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The subrural catalogue
Malínková, Markéta ; Fabián, Ondřej (referee) ; Kristek, Jan (advisor)
The diploma project deals with the construction of the catalogue houses on the outskirts of villages. In addition to the term suburban, the term subrural is introduced, which describes and names this type of construction. At the same time, the project examines the influence of advertising catalogues on the aesthetics of subrural gardens and the activities performed on them. The work comes with a proposal for an alternative subrural locality in the village of Příkazy near Olomouc. Thanks to the minimization of plots, the labor is also minimized and at the same time space is freed for public orchard running through the entire territory. This creates a diffusion of development into the agricultural landscape and on a smaller scale it creates a spectacular space around private gardens. Prefabricated bricks from hobby markets form the architectural expression of the project. From these elements are assembled objects and fragments of fences located in the landscape. At the same time, the fragments form a newly compiled catalogue, according to which inhabitants build their fences.
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Beyond the extent of space and body
Kubová, Marianna ; Tichá,, Jana (referee) ; Kristek, Jan (advisor)
After experiencing moments without sight, strong moments of overcoming space and evaluating behaviour on the basis of information received by non-visual options are fixed in the memory. It was the familiar space I went through without seeing it, that showed new values and suddenly I perceived it completely differently. I focused on the materiality of the movement, which described not only its physical boundaries, but also the various sensible stimuli radiating towards my body and senses. This feeling of experiencing space differently, I would compare to feelings of when you re-discover a familiar place from childhood. We already look differently at the long-fixed images of children's eyes and minds, we are even able to compare this perception now. It is not that we did not have good eyesight as children, but we did not realise overall contexts and did not have certain experiences that now help us lead lives in a certain direction. While going through no-sight-experience myself, I found myself in a situation like that. I was like a child who knew a certain space only to a limited extent, in other words a space limited by sight. The initial intuitive assumption that looking at visual impairment not as a disability but as another means of experiencing world became the basis of inspiration for my project. I began to realise the fact that the perception of space in kids, does not only depend on the functioning of the eyesight but also on the functioning of their brain. Depending on where the children grow up, they experience changing states of the surrounding environment, which is related to their emotional, mental and physical development. However, they do not always grow up in an environment that can stimulate cognitive development and help personal, social or education growth. Thus, such a space cannot provide enough different stimuli for a certain purpose, which should help them thinking in and realise the wider context. Between the age of 3-7 years, a child's brain develops very quickly, using play or various spatial experiences. With its plasticity, the brain offers us a large volume of memory space, where almost everything that a child under the age of 7 sees around him, is initially noted down. But what’s really important is what information remains in the memory and won’t disappear. This is precisely that kind of information that has been strongly supported and influenced by various stimuli, which can always be maintained better than the unsubstantiated constant repetition of situations. Here I tried to insert a multisensory experience, which is used by the blind and visually impaired people as a vital need when moving through space and to compensate their eyesight. This experience is strongly connected with emotions, which are the main element of all long-lasting memories and experiences that we remember. That is why it is appropriate to use multisensorialism also in a learning practice, whether this is led by a teacher or through free play. In children that are not visually impaired, multisensory stimuli can support healthy emotional development but also the formation of synapses in the brain. At the same time, I see as a benefit in inter-connecting of these two groups of children, because they can be an inspiration to each other in their differential processing of information from the surrounding environment. The aim of the work is to create an inclusive space for the sighted and sight-impaired. The aim for the space is to support the possibility of obtaining information using multiple stimuli, which are proposed to be designed within the object-functionality and the overall space of the preschool facility.
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Life in the isolation
Jankovichová, Ludmila ; Fabián, Ondřej (referee) ; Kristek, Jan (advisor)
The answer to what Zaježová is, can be simple. Zaježová are so called „lazy“. Zaježová is perceived by the outside world - society - primarily as an alternative community of people living in coexistence with nature, and “Zaježová” presents itself “in this way”. Personally, I think that Zaježová is defined mainly by the strong individualities of people who are able to say about themselves and present that they live in a community. Last but not least, Zaježová is a place where I spent a large part of my childhood, because my parents belonged to these strong individuals and decided to live life “alone”. My work tries to capture what Zaježová is through various media, including architecture. The output is a set of atypical tourist maps and a proposal to transform the former fire station into a gallery.
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Ludic architecture
Domiňáková, Michaela ; Sotelo, Verónica Gallego (referee) ; Kristek, Jan (advisor)
Thesis use principles of play to reconstruct school building realized in the second half of the 20th Century. More broadly it deals with current state and conditions for reconstruction of modernist school buildings in Slovakia. According to Huizinga, play as such is older than culture and was a factor that stimulated the creation of culture and assumed the formation of human society. Free play is an instinct, a fundamental right, inherent in children, and a developed mechanism for acquiring skills and promoting learning. In the early 20th century, in a context marked by the horrors of war and the experience of the wild industrialization of the 19th century, society began to focus on the rights and education of children. This change in approach to childhood and children in general has been transcribed into theoretical and practical forms of architecture, from the scale of urbanism to the scale of an element of public space or domestic space. The concept of play began to penetrate into forms of education. In connection with urban transformation and housing construction playground have been created, which function should be the one of an institutionalized space education, but also of security or control. The same principles of control were also included in the architecture of other institutions such as schools. Project understands reconstruction of the school building not only as its annex or aesthetization but rather as reconfiguration and reinterpretation of its former principles.
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Waste horizon
Ochotná, Barbora ; Rypl Žabčíková, Ada (referee) ; Kristek, Jan (advisor)
The city is a place of accumulation, production and reproduction of production resources and consumption of goods, but waste typically accumulates outside it. It falls out of our horizon physically and mentally. The waste we produce changes the landscape and transforms the processes on earth without most of us visiting the "places of transformation". The project works with the idea of redirecting the final phase of the production chain back to the place of consumption by producing elements of public space from municipal waste. The presentation of waste leads to an awareness of its amount and degree of consumption. At the same time, waste becomes something much more ambivalent, possibly useful or even beautiful.
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Second Nature
Závacká, Paulína ; Zein, Lynda (referee) ; Kristek, Jan (advisor)
The issue of the environment (Umwelt) often fluctuates between two extremes: the cultural environment (architecture) and the natural environment (nature). Although the idea of the "natural environment" can (paradoxically) also be understood as a cultural construct. The project explores the ambiguity of artificial vs. natural through the design of an apartment building. The proposal uses a reinforced concrete skeleton of an abandoned shopping center built at the turn of the 1970s and 1980s, into which it inserts individual "dwellings". The design examines the tools ranging from an "artificial stone" in the form of walls made of shotcrete to dramatic views of the nearby Holedná Forest, which both figuratively and literally (eg. during a walk) becomes another room of the apartments. The landscape and human emotions associated with the natural environment are an important motive for the whole proposal. To expose the tension between two modern tendencies: escape from nature vs. return to nature, it samples the topic of apartment and nature.
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Projective space
Štuříková, Blanka ; Zein, Lynda (referee) ; Kristek, Jan (advisor)
The design of the cemetery is based on the findings of the project Projective Space, which analyzes the memories of individuals of their spatial experiences that evoked emotions. Spatial collage as a method of creating an environment which, due to its ambiguity, allows individual interpretation by an individual person and evokes memories, is applied to the design of a cemetery for human composting. After the complete transformation of human remains into fertile land, the grave becomes useless. The dead lose their posthumous address. From a cultural point of view, however, the ritual of burial and the symbolic, mental value of the cemetery play an important role for the relatives in coping with the loss of their beloved. The design works with the culturally conditioned idea of the cemetery as an image of the world. With the disappearance of tombstones and urns, we abandon the concept of a cemetery - the city of the dead and reinterpret it as a cemetery - a landscape made of the dead. Remains in the form of fertile soil become material for modeling of the biodiverse terrain of the cultural landscape, a place that resonates with life.
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Material history of planetary urbanization
Šana, Václav ; Bartůšek, Ondřej (referee) ; Kristek, Jan (advisor)
The diploma thesis deals with the final urbanization of the planet term from a materialistic point of view. The distribution of freshwater, energy consumption and especially agricultural food production are the basic factors which, together with logistics and demography, form fundamental drivers of material history. The "Malthusian" fear of a situation where the world's population is running out of resources accompanies contemporary rhetoric. The aim of the work is to try to find and explore solutions to the material necessities of humanity and to design organizational principles, systems, urban and architectural solutions.
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Dexterity, or build your house
Netrefová, Klára ; MA, Klára Zahradníčková, (referee) ; Kristek, Jan (advisor)
The design of anthropoid / metamorphosis loosely follows the pre-diploma project Fortel or so called "build a house" when I decided to "put my hand to the work, cut, drill, fold…" and to rediscover the imprints of work and tools in the mass from which they disappeared due to the mass production. The output of the project was an eclectic, crumbling garden of prefabricated bricks. Capillary (open) porosity usually occurs in brick products. It allows the penetration and retention of a relatively large amount of water. The bricks are made of natural mineral raw materials, as well as expanded clay, which is commonly used as a hydroponic substrate. At the same time, the porosity of the brick blocks causes future degradation of the material in the exterior. The disrupted "worked" ceramic blocks in the garden burst, mix with the substrate and create a breeding ground for plants. In my diploma thesis I move away from materials formed into modules, imported to the construction site, and I deal with matter in its freest fluid form and forms arising in-situ. The work is permeated by three fluid media, water, clay and concrete. Concrete - initially a fluid material, takes the form of two other materials, solidifies. Clay - as a semi-solid - semi-fluid material Water - infinitely fluid material, still present, rapidly transforms, and periodically comes and disappears, transforms the other two materials. The materials mix together, form into matter, then drain and disintegrate and disappear when their time comes. With these nature-friendly processes, the design works on three scales. On a micro scale, matter decomposes into gravel, sand, loess, which nourishes soils and plants, and allows an environment suitable for a variety of animals. In the middle scale, these are small objects that shape and manipulate the landscape. And in a big scale, it is co-working with the landscape itself.
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Life in the isolation
Jankovichová, Ludmila ; Fabián, Ondřej (referee) ; Kristek, Jan (advisor)
The answer to what Zaježová is, can be simple. Zaježová are so called „lazy“. Zaježová is perceived by the outside world - society - primarily as an alternative community of people living in coexistence with nature, and “Zaježová” presents itself “in this way”. Personally, I think that Zaježová is defined mainly by the strong individualities of people who are able to say about themselves and present that they live in a community. Last but not least, Zaježová is a place where I spent a large part of my childhood, because my parents belonged to these strong individuals and decided to live life “alone”. My work tries to capture what Zaježová is through various media, including architecture. The output is a set of atypical tourist maps and a proposal to transform the former fire station into a gallery.
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