Architecture Yearbook

This second Yearbook
offers an overview of the

2017/18 academic year at
Yearbook
2017 / 2018
ARCHIP. With a focus on 2017 / 2018
the Architectural Design
studio works, the book also
features texts, drawings,
Yearbook
models, installations, 03 Part 1
photographs and other Timeline
materials which document
the international and the 15 Part 2
innovative nature of this
School of Architecture. It is 17 AD general concept description
another year in the ongoing Chapter 1:
story of the education
18 Studio leaders’ general introduction
of future architects – in
design, urban studies, Chapter 2:
technical sciences, 24 Studio projects winter term

humanities and arts. Chapter 3:
51 Studio projects summer term
Chapter 4:
89 GA+D Studio
Chapter 5:
95 Master diplomas
Chapter 6:
99 Golden Roubík Award
107 Part 3
Essays
Prague 2018
21 × 14.8 cm
140 pp
Illustrated
Paperback
www.archip.eu
Editors: Klára Doleželová, Elan Fessler, Regina Loukotová
Copy Editor: Elan Fessler
Photography: Dominik Kučera, Rostislav Zapletal, ARCHIP archive
Graphic design: Eliška Kudrnovská, Designiq
Printer: AMOS Typografické studio, spol. s r. o.
Print run: 100
© ARCHIP 2018
ISBN 978-80-906990-0-7
Vertical Studio Concept
Regina Loukotová, ARCHIP Rector
The importance of the Design Studio within and develop projects for a single site and
architectural education is constantly empha- program, yet their scale, scope and aims are
sized. Recently, this became the main topic of different. By this, we believe we can simulate
the European Association for Architectural the competiveness of real life architectural
Education Annual Conference, held in The competitions.
Faculty of Architecture, University of Porto, There are in fact multiple independent
under the title: Design Studio as laboratory vertical studios at ARCHIP running in paral-
for interactions between architectural educa- lel: four independent studios for the under-
tion and society. graduate and graduate students. There are up
There are two major models for the Design to 20 students per studio with each having
Studio organization – a horizontal or vertical a similar number of first, second and third
system – where the horizontal one includes year students.
the students from one year, while the vertical While the project’s site and program are
system gathers together students from all the same for all studios, the specific design
years. approaches and methodologies within each
At ARCHIP, we follow the principle of the studio vary. Each is under the direction of
“vertical studio” model in the organisation a different pair of studio leaders. After each
of the Architectural Design studio. Within semester, students switch studios, to gain
the Vertical studio, all years cooperate on exposure to the full range of practices and
design thinking unique to each studio. For To sum up with the words of Eugene Asse
their final semesters, third year students are (Dean of MARCH in Moscow):
allowed to select the studio of their choice.
Students become proficient in all phases Working in the studio is always improvi-
of the design process – from analysing the sation. The main tool of the studio is the
brief, through searching for and developing conversation. Studio work is most similar to
a concept and its architectural form, to the a psychotherapeutic session, where students
final presentation of the design. Each phase and teachers are then alternately the doctor,
of this process (the concept, the project, the patient. We talk, eliciting secrets from
and the final submission) is marked with each other and seeking frankness.
a studio-wide presentation before a group of
invited reviewers.
Part 1
T
imeline
In order to design and present projects in
the visual form, an architect needs to culti-
vate artistic sensibilities, master traditional
and digital media and the basics of the arts
and crafts. Every term is dedicated to explor-
ing graphic and presentation techniques (dig-
ital or hand drawing, handmade professional
models, technical construction drawings,
3D modelling, final slide shows). And every
semester project is compiled into a portfolio.
July 2018
1. 21/07–05/08/2018:
5 parallel workshops took place during this 4
year’s Summer School, under C4NC (Center
for Next Crafts) – ARCHIP’s interdisciplinary 6
research branch – focused on the intersection
of emerging technologies, design, science and
practical craftsmanship. The unique, 2 week
workshops covered 5 separate “futuristic”
programs: Outer Limits: Exploring the Limits 2
of Architecture, Alien City, Feral City: Future
Scenarios Design in Urban Context, Immer- Croatia, the United States, Libya and Singapore! 8
sive Spaces: Design Process in Virtual Reality, The student speech – playful yet serious – was 4. 23–24/06/2018:
“Smart” Contracts with Humans & Things: delivered by Isaac M. Sabido about the ARCHIP Design Disco participated in Maker Faire!, the
Design for Blockchain & IoT, and From Lollipops family and lasting friendships. Thank you for largest worldwide exhibition of innovation, cre- 7. 5/06/2018:
to Wearables: Open Hardware Design with Soft your hard work during these years. Congratula- ativity and invention. Taking place in Prague, for What is this generation like?
and Flexible Circuits. tions to all! the first time, in the Industrial Palace in Prague ARCHIP faculty and management participated
7, ideas, knowledge and novel productions were in a research seminar which presented infor-
June 2018 3. 24/06/2018: shared within an informal meeting space. With mation and analyses of the rapidly changing
ARCHIP co-sponsored and participated in the the support of ARCHIP, the passionate student circumstances surrounding pedagogy in an
2. 26/06/2018: second annual Holešovický Slunovrat – volunteers of Design Disco spent the weekend increasingly digitised and networked age. The
The Final Ceremony for ARCHIP’s graduating a neighborhood-wide celebration of the Sum- at the Faire!, showcasing their interactive exer- overview provided insights and ideas for how
class of 2018 was held in the large auditorium mer. Some of our students’ models were also cise “Puzzle Furniture”. to improve both teaching and learning in the
hall in DOX. Family and friends gathered to cel- on display to the public in an event in Tusarova school.
ebrate the occasion of 25 graduates – ARCHIP’s park. 5. 18–21/06/2018:
thus far largest class – which also included At the Final State Exams, which took place May 2018
our first Master’s graduates and a diverse rep- over four days, students presented and defend-
resentation from Mexico, Guatemala, Morocco, ed their projects in response to questions within 8. 31/05/2018:
Norway, Russia, Ukraine, Kyrgyzstan, Uzbeki- the disciplines of architecture, construction and The GoRo IV. award was announced at this
stan, France, Iran, the Czech Republic, Korea, history. The external juries were chaired by Jan year’s exhibition opening party in the spac-
Hájek, Petr Šmídek, Jan Holna and Petr Lešek es around the DOX+ auditorium. The Diploma
on each respective day. Well done! projects remained on display for two weeks.
This semester’s GoRo Jury was Ivan Boroš and
6. 7/06/2018: Juraj Calaj from Edit! and Sean Clifton from
DOX Centre for Contemporary Art opened Jestico+Whiles. The award for Best Student
a brand new exhibition and project #DataMaze Project went to Kryštof Redčenkov for his Film
3 to show how the Internet has become omni- Institute-Prague, while the Best Studio award
present in our lives over the past 30 years. The went to Nasadil-Duba for 150 m of Culture.
exhibition evolved in time (as it is a constant A Special Mention Award was also granted to
work-in-progress), with the aim to see this data all the first year students for their collaborative
revolution from a critical perspective, through row house project, “U Městských domů”. The
art and design as well as workshops and educa- beautiful display of work filled the vast space
1 tional activities. with a great excitement!
4 Part 1 — Timeline ARCHIP 2017/18 Part 1 — Timeline ARCHIP 2017/18 5

9. 21/05/2018:
ARCHIP had the honour of hosting Casimir
Zdanius, the Head of Industrial Design at Grim-
shaw Architects for a lecture about their
current work. Founded by Sir Nicolas Grimshaw
in 1980, the practice operates worldwide with 14
offices in New York, London, Melbourne, Sydney,
Doha and Dubai, employing over 500 staff. Mr.
Zdanius underscored the importance placed
in their office of engineering all aspects of the 11
project, and on cooperation with manufacturers, 13
while thinking about longevity, efficiency of 17
construction and maintenance throughout the and poetic presentation of her research on the
design process. complexities and nuances of light in archi- April 2018
tecture, with attention to its influence on the
10. 16/05/2018: atmosphere and the experience of space. 12. 20/04/2018:
Barbara Stec, teacher at Andrzej Frycz Modrze- Letters to the Mayor is an initiative that search to explore and document physical, social
wski Kracow University, visited ARCHIP as part 11. 10/05/2018: displays letters written by architects to their and environmental characteristics of selected
of the cooperation between our Universities ARCHIP lecturers Markéta Mráčková and Barb- city mayors. Started in 2014 by Storefront for small towns, their landscapes, histories and
through the Erasmus program. During her one ora Šimonová and their cultural cooperative Art and Architecture in New York, it has been current forms.
week visit, she taught two lectures for the cosa.cz, prepared a series of events at presented in more than 15 cities worldwide.
Building Environment course and one lecture VIPER gallery, on the theme “Form Follows The project serves as an act of evaluation of the 15. 05/04/2018:
for Construction II. She also gave a beautiful Money”: Outsiders, Cooperative Movement and city’s past, present and future. Rector, Regina ARCHIP Students and Faculty joined those
False or Post-Truth. Loukotová, was invited to participate with other of the Faculty of Architecture at ČVUT, upon
internationally recognised architects. Libenský bridge, to express their opinions
against its planned demolition. (Most recent
13. 06/04/2018: news about the bridge indicates that it will be
Máme otevřeno (We are Open) is an annual renovated and preserved).
event in Prague 7: 1 evening. 1 neighbourhood.
40 places. ARCHIP’s studio spaces were opened 16. 10/04/2018:
to the public featuring a special installation Students and Faculty from ROC Nova College
event. Curators Atoosa Ghanaei, Sinan Birsel Technology (NL) visited us in our studios and
and Megi Davitidze together with Design Dis- shared some of their work with us. We appreci-
co, prepared Outside In: Prague Happiness, ated our exchange of knowledge, experiences
Part II. Using familiar elements encountered and project ideas. Nice meeting all of you!
daily within the city, such as traffic signs and
9 benches – combined with new messages – the March 2018
aim was to make new meanings and messages
in public space. 17. 29/03/2018:
12 A discussion between writers and architects,
14. 05/04/2018: expressed through stories and illustrations,
As part of the Ecology course taught by Henry took place at DOX as part of the world premiere
Hanson, students participated in a workshop of the I WELCOME project.
along both sides of the Czech-Austrian
10 border. They conducted intensive, on-site re-

for students’ visions of and for the city. Selected 26. 25–29/01/2018:
student proposals were presented by our stu- Over four days of final AD presentations, the
dents within a public panel discussion, along four Architectural Design studios exhibited their
19 with an exhibition of selected projects from last individual and group projects before an external
semester. jury of critics. The works were installed as an
exhibition gallery, along the walls of the shared
24. 26/02/2018: studio spaces, showing models, drawings, port-
This AD Summer semester marked a number folios, posters and video presentations. While
of “firsts”: a new approach of teamwork for our the scale of the task of urbanism was quite
18 1st year students, our first full semester within a challenge, as a whole could be seen, an im-
the new school premises, and the first Diploma pressive amount of creative work!
projects from our Master’s students.
18. 15/03/2018: 27. 09/01/2018:
As part of their Urban Design – Critical Cities January 2018 The GA+D Future Cities Design Studio, led
course, second year Bachelor’s students pre- 21 by Peter Stec, started its Spring semester
pared the exhibition “PSYCHOMAPS”: psycho- 25. 31/01/2018: project with the participation of eleven visiting
geographical readings of cities, drawn from the The GoRo Award III. ceremony doubled as international students as well as regular AR-
writings of Guy Debord and WJ Mitchell. The tional preservation techniques and cutting-edge the official Opening Party of ARCHIP’s new CHIP students. The studio took the theme of
beautiful drawings were exhibited in the main technologies – revisiting historical preservation location at DOX+. The finalists for Best Project a Haunted Pavilion as its topic, building upon
entry foyer of DOX+. through emerging tools of virtual reality. were Dandika Thanos: Collective Fragmentation last semester’s site just under the rampart of
(Dlesk-Horová studio), and Ewa Wroblewska Vyšehrad in the garden of CIEE.
19. 15/03/2018: 22. 10/03/2018: and Megi Davitidze: Bohemian (Schindler-Fes-
Fourth year Master’s students participated in The annual students’ architectural-urban com- sler studio). The winning award went to Vla-
a student workshop competition: “Crown for petition SUPERSTUDIO was founded by AD dyslav Alyeksyenko and Kryštof Redčenkov:
Poruba”, organised by the Technical Univer- assistant David Neuhäusl in 2010. This year’s BiodiverCity (Wertig – Neuhäusl studio). The
sity of Ostrava. The workshop goals were to theme was affordable housing in the city centre, award for Best Studio went to Schindler-Fessler
propose a new possibility for the public space with as many as 98 teams participating! studio.
within and between an ensemble of residential
and retail objects of the 1960’s city fabric. February 2018
25
20. 15/03/2018: 23. 26/02/2018:
Visiting Teachers Toni Kotnik and Pia Fricker ARCHIP students partook in the “A Vision for
(Aalto University Helsinki) presented an Prague” event organised by DOX, under the
overview of their school, its pedagogy and topics “What do we miss in Prague?” and “What
teaching methods. We discussed and compared Prague needs?”. The event and initiative, asked 26
our two academic programmes, and the simi-
larities and differences between the Finnish and
23
the Czech contexts.
21. 14/03/2018:
Mikesch Muecke and Diane Al Shihabi (Iowa
State University) are currently working with
their students in Prague on the 3D scanning of 27
Villa Petschek in Bubeneč. Their special pres-
entation outlined the tension between conven- 22

dition, students brought foods from their own
countries, in a sharing of traditions and palettes.
The occassion also doubled as an opportunity to
30 exchange gifts in an anonymous grab-bag game 34
of White Elephant, and to say goodbye to our
studio space as we moved into our new home.
28. 01/01/2018:
ARCHIP was registered into the Registru November 2017
tvůrčích/uměleckých výstupů (RUV MŠMT), 33
a public index of information, used for a broader 31. 27/11/2017:
research into the results and methods of artis- CCZA (Česká cena za Architekturu), the Czech 36
tic fields taught at Czech universities. Prize for Architecture, is a recently established pivo pong tournaments, good music, photo-
national award for Architecture in the Czech shoots and a best costume contest. Among the
December 2017 Republic – now in its second year. The awards amazing costumes, the first prize was given
ceremony took place again this year at Jatka78 33. 23/11/2017: to the demon of the underworld, Iman Aljoaki,
29. 28/12/2017: (a performing arts theatre in Prague 7). Five of The Villa Petschek is a house with a fascinat- the second prize to the futuristic couple, Isaac
After a year of renovating the DOX+ expansion, our teachers won awards this year: Pavel Nas- ing story, currently undergoing extended recon- M. Sabido and Kaltrine Kabashi and the third
ARCHIP began the big move into its new prem- adil, Elan Neuman Fessler, Adam Gebrian, Igor struction over the coming years. ARCHIP will prize to the elf, Martyna.
ises. The school is proud to be located within Kovačevič, and Jaroslav Šafer. be taking part in this project. It is owned by the
this important institution, and the connections National Literary Fund and is being reconstruct- 36. 13/10/2017:
between our creative programs is set for many 32. 16/11/2017: ed as their new headquarters. A few students Design Disco Bergen sprouted roots in Nor-
mutual benefits. Among the new elements in On a trip to CIEE Berlin, Global Architecture visit the construction site each Monday, to learn way, in collaboration with KODE Art Museum,
our campus are a large auditorium hall, a new and Design (GA+D) students presented their about restoration, the role of the architect dur- with its first workshop series, led by Tina Athari,
cafe and courtyard, and a renovated 6 story projects for “Haunted Pavillion” to their col- ing construction, and to document the process about space in architecture, furniture and form.
administrative building – of which ARCHIP occu- leagues from Barcelona and Berlin. of the building’s renovation. The sessions focused on how public spaces are
pies 3 floors with studio spaces, lecture rooms, experienced, through site analysis, critical dis-
a student lounge and a workshop and art studio. 34. 3/11/2017: cussion and physical installations. The partic-
The design-build weekend at mmcité was ipants debated architectural concepts such as
30. 21/12/2017: organised by the instructor of the Product De- informal program, materials, and sensory stim-
32
To some degree all parties which involve dance sign course, Jerry Koza. During the trip to the ulation. The workshops visited three distinctly
are moving parties, but this one was special! mmcité product design company in Bílovice, different public spaces:
The Annual Christmas Feast, a student-or- students toured the factory to see the produc- Lille Lungegårdsvann – a high-traffic area
ganised dinner, was a celebration of five years tion processes of this world-renowned furniture enclosed by water and trees, Den Blå Steinen
at our address on Františka Křížka. As per tra- maker. The design-build workshop began when (aka The Blue Stone)— Bergen’s most famous
students received their project brief: “An object meeting point, and Marken – a historic area
that will accommodate 3 people sitting on it.” lined with medieval streets.
Students designed and built many beautiful
(and useful) ideas!
29 35
October 2017
35. 31/10/2017:
Halloween cannot be any more fun than it al-
31 ready is but ARCHIP added new creative twists
to the celebration. Lots of students around,

41. 12/09/2017:
Four ARCHIP students attended a design
workshop in Gyor, Hungary with studio lead-
er Jaroslav Wertig (A69) as part of the Creative 42
Week. The five-day workshop was speculative,
and TRANSITION was the theme they had to June-August 2017
work with. The task was to make temporary
39 pavillions, in groups of 2–3, using only a roll of 44. 24/07–04/08/2017:
rope and minimal additional materials, and to This year’s two-week summer workshop –
install them in an environment and in a way of Prague Discoveries – was co-organised with
their choosing, which reflected their interpreta- COSA.CZ. The workshop introduced „storytell-
tion of the theme. ing“as an approach within the field of architec-
37 ture. Three main aims were: To work “in situ”
42. 05/09/2017: on the basis of interdisciplinary approaches
The Shanghai Institute of Visual Art (SIVA) to art and architecture; to make extensive on-
invited ARCHIP to present at a conference in site excursions to better understand the city’s
Shanghai on the topic of “Conflict and Fusion” heritage; and to work with other international
at the 12th annual International Advisory Group. students and instructors to gain valuable local
Vice-Rector, Klára Doleželová and AD studio perspective.
40 instructor Elan Neuman Fessler shared a two-
part presentation about the school’s history, 45. 23/06–10/09/2017:
38 structure, accomplishments and aims, and also Cultural Hijack is an exhibition of intervention-
a case-study review of the INVALIDOVNA Sum- ist art and “artivism”, which was installed within
37. 20/10/2017 39. 06–09/10/2017: mer Workshop – 2016, which had the participa- ARCHIP’s gallery space at Františka Krížka.
This year’s trip to the Venice Art Biennale was ARCHIP student volunteers participated in tion of students from SIVA. Cultural Hijack explores the work of artists
fully organised by the Student Senate. The way lectures, tours, and discussions with over 150 who intervene to reclaim the right to the city as
artists achieved and expressed their aims made professional architects, as part of the Interna- 43. 01/09/2017: a site for free expression and critical engage-
an impression on the students. As second year tional AIA conference in Prague. Hosted in Regina Loukotová, Rector of the school, began ment; understanding social space in political
student Megi Davitidze said “we saw how di- the Valdštejn Palace of the Czech Senate, the her 6 month Fulbright Scholarship at Carneg- terms. It brought together leading artists from
verse art can be and how many ways there are four-day event brought this diverse group of ie Mellon University in Pittsburgh. around the world with a new generation of
to achieve the goal.” architects together to hear from experts from Czech artists to present new perspectives on
the Czech Republic speak about the history, ur- how our cities shape our thoughts and actions,
38. 12–15/10/2017: banism, future developments, and recent works and the steps we might take to shape our own
Organised by professor Henry Hanson, AR- of the city of Prague. environments.
CHIP’s Landscape Design course set off for
a weekend visit to the city of Berlin. A four September 2017
hour train trip north of Prague set the tone for
the excursion, with the region’s unique natu- 40. 25/09/2017:
ral topography and beautiful river landscape The New Academic Year begins! School
along the way. The visit was a joint trip with started on Monday at 10.00 AM – were you
colleagues from the Landscape and Architec- there? Every year, we look forward to seeing all
ture Studio at ČVUT. Students were to observe, of our students at ARCHIP, those returning and
45
document and discuss places of significance those arriving for the first time! ARCHIP warm- 44
which they discovered within the landscape of ly welcomed 20 new students to this Winter
the city. 2017–18 term. 41

Part 2
A
D Projects
AD general concept
description
Architectural Design (AD) is the most impor- term on the other hand is dedicated to the
tant course (with 10/12 credits) which practi- Bachelor diploma project.
cally and systematically draws on knowledge Architectural Studio Design Briefs cover
from other courses. AD is a vertical studio, different scales and types of problems and
where students of all years work on the same their themes and topics change from one
theme within their particular studio. Only semester to the next: from small buildings –
the requirements for delivery, like the level of (dwelling), big buildings – (public use), recon-
detail and complexity, vary between different structions – (interior), to landscapes – (public
years. Students share not only their design space).
experience together, but other programs of
the studio (such as lectures, field trips, pres-
entations, external critics).
The first and last terms of the Bachelor
studies follow a slightly different approach.
The 1st term is an introduction to Archi-
tectural Design. Two or three smaller tasks
come before the main project. The final, 6th
Part 2 — AD general concept description ARCHIP 2017/18 17

Chapter 1 Chapter
C hapter 31
Chapter 1:
Studio leaders’
general introduction
Dlesk-Horová studio sign architectural initiative that has operated Nasadil-Duba studio
in the network of offices between Prague,
“We believe that the role of architecture lies Milan, and London. He graduated FA STU in “We teach architectural design which is
in the responsible cultivation of the human Bratislava in 2006, he received his Ph.D. for contextual, not radical. One of the studio
environment. Although every detail matters, his thesis on invasive interventions in urban objectives is a responsibility to context in its
there is a hierarchy of importance, a rela- spaces at the Institute of Urbanism in 2017. broadest sense. We see context as a frame-
tionship between detail and the whole, that work and ultimate source of limits and inspi-
www.rdth.cz
an architect should be aware of in his work. rations. When we build in a physical environ-
www.facebook.com/RDTHarchitekti
The less important must be able to obey the www.instagram.com/rdtharchitekti ment, no matter if urban or natural, there’s
more important. This applies to architecture [email protected] always context to work with. We believe that
in general; to its aesthetic as well as prag- good architecture must contribute to context
matic aspects; and to all its scales: human Tamara Horová has been studio assistant at rather than harm it and that contextual limits
settlements should honour nature, city dis- ARCHIP since 2017. are positive contributors to the design pro-
tricts should honour the city, a house should Tamara graduated from FA CTU in Prague cess. We favour evolution to revolution, both open competitions and are widely published.
honour a street or a square, a window should at 2015. She gained work experience in Swit- in architecture and studio work. Hence the FAM Architects started out in 2005, as a ven-
honour a house, a door-handle should hon- zerland and Catalunya before she co-founded only way to evolve is through an inventive ture between the UK firm Feilden + Mawson,
our a door… However, this chain of values is RDTH office with René Dlesk in 2017. design process with a strong emphasis on site Pavel Nasadil and Jan Horky. FAM Architects
interlinked and might work also inversely as sensitive concepts.” specialise in private residential projects, pub-
[email protected]
a kind of butterfly effect. lic buildings and transportation hubs with
Our aim is to guide students to be able to Pavel Nasadil has been the Chair of the complex topology and master planning in the
recognise and to be aware of this hierarchy. Architecture and Urban Design Studio since Czech Republic, UK and abroad. They often
We would like to motivate them towards 2015. collaborate on public projects as part of large
a confident and rational approach; to help He is a practising architect and founding international design teams.
them to resist the temptations of unfounded partner of the Prague-based studio FAM Ar-
www.famarchitekti.eu
ostentation; to believe in the human mind chitects whose projects are very successful in
[email protected]
and hand; and to celebrate everyday life also
in its most ordinary expressions.” Martin Duba has been studio assistant at
ARCHIP since 2016. He is a Prague-based
René Dlesk has been the Chair of the Archi- practising architect.
tecture and Urban Design Studio since 2017.
martinduba.cz
René is a Prague based architect, currently
[email protected]
running the RDTH office of architecture with
Tamara Horová. In 2010 René co-founded
P-U-R-A, an international research and de-
18 Part 2 — Studio leaders’ general introduction ARCHIP 2017/18 Part 2 — Studio leaders’ general introduction ARCHIP 2017/18 19
Chapter 1 Chapter 1
Wertig-Neuhäusl studio to private residences, family and collective

housing, public buildings, healthcare fa-
“A studio is not a factory for the production cilities, offices, etc. Their work is regularly
of architects. published.
An architect is not a sum of technical,
www.a69.cz
artistic and humanistic skills.
[email protected]
To become an architect essentially means
to have a passion for architecture as a whole, David Neuhäusl has been studio assistant at
regardless of your individual inclinations. ARCHIP since 2016. He is an architect with
It is impossible to transfer any informa- a Prague-based practice. He conceived and
tion, experience and knowledge. organises Superstudio, a student idea contest.
A studio must guide and support students He writes about architecture and related
through the ever-changing process of design. topics for BiggBoss label.
Conceptual and critical thinking is crucial.
www.neuhauslhunal.cz
Formal skills without hard work and love
www.superstudiocontest.cz
for the discipline are useless.” [email protected]
Schindler-Fessler studio Jan Schindler has been the Chair of the
Architecture and Urban Design Studio since Jaroslav Wertig has been the Chair of the
“Here, students work on conceptually-driven 2011. Architecture and Urban Design Studio since
architecture projects. As they go along, they He is an architect and founding member of 2011.
learn the theory and practice of architectural a Prague-based architecture practice, SCHIN- He is a practicing architect. Together with
design in optimal balance. We emphasise DLER SEKO architects, together with Ludvík Boris Redčenkov and Prokop Tomášek, he
working with models and free-hand drawing. Seko, since 2005. founded the Prague-based A69 architects
In the development stage of the project, our Their first significant breakthrough came twenty years ago. Their design work covers
focus is on abstraction and dialectical rea- in the form of an international competition a broad range of projects from interior design
soning. We encourage the process of discov- for the River Gardens development in Prague
ering meaning, form and structure, through 8 – Karlín in 2005, on the embankment Ro-
the practice of architecture. hanské nábřeží. They have since built and
The studio follows a cumulative method continue to build many buildings in Prague.
of development – “from the inside-out”,
www.schindlerseko.cz
which consists of a series of bi-weekly as-
[email protected]
signments and desk discussions through
which the concept is developed and refined Elan Fessler has been studio assistant at
in a series of steps, each adding more scale ARCHIP since 2012.
and complexity to the project. This extended, He is an architect and has worked in Pitts-
dialectical structure of the studio is a process burgh and New York before moving to Prague
of working through the project from multi- in 2007. He is currently building up his stu-
ple perspectives, through layers and scales; dio, Emergenative Architecture.
this cultivates multi-dimensional reasoning
www.emergenative.com
applied to a specific situation and site. The
[email protected]
aim here is to embody and to represent an
elemental meaning with clarity and purpose
as a form of Architecture … to situate ideas
into the world.“
Chapter 1 Chapter 1
Future Cities Seminar Future Cities Workshop

Martin Hejl is a Future Cities Studio lectur- Shota Tsikoliya is a Future Cities studio
er, teaching the Future Cities seminar since lecturer teaching the Future Cities (Science,
2014. In 2015, he began teaching research Engineering, and Technology) Workshop
and theory of architecture at ARCHIP MA+U. since 2014.
GA+D Studio He is an architect. His Prague based practice He is an architect and a PhD student at the
is greatly involved with academic research. Academy of Arts Architecture and Design in
“Utilizing an approach that is interdependent He worked on the Czech and Slovak pavilion Prague. The focus of his doctoral research is
and interdisciplinary, students are encour- at La Biennale di Venezia in collaboration computational design and emergent archi-
aged to inquire, debate, collaborate, conduct with the Faculty of Arts and Architecture of tecture. He holds a position of assistant pro-
experiments, and rethink the potential of Technical University in Liberec, the Fine Arts fessor at the Academy of Arts, Architecture
today’s architects and designers. The aim Academy in Bratislava and the Czech Techni- and Design in Prague in the studio Architec-
is to develop a language of technological cal University in Prague. ture III.
design that can create immediacy between
www.kolmo.eu www.issuu.com/shota_tsikolia
individual responsibility and the current
www.loomonthemoon.com [email protected]
global environmental crisis. Environmental [email protected]
problems are a crisis of human alienation
from the natural world, and the Future Cities
Studio explores ways in which humanity
and nature can come back together. What is
required in order to comprehend globality
today is a close study of specific places, cities
and cultures. To create an educational expe-
rience that breeds cosmopolitanism, Global Future Cities Design Studio
Architecture and Design in Prague works
with elements of history and tradition just as Peter Stec has been Chair of the ARCHIP
it takes full advantage of new technologies FCD Future Cities Design Studio since 2017.
and the opportunities of global exchange.” He is a practising architect with feet firmly
planted in academic research: he recently
completed a Fulbright Advanced Research
fellowship at Rice University and led studios
at Cornell University, the State University of
New York at Buffalo and the Academy of Fine
Arts and Design in Slovakia.
www.peterstec.com
[email protected]
Chapter 2 Chapter 2
Chapter 2:
Studio projects
winter term
Winter term 2017/18: studios’ selections of students’ works.
AD1 introductory projects (same for all first year students):
Before taking part in the main semester design project, AD1 students worked Task 2
on a pair of introductory tasks. While these tasks demonstrate technical and
conceptual skills, they also serve to familiarize and to orient each student with-
in the surrounding city and the school. My Space (2 Weeks)
Task 1 Students abstract part of their real
studio space, from floor to ceiling,
Piece of Prague (1 Week)
including columns and a wall. They
Students are invited to pick an urban remodel the space and design it for
space of a certain size (10 × 10 × 100 themselves, as a temporary project,
meters) and document it at 1 : 100 scale, suitable for spending their time,
using only pencil on paper. Students working, relaxing, etc. The projects
also outline their activities if they were also reflect the individuality, the
to stay for 10 hours within this selected character, interests or origins of the
space. This task lasts only 1 week. It is authors. The task is presented only
not about design, but about observing with a 1 : 10 model, after 2 weeks of
urban life and exploring the city – a new design work.
challenge for most beginning students.
24 Part 2 — Studio projects winter term ARCHIP 2017/18 Part 2 — Studio projects winter term ARCHIP 2017/18 25
Chapter 2 Chapter 2
AD1+3+5+7+9 Semestral Project General Brief:
Urbanism in Prague 7
Site for all studios:
The lower portion of Holešovice, Prague 7
The themes of the AD studio briefs for the area surrounding Holešovice train
this semester varied between studios, station. “H – – – – – – – – E”, in Wertig-
yet all projects engaged the question Neuhäusl studio, focused on a re-
of the future of Prague 7 – specifically thinking of the entire peninsula.
the lower portion of Holešovice within A new approach for the 80 %
the bend of the Vltava river. The area of presentations was tested this
the entire neighbourhood was divided semester. Studio leaders switched
amongst the four AD studios, each positions, crossing into each other’s
with its own site, scale, theme and studios, to look into each project with
approach. a familiar yet different perspective.
“Correlating Patterns”, in Dlesk-Horová Students presented their (almost-
studio, focused on the triangular, finished) work before this internal
brownfield site on the southern jury – as a practice round before their
embankment. “Terrain Vague”, in final presentations – when external
Nasadil-Duba studio, focused on vacant critics were invited to the school to
spaces in the city. “Pu77le City”, in review the students’ completed work.
Schindler-Fessler studio, focused on
Chapter 2 Dlesk-Horová Studio
Dlesk-Horová Studio
Correlating Patterns
For this semester we’ve chosen a triangular site in

Prague 7 defined by Komunardů and Tusarova streets
and the riverbank. It is a site which contains the strong
presence of its industrial past. It is a site full of physical
contradictions and apparent discontinuities: a site with
a lot of potential. The site has been affected by the
spontaneity of utilitarian solutions which are seemingly
applied without any conscious framework for a complex
urban development.
During this semester, we will use this site to study

how urbanity is composed of more than just patterns
of physical matter. Equally important are rich patterns
of social interactions, human culture and the natural
environment: these are all interlinked, affecting each
other. The presence of these intangible matters exceeds
physical boundaries and can be felt beyond the limits of
the given site or neighbourhood.
By unveiling those patterns and understanding their

correlations, we will try to suggest grounding principles
for further interventions on this site to become catalysts
of new urban qualities.
The key virtues of studio candidates are open-

mindedness and patience, enthusiasm and a proactive
approach to learn and to explore.
Part 2 — Studio projects winter term ARCHIP 2017/18 29

Chapter 2 Dlesk-Horová Studio Chapter 2 Dlesk-Horová Studio
Dandika Thanos (AD7):

COLLECTIVE FRAGMENTATION
ISOLATED
The existing buildings feel isolated and the street grid
focuses too much on car access.
RECONNECT
By connecting focal points and tram stops, the new
street grid can give way for pedestrian access to the
site.
RENEW
New blocks with access to public courtyards and views
to the river revitalise the site.
Fadri Horber (AD3):

MODULARITY
The main points of the new design are to challenge
the existing site while still respecting it. In the
proposal, most of the existing buildings have been
removed and the road grid has been reconfigured.
With the highest buildings placed on the edges of
the site, they gradually lower towards the riverbank.
A contemporary and energy efficient design is
proposed which respects the modular rectangular
buildings and their inner courtyards. Only one building
contradicts this new layout: the existing historical
Silo. It is preserved in place and the riverbank is
reconfigured according to its new function. The site
is further connected to Karlin with a pedestrian-only
bridge and a new boardwalk connecting to the Market.
Louise Nebelsztein (AD9):

URBAN ODDITY (Jablonec nad Nisou)
WHY JAB’? AN URBAN ODDITY

Two years ago I got a road bike, having decided to To put it in simple words, based on immediate feelings
David Lameš (AD7): COURTYARDS reach the South of France from Prague. I tested the when you enter the city, something feels wrong with
bike before going on that long trip and visited a friend Jablonec nad Nisou. Amazing architecture left to
The semester’s theme of urbanism hit a deep note
in Jablonec nad Nisou, hurt my knee, and never made decay. Empty plots. Empty shops. A juxtaposition of
with me. I always considered urbanism to be a form
it to France. I fell for that intriguing North Bohemian different typologies of public and private spaces. No
of monumental, all-encompassing architecture,
city. A heart stopper. access to the river. Sometimes good, often terrible,
one that is in a league of its own. After all, people
house refurbishments. This, in a region that has one of
don’t ask what house you live in but where you live.
THE CITY the best schools of architecture in the Czech Republic,
Context is of the utmost importance in urbanism as it
in Liberec. Jablonec has beauty but people perceive it
shapes our understanding of spaces and of ourselves, The city of Jablonec nad Nisou is situated in the North
as “grey and ugly”. This brings many questions to mind.
otherwise the terms Londoner, Parisian, or “Pražan” of Bohemia in the Jizera Mountains. It is known for
And it is the trigger of the present study.
would not have any meaning or purpose. When the production of costume jewellery, based on a glass
confronted with a part of the city that was surrounded production tradition since the second half of the 17th
by other urban areas, the issue of interpreting context century. It used to be part of the Sudetenland, an area INTRODUCTION TO THE METHODOLOGY
was paramount. I tried going through preliminary in Czech Republic populated by Germans until 1945. Understanding a city in its whole complexity is not
experimental phases to see if this district could or The city has now 45‚000 inhabitants. a matter of a few months. Therefore I am taking this
should have an alien character to its surroundings, limitation into consideration. I base this project on
but in the end, I came to the conclusion that at this a sensitive approach rather than an empirical analysis.
scale, incorporation and incubation through continuity
should be the goal of the development. As a result,
I tried to maintain as many “relics” of old Maniny as
possible, to use them as puzzle pieces for developing
something new, while still in the familiar context of the
surrounding cityscape.
Chapter 2 Nasadil-Duba Studio
Nasadil-Duba Studio
Terrain Vague
Vacant places in the urban periphery, incomplete

blocks, brownfield gap spaces, inner courtyards –
programmatically and physically undefined spaces –
that’s terrain vague. Spaces with hidden potentials
and rich surrounding contexts, waiting for smart
interventions that would repair lost and undiscovered
relationships, enhance and add value to the city. We
would like to encourage a design process based on
a complex understanding of the city through rigorous
analysis. The semester will be structured into three
parts: analysis, master planning and finally the
presentation of both the proposals and the knowledge
gained through research. The aim is not to develop solely
through building design, but to define characteristics and
atmosphere, and to discover the potential and unlock the
possibilities of the sites through urban design.
For this task we chose areas and spaces in Holešovice

bounded by railways and main roads passing through
the Prague 7 district. The task was to analyse particular
problems of these spaces and reframe them in a way
that would be beneficial for the city, particularly with
regards to the typology of cohousing, coworking and
structured public space.
Part 2 — Studio projects winter term ARCHIP 2017/18 35

Chapter 2 Nasadil-Duba Studio Chapter 2 Nasadil-Duba Studio
Sinan Birsel (AD3): HALF-A-BLOCK

The concept of this project is to create a space where
new communities can emerge and gather: an Agora. To
accomplish this, two new building masses are created
in order to enclose and define the “empty” space in the
centre. The new massing is built in the optimal way
to ensure light, to protect from wind, to allow access
to transportation, to have vision over the agora and to
create attractiveness.
Bachir Benkirane (AD5):

DWELLING INITIATIVE
What if we let the people chose the way they want
to live? Instead of building out all of the residential
developments…
…why not build the infrastructure and let the people
fill it? It has been done before – why is this system not
utilised more often?
Chapter 2 Nasadil-Duba Studio Chapter 2 Schindler-Fessler Studio
Schindler-Fessler Studio
Pu77le City
The site is framed by existing, hard linear barriers of

infrastructure: Plynarenská (450 m), Partyzánů (500 m),
Argentinská (550 m) and the Vltava river (600 m).
Despite its clear boundaries and prominent train station
at its centre, it is a “broken heart” of the city – without
a coherent form or image. Nevertheless, it is an area rich
in nuance.
The two key lines of infrastructure within the site are

the raised railway platform (above a lowered ground)
and the underground subway (just beneath an artificially
raised ground). Further complicating the site is the non-
linear warped topography and the odd and disjunctive
Varikatt Sherin Sunny(AD7):
HOLESOVICE
array of somewhat abandoned buildings and spaces in
REVITALISATION -TERRAIN VAGUE between. All elements of the existing fabric (including
The primary idea is to create connectivity within the
site for the pedestrians. Urban interventions are made roads and objects) can be demolished or preserved
at the street level. To achieve this in the five blocks
within the site, open spaces, both green belts and
according to the needs of each project.
paved courtyards, are explored. A sense of relation
is created among the properties by segmenting and
zoning the site into a pedestrian-friendly environment.
New pedestrian connectivities created throughout the
site, allows it to become more active. The five blocks
within the site are zoned to accommodate commercial/
shopping, work/business centres, co-working and co-
housing spaces, hospitality and to reconnect with the
existing, neighbouring academic institutions.
Chapter 2 Schindler-Fessler Studio Chapter 2 Schindler-Fessler Studio
Chris Stian Høydahl (AD1):

HIDDEN TREASURES
The concept originated from the thought of reviving
two already existing places: the ground plaza and the
underground passage. The public space behind the
building (at the existing ground plaza) is the natural
way to access the performance area of the building
situated on the surface. From the underground gallery,
(in the existing underground passage) there is the
possibility to enter all the way to the second floor
through a staircase located in the south hallway. The
empty underground and the empty ground surface
are opened and interconnected through a new public
building.
We will work through historical layers of the past,

fragments of past footprints, and subjective wanderings
through the site, in order to define the possible new
edges, boundaries and forms of new blocks and
buildings. The common central figure of the “agora” will
serve as a unifying concept to support the negotiated
communication between groups.
Like a puzzle, the fragmented site will be re-assembled,

and will be joined together according to its own set of
internal rules. Each team will work on one piece of the
site, and we will produce 1 final, studio model (with its
separate pieces fitting together).
Chapter 2 Schindler-Fessler Studio Chapter 2 Chapter 3
Megi Davitidze, Ewa Wróblewska

(AD3): BOHEMIAN
The site has very delicate qualities. An abandoned The motion of buildings follows the program.
concrete factory and an abandoned house carry Densities change smoothly and horizontally
years of history. These buildings create an industrial- throughout the site. Starting from an “arts and crafts
domestic atmosphere, suitable for an artistic factory” situated within the existing concrete factory
community. Despite being difficult to access – blocked building and finishing at a spacious urban park with
by the train platforms, the high-speed road and the pavilions. In the middle is a “village”, smoothly unifying
river, the area is nevertheless occupied by cyclists, the factory and the park. The aim of the village is
families and people who just want to escape reality. to get lost, to explore, to stop, to meet people and
The 15 m high columns, next to the concrete factory, to enjoy a human-scaled space. There are ateliers,
created a grid. We perceived the site as one building, galleries, shops, bistros, cafes, and apartments. The
where streets indicate corridors. The site was then riverside merges into the grid. The extensions into the
divided into three main parts (starting from the east): river provide people an exceptional moment.
educational/ creative, semi-public/ commercial and
urban park/ recreational.
Elizaveta Karpacheva, Kasimir

Suter Winter, Oleksandra Yeloyeva
(AD5): RE-URBAN
Looking at our site, we felt that there was a real
need to bring back some of the historic qualities and
preserve existing cultural spaces. The site had been
cut off by the development of infrastructure, so we
wanted to remove existing boundaries and increase
connection with the surrounding urban fabric. By
emphasising walkability and the human scale, and
through the placement of public programs and public
spaces, we propose for this portion of Holešovice to
become a new city centre.
It was important for us to also consider temporary
and long-term use of the urban space, as there would
be a lot of through-traffic from the transport hubs, as
well as more permanent use by the locals. In mixing
a myriad of programs and functions, we wanted to
create a safe city, with life on multiple ground levels
throughout the day. All these activities are focused
towards the agora, acting as the public square: the
place of culture, life and activity.
Chapter 2 Schindler-Fessler Studio Chapter 2 Wertig-Neuhäusl Studio
Wertig-Neuhäusl Studio
AD2+4+6+8+10 studio project l brief:
H––––––––E
“…I would say the biggest problem today for architects

is the city, and for that reason it is important in
architectural education to start with the problem
of the city.“
— Luigi Snozzi
Iman Aljoaki (AD9): PUZZLE CITY
The project aims to connect the fractured site through “…Architecture is not so much the knowledge
a series of voids, with paths connecting all the voids
towards the central hub, and having variously scaled of form but a form of knowledge.“
built structures formed around them.
Overlaying the urban blocks from different time
periods shows the transition of various parts of Prague — Bernard Tschumi
7. The most striking change is the area of the former
villages, with only traces left of its urban patterns that
can be re-found in the built voids making up streets
and in the shape of the land parcels.
Praha-Holešovice can be the “Welcome to Prague”
stop you can’t wait to get out and go experience…
A piece of the city that reflects its history of drastically
changing urban fabric, from a village to an industrial We will focus our thoughts on the city – trying to
neighbourhood, to the transportation hub it is today. It
is the final pressure point of the collective experience understand a piece of urban structure in its complexity
that is the train ride along the river.
is the purpose of this semester. A city is formed and
affected by an enormous number of elements, actions
and processes. To support individual and progressive
reflection on this subject, each student will define his/
her own brief. Each can focus on any aspect of the city –
the only restrictions are the given area, the urban scale
and meaningfulness.
Chapter 2 Wertig-Neuhäusl Studio Chapter 2 Wertig-Neuhäusl Studio
The semester will start with an exploration of the

area both virtually and physically in situ, analyses,
readings, writings and discussions. To promote the
possible range of unique approaches, each student can
create their own methodology to advance their specific
research.
The key issue is the Brief – of equal importance
as the actual answer to it, which is limited only by Marie Meland (AD5): CYCLE
its reasonability in relation to the selected topic. The project is to inspire more people to use the bike
as a means of transportation. In the long run, it has
The proposal can cross the area borders, if justified. a lot of benefits for the city and occupants. It will help
people to have a more active daily life, and following
Nevertheless, it is crucial to think conceptually that, a better health. Also it will reduce heavy car
traffic, an important part of a more sustainable city in
concerning the whole district, keeping in mind potential the future, with less air pollution.
details. First year students will proceed as a team with

the task to define, design and construct a physical
intervention in the area.
It implies for this rather experimental brief, which
inherently contains examining the architect´s role at
the scale of the city, that the journey could be more
important than the destination. The whole process
shall be captured in a book, the main outcome of this
semester, which also serves as a research basis for the
subsequent semester.
Tugce Ari (AD5): THE WAY

TO THE RIVER
Holešovice is an isolated site located between this
huge neglected area and the Vltava river. There are
a few connections with nearby sites yet no connection
with the central zone – Bubny.
The main goal of the project is to take people to
the river by attracting them and to solve the problems
along the way towards the reaching of the water.
Vlad Alyksyenko,
Kryštof Redčenkov (AD5):
BIODIVERCITY
The proposal supports the ideology whereby people
trade nature fairly for humanity.
Chapter 2 Wertig-Neuhäusl Studio Chapter 3
Chapter 3:
Studio projects
summer term
Summer term 2017/18: studios’ selections of students’ works.
AD2 semester’s general project brief:
Hedy Lemus Bird (AD5): U Městských domů
THE URBAN BRIDGES
Connection and accessibility are key points in order A new approach was tested this
to urbanise and make an area grow. But, how to make
an area grow, without losing its community, identity
and style? Is it a good idea to just redirect traffic into
semester for our First year students,
all of whom shared the same brief
Holešovice so it becomes a new city centre? Perhaps
no. Therefore, maybe the connection is not targeted to
big masses, but instead to the existing community in
Holešovice and Prague.
Solution? Urban Bridges. The Urban Bridges and site. They worked together as
serve several purposes. Besides, of course, providing
a connection between point A and point B and easing
access from and to Holešovice, they are also designed
a single team. Each proposed a house
to create an experience for the user, an experience
never seen in Prague before. for a client of their choosing, and as
The proposal is made from 3 sets of bridge ideas,
each of them designed specifically to follow a function
that will enhance the experience and that will add
a whole formed a linear city block of
value to the district.
row houses – U Městských domů (At
the city houses), a site located just
around the corner from the school.
This existing site is composed of
a row of garages and storage units,
built in the 1980’s in a substandard
construction. These small structures
50 Part 2 — Studio projects winter term ARCHIP 2017/18 Part 2 — Studio projects summer term ARCHIP 2017/18 51
Chapter 3 Chapter 3
were to be replaced, while their

rhythmic grid and proportions along
the street edge were to be retained.
Each student’s house stands upon
a 10 m × 6.6 m area. Each individual
site was composed of three original
units, 1 of which was to be reserved as
‘unbuilt space’ (a garden), while on the
other two units, a 6.6 m × 6.6 m house
could be built to a maximum height of
After each student selected their
13 m.
own client(s), ranging between
2–6 people, the character of the house
and its garden was to be developed
accordingly. To define the client, each
student invented the stories, needs and
desires of specific families, particular
artists, or small communities.
52 Part 2 — Studio projects summer ARCHIP 2017/18 Part 2 — Studio projects summer term ARCHIP 2017/18 53
Chapter 3 Chapter 3
Andreas Bergem (AD2)

(Schindler-Fessler studio):
DOX-, ARCHIP STUDENT DORMS
My client came to me with two demands; they
wanted their first dormitory, and they wanted it to
be on an efficient and small scale. Since my client –
ARCHIP – was located nearby, it was only natural
to utilise the development of U Městských domů.
ARCHIP is situated at DOX+, the annex of the Centre
of Contemporary Art. The new dormitory, called DOX-,
has a similar feature to its neighbour. The facade
towards the street displays an exhibition, in this
instance, the exhibit is the ARCHIP students living
within. The main objective was to stimulate living
conditions within this small and dense yet intimate
environment. Attempting to optimise such a small
space led to the exploration of efficiency. I was inspired
by the Greek houses in which one must pass through
a room in order to reach another, and thereby abolish
the hallway by transforming it into a meeting place.
Vid Fugina (AD2)
(Wertig-Neuhäusl studio):
FAMILY HOUSE
The clients are a family of four: two parents (husband
and wife) and two children. One boy, aged 18 and one
girl aged 16. Husband is 49 years old and wife is 45
years old. Both parents are regularly employed with
college/university education.
The concept is an open floor plan, with vertical steel
columns which create vertical shadows throughout
the interior.
Chapter 3 Chapter 3
AD4+6+8+10 semestral project general brief:
The four different design briefs,

Chris Stian Høydahl (AD2)
(Wertig-Neuhäusl studio): from each of the AD studios, shared
STAIRCASE HOUSE
Clients: Isumi and Akyjama Seihachi, a couple, both do
art, focus on painting and sculpting. They both enjoy
common overlapping themes: Culture,
modern Japanese house architecture and want to
sit down in a place they can call home, where living, Infrastructure, Landscape, Housing,
working, and exhibiting spaces are blurred.
and Prague 7.
“Reclaiming the Bridge”, in Dlesk-
Horová studio, focused on re-thinking
the possible uses of Libenský bridge.
Due to its poor condition, it was
temporarily closed, bringing with it
an opportunity to become “more than
a bridge for traffic”, but also a place
Chapter 3 Chapter 3 Dlesk-Horová Studio
Dlesk-Horová Studio
Reclaiming the Bridge
The recent collapse of the Trojský bridge (a suspended,

pedestrian bridge) triggered an accelerated discussion
about the safety of other bridge structures in the capital.
As a result, the Libeňský bridge, an important piece of
city infrastructure connecting Holešovice (Prague 7) with
Palmovka (Prague 8), was subsequently closed – with
for new life in the city. “150 meters exception to pedestrians. Discussions over its demolition
began and the future of a valuable piece of the Cubist
of Culture”, in Nasadil-Duba studio,
era’s infrastructural heritage was in danger.
asked students to propose a cultural For a short period of time, this vehicular route
institution, on a narrow and unused turned into a pedestrian and cyclist bridge, with all
other forms of traffic, cars and trams, not allowed.
piece of land. “Scales of Living”, in This temporary situation not only demonstrated that
Schindler-Fessler studio, asked for new the busy city was able to find short-term bypasses for
residential typologies to be introduced traffic when necessary, but more importantly, it offered
an opportunity to rethink the role of the bridge that no
into a typical yet unique city block longer served its intended use.
near the school. “H – – – – – – – – E”, This circumstance allowed us to speculate on
in Wertig-Neuhäusl studio, continued different or additional uses for the bridge, instead of
solely traffic: a use that can promote city life; a use that
from the previous semester, and asked
students to develop their projects from
their masterplan to a building.
upgrades the bridge from its sheer functional linkage

between two sides of the river into a real connector, or
even an accelerator, of city life and exchange between
two stagnating riversides. Traffic would return to the site
after the Libeňský bridge is reconstructed, and after new
urban tissues, representing new civic functions that have Megi Davitidze (AD4):
the capacity to activate city life, are introduced. OF PEOPLE AND SPACE
Libeňský bridge, together with Dělnická street,
Historical references of no longer used and nearly appears to be a long empty avenue, with no life or
spirit. Abandoned buildings, without people or any
forgotten urban typologies of “living bridges” can teach kind of activity characterises this street, with just
a few cafes – waiting for customers. The project aim
us valuable lessons in re-evaluating well-established is to develop life on the Holešovice side and to add
stereotypes of what function a bridge can bear (for life on the Libeň side. A new structure is added to the
existing bridge, from both sides, in order to transform
example the still existing Ponte Vecchio of Florence, the street into a stage for public life, and to create new
places for people to interact.
Poultney bridge in Bath, and Rialto bridge in Venice as The human-scale concept provides walking, sitting
and standing as well as living spaces. Units, located
well as the already demolished Old London Bridge or the on a 6 m grid, serve as multifunctional buildings. The
ground floor is a public space, and the upper floors
bridges of Île de la Cité in Paris e.g. old Pont au Change). are apartments. The units are suitable for different
categories of people – singles, students, or small
The aim of this semester’s AD task was to rethink the families and can be arranged according to each one’s
needs. There are two types of building units – 6 × 10 m
role of Libenský bridge in Prague under the following and 6 × 8 m. This difference allows to have small
gardens facing the river.
premises: Moreover, gaps between the units create corridors
which serve as “urban living rooms”, and offer another
platform for life.
– we will honour the historical values of the bridge
– we will honour present socio-cultural values (including

the values of views from the bridge to its surrounding
scenery)
– we will take the technical properties of the bridge and

the surrounding site into consideration (e.g. load bearing
capacity, flooding levels.)
Robert Yussef (AD4):

MULTIFUNCTIONAL
MOBILE MODULES
The project proposes a temporary structure to become
a system of multifunctional mobile modules. The
standardised modules are aimed to host a variety of
anthropogenic activities, adopt themselves to different
Deborah Lee (AD4): landscapes (including water bodies) and rationally
RECLAIMING THE BRIDGE distribute human capital within the city area and
I propose a design idea that does not destroy beyond. The customized units can provide a high
the bridge’s function but rather praises its value standard of living to a customer according to their
specific requirements.
by bringing a re-recognition and appreciation to
Benefiting from its fabric’s flexibility, “mmm”
the bridge. The proposed pedestrian bridge and can become an alternative for both urban and rural
the new urban tissue embraces the Libeňský developments, influencing city growth tendencies.
bridge and the much appreciated natural set- Being able to migrate according to the climate
and economic changes, or escape disasters, this
ting already existing on the site.
architecture is capable of establishing a closer
The journey around the pedestrian bridge I propose an urban tissue with multi-func- connection between humans and the environment,
would become a tribute to the bridge by en- tional building units that would continue along most importantly, serving its function without leaving
circling it. It would provide not only a beautiful the new canal way that is to be realised in the a permanent footprint on the landscape.
view out to the river but also new and differing city’s future plan. This addition would also
perspectives back towards the bridge, in addi- complement the current developments around
tion to providing multiple access points through the area, so that they would not seem as ob-
its connections with other parts of the sur- structive. Additionally, the circular path around
roundings. This design would not build onto the the Libeňský bridge continues the natural path-
bridge (adding to its load), but rather around it, way that many people already use and enjoy for
as if the new bridge is the tree that spreads its their runs and provides a nice area of park that
arms for the others to take refuge under. people could easily access around the bridge.
Dandika Thanos (AD8):

LIBENSKY CROSS
The project aims to invite humans through design
based on circulation patterns and public functions.
It intervenes into the existing bridge but does not
overshadow it, creating a play between the old and
new through symmetry.
David Lameš (AD8): PERIPTEROS

“Peripteros” revitalizes the Rohan Island by instilling
and giving the surrounding community an avenue to
develop civically and culturally. By using the bridge
itself as a focal point, the area can become a centre of
activity as well as a new identity in the greater context
of Prague. The cultural and commercial functions
housed here improve walkability and reprioritise
the pedestrian, in a typology that is now considered
solely the domain of cars. Auxiliary commercial
and residential developments and complementary
recreational green facilities in the Rohan ecological
protected area improve the project’s long-term
sustainability. The structure itself respects the
Purist Cubist architecture of Janák’s bridge without
historicising pastiche. The structure’s monolithic
monumentality lends to its history of stoic eloquence
and reaffirms the stability of this long-suffering link
over the Vltava.
Chapter 3 Dlesk-Horová Studio Chapter 3 Nasadil-Duba Studio
Nasadil-Duba Studio
150 m of CULTURE
A slim green belt in front of the Park Hotel and the

Police Headquarters, near the Výstaviště Fair Grounds.
A prominent and limited site. 150 m refers to the length
of the parcel, predetermining a large longitudinal
building. The site is prominent due to its location and
Sherin Sunny (AD8): exposure alongside frequented car, tram and pedestrian
THE BRIDGE AND THE EDGE routes and the adjacent National Gallery. Limitations of
The bridge is not just a bridge for transportation,
it is also expected to become a link between the the site are embedded in the parcel’s proportions and in
socio-cultural fabric of Libeň and Holešovice which is
undergoing fast urban transformations. the fact there are large existing buildings nearby.
The proposal fills in the undefined urban voids
between Maniny and Palmovka. This shall provide
continuity in terms of urban form and shall activate Students will be designing a cultural institution of
urban life on the bridge and its surroundings. The
river is diverted into the Rohanský island to create national significance. The project deals with a cultural
a riverside trail on both sides of the peninsula.
The proposal aims to provide continuous pedestrian typology and its adjustment to difficult site conditions
movement, including walking and jogging, as well as
activities and facilities to bring more people to the
within a complex urban setting, and negotiates with
bridge. The riverside is enhanced with a trail on the
Libeň side with a direct linkage from the bridge. The
scale and architectural language appropriate for
buildings along this linkage are on stilts to be safe
from flooding issues. On one side it has a riverfront
a cultural institution of the 21st century. Challenging
beach and on the other side, a park adjacent to the
trail.
conditions will result in unique approaches and strong
The proposal includes buildings over the river concepts being able to withstand the building’s strong
next to the bridge which are aimed at tourists (short
term accommodation) including hotels/hostels and neighbours, particularly the National Gallery (Veletržní
dormitories. At the bridge level, the building will have
cafes and restaurants with breath-taking views of Palác).
the river. The pedestrian walk is extended around the
building at this level. It is also possible to access the
deck at the lower level close to the water.
Typologies to be selected:
— Czech Architecture Centre
— Film Archive
— Annex to Veletržní Palace National Gallery
— Centre for Czech Photography
— Centre for Czech Design (new home for Designblok)
Bachir Benkirane (AD6 bachelor

diploma project): D-LAB
Fadri Horber (AD4): Who goes to architecture and design cultural centres?
PRAGUE EXHIBITION CENTRE People inside of the field of architecture and design
A number of young designers and artists have moved should be more exposed. People outside of the field
to Prague 7 in the past few years. Why not provide should be more design-conscious. What if there was
a new design space for them? The project is a new a place where the two, even three, meet? What if when
home for DesignBlok as well as other design based you go to an exhibit, you can meet the designer or
events and organisations. As the district it is located in, architect behind it?
this design is aiming for the future generation to create Located in a prime and upcoming location in
and be inspired. Holešovice, d-Lab serves quite an unfamiliar gap in
The project takes advantage of the site constraints Prague. Think of it as a place people could go window
to allow natural light to move throughout the interior. shopping for architects and designers. It is a place
The building is divided into blocks, varying from 9 to beneficial for both the designer and the general public;
12 m wide. One of the walls will be a curtain wall to a space to make, to work, and to exhibit. It is a space
allow maximum natural lighting, a glass elevator on that promotes design and shows its worth to the
the north side of the building aids this concept. The public.
exhibition space on the last floor has two long 150
m solid walls, glazed walls on the north and south
facade. The walls at the building’s ends have been
designed to diffuse natural daylight, and the roof has
a double glazing system to dissolve direct sun rays.
Isaac Marquéz Sabido (AD6 bache-

lor diploma project): DESIGN L
The overall aim of the proposed Design Palác is to
provide an innovative building focused on the exposure
of Czech and international design mainly within the
fashion sector.
The architectural concept has been conceived as
a duality between a vertical and horizontal element Alina Fornaleva (AD6 bachelor di-
defined by their height and materiality. The vertical ploma project): 150 M OF CULTURE
element is a Tower that will host Vogue offices, design My design is dedicated to the New Centre of
studios to be rented, and a cafe with a concept store Architecture. The design of the building combines
on the last floor. The gallery and auditorium areas exhibition and educational spaces. The purpose
are the horizontal element, defined by a low concrete of this project is to make the architecture more
structure that correlates in a gentle way with its understandable, explain what goals and objectives
surroundings. this science sets itself, what tools it uses, and how it
The structure of the tower is minimalistic, taking affects everyday life.
account that only three walls function as load bearing The building is divided into three parts, with each
structures supporting the floor slabs. The three part responsible for its functional load. In the lower
concrete walls define the floor spaces and section level, are the lobby, cafe, reception and information
off the stairs and toilets to the perimeter of the areas. In the middle part, are all the premises that are
building, creating a building of seclusion and openness responsible for the cultural part of the programme.
all in one. At the same time, this allows the floors There are exhibition rooms that connect with the upper
to be subdivided with glazing partitions, making a level. In the upper level, there is a school for children,
segmentation of spaces. a lecture room and educational workshops with a roof
terrace.
The project also includes independent units – each
of which can be rented for a small office or an art
or architectural workshop. The building’s tectonics
are determined by many factors. It was important
to maintain the conditions of illumination, and to
respond to the surrounding buildings and complex
infrastructure of the area.
Chapter 3 Nasadil-Duba Studio Chapter 3 Schindler-Fessler Studio
Spaces of Living
From the room to the city and back.
The site: A piece of a city. The task: Housing.
The project: A collection of rooms and a small
landscape.
The program: 80 % total area for housing,
20 % for supporting functions.
Each AD year will focus on a different scale and different

area of the same larger site:
AD2 – from a room to a house: a small tower
(10 m × 6.5 m)
AD4 – from a room to a building: an infill building
(30 m × 50 m)
AD6 – from a room to a block: a corner building and
Hedy Lemus Bird (AD6 bachelor
diploma project): ARCHITECTURAL
courtyard (80 m × 50 m)
RESEARCH CENTRE
The Architectural Research Centre is created for
the exploration of design. Each space is made so The character, scale and type of units (both rooms and
that the user can spend their time either studying,
reading, making research, developing a new product residents) will be decided by each student.
or material. The building is packed with libraries,
workshops, classrooms, working spaces, exhibition
spaces, lounge areas, and many other corners that
help a person develop their ideas.
The project starts with the division of the site into
9 main elements (library, workshop, office, classroom,
research, open space, exhibition, coffee shop, and
auditorium). Of these elements, the two most
relevant (library & workshop) get extruded in opposite
directions. The remaining elements merge together
to create multi-use spaces that flow throughout the
entire building.
Questions:
—What is in a room?
—To what does this room connect?
—What society is formed by the arrangement and
collection of its rooms?
—How can we think of housing in the city?
—How can all parts (rooms and residents) co-operate
and what larger whole do they form?
—Housing for the richest? Housing for the poorest?
Something in between?
—What to do with the existing elements of the site: keep,
demolish, adapt?
—What will be the program/use: how many, for whom,
how much?
Elena Štefková (AD4):

HOUSING FOR SENIORS’
AND ARTISTS’ INTERACTION
The building will have a mixture of functions and
will provide social housing for seniors as well as
apartments for artists. At the same time, the old
industrial building will provide public spaces including
a café. The building/buildings would provide seniors
with ample daylight as well as connections to urban
life, greenery and a range of activities for helping them Kasimir Sutter Winter (AD6 bache-
to stay active as long as possible.
lor diploma project): MAKER VILLAGE
The idea is to help seniors to overcome their
Maker Village is an attempt to design for the 21st
loneliness, separation from others and revive their
century, a time when humanity is being forced to find
vitality and mobility via layers of activities. For this
a new way of inhabiting our home, planet Earth. Along
reason, the housing will group seniors in small
with new scientific developments, there have also been
communities which will share common spaces such
huge breakthroughs in the development of computer
as kitchens, living room corners and spaces for playing
architecture, social architecture, and legal/financial
cards at each floor. These common spaces will be
architecture. Together, these emerging developments
shared also with artists, who will have the possibility
provide a new foundation of peer-to-peer systems,
to join seniors in their daily activities.
which will create an outbreak in grassroots social
The opportunity to meet with residents of other
ventures.
floors will be in the common garden area, where
Agency will be returned to Homo sapiens. Remixing,
together residents can grow vegetables as well
adapting and exploring will be celebrated, and our
as flowers. These interactions will be provided not
divergent interests will lead to adaptive, evolving
only at the internal level, but also the external level.
communities with strong convergent identities. This,
Communities of seniors and artists will be connected
thereby, will create living communities that are in tune
with the public via the cafe, the piazza in front of the
with the places we live, and the work we do.
cafe, workshops, and a rooftop gallery as well as
How will architecture shift its productive capacity
a small cinema.
from form vs. function, to performance engaged in
productivity and adaptability? How will we build in a
post-capitalist society? Maker Village is a step in the
direction towards an open-source environment.
Ines Balic (AD6 bachelor diploma

project): AB OVO
This architectural proposal for creating a mixed-used
(commercial, office and residential) structure has
emerged from a close and detailed analysis of the
existing site in Holešovice (Prague 7). The aim of the
project is to create a high quality building/block while
solving urban problems of the site.
The old structure of 6 attached buildings (1960’s
housing) is demolished, and the new apartment units
are raised above ground level. The raised ground level
is connected (over the street) to the monumental
neighbouring structure on the western side. This
gesture minimises the disruptive massing of the
existing office building, while forming new pedestrian-
friendly public spaces. The existing street (that is
currently used as a parking area) is changed into a car-
free zone and will serve as the main entrance point
into the new structure. Jeong Yujin (AD6 bachelor diploma
The shape of the tower building is influenced by project): BOXED
multiple forces: wind, light and urban orientation (with From the very beginning the concept was to carve out
180 degree views, from each apartment, towards parts of the existing building and place a new structure
the Holešovice market and overlooking the river). inside (like a parasite).
This “Egg” is formed with ellipses oriented N/S so One of the main goals of my project was to bring
that the spatial arrangement of every apartment has more life into the block. The existing structure is
a balanced quality on each side (orientated E/W). minimally insulated, and has an old facade that is not
On the “longest” span of the curve is the living area so mesmerising to the eyes… However, it was not my
combined with kitchen and dining, while the South side intention to completely demolish and rebuild. I chose
is reserved for the balconies. to partially and selectively remove and adapt the
existing building while introduce a new structure with
new co-habitants.
The new structure consists of prefabricated
concrete units that will be transported and assembled
on site. As most of the new units are partially and
unequally spread outwards off the existing structure,
unit pairs share horizontal steel beams back to back
in order to hold the cantilevered parts. With the new
intervention comes a new facade for the existing
building, better insulation, more public space and
larger individual balconies.
Chapter 3 Chapter 3
Schindler-Fessler Studio Chapter 3 Wertig-Neuhäusl Studio
H––––––––E
From a masterplan to a building:
rethink your urban design;
set up a design brief;
design a building.
Olga Horobynska (AD6 bachelor

diploma project): INVERSION
The main concept is focused on inverting the building
from the street towards the courtyard with vertical
living and horizontal working spaces. The main radical
solution was to demolish the existing and try to
achieve a better environment instead.
At the urban scale, I wanted to create a space
which could fill the courtyard area with a range of new
working units as well as to keep the garden element
which is implemented on the roof top. Additionally,
from this roof top connection, a new circulation flow
will allow access for the public through the layered
block.
The new building units are planned for both
students and families, each on its own edge of the
block. In order to connect these two parts together,
and bring importance to the building corner, I
combined shared spaces (library, laundry, lounges etc.)
which could be used by both types of inhabitants as
well as the public.
The strategy of units was generated from a
principle of negative and positive space – where
families are more about positive – because they
stay and dwell in one place. And students are about
negative space – which is movement, interaction,
visual communication.
Gaia Delepine(AD4): CASA 22

What is an empty space? A missing corner? A non-
functional riverside?
But most importantly… What will happen in the empty
space?
“The courtyard is a place to dream, from within and
from above.”
My plot is the corner of a city block: it gives way to
two roads which grant it its cuspidate shape, as does
the current “empty space”, the courtyard, which is
redefined to allow my building to be in contact with
the inner block in a new way. The building is divided
into 5 floors. The ground floor and the first floor
are dedicated to commercial uses, followed by two
floors of standard apartments, a floor composed
of 2 apartments and a bookstore cafe linked to the
garden, and on the last floor a terraced roof.
Ewa Wroblewska (AD4): rePLAY

The concept is focused on the fusion of the “village”
and the “concrete pre-cast columns” (used as cranes
in the past) on the east side of the factory. To this
end, the building’s envelope is refurbished and various
objects are placed inside. The distinction between
outside and inside is vanishing.
Chapter 3 Chapter 3
Wertig-Neuhäusl Studio Chapter 3 Chapter 3
Marie Meland (AD6 bachelor diplo-

ma project): LIBRARY
The project is located on Ortenovo square in
Holešovice, Prague 7. The site is currently functioning
as a public space but does not serve that purpose
well. It is surrounded by traffic on all sides, and is
Kryštof Redčenkov mostly used for passing through. The main program
(AD6 bachelor diploma project): of the building is a library with additional supporting
FILM INSTITUTE PRAGUE functions. It is a gathering place for people and
The new building of the Film Institute Prague is a knowledge and an improvement to the existing public
collection of institutions currently scattered over the space.
city. The aim of the building is to have all of them The project includes passages to allow circulation
under one roof and connected with the public and the though on ground level and to provide hidden, outdoor
surroundings. Additionally, there are apartments for areas. The building is therefore fragmented on the
people from the industry, either visiting or filming in ground level. Each part has a different function:
Prague. the main entrance, cafe, and book shop, offices and
The building is divided into four strips, defined as learning centre, conference and auditorium spaces,
urbanism and as program. All strips are possible to and an activity centre for youth. All of these functions
cross through at ground level. Each strip also has its connect on the 2nd floor of the building, where the
specific conceptual approach to its wall definition, main library space is located.
articulating specific views and transparencies. The height of the ceiling varies, as the roof has been
The first strip contains all cinema rooms and a made accessible by ramps. This provides a dynamic
museum with a shop, cafe-bar and main reception/ building form and interior space, ranging from cosy,
entry lobby. The entrance is oriented to Ortenovo smaller scaled spaces to more grand atmospheres at
square, with a cantilever to invite people inside. The important parts of the building. The accessible roof
second strip is an interior open street, which is ready connects with the library space with ramps going
and flexible for holding any interventions or actions. down to the inner courtyard. Altogether, this creates a
It is also a bridge between the first and third strips, holistic structure that connects on many levels.
between visitors and working people. During events,
it is a generous space for all people to come and
talk about the new movie. This street links to the
renovated brewery and its square. The third strip is for
“production”, where offices, apartments, archives, and
a school are located. The fourth strip is an open park
with trees to continue the connection to the brewery
square and the main street.
Oleksanda Yeloyeva (AD6 bachelor

diploma project): KNOWLEDGE HUB
The main aim of the project is to provide young people
between 10 and 23 years old with opportunities and Mathilde Lhote
a safe place for their self-development. Public space is
an important part of the program, which will be used
(AD6 bachelor diploma project):
to develop neighbourhood community, and to support TOWARDS A COURTYARD
valuable inter-generational and social dialogue. The
core of the project is education and its influence on 1. FACT
community. In courtyards, land is divided by landowners who often 21 000 m2, framing a courtyard of approximately
The complex is divided into 4 interconnected parts, build on this land without consideration for the whole 7000 m2 of usable space. The block is composed of
each with a different program, but following the same of the courtyard. The potential of space efficiency, garage buildings, of a maximum two storeys, and two
idea. The “Research” program is a library – a place quality and access flow is often lost. residential multi-storey buildings. Half of the block
where people can get inspired and research for their is today a brownfield, left untouched and used as a
projects, The “Discussion hub“is a space in which they 2. PROPOSITION parking lot.
can learn from others, present their projects, solve The proposal is a mixed-use building placed to
A common courtyard for everyone. Built structures in
common problems and be a place for the community the northern side of the courtyard, towards Tusarova
the courtyard, like sheds and garages, are replaced
to meet and for young people to enjoy themselves. street. A separated building, facing Tusarova street,
with small row houses with both private gardens and a
It includes a theatre, a forum, lecture rooms, study is composed of rentable office units and a cafe on
common garden for the whole of the perimeter block.
rooms, a dispensary, day-care, an IT room and a youth the ground floor facing the courtyard garden. It also
centre. The “Production hub” is filled with laboratories, 3. POTENTIAL has residential flats in four small towers with light
workshops and studios for different fields. Here penetrating from all sides, with its service access
Life inside courtyards becomes an open and diverse
students and adults can realise their projects and exposed. A row house of two to three storeys is
place of social interaction between residents, with
move them forward. Last but not least is the “Sport situated inside the garden of the courtyard, intended
greenery and inter-connected paths; the value of a
Centre”, which offers different directions for students for couples and small families.
community can be re-imagined in the city.
to develop, not only mentally, but also physically. All
The project proposes a masterplan for the
the buildings are connected by bridges overhead.
adaptation of a typical block in the heart of the
neighbourhood. The selected site is a city block of
Chapter 3 Wertig-Neuhäusl Studio Chapter 4
Elizaveta Karpacheva Chapter 4:

EDUCATIONAL HUB FOR
THE 22ND CENTURY
With the development of technology, questions about
GA+D studio
the role of education, communication, libraries, and
cultural centres continually renew. What will the
typology look like, which can fit all the requirements
Haunted Pavilion project brief
of this new age? And how will architecture influence
human interactions, education and culture? At the
same time, how should we preserve the value of the Will spaces behave on a scale from
past and the importance of history?
The main goal of the project is to create a hybrid
of a library, cultural hub and educational centre for
symbiosis to malice? Isn’t the future
of architecture about designing the
the 22nd century. The building itself represents an
historical timeline that combines different fields of
study in an open-ended continuum.
interactions and behaviours of spaces,

in addition to their form?
88 Part 2 — Studio projects summer ARCHIP 2017/18 Part 2 — GA+D Studio ARCHIP 2017/18 89
Chapter 4 Chapter 4
The studio explores the architecture of performance,

rather than form, on a domestic scale: it imagines the
near future of architectural elements interconnected
over the web, responding to users and to each other in
an ongoing spatial whispering.
Almost “inside out,” it proceeds from small detail to
large synthesis, from a 1 : 1 scale to the overall plan,
from an interactive, precisely prototyped element to
a scaled model demonstrating the detail in the spatial
“ecosystem” of the house.
But its final aim is not only the synthetic model: it is
the design of behaviour for its spaces. These may adapt
to moods, guests, devices, but they may even acquire synthesis presenting a project endowed with responsive
characters that the students will learn to program behaviour.
themselves. The projects will be tentatively situated just under
Students will be encouraged to imagine cinematic, the rampart of Vyšehrad in the garden of CIEE. We will
excessive spatial behaviours, as envisioned by Murnau, explore design opportunities in replacing the existing
Tati, Tarkovski, Kentridge… The houses can turn gloomy pavilion. The new pavilion is expected to fulfil all
or mischievous, extrapolate a visitor’s mood, perhaps previous programmatic requirements, such as to provide
actively seducing him with their spatial personality? a stimulating learning environment, a shaded place for
Based on the anticipated trickle-down effect of discussions etc. But it should add new potential through
speculative design, it is to be expected that elements or its spatial configuration and augmented features.
vectors present in studio works can be later developed Individual ideas may be collectively developed during the
for real-world opportunities. studio, and may result perhaps in a built structure based
The timeline starts with a research in architectural on selected and recombined approaches from the most
performance, including inspiration in dramatic arts successful projects.
and theatre. The seminar aims to develop interactive
architectural elements at a scale of 1 : 1, with a final
90 Part 2 — GA+D Studio ARCHIP 2017/18 Part 2 — GA+D Studio ARCHIP 2017/18 91
Chapter 4 Chapter 4
Genevieve Tok, Olha Horobynska

(AD5): RENOVATIO_ A CONVERSA-
TION WITH ARCHITECTURE
Renovatio aims to explore movement as a form of
communication and an ongoing discourse between
inhabitant and space. Through the implementation
of kinetic architecture and artificial intelligence, the
nature of the pavilion is dynamic and ever changing Structural Layers:
as it learns and adapts to different people within it. TEXTILE
It is a platform for interaction and expression and Perforation with a pattern generated from a delaunay
encourages both younger and older students to mesh according to the intensity of daylight radiation.
experience and contemplate the future of the spaces
GREENERY
we could come to inhabit.
Plants grow hydroponically along the inside of the
textile surface on a permeable substrate.
LEDs
Provide supplementary lighting for the plants and
function as an interactive display at night.
STRUCTURAL RIBS
Individually movable aluminium profiles that support
the weight of the whole structure.
HYDROPONICS LOOP
Pump is activated when the structure moves,
circulating water and nutrients to the plants.
SEATING/PLAYSCAPE
Wooden sections that evolve from seating to gathering
to a climbing playscape.
CONCRETE FOOTINGS
Anchor each rib to a rotor in the ground.
Margarita Pershina,
Victoria Pershina (AD5):
HAUNTED PAVILION
The situation: characters and accommodate different activities.

Cemetery and Kindergarten? Death and Life. The Hybrid Tower by CITA inspired us to think about
how skin and structure could act as an integrated
A metamorphic process of transformation:
structural system.
body + spirit – form without a boundary – there is no
outside and inside – a body without the body.
The pavilion provides various activities for kids,
The Möbius Strip by August Ferdinand inspired us to students and teachers. It is an interactive textile
consider how structure with only one boundary can cocoon membrane wrapped around structural steel
change one’s spatial perceptions and give suggestions ribs; a continuous single-curved surface on a curved
for movement. The UK Pavilion by Heatherwick Studio structure.
inspired us to consider how design components can
vary spatial perception of structure. The Prada
Transformer by OMA inspired us to think about how
simple geometrical shapes can acquire different
92 Part 2 — GA+D Studio ARCHIP 2017/18 Part 2 — GA+D Studio ARCHIP 2017/18 93
Chapter 4 Chapter 35
Chapter 5:
Master diplomas
Yasaman Ghanaeimiyandoab
(AD10): A SERIES OF SILENT
OBJECTS
The brief specifies designing 6 temples, each
representing a different faith, in six different location
by the meander of the river in the Holešovice district.
A temple of humanity (Atheism), an Islamic Mosque,
a Christian chapel, a Buddhist Temple, a Hindu
Temple and a Jewish Temple (Synagogue). The goal
is to examine the potential of architecture to invite
tolerance and coexistence for the people of Holešovice.
As this project is focused on exterior spaces that
express philosophical and artistic purposes, they do
not have any sort of requirements for human comfort
such as electricity, insulation, ventilation or water.
Genevieve Tok
NEW PHILHARMONIC FOR PRAGUE
The aim of the project is to explore sound (though
time) as an ephemeral fourth dimension existing
within a three dimensional built space. Dealing
with the idea of music as an experience of energy
through time, the building aims to reflect this fourth
dimension of architecture and performance through
exploring the physical manifestation of the folding of
space-time. Using a stereographic projection of the
four-dimensional sphere back into three dimensions
(the Hopf Fibration) to derive the form and structure of
the building, it creates layers of functions nested one
within one another as these layers and the surrounding
urbanism are stitched together with the Lorenz
attractor, otherwise known as the “Butterfly Effect”,
forming the primary circulation of the space, taking
concert-goers and visitors through the landscape,
social spaces and the various performances the
Philharmonic has to offer.
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Chapter 5 Chapter 5
Louise Nebelsztein (AD10): A VI-

SION FOR JABLONEC NAD NISOU
A vision for Jablonec nad Nisou is a proposal to
work with the river to regenerate the city. The centre
suffers from a problem of density. The centre needs
to find ways to become attractive again. The river
has the amazing potential to tackle this density issue
by creating a more pleasant infrastructure for non-
motorised users of the city. This includes pedestrians,
cyclists, elderly people, and people with reduced
mobility.
The city owns a lot of plots around the river and has
the power to change the local life by investing energy
and creativity into creating accesses to the water
Petr Frank (AD10): ŘÍČANY areas. I suggested 6 places along the river which have
different problematics and which require different
The work will be devoted to transforming a site
design solutions. They are points on a potentially wider
adjacent to Říčany Railway station, which currently
riverfront system. I hope to open minds onto unthought
has the largest reserves of land in town. The site area
possibilities as well as already brought up solutions by
is situated on an axis between two historical parts of
local organisations such as PLACE.
Říčany – the town square and the railway station. The
aim of the project is to provide new types of housing in
the public realm and to revitalise the main axis from
the station to the centre of town. The proposal is to
integrate a new urban structure with public spaces
and to transform existing station buildings.
96 Part 2 — Master diplomas ARCHIP 2017/18 Part 2 — Master diplomas ARCHIP 2017/18 97
Chapter 6
Chapter 6:
Golden Roubík Award

The Award Golden Roubík (GoRo),
is a tribute to the co-founder of ARCHIP,
architect Martin Roubík (1949–2008).
The academic prize was founded in
2016–2017 and is awarded biannually,
in winter and summer semesters,
to winners in two categories: “Best
Student Project” and “Best Studio”.
Rules:
1. Student projects are nominated from the further evaluation. The jury appoints the
4 core AD studios. Best Studio GoRo winner (based on the
2. Each studio nominates a max of 8 projects number of finalist projects per studio. If
(up to 4 nomination by tutors, 2 by critics, 2 or 3 studios are equally represented as
and 2 by students). With a possible total finalists, the decision is made by voting or
of 32, it is often less, as some nominations agreement).
overlap. Nominated projects are marked 5. The jury appoints the Best Student Project
directly on exhibition posters. GoRo winner.
3. Jurors have the right to add nominations 6. The list of finalists and winners are
individually. announced at the evening of the exhibition’s
4. The jury evaluates the nominated projects opening.
and pre-selects at most 10 finalists for
Part 2 — Golden Roubík Award ARCHIP 2017/18 99

Chapter 6 Chapter 6
GoRo winter 2017–18

On January 24, 2018 at 10.30 members of the jury of the 3rd edition of the
GoRo Award evaluated ARCHIP’s semester Studio projects.
Jury
Lenka Burgerová / FA CTU, Prague 7 Municipality
Michal Palaščák / Dílna architects, Brno
Ondřej Hofmeister / Projektil architects, ARCHIP, Prague
Jury report of the best studio selection: Jury report of the best project selection:
Three finalists were selected for the final vote.
Brief Statement Dlesk-Horová studio
Vladyslav Alyeksyenko, (green to paved/built surfaces). Simple urban
Again, it was apparent that urbanism is not The filling in of a pre-defined block struc- Kryštof Redčenkov: regulations define functional division of the
a simple discipline. The standard of submis- ture does not lend itself well to too many BIODIVERCITY island. Prototype building is hosting human
sions was very average; the finalists of the interpretations or interesting concepts. As (Wertig - Neuhäusl studio) living, crops growing and energy production
individual award were markedly above the a result, the majority of projects were trivial, under one roof. The project is a perfect exam-
rest of the field. even mundane. Holešovice offers many more The jury wants to highlight a strong and ple of a complex and holistic approach to the
interesting sites and places that could be visionary utopian concept of a self-sufficient contemporary city. It is seeking answers to
Wertig – Neuhäusl studio planned. city quarter based on equality between hu- the most urgent questions of today. But what
mans and nature. The authors envision a new we deem utopian today may become realistic
Strong concepts and interesting designs. The Schindler – Fessler studio Island State Holešovice that will follow spe- (or rather the only possiblity) in the near
studio with a “sexy” reputation has done it cific rules in order to achieve simple goals: future. The authors prove that the architects
again. Designs – interventions – despite being A mosaic of individual projects gives a com- Zero energy consumption, no fossil fuels, of today should play still greater and more
strong conceptually, they came across a little prehensive overview how the “broken heart” organic waste reuse, no private cars owner- important roles in contemporary society. The
shallow; they were missing a more thorough of Holešovice around the train station could ship, local crops, strict protection of nature. Jury also appreciates the simple and clear
exploration of the subjects. Presentation in be healed. Even though individual projects Equality between humans and nature is pre- graphic presentation and visualisations full
the form of a projection and booklets was not on their own were hardly convincing, the sented in 50/50 spatial division of the island of atmosphere.
ideal, but the conceptual approach was high- good choice of brief and location quite right-
ly rated and won the students the award. ly won the studio the award.
Nasadil – Duba studio

A difficult location with a fragmented block
structure. As per usual, good graphics and
presentation. As the designs did not incor-
porate the surrounding reality and relation-
ships, the visually compelling designs came
across too vague, even dysfunctional.
100 Part 2 — Golden Roubík Award ARCHIP 2017/18 Part 2 — Golden Roubík Award ARCHIP 2017/18 101
Chapter 6 Chapter 6
Results
The Winner of the Best Studio:
Janek Schindler and Elan Fessler Studio

The winner of the Best Student Project:
BIODIVERCITY
Dandika Thanos: Ewa Wroblewska, Megi Davitidze: by Vladyslav Alyeksyenko and Kryštof Redčenkov
COLLECTIVE FRAGMENTATION BOHEMIAN (Schindler-Fessler studio)
(Dlesk-Horová studio)
(AD5, Wertig- Neuhäusl studio)
A sensitive and gentle project of a „Place of
The jury appreciated a mature conceptual urban escape“ based on sensitive observa-
approach based on a deep analysis of the tions on site. The authors are rather success-
site. The most valuable part is the creative ful in their search for transparency, intimacy,
approach to the typical „Holešovice me- memory. They found a suitable programme
ga-block“, that is re-thought to fulfil contem- for the place full of atmosphere and strong
porary demands on living. The author brings identity. The landscape/house is set on a uni-
new qualities into the area by defining a new fying orthogonal grid that helps to keep the
informal geometrical street structure. He otherwise „disordered set of volumes“under
succeeds at connecting his new quarter with control.
both the old part of the city structure and the Volumes are forming different outside
riverside. Hierarchical permeability of the spaces with changing density and pro-
city structure is achieved by clever fragmen- gramme. The authors prepare different
tation of the newly defined city blocks. scenarios of observation, exploration. At-
Critique: The jury wants to express fears mosphere is formed by a choice of specific
that extensive fragmentation can bring materials, surfaces and forms. A beautiful
a danger of decay. It found individual weak graphic presentation appropriately reflects
points of the design and poor 3D develop- the project atmosphere.
ment of the city blocks. Critique: The jury would appreciate any
sketches of the project development pro-
viding more information about the formal
strategy for the spatial structure. The jury
feels a danger of poor orientation within the
unstructured maze like space, which can
compromise the visitors feeling of safety.
Chapter 6 Chapter 6
Finalists
Genevieve Tok
Kryštof Redčenkov
Gaia Delepine
Yujin Jeong
GoRo summer 2017–18

Fadri Horber
On May 30, 2018 at 10.00 members of the jury of the 4th edition of the GoRo Pilipda Samattanawin
Award evaluated ARCHIP´s semester Studio projects.
Alina Fornaleva
Jury
Ivan Boroš / edit!, Prague Deborah Lee
Jurar Calaj / edit!, Prague
Sean Clifton / Jestico+Whiles / ARCHIP, Prague
Jury report:
Dear ARCHIP, Three finalists were selected for the final vote.
Firstly, we wish to thank all of the students,
tutors and ARCHIP staff for an incredible op- Deborah Lee
portunity to see such a beautiful exhibition We selected this project due to its overall conceptual idea, and what the jury
of contemporary architecture. We have really felt to be an excellent and comprehensive response to the project brief.
enjoyed the opportunity to see so many in-
credible interventions. It has been a wonder- Alina Fornaleva
ful day, and we wish to congratulate everyone This project responds beautifully to the local context and urbanism, and pro-
for their hard work, dedication…and we are vides an interesting architectural solution to a complex site and programme.
sure many sleepless nights!
Kryštof Redčenkov
So, straight to the judging: The jury felt the architecural response was highly driven by the function and
typology, and reacts in a sophisticated way to the urban context by intercon-
necting the local streetscape and interior spaces of the building.
Chapter 6
Results
The Winner of the Best Studio:
Pavel Nasadil and Martin Duba studio

This was incredibly challenging to judge, however after many long discus-
sions the jury felt this topic provided an exceptional opportunity for experi-
mentation and research in a highly challenging urban environment.
Part 3
The winner of the Best Student Project:
FILM INSTITUTE PRAGUE

by Kryštof Redčenkov
(AD6, Wertig- Neuhäusl studio)
E
ssays
We particularly enjoyed the arrangement of spaces creating a special and
unique micro-urbanism. All members of the jury felt many moments of de-
light in this project, and are thrilled to award Kryštof Redčenkov with the
GoRo Award for Summer 2017/2018.
Special Mention
All members of the jury are thrilled to add a Special Mention to this year’s
Awards, given to all first year students and tutors of the U Městských domů
project. We particular enjoyed the overall mix of architectural solutions, and
the special opportunity for all studios to work together to create one complex
and delightful architectural response.
With best wishes and Congratulations again.

— Ivan Boroš, Juraj Calaj, Sean J Clifton
106 Part 2 — Golden Roubík Award ARCHIP 2017/18

PU77LE CITY: an exercise in forming the missing piece — Elan Neuman Fessler PU77LE CITY: an exercise in forming the missing piece — Elan Neuman Fessler
PU77LE CITY: with a name, but as an inevitability which is

shared and also particular to specificities of
its local place.
an exercise in forming To blur the preconception of public

space (where we like to buy coffee and sit on
the missing piece

furniture), the terms “hub”, “core”, “agora”
were used. The hidden term was the “chora”,
the ancient greek word for place – the inter-
Elan Neuman Fessler stitial yet unbounded zone which is always
both open and internal.
Each student (and site) was thus made
to bend towards a “non-form” which did not
exist. And therefore, must have internalised
In Plato’s Republic, the ideal city, its consti- their own relations – in a form both unpre- this essence within its own formative struc-
tutive parts and their relations are defined in dictable and ungoverned – is the making of ture.
great detail – apart from one implicit whole: a place for all; as the basis of our civility, our Each site (and project) contains its own
public space. “Public Space” has no form. city. formal concept of the territories of the void, of accidents and certainty in approximate
In the Greek space, the democratic space, The principle of democratic space (and of the possible shared space, interwoven convergence on an open ground.
the archipelago of city-states, islands of its governance) was applied to the studio’s through itself and in an open joint on all its If we were to do it again, it would only
society are unified by the sea. The sea is the practical methodology. The boundaries sides. appear entirely different.
public ground; indeterminate yet universal, between sites were negotiated, the delimi- Like the sea, the space for all is every-
seeping throughout the land. An informal tations of the space of the common ground where, all figures found within it only in- Site
democratic concept, this public ground is was approximate. The temporal process of stances and islands, each unique yet subordi- There is no centre – there are memories,
a political space. its definition arrived from a simultaneous nate to their larger body. traces and contradictions. The site is a city of
Political space – that of negotiation and pursuit of each site’s interests – yet with an While the metaphysical quest for that fragments. What is this city – now – and what
navigation – is an unpredictable terrain of awareness that its “public” spatial content which can not be named, as the grounds could it possibly be?
spontaneity, encounters and unforeseen must ultimately become contiguous with the for a city, yielded figures and forces which The aim is to produce an image out of the
storms. Its undecidable ends, an enduring unknown core upon which all are based. ultimately formed that which it was to be puzzle: to have the pieces fit, and through
question. “Public space” in this sense was never (the agora at its heart), the daily practice of them, to generate a complex, larger whole,
On the other hand, when the economic to be imagined as an “object”, as a thing this search for a common space between was via a unified fabric of oppositional yet
space of a single order governs the city, the a complex and dynamic battle. complementary figures. The purpose is to
variability of the unknown and the localised
waves and surges of the democratic sea be- The boundaries Like a ship on the sea, like a society in
formation, the people involved debated, con-
propose a new character, organisation, form
and meaning of the site, through the building
comes flattened – the horizon settled – the
unforeseeable becoming all too clear. In between sites flicted, overlapped and pushed, turned back
against and receded or lurched forward.
of an urban void which will unify the whole
place.
other words, the economic urbanisation of
the city is the establishment of an order of were negotiated, This experiment of “sharing the city’s
depth” (its fluid ground and its intangible Theory
control over the possibly divergent flows.
We aimed to challenge this contemporary the delimitations limits) had its own foreseen shortcomings.
Each project perhaps “deformed” its ideal self
The historical and the possible are embedded
within the present – as potential – which is
trend – to manage people and space – upon
two fronts: within the city itself and within of the space of the in pursuit of the unknown, yet each also en-
riched itself with this same constantly absent
the latent real form of the city. But this is not
a material which can be imposed, as it is in-
our own studio’s journey.
The concept of compromise, the search common ground figure at its heart.
The city we propose is one of contiguity
digenous, it can only emerge or be displaced
from its source. The tendency of urbanisa-
for a collective ground, the space wherein
all may encounter freely and enact amongst was approximate. despite rupture, unity despite opposition,
one of a democratic plurality, in other words,
tion in the city, to “maximise potential”, is to
eradicate space within the city for emptiness.
108 Part 3 — Essays ARCHIP 2017/18 Part 3 — Essays ARCHIP 2017/18 109

PU77LE CITY: an exercise in forming the missing piece — Elan Neuman Fessler PU77LE CITY: an exercise in forming the missing piece — Elan Neuman Fessler
The empty space is where possibility can Readings

happen. The first step, on day one, is to visit the site,
There is a fundamental difference between and to “read” it. Through a process of ex-
urbanisation and the city. The city does not periential, historical, psycho-geographical,
need to be maximised. Urbanisation is the situational wanderings through the site, each
economically driven and managed quanti- student will make readings and a critique of
fication of the life of the city. But the city is the site for their project. Explore the whole
in fact intangible, because it is both present site, and find a specific area to focus the
and non-present: it has potential and it has project.
history.
The semester began with a reading of the Mappings
first chapter of the book The Possibility of an Combine the material of your site readings
Absolute Architecture by Pier Vittorio Aureli: with the planned zoning map and the his- to establish a quality of this agora. Collective- Approach
Towards the Archipelago: defining the politi- torical maps of the site, to rezone the site ly, the projects were to generate a new spatial The city was considered on multiple overlaid
cal and the formal in architecture. at a human scale, considering new arrange- fabric of the city – as a particular synthesis layers:
The scope of the semester was the crea- ments of action and form. Study the terrain of their separate yet complementary parts – 1) as is,
tion of public spaces, activities, and objects, of the local site area, investigate its layers, through negotiation, compromise and shared 2) absolutely blank – only infrastructure and
as well as giving architectural form to the and define potential volumes, in combination limits. void,
contact between layers, elements and figures with activities on the ground levels. 3) as it once has been,
of the city – past present and future – in New Program 4) with a free play of new programs in space.
a speculative approach to glean from the Limits and Projections The studio approached the site by scale and
existing site the possibilities of a more robust Absolute boundaries – within the wall of by type, according to each AD year. The site must follow the infrastructural lim-
city environment. roads defining the site – were not given. AD1 – a civic house (in the decentralised its established by the larger scale fabric, but
In another twist of contemporary space These internal limits gradually acquired field) within the site area, both the existing and the
and time and – as if equally human – build- definitive form over the course of the semes- AD3 – a city block (a square inside a house) new zoning plans can be tailored and revised
ings now have their own twitter feeds. In the ter. The “hub” remained the symbolic cen- AD5 – a group of city blocks (a field of local- in response to the nuances and potentials
meeting of top-down logic with expected tral point, and was complemented with the ities) discovered and proposed.
bottom up identities, is the city to become concept of an “agora”. This undefined spatial AD9 – a broader analysis of the territory and
a society of “one-of-a-kind” (yet generic) character was a type of phantom, implied theme
individualities? Make place for whom? Or within the site.
make what from place? If the city is an open It gained increasing specificity as a com-
field… what then is the valuable, meaningful pression of the “space between” projects took
substance of its form and its society, here, in place over time. While each separate project
this place and time? was developed independently, each also was

A Place Worth Caring About — Andreas Bergem (AD1) A Place WorthCaring About — Andreas Bergem (AD1)
A Place Worth The pedestrian

should only be
Caring About connected to one
Andreas Bergem (AD1)
side of the road
though, but in
What we strive for in life is greater complexity. same people in different shapes. There is no every direction.
It has been the direction of the universe, the complexity in that picture and it certainly
earth and humans since the very beginning. doesn’t reflect the vast differences of society. buildings and the curb are at the same level it
It’s what makes a man interesting, life joyful But what of our possibilities to move around gives a sound foundation for shops and such
and that makes a place worth caring about. freely? to appeal to the customers just trough this
With the perspective of urban areas in small connection.
mind, it’s about looking around and seeing
variation in as many forms as possible. This With the The pedestrian should only be connected
to one side of the road though, but in every
might sound obscure, so let’s take a closer
look at what makes a place worth caring perspective of direction. It should be possible to cross the
street freely without having to wait for rush
about.
In my experience, we always make the urban areas in hour to calm down in a five-line road. The
length of the blocks is especially essential
same mistake every time we make a new
apartment complex- we only focus on a cer- mind, it’s about when it comes to walkability, our straight
roads gives us one axis to move on, but that
tain group of dwellers. Whether it’s the core
family or for old couples we have a tendency looking around and is in no way freedom. The shorter the blocks
are, the greater does the feeling of opportu-
of forcing them to stick to themselves.
I used to live just across from a big apart- seeing variation in nity feel. Just knowing you could take a right
or a left instead of continuing straight ahead
ment complex dominated by old people and
I can’t deny that I got the impression of death as many forms as provides a much greater perception of the
senses.
whenever the ambulance would come on its
daily visit. The lovely green area they had possible. So, what is a place worth caring about?
I believe it’s a place that challenges you with
would always be empty since even the visits the opportunity to unfold yourself in your
of family would be a rather formal procedure. I’m referring to the walkability of our surroundings, in a setting that actually is
Even when they are not forced together, cities, thereby the quality of a stroll in the more attractive than to keep on walking.
homogenous groups still have a tendency neighbourhood and being able to walk from Because the journey itself is better than the
of finding each other. But then that is only A to B and feeling somehow fulfilled there- destination.
natural when uniformly built units lead to after. To achieve this, there must be a con-
similarity both in size and price, so you can nection in all the elements connected to the
be sure that it will happen. And you can be curb. They should be at the same elevation
sure that it will take generations before it is in order to provide the opportunity of inter-
equalised. action, given that there actually is something
This uniformity of local communities is other than a concrete wall accessible. The
a real thing – of course it’s dull to see the need of complexity re-enters yet again: if the

My Ego in Architecture Tug
˘ çe Arı (AD4) Essay on Beauty — Yasaman Ghanaeimiyandoab (AD10)
My Ego in Architecture Essay on Beauty

Tug
˘ çe Arı (AD4) Yasaman Ghanaeimiyandoab (AD10)
Beyond the “happened” and the “resultant”, knows, how can one express or make it visi- How do you find balance, when you are born Beauty allows the sublime to emerge. All
there is another definition of architecture for ble? Even if one does, how close is this image into extremes: extremes of ideas; extremes of healthy, prosperous societies place beauty at
me: desired. It is not reachable in anytime, it to the ideal or real? And also, how can it be characters; and extremes of actions? When the highest level of importance. When we are
looked close but at the end of that unending included within which description? the simplest things in life can cause scandals exposed to beautiful objects, their qualities
road, actually is always far away. Beyond all For me, everything is subjective inexplica- and force corrections, there is no time to inspire us to be the best version of ourselves.
the acceptances and acclaims; as an expres- bly, specific and one; far away at that much reflect on those things that create inner con- In a way, objects and images have an ability
sion of my selfishness and the ego inside me: from general judgments, acceptances. The flicts. Reflection is the simplest and most ef- to affect our behaviour.
my architecture. thing which we try to make as architects, fective way of personal improvements, yet in Throughout history, religions have used
Today, everyone talks about architecture. even how connected to the objective reali- order to reflect, we need fundamental tools the power of beauty consistently. Charles
They produce notions and descriptions, they ties, the thing I find out, which comes from to do so. Luckily, generations of great think- Bridge has been erected not only to link Old
are all agreed and share the same thought my inside as a designer, shouldn’t be judged ers have left us their wisdom to contemplate Town to Mala Strana. The entrance points,
with each other in this system that they al- neither by being presented to subjective and find balance. If these tools are available the figurative sculptures, the materials used,
ready set up. They reveal general acceptances evaluations nor within general acceptations. to us, then we are able to choose what kind of all have been combined to evoke sublime
and acclaims; then, they take all the rights to Because they will be just some things (but philosophy we resonate with the most. Living beauty.
speak at this system and start to judge: look, not the real things) which are dependent on in ignorance is not an individual problem but
this is nice and this is not; architecture is
this, here the rights! They are all agreed on
some people’s descriptions. Any criticism
made with these definitions, restricts the per-
a problem of a society.
Our iPhones and Netflix subscriptions are To have faith or
all hands, unaware that they are deceived, or
they are already aware but self satisfied. They
son; puts obstacles in front of the thinking;
and creates of things other things which are
externalities of how we choose to distract
ourselves from what is occurring within us. not is not always
continue living until some anarchist comes
up to demolish all the things they set.
separate from those existing.
I’m in a search for an architecture which
The current pop culture does not have the
depth and wisdom that it once had a cen- a choice, but
If the matter is anarchism, the descrip-
tions start to represent inadequacy. For ex-
is out of these descriptions, legislation and
acceptances; I believe, there are different
tury ago, when architects and artists were
not only hired to build and exhibit for high choosing what and
ample if the issue is architecture, the thwart-
ed thing is the architecture in itself, isn’t it?
architectures which come from the inside
and are quite subjective. I feel the need to
society. I have to note, this is not a nostalgic
statement, but the truth of how the pace of who to have faith
Maybe, bringing anarchism into the architec-
ture by making architecture is the treachery
express my experiences by gathering them
together within “myself”; they call my meth-
our lives has turned our values upside-down.
A healthy society needs to be reminded of in can be one.
in itself, in some dictionaries. But let’s leave od as architecture. But maybe essentially, good values and good manners. In a secular
the talk about the descriptions, acceptances the difference between a painter, writer, society, arts and culture are advocates of To have faith or not is not always a choice,
and rules there. In these uncertainties, how musician, director comes from some one those qualities. Yet art, still, is a confusing but choosing what and who to have faith in
do people make “de facto definitions” for else’s dictionary; the same “things”, different and in many ways sort of an intellectual can be one. Believing in God by no means is
architecture, art or life? descriptions… property. Most of us don’t really understand to be superstitious or primitive, it has to do
The only notion, which I’ll use hereupon, what art is for. with accepting our shortcoming, something
will be “things” at that point. The importance of beauty is critical for an that is rarely accepted in a society run by
How can a person find the desirable thing urban development. Prague is a city rich with Capitalism. Failure is defined incorrectly in
inside, while there are lots of things around? masterpieces, yet what is being accumulat- our age and people who fail to align them-
How can one know if it’s found? Even if one ed as contemporary, rarely reflects beauty. selves with the Capitalistic standards become

Essay on Beauty — Yasaman Ghanaeimiyandoab (AD10) The Neighbour’s Kid — Gaia Delepine (AD4)
outcasts. Religion and faith however, em-

brace people from all walks of life. Religious
organisations do not exempt and discrim-
Now, Holešovice can turn the page and
create a future with a clean slate. A space
that follows divine proportions, and invites
The Neighbour’s Kid
inate, hence they allow members to share people to bow down to it as an emblem of the Gaia Delepine (AD4)
tasks without vanity. mighty.
Social structures would function much
The streets of more efficiently, if all of us felt a sense of

belonging. A library and its books, a public
Holešovice, rarely space and the hot dog stand in the middle of
it are important parts of an urban structure,
Honey, the neighbour’s kid took berries from our
bush in the yard this morning.
a missed opportunity for the transformation
of design constraints into community en-
speak of any but a spiritual space where you are immedi-

ately welcomed inside to join and chant once
How do you know?
I saw him.
hancing instruments? And if so, why?
With the occurrence of industrialisation
sort of beauty or a week, encourages unity. Art and culture are

both good and well, but highly personal tools
Did you tell him something?
Like what? He should know it is not his.
and urbanisation, the city’s rapid increase
in population could not be supported by the
divinity, but rather of enlightenment. Spiritual gatherings how-

ever, need a community to form and sustain.
It’s ours.
Maybe he doesn’t.
traditional density of housing. Soon came
a new type of housing accommodating the
of a past filled How?

You didn’t tell him.
newcomers, the apartment block, and with it
the forced cohabitation of people in reduced
with industrial But the contract says it’s our plot… areas. One expression characterises this type
of housing: lack of privacy.
exploitations. On the other side of the city block’s body

evolves an ecosystem that seems to have
developed its own set of natural laws. The Humans that
Holešovice, has only relatively recently
been incorporated into the City of Prague.
courtyard. Sometimes inhabited by residents,
sometimes by dumpsters. What are we truly once looked for
The streets of Holešovice, rarely speak of any
sort of beauty or divinity, but rather of a past
looking at when facing the shared space of
multiple apartment buildings, an oasis or community are
filled with industrial exploitations. Ironically,
their corpses are more beautiful than what
a wasteland?
Unlike the streets, where pedestrians are now looking
they might have been a century ago. Their
death can teach us the briefness of life and
exposed to sensory overload, those spaces “in
between” are shelters from the outside world. for seclusion.
how none of us has much time to live on this
planet.
The Eixample’s utopian vision for city blocks
in Barcelona, the Hofjes’ strict spiritual or- Isolationism.
ganisation in Amsterdam, the Mezzogiorno’s
intimate open-air backrooms offer the pos- Humans that once looked for community
sibility of public relations through the active are now looking for seclusion. Isolationism.
sharing of space. Had the courtyards been designed to hold
Prague’s immense multi-storied residences a public space, it would be a different story,
enclose in their formation visibly underused instead they allowed separation. A no man’s
and awkward exterior shared spaces. land tenants would not approach.
What is their purpose? Are they solely So how public are those spaces in the
a consequence of the blocks’ design? Are present day?
they exclusively the result of the need to The Praguois courtyards evolved from
bring light into the unlucky apartments living spaces to almost unseen, although
that could not face the street? Or are they agonising, tissues. The constrictor muscles

The Neighbour’s Kid — Gaia Delepine (AD4) Perception of the City — Marie Meland (AD5)
of the block’s body had swallowed the gan-

grenous pleural cavities. The alleys pumping
the human flow into the interior courtyards
extreme desire of possession destroyed the
object of lust.
I believe the true question is not where
Perception of the City
are now despised by the residents. Fear acti- courtyards lie between semi-public or Marie Meland (AD5)
vated the mechanism that closed them and semi-private spaces, but rather why they
obstructed the bygone valves. shifted into such exclusive spaces that none
If the residential blocks of Prague once of the 200 families facing their courtyards
hosted, in their intimacy, a public life, they feel allowed to use them.
gradually closed themselves into more pri- When one thinks of a city, it’s often con- rants, bars and other amenities. A good
vate spaces and eventually became segregat- Honey, the neighbour’s kid didn’t show up in the nected with its materiality. The buildings, public transportation system that works
ed uncared for gardens. Gates started appear- yard this morning. squares, parks, metro systems, roads and so efficiently is key, and should make travelling
ing, cutting through the already limited land, He certainly did. on. It’s how all these things work together easy between different areas. This can also
to form some kind of privatised estate. And But I didn’t see him. that creates the complex system of a city, but relieve the streets from traffic, air and noise
what for? It seems to be more comfortable Have you looked far enough? this system would be nothing without the pollution, and give more space to for exam-
and secure for the dumpsters placed there. How far? He plays under the pine tree in front people. It’s the people that connect the city, ple bicycle paths and green alleys. This can
Each neighbour will put their trash in their of our window. That’s not far. move through it, stay in it and use it. How do a lot to an area. It makes it more inviting
own garden. Well he can’t any more. the occupants experience and use what the to pedestrians and cyclists, which in some
The laws of the courtyard became simple: Why? city offers is subjective, and everyone has cities are under prioritised in favour of other
do not trespass your limit, which is given They put up fences. a slightly different perception of a city. This is transportation types. In Copenhagen they
by the gate, which was obviously installed But there’s only one pine tree… affected by how and where they move during did this, and the bicycle is now the most used
so that you would be freer to use your own the day, their routines, lifestyles, personal form of transportation within the city. To live
courtyard. This law however does not apply views, their subjective image of the city and in a place with reduced air pollution and with
to the children of the block, who do not find previous experiences of it. more environmentally friendly solutions is
interest in these kinds of limitations. Their definitely something that’s special and appre-
social instinct is much stronger than that of
adults, who favour spatial segregation. How the occupants ciated by most people.
Public open spaces, like parks or squares
This phenomenon is exposed in Mari-
ka Pecháčková’s short movie Vnitroblock experience and are also elements that are very important.
They are places where people meet, take
(FAMU, 2013, 00:33:41) from an internal
point of view: she interviews the residents use what the city a break from daily travels, sit down, observe,
and take in the city without moving or go-
of her block to understand their view on
the alarming situation of the decay of their offers is subjective, ing somewhere. If there is a lack of these
elements, an area will be affected by the
shared space. Some landlords clearly state
they would prefer to prohibit access to the and everyone has business and stress of people always moving.
This creates a negative atmosphere for the
courtyard rather than putting down the fenc-
es occupying it. a slightly different occupants, and can make people feel uncom-
fortable or rushed. Green spaces have been
What we are witnessing is excessive priva-
tisation of the common good. Another work perception of a city. proved to reduce stress and make people
feel less depressed, and have the ability to
bringing attention to the question is the an- increase the level of physical activity. The city
imated short movie Neighbours by Norman There are some main elements that gen- can create better conditions to improve the
McLaren (ONFC‚1952, 00:08:06) featuring erally contribute to a better perception of the health of its inhabitants, and improved health
two neighbours fighting over the possession city. The first one would be walking distance is something that contributes to happiness.
of a plant located in between their houses. to important parts of each individual’s needs. How safe one feels can also determine wheth-
Their argument escalates to the point where This includes relatively short distances to er the perception of a certain area is good
it affects the plant so negatively it dies. The public transportation, green areas, restau- or bad. For example, in Holešovice there are

Perception of the City — Marie Meland (AD5) Courtyards and Communities — Mathilde Lhote (AD6)
To create a perfect To create a perfect city would be almost

impossible, because everyone thinks their Courtyards
city would be own way about it and experiences it differ-
almost impossible,
ently. Sometimes it can be hard to pinpoint
all the things that are not working well, or
that we don’t like in the city. A lot of it hap-
and Communities
Mathilde Lhote (AD6)
because everyone pens when we are not aware, not thinking of
it. Subconsciously we process all the percep-
thinks their own tions and make some conclusion to whether

we like something or not. What if people
way about it and started to think about it more – what the

city life is really like – and observe their sur- The perimeter block is by definition a row yards are complex places in the urban con-
experiences it roundings and pay attention to the details. In

the city every day might seem similar, but yet
of residential buildings encircling a court-
yard, following a city structure’s grid. The
text, varying from open and public to closed
and semi-public, let alone adding the issues
differently. there are always different happenings around

us. It’s important to be aware, and not simply
definition of a courtyard itself, on the other
hand, might be one of a much more open or
of private or shared ownership. A courtyard
may aim to be of an open and inviting char-
accept, in order to strive for the improvement indescribable character. Maybe in the most acter, maybe with cultural happenings in
many neglected areas after the floods that are of our cities and to provide better lives and general terms, they both are similar because the yard, a passageway going through, a cafe
left open or used for parking. When no amen- experiences for those who pass through it. they are either enclosing or being enclosed or a communal garden, in one part of a city.
ities are being inserted, the occupants don’t from the external world, the city, and be- While in another part of the city, it might be
go there. This creates a higher concentration comes a “miniature world” created inside the blocks of total private use, maybe no green-
of troubled people, which creates a feeling parameters of its own confines. Here, inside ery and be highly non collective/cooperative
of unsafeness for the occupants that pass by. the courtyard, there is a definite disconnec- in its usage. Differences in parts of the city is
And this again contributes to more negative tion from the bustle of traffic and people one issue, which also varies in different parts
feelings about the city in general, especially moving to and through places. This does of the world or even within parts of a single
for those people who inhabit that particular not mean that the nature of these miniature block in itself.
area. worlds found within city blocks are the same Globally, in terms of the sense of com-
or even similar, quite the opposite; court- munity in courtyards, it differs radically
where and when we focus. Through history,
Through history, courtyards have been part of trial and error,

they have been part of politics, power and
courtyards have profit, as well as cultural traditions. We know

traditional courtyards from family mansions
been part of trial like the Mexican hacienda, which is amongst

other places also to be found in Morocco or
and error, they in India, to the Siheyuan, traditional court-

yard house complexes in the Hutong villages
have been part of of North Chinese cities. These were family

residencies even forming small communities
politics, power and of their own, hiring cooks, servants et cetera.

While in cities, the tendency of dividing land
profit, as well as by ownership always has been part of its ur-

banism, the formation of courtyards that had
cultural traditions. the perimeter block surrounding them can be

traced back to city planning during the indus-

Courtyards and Communities — Mathilde Lhote (AD6) Courtyards and Communities — Mathilde Lhote (AD6)
trialisation period. The booming increase in found within each plot of land that has a dif- eties: “Life can’t be contained within a single a common, because it emerges from neces-
people moving to cities for work meant that ferent ownership. lot. People’s sense of living expands beyond sities found between communities, when
vast amounts of residential buildings were There is both a beauty and a horror in the it, effectively erasing all borders”. people are generating a good in common.
needed to be built fast and this was when the division of land in the subordinate courtyards Communing is also defined by being an open
perimeter block was introduced and where
the courtyard’s land was divided between dif-
owned by private owners. It is both exciting
in its deformed un-connectedness that often Life can’t be network, they are most successful when they
are growing from the people themselves
ferent landowners just the way land had been
previous to this. It is safe to believe that life
happens when owners build autonomously
their plot of land full of buildings that does contained within and hierarchy is replaced by direct exchange
between the different actors, not when it is
within the courtyard was not of a great living
standard in these times. During Communism
not connect with the other plots of land. And
at the same time this is exactly why it is hor- a single lot. imposed. His solution for the Kasarna was
a scaffolding covering the whole of the interi-
an extreme sharing of land and buildings was
introduced in Communist countries, meaning
rific too. In times when cities continue to be
extended peripherally, we are left with a lot People’s sense or facade to use as pathways and entrances to
the building directly through the facade. Not
families had to move in to enormous social
housing complexes where toilets, kitchens
of unused or poorly used space in the middle.
In the book Tokyo Metabolizing from the of living expands hindering the circulation or interrupting any
windows with the scaffolding, the aim was
and washing rooms were shared. Having this
history, the idea of sharing land or property
12th Architecture Biennale, the authors de-
scribes two typical morphologies found in beyond it, to make a maximum of interaction between
users of the building.
in these countries is for many today like go-
ing backwards, if not only re-examined by
modern cities. The first two photos show Par-
is and Tokyo from a bird’s view perspective. effectively erasing Communing is an issue to consider for
the future of city courtyards. That we see an
younger generations. To compare, countries
which did not go through Communism, like
Paris, with its no rigid formations of streets,
avenues and squares, and perimeter blocks all borders. increase of a grassroots movement towards
the “third kind of way”, a metabolising city
for instance Scandinavian countries, the with many small courtyards inside, is called of finding space where there are holes that
sense of owning a block together with other the city of Monarchism, while Tokyo, with A courtyard in Prague recently opened for can be filled, is interesting for the future of
people is very normal. Especially if we talk its square formation of the city grid and no the public, the Kasarna in Karlín. This court- courtyards in general. If we can reinterpret
about a perimeter block built in the post war perimeter blocks, is called the city of Capital- yard had been closed for the public until these unused spaces and find ways of me-
era, it is almost always communally owned, ism. They then find a third, morphing version 2017, when it finally became fully accessible. tabolising parts of cities, activate them from
at least shared ownership of the common of these two called the Metabolising city, and The interesting part of this courtyard is that within, city life can get an even more vigor-
grounds. This means that you can find many it presents a city where grid structure has not nothing has, except minor alterations, been ous exploration. This method might not work
courtyards in Scandinavian cities that are been planned but formed after necessity and changed. The building is still untouched always, and it is not for all city contexts, but
used as gardens where people meet, children use, the city has grown organically as well in a deteriorated state and the courtyard is exploring different views of cities is of value
play or parties are held. Everyone owns a part as having been planned and is defined by its mainly asphalt and still it has become a new in itself – since being human is the explora-
of the building and in turn everyone helps indefinability of morphology and grid. This kind of “park” for the district. A cafe and tion of life itself, be it in the external world of
out with the maintenance of the building and third way comes about when value is given to outside cinema in the summer, an ice skating streets or in the internal worlds of enclosing
the courtyard. various negative spaces in the city, when they rink during winter; it is now a used, yet emp- buildings forming courtyards.
If trying to break down and characterise become equated with positive space which ty plot of land in the centre of the city that
a perimeter block courtyard we could call the makes it possible to create a completely new gives value to the locals of Prague.
perimeter block itself “the dominant” in re- space in the city. They give the example of The project by Mateo Argerich, an ar-
lation to the courtyard. Inside the courtyard, the Moriyama House by Sanaa of this third chitecture student from the Dessau Inter-
there is a secondary dominant, a “subdomi- way, where the concept of the lot, in itself, national Architecture School in 2016, on
nant” character relating to the courtyard and has been dismantled. Between the network the Kasarna site, focused on the issue of
it is found in the rear part of the perimeter of voids and actual space, the negative and “Communing”. He explained communing as
block. When entering a courtyard, it is this positive spaces is in the Moriyama House “a new and third kind of way”. It is non-polit-
subdominant that determines its limits; this treated equally, but in terms of private and ical and non-economical, it is not Capitalism
is “the courtyard”. But a third character can public uses it has its limitations. They contin- nor is it Communism. Communing is a way
as well be included, “the subordinate”. The ue with calling the basis of collective living as to relate to the pre-existent system and a way
subordinate part of the courtyard can be increasingly important in contemporary soci- to grow within it. Anything can become

Surname First name Course 1 Course 2 Course 3
Kuldová Zuzana Urban Planning 1–3
Lahoda Tomáš Painting and Art Concept
Lakomá Hana Geometry Mathematics
Lhotáková Andrea Photography
Building and Construction Contemporary Building
Maddox Julie
Faculty 2016/2017 Methods Materials
Load-bearing
Machalická Klára Non-bearing Structures
Structures
Mertlíková Lucie Construction 1 Professional English
Surname First name Course 1 Course 2 Course 3
Nasadil Pavel Architectural Design
Bažant Jan History of Architecture 1, 3
Návrat Petr Urban Planning 1–3
Monument Preservation
Benešovská Hana History of Architecture 2, 4 History of Art 1 Neuhäusl David Architectural Design
1, 2
Benson Cory Building Environment Building Tchnology Němec Ivan Structural Engineering
Project Presentation Okamura Osamu Project Presentation
Blažek Filip Graphic Design
and Graphics Rachidi Karim Preparing for Practice
Brož Luděk Sociology Satorie Pavel Development
Clifton Sean Construction 2 Schindler Jan Architectural Design
Corradini Michele Graphic Software Sperat Zbyněk Urban Planning 1–3
Dáňová Helena History of Art 1, 2 Stec Peter GA+D Studio
Dlesk René Architectural Design Sýkora Luděk Urban Planning 1–3
Dodds Joseph Psychology Šormová Kristýna Drawing
Duba Martin Architectural Design Pre-diploma Research
Topolčanská Maria Critical Writing 1, 2
Fessler Elan Architectural Design Seminar
Fialová Petra Construction 1 Tsikolia Shota GA+D Workshop
Gebrian Adam Introduction to Studies Professional Ethics Vacek Lukáš Fundaments of Urbanism Master Planning
Hanson Henry Landscape Design Ecology Wertig Jaroslav Architectural Design
Research in Art and Zein Lynda Urban Design
Hejl Martin GA+D Seminar
Architecture
Hetletvedt Amy Professional Ethics
Hnídková Vendula Modern Architecture
Hofmeister Ondřej Sustainable Architecture

Contemporary Management 2016/2017
Construction
Holna Jan Architectural detail 1, 2
Horová Tamara Architectural Design Loukotová Regina rector
Chládková Barbora Sculpture and Modelling Šimice Jiří executive director
Imramovská Martina Landscape design Doleželová Klára vice-rector

Pjechová Marianna study department coordinator
Contemporary
Janečková Michaela Contemporary Architecture Architecture and Topolčanská Maria master program coordinator
Architectural Theories Motloch Adam PR manager
Jirsa Jakub Philosophy Čadek Matěj international office coordinator
Kingham Alena History of Art 2 Scholzová Zuzana librarian
Koch Paul Urban Planning 1–3 Hauser Zbyněk IT specialist
Kolařík Radek Urban Planning 1–3 Architecture and City 2 Křeček Jakub workshop assistant
Koza Jerry Product Design Nadia assistance dog
ARCHIP Yearbook 2017/2018
Published by: ARCHIP
Poupětova 3, 170 00 Praha 7
[email protected]
www.archip.eu
Editors: Klára Doleželová, Elan Fessler, Regina Loukotová

Copy Editor: Elan Fessler
Photography: Dominik Kučera, Andrea Thiel Lhotáková, ARCHIP archive
Graphic design: Eliška Kudrnovská, Designiq
Printer: AMOS Typografické studio, spol. s r. o.
Print run: 100
© ARCHIP 2018
ISBN 978-80-906990-0-7

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This second Yearbook

offers an overview of the

technical sciences, 24 Studio projects winter term

4 Part 1 — Timeline ARCHIP 2017/18 Part 1 — Timeline ARCHIP 2017/18 5

6 Part 1 — Timeline ARCHIP 2017/18 Part 1 — Timeline ARCHIP 2017/18 7

8 Part 1 — Timeline ARCHIP 2017/18 Part 1 — Timeline ARCHIP 2017/18 9

10 Part 1 — Timeline ARCHIP 2017/18 Part 1 — Timeline ARCHIP 2017/18 11

12 Part 1 — Timeline ARCHIP 2017/18 Part 1 — Timeline ARCHIP 2017/18 13

Part 2 — AD general concept description ARCHIP 2017/18 17

Wertig-Neuhäusl studio to private residences, family and collective

Future Cities Seminar Future Cities Workshop

AD1+3+5+7+9 Semestral Project General Brief:

For this semester we’ve chosen a triangular site in

During this semester, we will use this site to study

By unveiling those patterns and understanding their

The key virtues of studio candidates are open-

Part 2 — Studio projects winter term ARCHIP 2017/18 29

Dandika Thanos (AD7):

Fadri Horber (AD3):

Louise Nebelsztein (AD9):

WHY JAB’? AN URBAN ODDITY

Vacant places in the urban periphery, incomplete

For this task we chose areas and spaces in Holešovice

Part 2 — Studio projects winter term ARCHIP 2017/18 35

Sinan Birsel (AD3): HALF-A-BLOCK

Bachir Benkirane (AD5):

The site is framed by existing, hard linear barriers of

The two key lines of infrastructure within the site are

Chris Stian Høydahl (AD1):

We will work through historical layers of the past,

Like a puzzle, the fragmented site will be re-assembled,

Megi Davitidze, Ewa Wróblewska

Elizaveta Karpacheva, Kasimir

“…I would say the biggest problem today for architects

The semester will start with an exploration of the

details. First year students will proceed as a team with

Tugce Ari (AD5): THE WAY

were to be replaced, while their

Andreas Bergem (AD2)

AD4+6+8+10 semestral project general brief:

The four different design briefs,

The recent collapse of the Trojský bridge (a suspended,

upgrades the bridge from its sheer functional linkage

– we will honour present socio-cultural values (including

– we will take the technical properties of the bridge and

Robert Yussef (AD4):

Dandika Thanos (AD8):

David Lameš (AD8): PERIPTEROS

A slim green belt in front of the Park Hotel and the

Bachir Benkirane (AD6 bachelor

Isaac Marquéz Sabido (AD6 bache-

Each AD year will focus on a different scale and different

Elena Štefková (AD4):

Ines Balic (AD6 bachelor diploma

Olga Horobynska (AD6 bachelor

Gaia Delepine(AD4): CASA 22

Ewa Wroblewska (AD4): rePLAY

Marie Meland (AD6 bachelor diplo-

Oleksanda Yeloyeva (AD6 bachelor

Elizaveta Karpacheva Chapter 4: