local economy, but success on a global scale is very debatable. I mean the high number of projects tailored "to fit" subsidy programs solely for the enrichment of the participating entities. It should be noted that, in this case, we are dealing with purposefully spent financial resources.
The schedule of the given subsidy title consistently generated a rather unpleasant time pressure throughout the process. Fortunately, during projection and implementation, there were no significant mistakes that would impact the overall quality of the building, but a more comfortable timeline during the design phase of the building and interiors would have greatly improved our work. One of the main reasons for the success of the entire project was also the fact that the client is an excellent project manager who was able to withstand all the problems associated with the construction itself.
Based on our experience, it can generally be said that the overlap of obtaining subsidies and design work places higher demands on individual team partners. It is necessary to account for greater effort and many "non-standard" aspects compared to a classic assignment without the variable called EU Subsidy.


Description of the architectural solution

Entrance lobby and adjacent outdoor spaces
The pedestrian entrance to the complex is provided through a gate from Znojemská street. The gate has mailboxes designed from rusted sheet metal. This point is illuminated by lamps made from loudspeakers. The entry into the complex is ensured by an automatic gate; covered parking functionally connects to the entrance. The garages were created by reducing and modifying the original steel hall. Access to the building is via a bridge that spans the original loading ramp to the passage. Since the passage is used as additional commercial space, the original loading ramp has turned into a small garden filled with wild grass. The entrance lobby with a reception also serves as an intersection for various operations and a multifunctional meeting space. The entrance space adjoins a glazed wall with the training hall, where visitors can glimpse directly into the plastic injection process. The lobby serving as a relaxation area is enlivened by a light installation by artist Richard Loskot.

Ground floor
The lobby on the ground floor connects to the restrooms, meeting room, and office spaces. In the glazed passage, the bridge has connected previously separated areas.

Floor
A staircase from the lobby leads to the second floor, where an open office space was created by removing the original partitions, which connects to a newly added kitchenette volume, outdoor covered terrace, and restrooms. In the future, the use of the attic as space for business meetings is being considered on this floor.

Attic
Through the offices, one can reach a second staircase that leads to the attic.