IX. Bohuslav Fuchs Award - winning projects
for the summer semester 2014/2015
Bauhaus Museum Dessau
Veronika Dočekalová, Ondřej Mráz, Iveta Pavlíková, Jan Schleider, David Zatloukal (2nd and 3rd year)
supervisor: Ing. arch. Jan Sochor
International competition for the design of a new Bauhaus museum in the city of Dessau, Germany.
"Only in a perfect harmony between technical function and proportions of mass can beauty be found."
Abstract interpretation of the design. Compositional relationships stemming from personal experience directly on site. Atmosphere connecting and interpreting the creative power of the Bauhaus school and its significance in the world history of architecture. Development and adaptation of spatial connections in the park right next to the historical center of the city. Connecting the old and the new. Pure and clear character of the new building.
Bridge over the Dyje
Jaroslav Matoušek (5th year)
supervisors: Ing. arch. Jan Foretník, Ph.D., Ing. arch. Barbora Ponešová, Ph.D.
The place
I walk through the landscape of southern Moravia. The traces of the original inhabitants are gradually washed away, but even so, they can still be read and interpreted. Once a rich agricultural region, where Czechs and Germans lived together, it appears drastically unpromising in some places. Connections are severed and only slowly being mended. In some areas, the phenomenon of nature triumphs over human traces.
However, if we look more closely, we find that the situation is not nearly as grim as it may first appear. Among the villages, I see newly planted avenues, and between fields of grain and vineyards, there are people whose goal is to escape civilization. In places where you wouldn't expect it, they encounter historical remnants connected to long-forgotten stories.
I detach myself from the group of people, and on this hot summer day, accompanied by the sound of crickets, I approach a line of trees. The path begins to slope down. Gradually, I start to distinguish the melancholic sound of lazily swirling water in the bed of the Dyje.
I stand at the site of a collapsed bridge. Its presence is only recalled by old embankments. The only way to get to the other bank is to wade across. The crossing is heavily used. On the opposite bank, I see a group of people preparing to get to me. A little beyond the crossing, I see an island, mysteriously unreachable, envisioned in the fantasy of every child.
Bridge
According to Heidegger, the bridge gathers "the land as a landscape around the river," is "ready for the weather of the heavens and its fickle nature," and provides "mortals with their way," so they "can cross from one bank to the other." Finally, the bridge brings mortals before "the blessing of the divine" (Heidegger 2000, 154-155). In this way, the bridge collects earth and sky, the divine and mortal. By gathering the fourfold, it characterizes the dynamics of the bridge.
The gathering of the bridge takes place, so effortlessly, that it is almost impossible to feel its arching and rising, and one even forgets the very existence of the bridge and the river. "Even where the bridge covers the river, it conceals its flow from the sky in such a way that it momentarily accepts it into the archway and then immediately lets it go again" (Heidegger 2000, 154).
The bridge is continually in motion, characterized by receiving and letting go. For the bridge to arch, it must have strong supportive pillars. Otherwise, it would collapse and be unable to support anything. This apparent lightness of the bridge comes from the strength of its supporting pillars. Thus, the bridge arches over the river with lightness and strength, just as the Samulnori dance turns in the wind. It would now be possible to call this swaying of the bridge the dance of the bridge. The bridge dances with the river with ease and strength.
Heidegger allows reflection on the essence of the bridge and thus opens the gates of poetry. I can think about what the bridge is, how to approach it, and what to focus on.
The new crossing does not compete with the wading point, offering an alternative way to cross the river on dry feet. It introduces pedestrians to a river island that they can explore. It spans the river twice like a broken tree trunk, as a reminiscence of the fallen bridge. The wild organic world of the riverbed contrasts with its clear geometric construction.
For most of the year, the bridge is settled on the island. The critical moment comes during the spring floods. To ensure that the bridge does not obstruct the flowing water, it reacts as a whole to the fluctuating water level.
This is not a particularly complex system. The joint-supported arms of the bridge are attached to the middle part, a float shaped like an equilateral triangle. Such a shape also reflects objects floating in the river. The construction is primarily stressed by tensile forces, which, given the choice of steel material, is advantageous.
Veronika Dočekalová, Ondřej Mráz, Iveta Pavlíková, Jan Schleider, David Zatloukal (2nd and 3rd year)
supervisor: Ing. arch. Jan Sochor
International competition for the design of a new Bauhaus museum in the city of Dessau, Germany.
"Only in a perfect harmony between technical function and proportions of mass can beauty be found."
Walter Gropius
Abstract interpretation of the design. Compositional relationships stemming from personal experience directly on site. Atmosphere connecting and interpreting the creative power of the Bauhaus school and its significance in the world history of architecture. Development and adaptation of spatial connections in the park right next to the historical center of the city. Connecting the old and the new. Pure and clear character of the new building.
Bridge over the Dyje
Jaroslav Matoušek (5th year)
supervisors: Ing. arch. Jan Foretník, Ph.D., Ing. arch. Barbora Ponešová, Ph.D.
The place
I walk through the landscape of southern Moravia. The traces of the original inhabitants are gradually washed away, but even so, they can still be read and interpreted. Once a rich agricultural region, where Czechs and Germans lived together, it appears drastically unpromising in some places. Connections are severed and only slowly being mended. In some areas, the phenomenon of nature triumphs over human traces.
However, if we look more closely, we find that the situation is not nearly as grim as it may first appear. Among the villages, I see newly planted avenues, and between fields of grain and vineyards, there are people whose goal is to escape civilization. In places where you wouldn't expect it, they encounter historical remnants connected to long-forgotten stories.
I detach myself from the group of people, and on this hot summer day, accompanied by the sound of crickets, I approach a line of trees. The path begins to slope down. Gradually, I start to distinguish the melancholic sound of lazily swirling water in the bed of the Dyje.
I stand at the site of a collapsed bridge. Its presence is only recalled by old embankments. The only way to get to the other bank is to wade across. The crossing is heavily used. On the opposite bank, I see a group of people preparing to get to me. A little beyond the crossing, I see an island, mysteriously unreachable, envisioned in the fantasy of every child.
Bridge
According to Heidegger, the bridge gathers "the land as a landscape around the river," is "ready for the weather of the heavens and its fickle nature," and provides "mortals with their way," so they "can cross from one bank to the other." Finally, the bridge brings mortals before "the blessing of the divine" (Heidegger 2000, 154-155). In this way, the bridge collects earth and sky, the divine and mortal. By gathering the fourfold, it characterizes the dynamics of the bridge.
The gathering of the bridge takes place, so effortlessly, that it is almost impossible to feel its arching and rising, and one even forgets the very existence of the bridge and the river. "Even where the bridge covers the river, it conceals its flow from the sky in such a way that it momentarily accepts it into the archway and then immediately lets it go again" (Heidegger 2000, 154).
The bridge is continually in motion, characterized by receiving and letting go. For the bridge to arch, it must have strong supportive pillars. Otherwise, it would collapse and be unable to support anything. This apparent lightness of the bridge comes from the strength of its supporting pillars. Thus, the bridge arches over the river with lightness and strength, just as the Samulnori dance turns in the wind. It would now be possible to call this swaying of the bridge the dance of the bridge. The bridge dances with the river with ease and strength.
Heidegger allows reflection on the essence of the bridge and thus opens the gates of poetry. I can think about what the bridge is, how to approach it, and what to focus on.
The new crossing does not compete with the wading point, offering an alternative way to cross the river on dry feet. It introduces pedestrians to a river island that they can explore. It spans the river twice like a broken tree trunk, as a reminiscence of the fallen bridge. The wild organic world of the riverbed contrasts with its clear geometric construction.
For most of the year, the bridge is settled on the island. The critical moment comes during the spring floods. To ensure that the bridge does not obstruct the flowing water, it reacts as a whole to the fluctuating water level.
This is not a particularly complex system. The joint-supported arms of the bridge are attached to the middle part, a float shaped like an equilateral triangle. Such a shape also reflects objects floating in the river. The construction is primarily stressed by tensile forces, which, given the choice of steel material, is advantageous.
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