Svatopluk Sládeček: Figurative Architecture for Beginners

During my constant exploration of the landscape of modern architecture, in an attempt to find and consume new spatial experiences, I gradually began to feel a light but persistent pressure of sadness. The dizzying experiences were becoming increasingly rare, and the disorientation caused by attempting to overlook all-consuming space was unique. I assumed (and continue to assume) that an architectural work always uncovers a new, hidden, or lost part of infinite space. That source seemed inexhaustible to me. It was the spirit of discovery that elevated architecture above mere construction, and the correctly discovered space should simply be allowed to express itself objectively. However, the bet on space, that is, its infinity, proved not to be the right one. Not because it might be finite, but I think it is too fragile and, above all, invisible. I understand why the founders and masters of modern architecture so often argued for functionality and operability, why they so frequently drew from these concepts when creating new architecture. It was the most understandable and widely accepted justification for liberating living space with new discoveries. After all, the vast majority of building users did not need new kinds of space; they would have been perfectly satisfied with more rooms, running water, waste disposal, and perhaps more light through larger windows. And so, the questionable (because its demands often change), but very visible and pompous functionality obscures the clear but fragile freedom, which is composed of the same fabric as space; it drives architecture into quiet bays, where even its purpose ultimately loses power and becomes a stupid commodity.
Amid these insights, which promised nothing good, shone through several refreshing, not overly detailed memories. Memories of objects I had seen many times before, which always brought me joy, I promised myself not to forget, and then I forgot them again. They were mostly buildings in industrial areas and on the peripheries. They probably had their architect-authors, and I think even an expert would not doubt their significance. However, they were and are not milestones in the development of modern architecture, and their authors can largely no longer be identified today. An administrative building of a factory in Olomouc, a boiler room (probably) of a factory in Zlín, a storage shelter on the way from Brno to Vienna, or an apartment building in Brno-Husovice, for example. I tried to find the source of the joy they brought to the surroundings, of course, to appropriate it at least a little for my upcoming projects. Generally, they expand at some level above the ground, whether as a whole or by various forms protruding from them, always as a projection of the interior. Perhaps that is why they seem so graspable. I also hoped that it might be possible to label as a rule the projection of the shape (or at least proportions) of the floor plan into a section or vice versa. The rule was not regular enough compared to the absence of any ornaments, including graceful proportions. Thus, the most accurate seemed to be the imprecise feeling of completeness, wholeness. It is certain that these objects have a modern lineage. I have not seen anything similar in any buildings belonging to one of the old known styles. I once believed that a crucial precondition for modernity in architecture is the removal of its symbols, established meanings, abstraction. Thus, I also tried to do so. It took a while before I realized that I was naming the proposed objects. I tried so hard to kill the little house, the house, the apartment building, or the factory that I only later noticed the dog, the ground squirrel, the robot, or the monitor. At that point, I realized that I could also name my favorites from the bottom of the architectural society in the same way. Thus, I stumbled upon a civilization of architectural figures. An underground civilization, which settles wherever there are suitable modern conditions, where no symbols live and where no ornaments obstruct and generally no unauthorized expectations disturb. How long they have been here with us and what they actually want to tell us - I do not know. I will try to find out. In any case, I will protect them and strive to create conditions for their propagation.

The text by Svatopluk Sládeček was part of the catalog published on the occasion of the exhibition Figur-k-ative Architektur für Anfänger organized at the Czech Center in Vienna (September 11 - October 5, 2007).