Ještěd in the cage 11 - 3rd place

We often look down from above (not only at the city)
When Krymská is mentioned, most of us think of Club-Mate lemonade and bicycles without gears. Let us not be misled; these signs originate from something significantly deeper, let's call it urban neighborhood. The residents here are aware of the place where they live. They know about each other. These social realities deserve to leave their mark on architecture.
The local meadow enjoys strong public sentiment and often becomes the site of various events. The solitary house, standing like a totem at the tip of the meadow, embraces it in its silent arms and lends it a certain placelessness. Perhaps that's why it is so beloved, because it belongs to no one. A square or park could hardly replace it. The design builds upon this fragile atmosphere. In the background, the street front is growing. The arms expand with planted trees. From across, the new building appears almost fish-like with its galleries. Between the wooden slats on the ground floor, we sense the square. One more step and the slats will enclose us into the inner world of a surreal café. From the balcony, the square is at our fingertips. When we descend into it, we see the house looking into the face of the nineteenth century with convention and nobility. This is how the house transforms depending on whether we look at it from the outside or from the inside, from the side, or head-on, from the street, from the square, or from the meadow. It blends various moods. The ambition is to create a certain kind of presence.
The internal structure of the house also has its social motivation. The typological hybrid of the tenement and the gallery creates an environment where different people meet. The growing depth of the layout creates a range of apartments of varying standards and sizes, while the galleries serve as a place for encounters, perhaps even meetings.