|
|
Slovene National Theatre in Ljubljana
Semela, Ladislav ; Borák, Martin (referee) ; Ruller, Ivan (advisor)
The design of the new stage of the Slovene National Theatre in Ljubljana adheres to, among other things, the motto of the “TACE” (Theatre Architecture in Central Europe) project, i.e. a search of forms and types of buildings for the "New Theatre for the 21st Century". Therefore, I confront three topics: 1/ the conventional binocular conception for the drama chorus of the National Theatre, 2/ the unconventional solution of the "TACE" and 3/ the urban conception of the location, the so-called "Southern Square", designed by Josip Plečnik. Ad1/ The serious and classical feeling of the conventional form of the theatre hall is required, for this is the National Theatre. Slovenia, as a relatively young state, strives to build and strengthen its historical and national existence; therefore, the classical conception should be preferred because most plays dealing with the national identity are written for this type of theatre. Unlike the unconventional type of “performance” theatres that tend to present international rather than national art. Ad 2/ The search for spatial forms of unconventional and interactive staging of traditional types, such as ballet, opera, musical or drama as well as new forms such as “performance” resulted in a clear conclusion - “black box”. The ideal theatre of the future is infinitely multifunctional neutral space equipped with technologies that enable using the area for virtually any purpose. The principle comes very close to that of film studios, yet equipped with theatrical and other technologies. Ad 3/ A controversial location in the centre of Ljubljana, which has been waiting for an urban conception since the 1930s. It is situated at the end of Plečnik’s “Ljubljana diameter”, with the obelisk in the French Revolution Square as the opposite pole. The unfinished axis obelisk-square-theatre is quite apparent. The location features a clearance and an inner block with a poor urban development; yet it also features the so-called Knafijev prehod, a socially well functional part. The building is divided into 2 functional units - the theatre with its halls, lounge, gallery and cafe, and a commercial passage with the theatre’s administration. The facade of the theatre is a composite of several elements: From left, a decoration consisting of a ruptured pillar with a statue of an actor with a background of the fly, as we move to the right, a “curtain” going down in a curve from a glass “heaven” of the theatre’s hall towering over the passage, out of which rises the solid pylon of the gallery made of half-transparent material LitraConTM. This composition shifts the axis of the lounge beyond the axis of the park to the axis of the diameter and makes thus room for service access. The theatre’s area with the passage beneath is linked by a number of newels which can spin and thus close and in this way enable changing the mode of the passage from a lounge to a public area. The conception of the theatre's area combines sections 1/ and 2/ mentioned above. It consists of the classical stage with a trap cellar, portal and fly, which can be used a classical opera-glasses theatre for as many as 800 persons in the audience and/or, if the iron curtain is closed, as a small scene with approximately 100 seats. The remaining area functions as experimental and consists of a revolving auditorium and 4 stages whose back walls feature panorama windows.
|
|
|
Architect Otto Rothmayer and his realization for Prague castle
Bejšovcová, Kristýna ; Sojka, Jaroslav (advisor) ; Czumalo, Vladimír (referee)
This work deals with realizations of Otto Rothmayer in the Prague Castle, where we can find the most significant pieces of his lifelong work. It will be chronologically divided by several life periods, initially starts from collaboration with Josiph Plečnik, then his own works and at the end the post-war period. Otto Rothmayer was a modest and almost inconspicuous man, maybe it's just one of the reasons why haven't been written any respectable monographs about him. He was very conscientious and he didn't try to enforce his own inventions or historical styles into the reconstructed architecture, without affecting it. Always, already standing architecture, was precedence over his abilities, therefore is his piece so unique and harmonic. I would like to try to focus on brilliantly performed renovation of the Terezian wing (in the meaning of timelessness), which got after putting spindle staircase completely new dimension. Otto Rothmayer excelled with the talent to insert his pragmatic, sometimes almost cool effect objects into the vibrant history of the Prague Castle with a unique intuition of one of the best architects of the modern era.
|
|
|
Church of the Most Sacred Heart of the Lord in the context of Czech architecture
Fifernová, Karolína ; Czumalo, Vladimír (advisor) ; Bendová, Eva (referee)
Development of Josip Plečnik's sacral architecture to the Church of the Most Sacred Heart of the Lord The student draws up a monograph of Plečnik's Church of the Most Sacred Heart of Our Lord in Královské Vinohrady ("Royal Vineyards"). She observes the logical structure of monographic studies, which is a brief history of the competition, the development of the Plečnik's project, the constructions and changes after the finalization of the project to the present. She focuses on partial topics, which are still inadequately processed, especially the following: The position and possibilities of Catholic Church as a builder in the young Czechoslovak Republic and its relation to the modern architecture. The development of liturgical space in the 20th century. The comparison of Plečnik's concept of sacral architecture with the approach of comparable key personalities (e.g. Otto Bartning, Dominikus Bohm, Clemens Holzmeister, Rudolf Schwarz, Martin Weber). Plečnik's reflection of the Czech surroundings, tradition and contemporary Czech architecture. The comparison of the subject of work with Plečnik's churches in Slovenia and Vienna and with contemporary new buildings of Catholic churches and non-Catholic churches in Bohemia. Part of the thesis is pictorial documentation. Keywords Josip Plečnik, modern...
|
|
|
Slovene National Theatre in Ljubljana
Semela, Ladislav ; Borák, Martin (referee) ; Ruller, Ivan (advisor)
The design of the new stage of the Slovene National Theatre in Ljubljana adheres to, among other things, the motto of the “TACE” (Theatre Architecture in Central Europe) project, i.e. a search of forms and types of buildings for the "New Theatre for the 21st Century". Therefore, I confront three topics: 1/ the conventional binocular conception for the drama chorus of the National Theatre, 2/ the unconventional solution of the "TACE" and 3/ the urban conception of the location, the so-called "Southern Square", designed by Josip Plečnik. Ad1/ The serious and classical feeling of the conventional form of the theatre hall is required, for this is the National Theatre. Slovenia, as a relatively young state, strives to build and strengthen its historical and national existence; therefore, the classical conception should be preferred because most plays dealing with the national identity are written for this type of theatre. Unlike the unconventional type of “performance” theatres that tend to present international rather than national art. Ad 2/ The search for spatial forms of unconventional and interactive staging of traditional types, such as ballet, opera, musical or drama as well as new forms such as “performance” resulted in a clear conclusion - “black box”. The ideal theatre of the future is infinitely multifunctional neutral space equipped with technologies that enable using the area for virtually any purpose. The principle comes very close to that of film studios, yet equipped with theatrical and other technologies. Ad 3/ A controversial location in the centre of Ljubljana, which has been waiting for an urban conception since the 1930s. It is situated at the end of Plečnik’s “Ljubljana diameter”, with the obelisk in the French Revolution Square as the opposite pole. The unfinished axis obelisk-square-theatre is quite apparent. The location features a clearance and an inner block with a poor urban development; yet it also features the so-called Knafijev prehod, a socially well functional part. The building is divided into 2 functional units - the theatre with its halls, lounge, gallery and cafe, and a commercial passage with the theatre’s administration. The facade of the theatre is a composite of several elements: From left, a decoration consisting of a ruptured pillar with a statue of an actor with a background of the fly, as we move to the right, a “curtain” going down in a curve from a glass “heaven” of the theatre’s hall towering over the passage, out of which rises the solid pylon of the gallery made of half-transparent material LitraConTM. This composition shifts the axis of the lounge beyond the axis of the park to the axis of the diameter and makes thus room for service access. The theatre’s area with the passage beneath is linked by a number of newels which can spin and thus close and in this way enable changing the mode of the passage from a lounge to a public area. The conception of the theatre's area combines sections 1/ and 2/ mentioned above. It consists of the classical stage with a trap cellar, portal and fly, which can be used a classical opera-glasses theatre for as many as 800 persons in the audience and/or, if the iron curtain is closed, as a small scene with approximately 100 seats. The remaining area functions as experimental and consists of a revolving auditorium and 4 stages whose back walls feature panorama windows.
|
|
|
Architect Otto Rothmayer and his realization for Prague castle
Bejšovcová, Kristýna ; Sojka, Jaroslav (advisor) ; Czumalo, Vladimír (referee)
This work deals with realizations of Otto Rothmayer in the Prague Castle, where we can find the most significant pieces of his lifelong work. It will be chronologically divided by several life periods, initially starts from collaboration with Josiph Plečnik, then his own works and at the end the post-war period. Otto Rothmayer was a modest and almost inconspicuous man, maybe it's just one of the reasons why haven't been written any respectable monographs about him. He was very conscientious and he didn't try to enforce his own inventions or historical styles into the reconstructed architecture, without affecting it. Always, already standing architecture, was precedence over his abilities, therefore is his piece so unique and harmonic. I would like to try to focus on brilliantly performed renovation of the Terezian wing (in the meaning of timelessness), which got after putting spindle staircase completely new dimension. Otto Rothmayer excelled with the talent to insert his pragmatic, sometimes almost cool effect objects into the vibrant history of the Prague Castle with a unique intuition of one of the best architects of the modern era.
|
|
|
Josip Plečnik and his projects for Prague
Brůhová, Klára ; Biegel, Richard (advisor) ; Macek, Petr (referee)
This thesis deals with Josip Plecnik's unrealized urban projects for the surroundings of the Prague Castle, which should have become a part of the emerging regulatory plans of Prague. The text, besides the description of these remarkable ideas, aims to shed light on the debates about the Prague urban development, especially about those concerning areas around the Prague Castle. Basically, the work has two main protagonists, Plečnik and Prague, whose fates are connected and affect each other. The text is divided into three parts. The introductory chapter presents the situation in the field of urbanism in Prague during the establishment of independent Czechoslovakia. The first part also describes Josip Plecnik, his personality, architectural training and arrival to Prague. The second chapter deals with the urban projects of the Slovenian architect for the Prague Castle surroundings, while trying to describe the background debates about the urban visions for Prague. The third part is an epilogue describing the Prague urban interventions, which were eventually carried out and Plecnik's ideas that came into realization in his native Ljubljana. KEY WORDS: Josip Plečnik, Prague, urban planning.
|
|
|
Analysis of the preparation of inscription of the Church of the Most Sacred Heart of Our Lord in Prague 3 to the UNESCO World Heritage List
Čadová, Jana ; Netková, Jarmila (advisor) ; Valentová, Jana (referee)
This thesis deals with the possibility of the inscription of the Church of the Most Sacred Heart of Our Lord in Vinohrady to the UNESCO World Heritage List. The church is a piece of work of the well-known Slovenian architect Josip Plečnik. The church's nomination is being prepared in cooperation with Slovenia where Plečnik's churches are also aimed to be nominated to the UNESCO World Heritage List. The work is focused on evaluation of outstanding universal value based on which the church meets some established criteria that are essential for the nomination to the UNESCO World Heritage List. Moreover, it also warns about the possible impacts which are closely connected with the inscription to this prestigious list. Thus, it suggests some recommendations which could eliminate those negative consequences. The final part of the work concentrates on proposing some thematic projects that strive to connect this church to the religion tourism in the Czech Republic and in Europe. The goal of these projects is to increase the awareness of this church among the public.
|
guest ::
