> Winter Spa on a Boat, Wilk – Salinas Architekten
> Residential Building and Boros Art Collection, Realarchitektur
Intercity: Berlin – Prague
In the Critics' Gallery, an exhibition from the Intercity series: Berlin – Prague is currently taking place. After the presentation of painting, photography, design, and drawing along with graphics, this fifth installment of a planned ten-year project is dedicated to young architecture.
Many visitors will surely expect to become acquainted with the current construction activities of the cities connected by the virtual express train Intercity. There will surely be some who come tuned into the studios based in the initial and final stations. However, after encountering family houses built in Stupava or Malmö or the OK PLAN in Humpolec, they will undoubtedly be healthily bewildered and forced to delve deeper:
Just like in previous years, the exhibition concept adheres to the formula: 16 authors – half from Germany, the other half from the Czech Republic. Similarly to past years, its authors aim to present a younger generation of creators who studied at universities in Prague.
At this point, we could certainly ask whether it is problem-free to present all art forms within the same scheme. While the fields presented in previous years do not have a strong connection to the place, architectural work is, on the contrary, significantly conditioned by it. On the other hand, there is no doubt that potential viewer expectations are not a reason for resigning from the set intention. Surprises can be pleasant.
In a situation where the vast majority of our professional public emerges from Prague’s architectural schools, and these local schools maintain certain specific approaches to education – thank God – it is nonetheless difficult to find a common feature in the presented works. That is, one that would differentiate the works of former Prague graduates from those of graduates from all Czech universities focused on architecture. Thus, the exhibition, in my opinion, becomes a testimony about young Czech architecture in general – regardless of the fact that it may be specified somehow by Prague.
So who passed through the sieve? The curators of the Czech section, Jaroslav Wertig, Dan Merta, and Igor Kovačević, included the studios A 69, Atelier K2, 4A, HŠH, CHAA, KSA, OK PLAN and Sporadical.
If this is not about defining Prague against the “rest” of the country, it is undoubtedly about defining the Czech Republic against Germany. And the differences are significant – despite the currently omnipresent theses about crossing borders, or even breaking them down. I consider the German half of the exhibition to be an unequivocally instructive and refreshing contribution for the visitor – no matter what they expected. The very fortunate selection of young curators connected to the Berlin Deutsches Architektur Zentrum presents the local production as more playful, relaxed, and above all open to society: while public-use buildings sporadically appear among Czech family houses and administrative or industrial objects (Archdiocesan Museum in Olomouc – HŠH, vine gazebo in Gröbovka – CHAA, Memorial to the Victims of Communism in Liberec – Sporadical), in the German side they clearly prevail. We can envy a pool floating on the river and its light transparent roof allowing year-round operation (Wilk – Salinas), an elementary school in Schulzendorf (Zanderroth Architekten), a traveling multifunctional bubble inviting the sharing of ideas, music, and food called “Kitchen Moment” (Raumlabor), a Berlin gallery from studio Robertneun, or the conversion of an anti-aircraft bunker into another Berlin exhibition space (Realarchitektur). If we agree on the availability of technologies and materials on both sides of the border, the report on the state of architecture mainly becomes a report on the state of society: about the absence not only of public investments but also of private ones that would surpass the horizon of shopping centers. The equation that appears in the authors' report from the Zanderroth studio regarding their implemented residential project Schönholzer Strasse: “3 plots = 2 buildings + 1 public space”, still unfortunately sounds like a poorly calculated figure to the Czech client.
The exhibition presents, with the help of plans, photographs, and short texts, always three projects from each of the represented architectural practices; it also includes selected models and short video projections. It is a pity that the scope of the event did not allow for a clearer portrayal of the German builder, let alone the legislative level or possible incentives and regulations – such a demanding task would surely require a separate study.
If we are to attempt some objectivity in a state of slight euphoria after viewing the Berlin part, we can note that there are 3000 architectural offices functioning in Berlin, and thus the image we carry away about the work emerging from Berlin's educational institutions could also have influenced the curatorial selection. In any case, it was fortunate (Magma Architecture, Plus 4930 Architektur, Raumlabor, Realities:United, Realarchitektur, Robertneun, Wilk - Salinas Architekten, Zanderroth Architekten). It can also be noted that foreign, that is, less known works are always more attractive to our people. Will the Czech works be so for the Berlin audience during the spring reprise of the exhibition? I would like to believe so. However, it will be difficult in the more intellectually left-leaning, significantly greener Berlin.
If you want to soak up the encouragement that borders will someday truly dissolve and that you too will swim in a pool on the Vltava and, through a foggy membrane, watch the snowy outline of the National Theatre from your deck chair, hurry to the Adria Palace.
Critics' Gallery, Adria Palace, Jungmannova 31
23. 10. - 16. 11. 2008
Exhibition Concept: Josef Vomáčka
Curators: Jeannette Merker, Feeline Massonne, Franziska Eidner, Jaroslav Wertig, Dan Merta, Igor Kovačević
Organizers: Intercity: Berlin – Prague, o.s., Trans Media, Critics' Gallery
Co-organizer: Jaroslav Fragner Gallery
Represented buildings from the Czech Republic:
Many visitors will surely expect to become acquainted with the current construction activities of the cities connected by the virtual express train Intercity. There will surely be some who come tuned into the studios based in the initial and final stations. However, after encountering family houses built in Stupava or Malmö or the OK PLAN in Humpolec, they will undoubtedly be healthily bewildered and forced to delve deeper:
Just like in previous years, the exhibition concept adheres to the formula: 16 authors – half from Germany, the other half from the Czech Republic. Similarly to past years, its authors aim to present a younger generation of creators who studied at universities in Prague.
At this point, we could certainly ask whether it is problem-free to present all art forms within the same scheme. While the fields presented in previous years do not have a strong connection to the place, architectural work is, on the contrary, significantly conditioned by it. On the other hand, there is no doubt that potential viewer expectations are not a reason for resigning from the set intention. Surprises can be pleasant.
In a situation where the vast majority of our professional public emerges from Prague’s architectural schools, and these local schools maintain certain specific approaches to education – thank God – it is nonetheless difficult to find a common feature in the presented works. That is, one that would differentiate the works of former Prague graduates from those of graduates from all Czech universities focused on architecture. Thus, the exhibition, in my opinion, becomes a testimony about young Czech architecture in general – regardless of the fact that it may be specified somehow by Prague.
So who passed through the sieve? The curators of the Czech section, Jaroslav Wertig, Dan Merta, and Igor Kovačević, included the studios A 69, Atelier K2, 4A, HŠH, CHAA, KSA, OK PLAN and Sporadical.
If this is not about defining Prague against the “rest” of the country, it is undoubtedly about defining the Czech Republic against Germany. And the differences are significant – despite the currently omnipresent theses about crossing borders, or even breaking them down. I consider the German half of the exhibition to be an unequivocally instructive and refreshing contribution for the visitor – no matter what they expected. The very fortunate selection of young curators connected to the Berlin Deutsches Architektur Zentrum presents the local production as more playful, relaxed, and above all open to society: while public-use buildings sporadically appear among Czech family houses and administrative or industrial objects (Archdiocesan Museum in Olomouc – HŠH, vine gazebo in Gröbovka – CHAA, Memorial to the Victims of Communism in Liberec – Sporadical), in the German side they clearly prevail. We can envy a pool floating on the river and its light transparent roof allowing year-round operation (Wilk – Salinas), an elementary school in Schulzendorf (Zanderroth Architekten), a traveling multifunctional bubble inviting the sharing of ideas, music, and food called “Kitchen Moment” (Raumlabor), a Berlin gallery from studio Robertneun, or the conversion of an anti-aircraft bunker into another Berlin exhibition space (Realarchitektur). If we agree on the availability of technologies and materials on both sides of the border, the report on the state of architecture mainly becomes a report on the state of society: about the absence not only of public investments but also of private ones that would surpass the horizon of shopping centers. The equation that appears in the authors' report from the Zanderroth studio regarding their implemented residential project Schönholzer Strasse: “3 plots = 2 buildings + 1 public space”, still unfortunately sounds like a poorly calculated figure to the Czech client.
The exhibition presents, with the help of plans, photographs, and short texts, always three projects from each of the represented architectural practices; it also includes selected models and short video projections. It is a pity that the scope of the event did not allow for a clearer portrayal of the German builder, let alone the legislative level or possible incentives and regulations – such a demanding task would surely require a separate study.
If we are to attempt some objectivity in a state of slight euphoria after viewing the Berlin part, we can note that there are 3000 architectural offices functioning in Berlin, and thus the image we carry away about the work emerging from Berlin's educational institutions could also have influenced the curatorial selection. In any case, it was fortunate (Magma Architecture, Plus 4930 Architektur, Raumlabor, Realities:United, Realarchitektur, Robertneun, Wilk - Salinas Architekten, Zanderroth Architekten). It can also be noted that foreign, that is, less known works are always more attractive to our people. Will the Czech works be so for the Berlin audience during the spring reprise of the exhibition? I would like to believe so. However, it will be difficult in the more intellectually left-leaning, significantly greener Berlin.
If you want to soak up the encouragement that borders will someday truly dissolve and that you too will swim in a pool on the Vltava and, through a foggy membrane, watch the snowy outline of the National Theatre from your deck chair, hurry to the Adria Palace.
Kateřina Lopatová
Critics' Gallery, Adria Palace, Jungmannova 31
23. 10. - 16. 11. 2008
Exhibition Concept: Josef Vomáčka
Curators: Jeannette Merker, Feeline Massonne, Franziska Eidner, Jaroslav Wertig, Dan Merta, Igor Kovačević
Organizers: Intercity: Berlin – Prague, o.s., Trans Media, Critics' Gallery
Co-organizer: Jaroslav Fragner Gallery
Represented buildings from the Czech Republic:
|
Sanatorium Dr. Peták, 2001
A69 - architects | Redčenkov, Tomášek, Wertig Františkovy Lázně, Karlovy Vary Region |
| Hotel Metropol, Prague |
The English translation is powered by AI tool. Switch to Czech to view the original text source.
0 comments
add comment
