Archip Yearbook 2019 20

Yearbook
Yearbook
2019 / 2020
www.archip.eu
Part 1
2 Intro
Part 2
Chapter 1:
6 Golden Roubík Award
Chapter 2:
12 Master programme diplomas
Chapter 3:
20 Bachelor programme diplomas
Chapter 4:
34 Líbeznice Projects
Chapter 5:
46 Lety Memorial Project
Part 3
58 Teachers
Part 4
66 Essays
Part 5
78 Timeline
Part 1
I ntro

The curriculum,
an object of design
Elan Fessler
The curriculum, an object of design, is both a material and a concept

made not only of practical requirements but also an underpinning
of inspirational and theoretical substance. Its construction is an ar-
chitectural project itself, by analogy, arranging program and relations
into sequences at multiple simultaneous scales, to bring together
qualities, values and space for exploration and innovation. Whether at
the local site of a single semester or in the urban structure of a 3-year
bachelor program, specific building blocks themselves may come and
go or be renovated, but the defined framework gives the landscape its
specificity and its own character.
In part a looking backwards over the past ten years, in part
a reevaluation of pedagogy today, ARCHIP has implemented a new
structure for the BA curriculum, which has been Approved by the
Ministry of Education for the next 5 years, and it will be phased
into practice beginning with the incoming first year students of the
Fall 2020 semester.
2 Part 1 — Intro ARCHIP 2019/20

Most importantly, the structure of the curriculum is a clear organi-

sation of four distinct parts.
The primary part and focal point is the Architectural Design Studio
(AD) which is supported by the supplementary categories of the Arts
(A), with 31 credits, Technical knowledge (T), with 47 credits, and the
Humanities (H), with 38 credits. The A, T, and H courses are subdivid-
ed into the Arts and Crafts; Drafting, Assembly, Structures, and Envi-
ronment; History, Urbanism, Social Sciences and Theory.
There will be an increased number of supplementary workshops
of different crafts, techniques and technologies, regularly spaced
throughout each semester and cumulatively advancing in complexity
as familiarity with basic representation and modelling tools grows.
Workshops in technical drawing, geometry and BIM, as well as sus-
tainability and building technology, representation and construction,
will cumulatively develop with increasing technical complexity.
Theoretical overview will be balanced with practical application.
The History of Architecture and History of Art classes will be com-
bined each semester into a single interwoven course, which will span
all six semesters and chronologically pass from the ancient to the
contemporary.
The AD course, operating vertically and horizontally, remains
a synthesis of the supporting courses of each semester, and the space
where what is being learned is put into practice within the project,
and where what has been learned in past semesters is refined and
progressed further. For AD6, we have introduced Technical Coordi-
nation (TC), for in-depth consultation and direct integration of other
disciplines, and Critical City, as a synthesis of social, philosophical
and planning precedents, which will also act as a bridge into the Mas-
ter’s programme.
The edge between BA and MA is a continuous connection, yet both
parts operate independently.
The MA programme remains in its revised form which was ap-
proved in 2018/19, and the next steps will be to further build up these
internal connections across the years.
Part 1 — Intro ARCHIP 2019/20 3

Part 2
P
rojects
Chapter 1 Golden Roubík Award
Chapter 1:
Golden Roubík Award
The Golden Roubík
(GoRo) Award 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 the Winter and Summer
semesters, to winners
in two categories:
“Best Student Project”
and “Best Studio”. Rules:
1. Student projects are nominated from all

AD studios.
2. Each studio nominates a maximum
of 7 projects (up to 3 nominations by
tutors, 2 by critics, and 2 by students).
With a possible total of 32, it is often less,
as some nominations overlap.
6 Part 2 — Projects ARCHIP 2019/20

3. Jurors have the right to add nominations 5. The Jury appoints the Best Student
at their discretion. Project GoRo winner.
4. The Jury evaluates the nominated 6. The list of finalists and winners are
projects and pre-selects at most 10 announced at the evening of the
finalists for further evaluation. The Jury exhibition’s opening.
appoints the Best Studio GoRo winner
based on the number of finalist projects
per studio. (If 2 or 3 studios are equally
represented as finalists, the decision is
made by voting or agreement).
Part 2 — Projects ARCHIP 2019/20 7

GoRo Winter 2019–20

On January 09, 2020 at 10.00 members of the jury of the 7th edition of the
GoRo Award evaluated ARCHIP’s semester studio projects.
Jury members
Renata Berkyová Institute of Contemporary History, Czech Academy of Sciences
Zdeňka Havlová Faculty of Architecture CTU, Prague Institute of Planning and Development,
ARCHIP
Robert Votický motionLab, Academy of Fine Arts and Design in Bratislava, ARCHIP
A General comment from the Jury
Firstly, our appreciation goes to the univer- We were also pleased by the variety of ideas
sity for the introduction of such a complex and concepts, even though many of them
architectural and societal task to its students. were not fully realised in the further stages.
The Jury selected 9 nominations and a series The Jury also found that no project had
of notable mentions for a variety of details successfully resolved the uniqueness of the
of the projects like ideas, concepts, models memory of the Roma holocaust in compar-
and illustrations. These mentions are marked ison to many examples of memorials for
directly on the parts of the projects with other minority victims. More of a deeper
yellow stickers. Even amongst the first-year understanding of Roma history and their
students, the Jury found whole-term work association with the former Lety camp would
which was selected for nomination. have enriched the quality and content of the
projects. On the other hand, we were pleased
The Jurors also noted the differences of ap- to see that many designs dealt with the wider
proaches of the two studios that shared the context of the location.
same brief and are of the opinion that the
emotion-generated form approach was more Moreover, the Jury would recommend
appropriate for this kind of task. A further a greater amount of information covering the
comment regarding the work of the first-year realities of constructing the more radical con-
studio concerns the successful methodology cepts, especially working with earth, water,
and continuity of the stages of the projects. landscape, and complex built forms.
We found several interesting abstract models
as well as advanced solutions to the roofing The Jury found missing projects working
of urban space. We didn’t find, with one more with time, seasons, gradual ageing or
exception, any record of the development growth, as well as with rituals of memory
of ideas in the form of sketchbooks or scrap- or remembrance. Equally, thinking in terms
books. of dynamic, changeable, or instant architec-
ture might enrich the range of the students
work.

Results
Studios
GoRo for Best Studio goes to the
Wertig-Kopecký studio
for a very wide range of conceptual ideas and good understanding
of where the fundamental questions of this brief lay.
The quality of the studio’s work has been reflected
in five nominations and the main GoRo prize.

Projects
Nominated projects are:

1. Anastasia Gorbatykh-Grigorova & Chris Stian Høydahl –
Chronicle of Lety (Schindler-Fessler Studio)
2. Dina Mjåland – A reclaimed site (Schindler-Fessler Studio)
3. Kristiina Leppänen – Space / Urbanity / Landscape (Vašourková Studio)
4. Lucia Bombová & Marion Mayfield – Pendulum (Schindler-Fessler Studio)
5. Michel Khoury – The loop, circle of truth (Wertig-Kopecký Studio)
6. Oleksandra Yeloyeva – Footprints of the silent past (Wertig-Kopecký Studio)
7. Robert Youssef – Lety memory source (Wertig-Kopecký Studio)
8. Victoria Gerasimova & Mitchell Znamenacek –
Passing through the camp (Wertig-Kopecký Studio)
9. Vid Fugina & Luka Khundadze – Under the sun we all have
the same color shadow (Wertig-Kopecký Studio)
GoRo for Best Student Project is awarded to

Victoria Gerasimova & Mitchell Znamenacek:
Passing through the camp
for a consistently well-developed and presented project
from a sensitive concept to a high-quality spatial composition.
An additional pleasing aspect of this work
is that it was produced by two Bachelor students
who still have further time to develop their architectural skills.
Tribute is also due to the studio tutors.


GoRo Summer 2019–20

This Summer 2020 semester, all student projects were submitted and pre-
sented on-line, due to the remote teaching requirements during the worldwide
pandemic situation. As such, the selection of GoRo prizes were decided inter-
nally by each studio and its guest critics, and no Best Studio prize was awarded.
The GoRo prize for the Best Student Project was awarded within each studio
from its top three contenders.
The winner of Schindler-Fessler studio:

Victoria Gerasimova:
Art Hub co-housing of Libeznice
The winner of Tsikoliya-Janků studio:

Marion Mayfield & Nicola Ziboni:
Operation Quarantine of Líbeznice
The winner of Wertig-Kopecký studio:

Simon Sjursen:
Líbeznice Office Center

Chapter 2 Master programme diplomas
Chapter 2:
Master programme
diplomas
Iman Aljoaki: PHU, EQN 104–105Caroline el Ayoubi: The New Philharmonic in Prague
Mariam Makaradze: National Dance Academy in Batumi Georgia
Dina Mjåland: Shared Homes at Lambertseter
Yelyzaveta Shovikova: In Between Panelák Houses of Sídliště Bohnice
Ivan Tamayo Ramos: Natura 2035
Oleksandra Yeloyeva: Knowledge Incubator
Developed through a semester of research, Throughout this book are text-based markers
each project is assembled as a grounded which support and elaborate the arguments
argument in the form of a book. This artefact put forward in each project, framing the
includes the underlying research and theo- historical or current contexts, describing the
retical background for the project as well as project as a concept and as an object, and
its completed documentation and record as further speculating upon its positive impact.
a working process.
This year’s projects range in scale

from an inner-city infill building to
a 2km long field on an urban periphery.
Yet each aspires to address a relevant,
site-specific issue and to produce
a response through architecture with
a social and cultural significance.

Iman Aljoaki:
PHU, EQN 104–105
(Schindler-Fessler studio)
Between UNESCO declaring Brasilia
a World Heritage Centre for its modernist
architecture, urban design, and landscapes,
and Jan Gehl naming the top-down urban
design method of Brasilia “Bird Sh!t
Architecture”, there is the reality of life in the
city’s superblocks, and the experience of its
public spaces. That is the topic of this thesis.
PHU, Praça da Harmonia Universal
(Universal Harmony Square), is public space
located at EQN 104–105, the Entrequadra
between the superblocks SQN 104 and SQN
105 in the north residential wing of the Pilot
Plan of Brasilia, Brazil. In the context of the
larger city, the site of PHU is one of many
repeated plots of public space between the
superblocks, called “entrequadras”, which
were meant to provide services (educational,
commercial, religious, cultural, civic, social,
sports and leisure) for a better quality of life
in the purely residential superblocks, but
many plots remain mostly empty. PHU is
currently an open green field with some
concrete seating, sports court, a garden, and
regular exercise practices.
The goal of the project is to define
a specific urban identity for this generically
repeated modernist public space
of the “entrequadra”, based on a deep
understanding of the historic context and
influence of modernist utopian concepts
that inspired Brasilia’s urban design, and the
reality of their application 60 years after its
inauguration.
The result of the project is a proposal
that completes the vision for the site as
an activated public space, and a cultural
monument dedicated to integrative health
and a better quality of life.

Caroline el Ayoubi:
The New Philharmonic in
Prague
The project is to produce a ‘cultural forum’ by
developing a dialogue between two museums, the
Vinohradska 8 mixed-use building complex and a new
cultural house. The proposed Prague Philharmony and
Gallery will make this site the epicenter of Prague – as
it is supposed to be. The site of the National Museum
is connected to Vinohradská street with a public space
woven through the site above the existing rail lines,
redefining the urban morphology and reconnecting
both sides of this central place.
The proposal incorporates all expected changes
to the infrastructure of the area, and proposes
the bridging of the currently exposed rail area as
the grounds of the city’s newest cultural house.
It responds to the height of surrounding houses and
the building of the National Museum. From the top
floor restaurant, the new corner landmark allows
long-distance views – through New and Old Town
to the Castle. From the opposite direction – from
Wenceslas Square, it offers an image of the entrance
gate to Královské Vinohrady.
The goal is to create a cultural heart that can act
as gateway, bridge and forum. The public spaces,
interwoven with the city, will complement the
performance halls and produce a cultural quarter
in the area. The Philharmony and Gallery is to be
a place of encounter, open around the clock with free
entry. It should also be home to various initiatives,
associations, agencies, and editorial offices working in
the field of culture. The spectrum would range from
fine art, architecture, music, fashion, theatre, dance,
literature, childrens’ culture, game culture, and street
art to design and photography.

Mariam Makaradze:
National Dance Academy
The aim of the thesis is to design a National Dance
Academy in Batumi. The logic behind designing
a dance academy in the city center, is that Georgian
traditional national dance is the inherent part
of Georgian culture and national identity; it represents
Georgian traditions and mentality through bodily
movements. Throughout the centuries Georgians
have been creating many interesting dance traditions,
transforming traditional movement into sophisticated
choreography and performance techniques.
The Georgian National Dance Academy provides
both locals and people from abroad with high quality
education, cultural experience and professionalism in
the field of dance. It inspires young people to join the
dance community and follow a culturally enriched and
healthy lifestyle. In Batumi the high demand for large
dance facilities is present due to the fact that the city
hosts around 3 million tourists annually
The goal of the single complex National Dance
Academy with its educational facilities, community
uses, cultural content and dance dorms is to provide
social and entertainment performances for people
with diverse interests in the field of dance, dance
training for students at all levels of dance and to
offer a place where people can learn to dance, to
observe the diversity of Georgian traditional dance
and the rich variety of Georgian national costumes.
The public ground of the cultural landmark creates
an opportunity to meet people from different parts
of Georgia and people from abroad, to help build
strong networking opportunities for professional and
artist from the field of choreography.
This complex will have a cultural calendar with
events and special programs provided for cooperation,
communication and co-working between professionals
and dancers, and will involve special meetings, forums
as well as workshops by famous dancers from Georgia
and abroad. Precisely, conferences are going to be
organized to discuss emerging issues from the field
as well as summer schools and dances for emerging
artists and professionals.

Dina Mjåland:
Shared Homes at
Lambertseter
Providing care for people with dementia is
an increasing societal challenge. Globally,
at least 46.8 million people are living
with dementia, and the number is rapidly
rising. In Norway, the cases of dementia are
estimated to be around 84 000–104 000.
The number is estimated to increase with
a general increase of the older population.
About 10% of people develop the disorder
at some point in their lives and it becomes
more common with age.
The project is a nursing home on the
plot of a demolished nursing home in
Oslo, specifically designed for people
with dementia. A goal is to challenge the
conventional and problematic standard
of nursing homes by creating one that values
more freedom for residents, contact with the
outside and nature, and developing a concept
between closeness and openness in terms
of the need for social spaces and isolated
ones, as well as security and freedom
of movement.
Focusing on the 3 stages of dementia,
3 different buildings together host
approximately 90 residents.
The aim is to create a nursing home that
values the life and lives of the residents by
providing security with movement, familiarity
with engagement, and nature with shared
home. The concept of a sensory garden
is something increasingly used in nursing
homes, and it is integrated throughout the
proposal.

Yelyzaveta Shovikova:
In Between Panelák Houses
of Sídliště Bohnice
(Wertig-Kopecký studio)
The need to solve the housing problem, which had risen sharply, appeared
in the first years after the Second World War, even before the Communist
regime came. All European countries had to deal with such a problem.
In contrast to the States of Western Europe, the countries of the Eastern
block (which fell under Soviet influence) went the way of serial panel
housing.
The largest Czechoslovak experiment, conceived by architects,
urbanists, sociologists and even psychologists, the so-called large-scale
construction of panel houses in the 70–80 years, was held throughout the
country. As a result, at the moment 10‚677‚540 people are living in the
Czech Republic of which one third call their home modernist residential
districts or “collective housing”. In Prague, this number is almost half of all
its nearly 1‚300‚000 inhabitants.
Sídliště Bohnice, for example, was created in 1972–1980 according
to the designs of the architect Václav Havránek for 33‚000 inhabitants in
9‚567 apartments.
The project is a detailed architectural solution for a selected portion
of this area, with the aim to bring activity and visitors to this neighborhood,
and to improve the living conditions by renovating a group of typical
residential buildings. This is achieved by introducing new density on
ground level and flooding their living areas with light.

Ivan Tamayo Ramos:

Natura 2035
Extensive research has been performed for the last six
months with the intention to organise the information which
is relevant to the project of Natura: a mixed-use, sustainable
urban development in Culiacan, Sinaloa, Mexico.

Oleksandra Yeloyeva:
Knowlegde Incubator
An alternative model of a 21st century high school for the
Bubny-Zátory district. Knowledge Incubator is a mixed program
project combining a Project–Based Learning high school and
a Research Centre. The site is part of the approved master plan
for Bubny-Zátory district, and it is at the corner of a planned
block at the intersection of Rajská and Plynární streets, where
currently the metro station Nádraží Holešovice is located.
The thesis seeks for a creation of a “high school for the
future” that gives importance to personal interests and
aspirations of students and makes them part of the community.
At the same time, due to the gross annual underuse of schools
and public cultural facilities in the city, the topic of maximising
space usage by creating flexible yet personalized spaces is
explored. The project includes four interconnected elements:
– high school facilities shared with a research centre;
– research centre with laboratories and workshops, rented by
other companies that are partly accessible for students;
– indoor and outdoor public spaces with programs shared by
the community, students and researchers;
– underused neighbourhood facilities providing students with
extra spaces for classes.
The design concept of the building was based on the creation
of a library integrated into the main circulation of the building,
uniting a diverse multilevel program and providing a space for
communication between different users.

Chapter 3 Bachelor programme diplomas
Chapter 3:
Bachelor programme
diplomas
Andreas Bergem: 2050: The past, present and future of Jenišov
Ani Bojadzjan: Active Líbeznice
Vid Fugina: Zig-Zag Project
Anastasia Gorbatykh-Grigorova: Community Center Jenišov
Chris Stian Høydahl: Uzel Community Centre, Líbeznice
Kaltrine Kabashi: Symbiosys
Luka Khundadze: Pedestrianization
Patricio Martínez: New Town Square in Jenišov
Naida Osmandzikovic: Líbeznice Community Center
Nadezhda Semashko: Líbeznice Library
Isabella Shaw: Reconnecting and Designing the Town’s Pathways
Simon Sjursen: Líbeznice Office Centre
Josef Vaško: Adaptive Growth
The following Bachelor projects

propose contemporary solutions
for housing or cultural amenities
within the historical environments
of two small towns, Líbeznice
and Jenišov.

Andreas Bergem:
2050: The past, present and
future of Jenišov.
Creating a new town-centre
for Jenišov
Jenišov is a small municipality bordering Karlovy
Vary, and the fastest growing town in the region. It has
experienced radical change – all structures prior to
1850 have disappeared as did the German population
in 1946.
In 1990, the town held a referendum, resulting
in independence from Karlovy Vary. Jenišov clearly
has a strong desire for an identity. Since then, the
municipality has been split in two by a new highway
which created a schism between the historical part
and the new development. Over the last 20 years, the
population has more than doubled.
In the year 2050, the population has doubled once
again. There are now 2000 people living in Jenišov,
most of whom have no recollection of the referendum.
The history of the town is nowhere to be seen, yet
the inhabitants yearn to strengthen their identity and
their heritage. In an attempt to salvage the pieces
of history – they start the process of creating a new
town-centre which will show the roots of Jenišov.

Ani Bojadzjan:
Active Líbeznice
Specific programs were defined to allow the expanding
village to have good quality activities: a market hall
with a greenhouse, bike parking and a creative center
providing workshops, accompanied with an indoor
playground for BMX and skate users and a rooftop
playground with a running track.
Between the buildings are public spaces
of different characters. There is a park separating the
BMX area and the Creative center with a neighbouring
business complex providing relaxation areas and
secluded, quiet zones.
The square between the Cultural center and
Farmer Markets, serves as a main gathering point.

Vid Fugina:
Zig-Zag Project Jenišov
The general concept is to create a new village centre
for the inhabitants of Jenišov. The idea is to create
different types of buildings for the different people
living there.
The existing property lines were used to create
a new pedestrian connection. More precisely, it
connects two residential areas around the site and it
invites people to the site. The pedestrian connection
moreover connects and binds the new buildings
together. New buildings are shaped in correspondence
to existing buildings and are placed on this proposed
pathway.
Six new buildings correspond with those existing
and have the following programs: grocery store, two
shops, kindergarten, library, restaurant and café, two
office buildings.

Anastasia Gorbatykh-Grigorova:
Community Center Jenišov
The project will try to offer a solution to a common
problem of municipalities – their common center.
As part of the new construction, it is possible to realise
objects with a public function (eg a multifunctional
hall, library, kindergarten, etc.). The scale of newly
developed buildings should be related to the existing
ones and redefine public and private spaces.

Chris Stian Høydahl:

Uzel Community Centre,
Líbeznice
The spark for the concept came from the brief:
Work with an existing house (past), cut through
it (intersection of the present) and make a new
building/extension on the plot (future). Additionally,
the required functions: workshop, museum and cafe,
I thought had an interesting relationship with that
concept of time.
The spatial configuration of the program and
form distribution is conceived and oriented by two
“time-function” axes: South-West to North-East,
which is general categories, and vertical, which is
subcategories.

Kaltrine Kabashi:
Symbiosys
The subject belongs to the domain of architectural
recycling and is focused on elaborating
environmentally sustainable design principles suitable
for recycling existing building stock. The design
principles of recycling elucidate possible relationships
between the original building existing on the site and
a new intervention. The concept of symbiosis serves
for the definition of possible relationships between the
existing and new.

Luka Khundadze:
Pedestrianization, Jenišov
As the centre of Jenisov has been neglected by
development, public and green areas are blocked
by fences, and people tend to spend less time
outdoors. The design intention is to create pedestrian
connections throughout the site. A geometric grid cuts
through the site with a variation of clusters. The strong
gesture exaggerates the importance of public spaces
and the practice of walking. In search of space that
would fulfil the needs, came the idea of mixing two
typologies to form a new one.

Patricio Martínez:
New Town Square in Jenišov
This project is intended to experiment with several
essential parts of community life, proposing a design
for a communal core with an aim to activate the
dynamic flow of Jenišov. It also considers the social
and labor aspects of the village and its people, by
implementing strategies to combat the shortcomings
and lacks of this town. To generate a sense
of community is the principle aim of the project, by
adding the necessary functions that Jenišov lacks
such as a school, supermarket, and town square.

Naida Osmandzikovic:
Líbeznice Community Center
The main goal of my project is to create a place for the
community of Libeznice to meet, interact and socialise.
With this meeting point I want to increase involvement
and revitalisation of the town’s social scene. From
my research, I discovered that Libeznice has a strong
community, but lacks an appropriate place to meet.
Part of the goal is also to create a safe place for
younger people, for different after school activities.
My idea is to have a place for all age groups where
there is a program for everyone. And a place where
the community can organise different events, watch
movies together and have small concerts.
The structure of the building supports this main
goal. It is important that the building implements
sustainable solutions like photovoltaic panels and
rainwater collection systems. This project also gives
the city of Libeznice new and long lasting value
that can be implemented into the town’s future
development.

Nadezhda Semashko:
Líbeznice Library
Due to the absence of a natural centre of the town
the project aims to bring a sense of community into
Libeznice, as well as provide learning facilities for its
inhabitants. Libeznice lacks learning facilities such as
a spacious library (the existing one is outdated and
small), study rooms, reading rooms, digital rooms and
others for productive studying.
An existing volume with dimensions of 44.5m x
15m is an old industrial building 8 m high located
in the centre of the given site. By preserving the
existing structure, the project aims to accommodate
the above mentioned functions and at the same time
create a space for everyone to share, engage and
communicate.

Isabella Shaw:
Reconnecting and Designing
the Town’s Pathways
The general flow of traffic through Jenišov is
mostly from two main highways that split the town.
The question isn’t about the movement of cars in and
out of the town, but how pedestrians move within
the streets, between houses, to the play areas, and
the local bar? How do they connect with each other?
In this small community, where everyone knows one
another, people’s daily movements and activities go
through smaller well-trodden paths.
The project will try to offer a sustainable coherent
solution that is implemented throughout the town.
It should connect the people physically, emotionally,
and aesthetically, and give the town an identity that
resonates with the locals and makes the town unique.

Simon Sjursen:
Líbeznice Office Centre
The main goal of my project is to create
a multipurpose commercial program that adds both
economic and social value to a small town with a lot
of potential. The challenge and goal of the project is
to create a working and realistic solution to a business
complex in the scale of a small town.Another
goal is to design a solution that takes the existing
infrastructure and typology into consideration to
achieve a contemporary but fitting solution that blends
nicely into the urbanism of the town.
Lastly, I want to create a modular or flexible
solution that can react and support a smaller
community and their activities and wishes.

Josef Vaško:
Adaptive Growth
(Dlesk-Duba studio)
This project is located in Prague 6, on a strip of land
with a complex set of problems. Neighbouring
the former Praha-Bubeneč train station building,
which was decommissioned in 2014, the site is
in need of a new purpose. ADAPTIVE GROWTH is
a refurbishment project of an old misused train station,
with the aim of revitalizing its surroundings by bringing
a variety of much needed functions to the site. It is
strongly affected by the surrounding train tracks, the
nearby Stromovka park, the residential neighbourhood
and the educational facilities in it close proximity.
The project reimagines the old, learns from it, and
introduces something new. The main purpose of the
refurbishment is to produce and export edible goods to
local grocery stores and markets. A community centre
is also present to complement the education facilities
that are located nearby.

Chapter 4 Líbeznice Projects
Chapter 4:
Líbeznice Projects
Shota Tsikoliya and Ondřej Janků studio:
Between Built and Unbuilt,

Low-context Architecture
Brief:
The semester project focuses on the topic

“Between Built and Unbuilt; Low-context
Architecture.” It is conceived as a research-driven
project. Students explore architectural precedents
and work within the theoretical framework of post-
anthropocene, automated landscapes, architecture
without architects, architecture as a machine and
others. They explore the given site (Líbeznice), and
as a result define their own program and concept.
The process is heavily influenced by the production
of physical working models as a prime medium
of architectural design.
Selected projects:
Kristiina Leppänen & Ola Jin Nymoen: A GMO research center (AD2)
Marion Mayfield, Nicola Ziboni: Operation Quarantine (AD4)

Kristiina Leppänen
& Ola Jin Nymoen:
A GMO research center
(AD2)
The first conceptual idea was to build a structure
covering the whole given area. Massive roofs
overlapping each other create indoor-outdoor
atmospheres for people using the facility while also
bringing a new ideology for Libeznice. This ecological
resort, is where the GMO plants can be tested and
developed further in their suitable ecosystem.
The pond collects rain water and therefore its
“horizon” is changing and allows mud to develop good
nutritions for certain plants used in GMO research.
The circulation and accessibility could happen just
wearing wellies and walking to the closest vertical
core when the water level is high. In the other situation
it would happen via pontoon/boat.

Marion Mayfield, Nicola Ziboni:

Operation Quarantine
(AD4)
Our proposed use for the site is local food production
that can sustain the entire population of Líbeznice
during times of quarantine.
Líbeznice has an opportunity to be ahead of the
inevitable changes necessary for future food security
due to climate change and unforeseen scenarios such
as pathogens.
While implementing food producing spaces, more
social and green spaces for the town will be created.
Solar energy will be generated on site and the surplus
can be sent to the town. Water harvesting from
rooftops and rain-garden/water collection ponds keep
the water available for site use. Goats will be used for
site maintenance and overgrowth.
The site can also be used as an educational tool.
People of all ages can visit and learn how to grow food
in various methods.

Janek Schindler and Elan Fessler studio:
in the heart of the periphery…

a center on the edge?
Brief:
The site is located in the centre of Líbeznice.

While it should be the town’s heart, paradoxically
it is difficult to access, undefined and fragmented.
The project task was to define the centre of the
town and to find a balance between contemporary
and vernacular architectural language.
Beginning as teams to define a common master

plan, each student then produced an individual
project within this plan to produce a community
of buildings. This shared centre reinforces the
structure of the town and communicates with its
landscape and landmarks, while introduces a new
place and identity for housing, crafts, and culture.
Selected projects:
Hannah Holmen: Suburban Bliss (AD2)
Ekaterina Sinelinkova: Live/Work (AD4)
Andreas Amdahl: Expanding Senses (AD2)
Victoria Gerasimova: Art Hub: Co-housing in Libeznice (AD4)

Hannah Holmen:
Suburban Bliss
(AD2)
Three residential buildings in this project blend
the old town with the new centre by referencing
the surrounding architecture with a contemporary
vision. Located in the midst of the new town centre
these three residential homes are reminiscent
of traditional Czech row houses. Each home is
connected to a courtyard and offers a calm space
away from the bustling square. They are the Tower
Home, the Layered Centre Home, and the Glasshouse.
The project aims to create a stronger connection
between internal and external space bringing the
garden into the home.

Ekaterina Sinelinkova:
Live/Work
(AD4)
The project aims to provide functions primarily for
people of the local community: young professionals,
local business owners, inhabitants of the renovated
centre of the town. The proposed development
consists of 2 building blocks – the northern one
dedicated to working professionals and the southern
one – to a family business. The northern buildings
form two functional clusters: co-working spaces with
an adjacent coffee shop and residences with their
private garden. The southern buildings accommodate
a family pottery business and provide living quarters
for the owners.

Andreas Amdahl:
Expanding Senses
(AD2)
The plot is located on the south end of the new
central square of Libeznice, with the front of the plot
acting as one of the square’s edges. The west edge is
an important pedestrian path.
The building consists of different units puzzled
together to optimise the needs of each distinct
inhabitant. These units are arranged so the internal
programme grows, gradually from intimate and dark,
to open and public.The east side is inhabited by a blind
man therefore the space is more intimate, private, and
shielded from light. Next to him lives a couple who
works as musicians, then a family, and on the western
end lives a painter who has his own private gallery.
Through working with the senses perceived by each
inhabitant the architecture follows.

Victoria Gerasimova:
Art Hub: Co-housing in Libeznice
(AD4)
The building consists of two houses facing each other,
along the path of the stream, connected by a rooftop
bridge which forms an entrance point into the new
square.
This Art Hub is co-housing living for artists and

musicians. The bridge on the attic floor connects the
two buildings and is a common space where residents
can organise concerts and exhibitions. It is accessible
to the public and has its own circulation.
Shared rooms face the street to provide connection

with the public while bedrooms face the quiet gardens.
Musicians can play in the kitchen/terrace to the street,
artists could paint and party on the patio. Publicly
accessible spaces and circulation are visible to the
exterior through semi-transparent polycarbonate
facades. This invites pedestrians to join events by
giving them a hint of what is happening inside.

Jaroslav Wertig and Jakub Kopecký studio:
The Edge Definition
Brief:
The common assignment for this semester had two levels. The first was a team urban compe-
tition to see the development of the given part of Líbeznice. The winning design became the
master plan for the division of territory and the work of individual proposals.
The selected masterplan divided the area of interest into approximately the same spatial
units forming a spatial grid, which included the basic urban typology; roads, public space,
public greenery, civic buildings, apartment buildings, private gardens and individual houses.
In the next phase, each student worked on the assigned part of the grid according to his/her
experience: more advanced students worked on larger more complex civic buildings, younger
students on individual living in two family houses. The result was the filling of the whole grid
with proposals covering all aspects of the life of the village / small town community.
Selected projects:
Lucy Bombova: Dichotomy (AD4)
Nino Kurdevanidze: Green Residence (AD4)
Roman Filip: Saw House, Q.C.M. (AD4)

Lucy Bombova:
Dichotomy
(AD4)
Dichotomy is a design proposal that delves into the
extremes of aesthetics, offering both maximalist
and minimalist experiences. It puts the clean and
restrained efficiency of minimalism into contrast
with maximalism’s raucous and bold exhibition
of extravagance.
The Bubble House takes on the personality
of a bright and colorful maximalist in both its exterior
and interior. The structure’s spherical components
are 3D printed in the bright color of bubblegum
pink. Accessorized with large circular windows, the
structure opens inward into a circular courtyard.
The house accommodates a family of five but
moreover, each of its rooms offers a unique experience.
The black house is a streamlined version of the
typical residential home, evoking a sense of clarity
and simple elegance in its neutral tones. It is intended
to adapt to and fill the needs of any family, its spaces
transformable to suit any occasion.

Nino Kurdevanidze:
Green Residence
(AD4)
Libeznice is a small town located just 30 minutes from
Prague. The first written record about it dates back to
1236, and with a population of almost 3000, Libeznice
is the center of the smaller villages and towns
surrounding. Libeznice’s community is growing and the
town demands housing.
The proposal of this residence is the grid that is
based on the existing buildings. Everything should
be related to the grid. The idea is to create modular
housing and a modular community.
Both private houses for single families also
emphasise daylight as well as greenery.

Roman Filip:
Saw House, Q.C.M.
(AD4)
Q.C.M. or Quarter circle module is a building module
system based on two basic spaces defined as Main
space and Side space.
Main space is designed for main rooms such as
bedrooms, living rooms, kitchens, dining rooms, and
Side space is designed for stairs, warehouses, toilets,
and connecting areas.
The subsequent transformation of these designated
spaces emphasises maximum possible connectivity
and creation of a modular system.

Chapter 5 Lety Memorial Project
Chapter 5:
Lety Memorial Project
Brief
On this site, a sloping field between a forest

and a lake, is a powerful and tragic past, long
disregarded and deliberately disrespected.
Decades of abandon and erasure have nonetheless
not removed the presence of the memory and the
history of this place from a collective desire to
bring to it the value it deserves.
This semester’s project is a Memorial for this

landscape itself; for the victims who were
imprisoned, suffered or died in the camp there;
for confronting the reality of this site’s desecration
by an industrial pig farm; and also for a statement
of hope and honour.

Each studio approached the project as a living

sanctuary for “the forgotten Holocaust of the
Romani people”: as a landscape memorial
and place for remembrance and dialogue.
The approach asked for students to be architects,
poets, scenographers, historians, and landscape
artists in one, and to consider the “stories of one”
and the “story of many”.
The following projects are those selected for

nomination and special mention by the Jury.
Selected projects:
Anastasia Gorbatykh-Grigorova & Chris Stian Høydahl: Chronicle of Lety
Dina Mjåland: A reclaimed site
Kristiina Leppänen: Space / Urbanity / Landscape
Lucia Bombová & Marion Mayfield: Pendulum
Michel Khoury: The loop, circle of truth
Oleksandra Yeloyeva: Footprints of the silent past
Robert Youssef: Lety memory source
Victoria Gerasimova & Mitchell Znamenacek: Passing through the camp
Vid Fugina & Luka Khundadze: Under the sun we all have the same color shadow

Anastasia Gorbatykh-Grigorova
& Chris Stian Høydahl:
Chronicle of Lety
(AD5, Schindler-Fessler studio)
Our proposal for the Lety Memorial is a collection
of experiences that make up a bigger narrative.
The intention is to tell the story of the Roma victims
as we see it: forcefully gathered from a broader
society, put into camps where living conditions
became insufferable, and meeting the ultimate fate –
death. We hope to tell this story through landscape
installations, landscape manipulation, and gradually
escalating certain architectural qualities. We want
to end the journey on a note of redemption and
contemplation.

Dina Mjåland: A reclaimed site

There are four buildings located in four different
natural elements. There are two access points:
a main entrance to the visitor centre, and a second
one for people who want to go on their own directly
to the camp site.
The visitor centre, at the edge of the lake, holds
a reception, cafe, offices and educational space.
The cultural exhibition space, located in the open
field, offers viewpoints of the site and exhibitions for
learning about the Roma culture.
The exhibition space of the site’s history is located
underground and leads directly to the camp site.
The ceremonial space is located in the forest, as
a calm and protected element on the site, and gives
information and stories of the survivors that end the
journey of information before returning to the existing
memorial or back to the entrance.

Kristiina Leppänen:
Space / Urbanity / Landscape
(AD1, Yvette Vašourková)
I created two different half underground trails, with
separate stories to show. A circular trail, which is
longer and takes the visitor through the dense forest,
focuses on natural details that change with the
seasons. It brings the visitor through an underground
path and opens up views to the landscape.
The trail brings the visitor to the footprint of the
camp which has become a tree nursery of 326 Redbud
trees commemorating the victims who died there.
The idea is that victims’ families and others can take
a tree with them and have a piece of memory growing
in their yards. The end of the trail takes the visitor to
the pig farm where the walls of the pig farms are left
in the site, to be destroyed slowly by nature.
The second trail takes the visitor through
an underground path to the highest point of the site to
embrace the views. The walk back is free so the visitor
can decide their own path.

Lucia Bombová & Marion Mayfield:

Pendulum
The swinging movement of a pendulum represents
time in all its facets. The past, which has carved the
transpired events into the soil; the present, at which
it lies stagnant; and the future, containing a path
of opportunity.
The memorial for the holocaust of the Romani
people in Lety lies in the shadow of the camp, marking
a break in the time-line: their genocide. Therein lies
the void left by the lives lost, permanently carved into
the land.
The project’s aim is to create an experience,
a journey: for remembrance, education and reflection.

Michel Khoury:
The loop, circle of truth
(AD7, Wertig-Kopecký studio)
Although a memorial can be something that travels far
from the memory and the self, disconnecting from this
circle, diving through a story of facts and meanings,
or a desert of unconsciousness, as far as it could take,
at a certain point, for many reasons, it will go back to
reconnect to the self.
The loop, defined by a circle as design, is like a drop

of water in a calm lake, that when touches the surface
and drowns, starts to disturb the silence and makes
a movement. This wooden circular path (a material
like the trees that have stood there until now and
witnessed history), represents the circle of life
of Romani people, who went through the tragedy of the
Lety camp.
The 4 elements of the site (pieta memorial, former
camp, lake & the pig farm) interact differently with the
circle – touching it and forming an excavation of the
past space, or flying over the water surface, to create
a meditation space that has the view over the entire
site. This movement represents the nomadic part
of the Romani people, reconnected with the land.

Oleksandra Yeloyeva:
Footprints of the silent past
The project consists of four parts, each of which
carries a different function and a different experience:
1. Tranches filled with raw granite rocks in the
footprints of the prisoners jails, which represent the
congestion in which prisoners lived in;
2. Two exhibition halls under the former barracks,
filled with artificial fog, which represent the loss
of identity and disconnection which prisoners went
through in Lety;
3. A ceremonial space with prisoners names on
the walls, which is in the footprint of the biggest
barrack and inside has paths in the directions
of Hodonin, Auschwitz and the mass graveyard
of the typhoid victims. The whole space is meant
to remind people of what has happened after the
camp was closed and of all the different turns
prisoners lives were forced to take;
4. A contemplation space to mourn those who died in
the camp from typhoid and violence.

Robert Youssef:
Lety memory source
The intervention in the site is aimed to give start
to the interaction between the layers of history.
The memory of the victims of the Lety camp is being
evoked through its conceptual representation in fluid
movement. 326 victims, who never managed to escape
the camp, are commemorated by assigning each
of them a water stream which carries the memory
of the dead repeating the shape of the former camp
site. The streams are separated in the same way as
the prisoners were forced to live without their children,
parents, and community. Their life is symbolically
carried through the camp’s footprint, coated in metal
and released as soon as the border ends.
The water freely flows down the hill, uniting the

memory of the dead into a powerful and free stream
directed into the other layer of history on the Lety
camp site. The shameful presence of a pig farm
overlaying and desecrating the tragic memory is
gradually washed off. The water is collected in the lake
which is now being almost dried out. The project is
intended to reveal the hidden memory of the detention
camp victims and empower it to eradicate the attempt
to hide the tragedy.

Victoria Gerasimova
& Mitchell Znamenacek:
Passing through the camp
The concept for the project is to connect the past,
present, and future with the use of paths on distinct
axes based on former and existing elements of the
site. The project incorporates the existing pig farm
structures, the former boundary and footprints of the
concentration camp, and the existing pieta located at
the site. The paths connect the different parts of the
project, creating a logical sequence for an immersive
emotional experience.The existing buildings of the
pig farm will remain as a reminder of how both the
Nazis and developers of the pig farm adapted the
site for their needs. Neither of the former occupiers
of the property considered the lives being held there
as dignified. The pig farm structures will be steadily
demolished over time as nature takes its course
throughout the area.
The location of the concentration camp and the
current memorial are used as focal points on which
the museum and new memorial will be situated.
The museum is placed within the boundary
of the concentration camp and the footprints of the
structures of the former concentration camp are
marked by skylights.

Vid Fugina & Luka Khundadze:

Under the sun we all have the
same color shadow
The idea was to create a strong sense of memory;
memory that was faded away from the site.
The intention has been to create a space connected
to individuals’ experience of monumentality and
emotions, the timelessness of remembrance and the
culture of Romani people.
The concept was therefore influenced by Romani
culture, beliefs, and motives. The monumental
structure derived from the negative spaces of the Lety
concentration camp is cut by thirteen paths leading
into the building from various locations from where
victims were coming and leaving.
The material of the building is amber, appreciated
for its color and natural beauty. The color reflects
the vibrant Romani culture, having the shades
of Svadhishtana, bringing conscious imagination to the
front. The Sanskrit name of the Chakra Svadhishthana
is comprised of the syllables sva (= self) and shthana
(= place), which may be roughly translated to “one’s
own dwelling place”.
As a main idea to bring up the topic of equality
through the experience given from the building, place
is designed in its purity, overcoming the memory
of anger, hatred, jealousy, cruelty, desire and pride.

Part 3
T
eachers
Faculty
2019/2020
Benešovská Hana History of Architecture 1–4

History of Art 1
Monument Preservation 1, 2
Benson Cory Building Environment
Building Technology
Blažek Filip Project Presentation and Graphics
Brož Luděk Sociology
Clifton Sean Construction 2
Dáňová Helena History of Art 1, 2
Dzurilla Dalibor Graphic Software and Presentation
Graphic Design and Presentation
Project Presentation
Fessler Elan Architectural Design
Critical Writing 1, 2
Pre-diploma Seminar
Introduction to Studies
Fialová Petra Construction 1, 2
Hanson Henry Landscape Design
Social Ecology
Landscape Architecture
Havlová Zdeňka Research in Architecture
Hetletvedt Amy Professional Ethics
Hofmeister Ondřej Sustainable Architecture
Contemporary Construction
Hojda Ondřej Modern Architecture
Contemporary Architecture
Holna Jan Architectural Detail 1, 2
Chládková Barbora Sculpture and Modelling
Janků Ondřej Architectural Design
Jirsa Jakub Philosophy
Kingham Alena History of Art 2
Kolařík Radek Architecture and City 1–3
Kopecký Jakub Architectural Design
Introduction to Studies
Koza Jerry Product Design
Kurilla Lukáš Graphic Software and Geometry
Graphic Software and Mathematics
Lhotáková Andrea Photography
Maddox Julie Building and Construction Methods
Contempotary Building Materials
Mertlíková Lucie Construction 1
Professional English
Návrat Petr Urban Planning 1–3
58 Part 3 — Teachers ARCHIP 2019/20

Prokop Šimon Graphic Software and Geometry
Graphic Software and Mathematics
Rachidi Karim Preparing for Practice
Salák Milan Art 1
Painting and Art Concept
Satorie Pavel Development
Sejkot Petr Structural Engineering
Schindler Jan Architectural Design
Sperat Zbyněk Urban Planning 1–3
Sýkora Luděk Urban Planning 1–3
Šormová Kristýna Drawing
Tittl Zuzana Urban Planning 1–3
Tsikoliya Shota Architectural Design
Vacek Lukáš Urban Design
Master Planning
Vašourková Yvette Architectural Design 1
Vokáč Machalická Klára Non-bearing Structures
Load-bearing Structures
Wertig Jaroslav Architectural Design
Zein Lynda Fundaments of Urbanism
Psychology and City
Management
2019/2020
Loukotová Regina rector

Šimice Jiří executive director
Doleželová Klára vice-rector
Pjechová Marianna head of study department
Čadek Matěj international office coordinator
Zybartas Mína marleting manager
Křeček Jakub workshop manager
Zybartas Sanja librarian
DeLave Paul student advisor
Zárubová Karla administrative support
Toman Jan IT specialist
Carex Fredy Kevin canisterapeutist
Part 3 — Teachers ARCHIP 2019/20 59

Schindler-Fessler Studio
Studio leaders’
general introduction
Schindler-Fessler Studio
Here, students work on conceptually-driven
architecture projects. As they go along, they
learn the theory and practice of architectural
design in optimal balance. We emphasise
working with models and free-hand draw- Jan Schindler has been the Chair of the
ing. In the development stage of the project, Architecture and Urban Design Studio since
our focus is on abstraction and dialectical 2011. He is an architect and founding mem-
reasoning. We encourage the process of dis- ber of a Prague-based architecture practice,
covering meaning, form and structure, SCHINDLER SEKO architects, together
through the practice of architecture. with Ludvík Seko, since 2005. Their first
The studio follows a cumulative method significant breakthrough came in the form
of development – ‘from the inside-out’, which of an international competition for the River
consists of a series of bi-weekly assignments Gardens development in Prague 8 – Karlín in
and desk discussions through which the 2005, on the embankment Rohanské nábřeží.
concept is developed and refined in a se- They have since built and continue to build
ries of steps, each adding more layers and many buildings in Prague.
complexity to the project. This extended,
www.schindlerseko.cz
dialectical structure of the studio is a process
[email protected]
of working through the project from multiple
perspectives, through layers and scales; this
cultivates multi-dimensional reasoning ap- Elan Fessler has been an Architectural De-
plied to a specific situation and site. The aim sign Studio assistant at ARCHIP since 2012.
here is to embody and to represent an ele- Elan is an American and Czech architect.
mental meaning with clarity and purpose as He graduated from the Cooper Union in New
a form of Architecture … to situate ideas into York City in 2006. He has worked with Front
the world. Studio Architects and CMC Architects among
others, as well as on independent projects as
Emergenative Architecture. At ARCHIP, he
also teaches Introduction to Studies, Critical
Writing I + II, Pre-Diploma Research Seminar.
www.emergenative.com
[email protected]

Wertig-Kopecký Studio
Wertig-Kopecký Studio
A studio is not a factory for the production of architects.
An architect is not a sum of technical, artistic and humanistic skills.
To become an architect essentially means to have a passion for architecture as a whole,
regardless of your individual inclinations.
A studio must guide and support students through the ever-changing process of design.
Conceptual and critical thinking is crucial.
Formal skills without hard work and love for the discipline are useless.
Jaroslav Wertig has been the Chair

of the Architecture and Urban De-
sign Studio since 2011. He is a prac-
ticing architect. Together with Boris
Redčenkov and Prokop Tomášek, he
founded the Prague-based A69 archi-
tects twenty years ago. Their design
work covers a broad range of pro-
jects from interior design to private
residences, family and collective
housing, public buildings, healthcare Jakub Kopecký has been an Architectural Design
facilities, offices, etc. Their work is studio assistant at ARCHIP since 2018. He is an archi-
regularly published. tect with a Prague-based practice. He graduated from
the Faculty of Architecture in the Technical Universi-
www.a69.cz
ty of Liberec (TUL) and during his study took part in
[email protected]
an Erasmus exchange at the University of Ljubljana
in Slovenia in Vasa Perovic studio. At ARCHIP, he
also teaches Introduction to Studies together with
Elan Fessler.
[email protected]

Tsikoliya-Janků Studio
Tsikoliya-Janků Studio
Environmental, social and technological
changes have always been a source for design Shota Tsikoliya has been an Architectural
innovation in architecture. Today, technolog- Design studio leader since summer 2020
ical innovation across multiple disciplines and Future Cities studio lecturer teaching
suggests that architectural design is no longer the Future Cities (Science, Engineering, and
limited to the distribution of program, but Technology) Workshop since 2014.
instead becomes an intense process of materi- He is an architect and PhD from the
alisation of the physical. On the other hand, Academy of Arts Architecture and Design in
social and environmental crises are encour- Prague (UMPRUM). The focus of his doctor-
aging us to rethink the potential and the role al research was computational design and
of today’s architects and designers. emergent architecture. He holds a position
The studio course focuses on architectur- of assistant professor at UMPRUM in the
al design across various scales and draws studio Architecture III.
particular attention to the problems of ma-
[email protected]
teriality and materialisation. The focus on
www.issuu.com/shota_tsikolia
behaviour and performance as well as form
and program changes our approach to archi-
tecture. New social and environmental chal- Ondřej Janků has been an Architectural
lenges require architectural production to be Design studio assistant since summer 2020.
multifaceted and complex. The understand- Ondrej is a practicing architect and
ing of the context and inspiration of the local co-founder of COLLARCH – architecture
technological tradition; as well as thinking in and design platform in Prague. He gained his
global terms; and adaptation to innovative professional experience in Switzerland where
technologies are applied to various scales he worked for Herzog and de Meuron and in
of architectural design from the concept de- Denmark at Bjarke Ingels Group. He gradu-
sign to the details and tectonics. ated from Academy of Arts Architecture and
Design in Prague and additionally from Strel-
ka Institute in Moscow.
[email protected]
www.collarch.cz

AD1 Studio
AD1 Studio
The studio focuses on discovering, understanding and revealing
the field of architecture in its complexity. Three main tasks repre
senting Architecture: space – urbanity – landscape are the key
elements of research. The architecture tools such as sketching,
drawing, and modelling as well as reading, writing, observing
and decision-making are practised during the studio. The role
of Architect is introduced in a holistic manner.
Yvette Vašourková has been teaching the Future Cities Sem-

inar since the summer term 2019. She graduated from the
Faculty of Architecture of the Czech Technical University in
Prague (FA CTU) in 2001, with a degree in architecture and
urban planning, and the Berlage Institute in Rotterdam, the
Netherlands in 2005–2007. In addition to MOBA studio, she
is involved in the Centre for Central European Architecture.
www.moba.cz
www.ccea.cz
[email protected]

Part 4
E
ssays
Introduction to the Discipline Albert Furu
Selection of writings from the course

Introduction to the Discipline
Albert Furu (AD2)
Review the work of a Pritzker Prize

winning architect — describe and analyse
what is their “meta-project”.
Aldo Rossi argued in his 1966 book and exponent of the postmodernist style, his
The Architecture of the City that the city architecture utilizes bold colours, shapes,
must be interpreted as a construct of time, materials and scale in an idiosyncratic way.
and that the structures contained in it are His buildings are however always charac-
urban artifacts that give the city its collective terized by stylistic, historical and cultural
memory. He called the city the locus of the references, in a way that is often absent in
collective memory. Therefore memory, be- architecture. He wanted to create a coun-
ing the consciousness of the city, becomes terpart to the strict rules of modernism and
the guiding thread of the complex urban internationalist style, which he felt had no
structure as a whole. “…the union between relation to the architectural and urban his-
the past and the future exists in the very tory, or culture of the cities. This idea was
idea of the city that it flows through in the of course heavily influenced by his early life
same way that memory flows through the in Italy where so much had been destroyed
life of a person; and always, in order to be after the war, so preserving the historical
realized, this idea must not only shape but be fabric and local traditions became important
shaped by reality”. and a key feature of Rossi’s architectural work
A way to see Rossi’s life project is an effort throughout his life.
to shape the locus of the city that his build-
ings and structures were built in. As a pioneer
66 Part 4 — Essays ARCHIP 2019/20

Introduction to the Discipline Hannah Holmen
Hannah Holmen (AD2)
Review the work and become a tradesman is an extension

of this approach for an architect to learn
of a Pritzker Prize niche knowledge that only comes from living
winning architect — and breathing that reality.
The notable difference in Wang Shu’s
describe and analyse approach to design from his first project to
what is their his projects a decade later reflects his choice
of investing his time into parts that he saw
“meta-project”. helping him reach his meta-project. His
choice of material and structural approach
Wang Shu’s work is sensitive to the local elevates his later work as well as bringing
traditions, the surroundings and existing Chinese building traditions into the mod-
craftsmanship. Winning the prize in 2012, ern era.
he was praised for his ability to evoke the His work is very much relevant today espe
past without directly referencing history. cially for the developing world which is indus-
I think this has a lot to do with him taking trialising and growing at an incomparable rate.
a break for almost a decade after his first In many ways, Asia has been influenced by the
project in Haining completed in 1990 to learn western world and it is evident today in the
and experience hands-on building directly building techniques and design. Hence, Wang
from craftsmen. Shu’s choice of materiality and techniques
Wang Shu’s practise today based in Hang- which are traditional and local is not only more
zhou, references an approach taken by am- sustainable it is at home in the environment and
ateur builders by utilising spontaneity, craft society in a different way. For many Asian coun-
skills and cultural traditions. Having spent tries, local traditions are being lost to western
time on sites learning traditional skills has influence and reinventing the traditional archi-
influenced how he uses and adapts materials tecture with innovation is a more true reflection
in his projects. He has a unique focus on dem- of the ever-developing society of the region.
olition and destruction of large urban areas
within his projects and approach to design.
Michael Sorkin’s list of ‘250 things an ar-
chitect should know’ references knowledge
that can only come from practice and putting
yourself into a certain environment for exam-
ple “living in a small room with five strangers
for a month” or ‘the smell of concrete after
rain’’, similarly Wang Shu’s choice to learn
Part 4 — Essays ARCHIP 2019/20 67

Introduction to the Discipline Victoria Geramisova
Victoria Geramisova (AD4)
Exhibiting architecture –
in or out of context – a white box?
The white box hasn’t always been the space and show the artist’s idea through the space
for exhibiting art. At first, it was just drawings as well. In my opinion, the best example
on caves’ walls, then frescos in churches, of this approach is Neues Museum in Berlin
portraits on castle walls, and when museums built by Chipperfield. The walls, decorative
appeared, paintings covered the whole wall elements, and materials follow the exhibits.
from the ceiling to the floor. During the 19th I feel more related to the second way, be-
century, people started to isolate pictures cause this can fully describe the ideas and
from each other to avoid overcrowding. Still, concepts of the exhibits without additional
it wasn’t the white box yet. The real changes descriptions on the walls. And I can compare
came in the beginning of the 20th century, it to designing a building. Architects should
when it was decided to avoid coloured walls research the surroundings, history, future
to place focus on the piece of art. So, the developments in order to make thoughtful
main purpose of the white box in exhibiting design. When architects create an exhibition,
is to direct all attention of visitors to the they should make research of what they are
painting. going to present. In the case of an architect
But not only this change in exhibited space and their projects being the exhibition sub-
happened. In opposition to the white cube ject, designers and curators should study this
I can present El Lissitzky’s exposition deci- architecture and biography, find key ele-
sions. He created the “Abstract Cabinet”. This ments in the works, and then introduce the
was the space where Mondrian’s, Mies van acquired information to the exhibition space.
Der Rohe’s and others works were exhibited.
And Lissitzky didn’t just put works to the
walls, but created the whole space which was
a continuation of the exhibited pieces. There-
fore, he created the context around the art,
which allowed visitors to understand artists
through the space around.
In this case, I think that we have two
different approaches of exhibiting. The first
creates empty space with white walls which
would direct attention exclusively to the art
piece, for example, Hamburger Bahnhof. This
way is more common in the curatorial circle.
The second creates space around the exhib-
ited piece which would be a part of the story

Introduction to the Discipline Ekaterina Sinelnikova
Ekaterina Sinelnikova (AD4)
Different roles of architects

During one of the lectures we were asked to a ‘story’ of a building as well as conveying
define a role of an architect and my reply was feelings and associations (references and
that an architect can be compared to a film metaphors) through physical form is a pow-
director – someone who ‘directs’ the design- erful tool which an architect can employ
ing process and other professionals involved in order to really influence peoples’ minds.
in it by making sure that their input corre- In this regard, personally, I have once again
sponds to the main concept/thread of the de- been inspired by cinematography as a holistic
sign, but now I would add that an architect, form of art, which, like architecture, employs
in a more metaphorical sense, also ‘directs’ physical space for storytelling. Apart from
physical form/ material and through that cinematography, in the field of architectural
‘orchestrates’ space within it. Consequently, approaches, I have rediscovered for myself
through shaping the physical environment, the arts&crafts movement – philosophy
an architect at the same time is manipulating of holistic design, where all elements of the
the non-physical environments of social in- people’s physical environment (architec-
teractions (people – users of the building and ture – furniture – clothing – tableware – …)
the surrounding area – neighborhood and submit to their lifestyle, aesthetics, global
beyond) and natural life (flora and fauna). vision. I find this movement really inspiring
This thought has influenced my perspective in our current reality of faceless mass pro-
in a way that apart from the immediate effect duction and meaningless fragmentation, as
of architecture – spatial qualities of the build- it really embraces integrity, individuality and
ings and their direct physical exploitation – aesthetics that good design is able to bring
there is the side of long-lasting metaphysical to our lives. This movement has brought my
effect which influences the wider sociological attention and respect towards furniture and
and historical context (the way architecture product design, which, in my opinion, have
gets ingrained in human conscience through the right to regain their importance in the
associating with it ideas or even ideologies, field if architecture.
events, emotions, etc.). As a result, this
thought reinvented the meaning of archi-
tectural history for me, as now I understand
that for architecture to have an impact on us,
its physical existence is not obligatory. In ad-
dition, I can now appreciate that directing

Critical Writing I Caroline Ayoubi
Selection of writings from the course

Critical Writing I
Caroline Ayoubi (AD9)
A reading of “The Alphabet
and the Algorithm” by Mario Carpo
With every new advancement in production, Leon Battista Alberti formalized architec-
a correspondent shift in the meaning asso- ture to what was an “allographic, notational
ciated with it is introduced. As industrializa- and authorial art.” Due to social and eco-
tion shifted the meaning of production of the nomic crises taking place in Florence at that
hand-making tradition, so did the digital time, Alberti came up with a specific strategy
production to the machine-making produc- in order to manage the construction of his
tion. Introducing digital technologies to the designs. The building, in Alberti’s opinion, is
mode of production implied transformations to be composed in the mind and then graph-
that extended to drastically redefine the ically translated into notations of 2D draw-
categories that directed the field. ings such as plans, elevations, and sections.
Mario Carpo’s research trajectory is espe- In this situation, the architect is the agent
cially intriguing as it provides an eloquent, of notation, not the agent of fabrication.
historically grounded account of the deep There is a clear separation between thinkers
theoretical and practical consequences of the and makers in the Renaissance tradition.
“digital paradigm shift” in architecture. Thus, the product of the architect’s nota-
By tracing the histories of different modes tions, the design, is to be mechanically exe-
of production in architecture, the author cuted by someone else in extreme precision
is able to identify the point at which the as per the drawings, preserving the complete
digital technology introduced in production authorship of the design to the architect.
deviated the track of which different aspects Imposing this new system to building under-
of the production were defined. As digital went a lot of challenges as usually buildings
technology can and has to change both the were designed on-site with the collective
subject and the object of architectural design, effort of every workman. As such, there is
no longer will the designer attain complete a form of resemblance between the medieval
authorship and no longer the object will be organization of the building process and the
unique and particular to its designer. BIM digital collaboration. With digital manu-
facturing, the notation is the representation
and fabrication at the same time. The separa-

Critical Writing I Caroline Ayoubi
tion between the thinkers and the makers is “All that is digital is a variable, and digital
blurred comprising participatory ownership. variability goes counter to all the postulates
After experiencing the advantages of dig- of identicality that have informed the history
ital manufacturing first hand, we can fully of western cultural technologies for the last
appreciate the ambivalence of the transfor- five centuries.” Analog reproduction is “the
mations of labor in the digital era. Moreover, mass production of identical copies from me-
not only has labor become more collective chanical master models, matrixes, imprint or
and participatory, but it is also true that dig- molds.” This industrial standardization gen-
ital technologies allow centralized control erates economies of scale. This means that
of the outcomes of this participation as in the the more objects are produced, the less the
recent developments in Building Information price of the individual item. Digital produc-
Management (bim) platforms. tion such as digital printing or manufacturing
The ‘digital turn’, clearly, did not improve does not require a matrix to be produced.
architects’ working conditions, which on the It is still possible to produce identical copies
contrary followed the general trends of labor yet there is no economic advantage over the
preparation. The digital design comprises production of different objects. The variation
of 2D drawings, codes, and algorithms. In the will not entail any supplemental cost. This
event of drawing a proper notation of the implies that the transition to digital pro-
object, then the code does not represent duction is moving from producing identical
any singular object. Rather, it is a generic copies using a mold or a matrix to mass cus-
representation of a family of objects. Based tomization where a computer code has the
on the attributed values to the parameters ability to produce infinite variations of simi-
of digital code, it can operate as a function lar individuals.
that can produce multiple forms. These In his book, Carpo supports his argu-
values are to be assigned by the person in ment by citing Richard Krautheimer in his
control, the designer. This characteristic Introduction to an ‘Iconography of Medieval
results in the similarity between the objects Architecture’, where he asked himself why
produced, yet each is particular. many medieval buildings that where meant
to be copies of the Saint Sepulchre where in
fact so much different for a modern beholder,
concluding that similarities were to be sought
not in visual but rather in symbolic or social-
ly conventional contents. Moreover, Erwin
Panofsky noted, in his Gothic Architecture
and Scholasticism, an analogy between Goth-
ic architecture and the top-down organiza-
tion of Scholastic knowledge into categories
arranged from the most general to the most
particular. As mentioned earlier, as standard-
ization is a characteristic of modern times,
digital technology shares many common
characteristics with the medieval approach.

Critical Writing I Ivan Tamayo Ramos
Ivan Tamayo Ramos (AD9)
A response to Peter Eisenman and Pier Vittorio

Aureli’s conversation published in LOG28,
“A project is a lifelong thing; if you see it,
you will only see it at the end”
Discussion theme: the evolution and im- However, both Eisenman and Aureli agree
portance of pedagogy of architecture and that parametricism has become the new old
how it has shifted from being a theoretical thing, but there is nothing to replace it with.
discipline from which students are taught, In the post-digital age they anticipate, we are,
through the lens of architecture, about how according to Aureli, experiencing disillusion-
the world works, to a market-driven practical ment because the tools for innovation that
science of efficiency and economy. moved architectural design and construction
Following the unification of Europe, edu have become a new form of standardization
cation became standardized through the Bo- therefore limit the upcoming architects to
logna Declaration in 1999. As a result, the dis- think only in terms of that specific design
cipline of architecture shifted its focus from style.
Humanities towards the markets, as a tool When they talk about ETH, Aureli explains
for development and hence profit. Aureli how it is a balanced education between mar-
remembers Manfredo Tafuri on the impor- ket and social driven architecture due to its
tance of theory and history of architecture, state welfare system and culture. By analogy,
and explains how it is now not a priority in when we look at Swiss architecture, it is
the education of architecture. Tafuri believed mostly rational, sober massing and materials
in architectural history as having a nonlinear fixed to a clear grid, but with exceptional
evolution, mainly constituted by crisis. detail and craft. For me it manifests a culture
Eisenman raises the question of Lon- of long term wealth and refined taste, a bit
don’s Architectural Association being boring perhaps but nonetheless elegant.
a market-driven school, but Aureli explains There is a tendency now towards attention
how the Design Research Laboratory led to craftsmanship in architecture again, as if
by Patrick Schumacher at AA is a pioneer it had been lost. Though I would agree that
in today’s education in the implementation most construction worldwide in the last
of digital architecture and parametric design. 30 years did not have architectural quality,
I believe crafts changed from ornamented
facades and picturesque ceilings to scientific
precision. Think of La Casa del Fascio by
Giuseppe Terragni from 1932 or Tadao Ando’s
4×4 house from 2003.

Critical Writing I Ivan Tamayo Ramos
In today’s world of practicing architects,

there is a crisis of time. Time to design and
time to be an architect. What do I mean by
this: taking on their conclusions of how the
media is important in today’s architectural
careers (since it is mentioned that the clients
buy not only the design of the building but
Aureli mentions how in the United States, the authors’ identity too) the famed architect
there is enormous pressure from a large is the reincarnation of his practice, and am-
amount of scholarships to produce research, bassador for every building he or she stands
which he explains is “a bit unproductive” for. Therefore, architects today spend too
since their excess becomes purely academ- much time creating the brand they represent,
ic. I never thought about it before, but isn’t though while important, is also time not
it ironic how the USA, capitalist king, is spent in the actual designing process of the
the country with the most theoretical and buildings they sell. If there is one thing I like
non-practical architectural dissertations? from architectural practice it is that at the
This makes me appreciate the position of Au- end of the day the building speaks for itself,
reli who, although giving maximal impor- authors will die and some buildings will
tance to theory and history, understands the remain, and within them nothing about the
importance for useful material, since archi- architect.
tecture is a matter settled in physical form.
This way of thought echoes his best example
of a practicing but thoughtful architect, Colin
Rowe, even though I did not find his building
works when I type his name on Google, only
the writings about other people’s buildings.

Critical Writing I Alex Yeloyeva
Alex Yeloyeva (AD9)
The conclusion of her larger essay,

“Architecture as a sign system”
With the usual division of the 20th century The modernist belief in the need to satisfy
into periods of modernism and postmod- basic human needs and that a person can
ernism, which are in mutual opposition, the perceive (and give meaning) only ordered
conversation about whether architecture is forms [4], as well as the clear structure
a sign mechanism or a matrix that can carry of a separate building and the whole city
meanings inevitably turns into a conversa- associated with it, has been replaced by
tion about professional beliefs: about the be- post-modern building gestures and satellite
lief in the values of modernism or postmod- concepts, rhizome cities with missing or
ernism. However, the semiotic line, which multiple centres that are capable of infinite
is characterized by the search for meanings, continuation – and the idea of a person as
and most importantly, the mechanisms a figure is conditionally arbitrary, as in Archi-
of their occurrence, as well as structuralism gram projects.
with its deep studies of the original sources, Today, there is a tiredness of humanity
hardly fit into this binary opposition. This from both – total predestination, and a variety
suggests that today we have at our disposal of options that cannot be comprehended.
not only the division of the world into mod- In this regard, attempts are being made to
ernism and postmodernism – perhaps we analyze complex and diverse phenomena –
are inside some other, fundamentally new and find common fundamental principles be-
period, which includes these basic paradigms hind them. In today’s information space such
for the 20th century and brings something major thinkers as Bruno Latour and P eter
else. A categorical break in the cultural tra- Sloterdijk demonstrate a desire to reduce mul-
dition and semiotic attempts to search for
communication in every conscious human
gesture, as well as an increase in the flow
of information, have placed today’s culture
(and architecture as an important part) in the
A Postmodern building sticks its tongue out
formation of a new way of thinking and what

it will be, is not clear yet.
ichael Vanderbyl, poster, 1984.
at a Modern building
M

Critical Writing I Alex Yeloyeva
tiple meanings to a super-significant phenom- In such a situation, the humanitarian role

enon – and, having identified and analyzed of architecture grows and becomes more
it, try it on to the existing system of contents. complicated: the architect becomes a medi-
In contrast to postmodernism, this systema- ator within society and one of his tasks is to
tization of meanings is carried out not for the introduce some fundamentally important
sake of analyzing the past, but for the sake agendas into the city, which will change and
of finding a way out of the stagnant and frus- grow over time. The enclave, the elevation
trating state of infinite multiplicity. to the pedestal, which Koolhaas and Aureli
The result of such searches is the discov- ironically speak of in this light,* appear as
ery of complex hybrid systems where each one of the options for the existence and good
element is related to the other, as well as the neighbourliness of objects that have clearly
recognition of the equality of cultures and defined boundaries and are capable of form-
the existence of grounds for their compari- ing semantic rather than physical unity.
son. The traditional language of discovery for The task of the architect in this case should
modernism and the language of recognition be understood more broadly than the produc-
of the impossibility of such a discovery for tion of new meanings or a game with existing
postmodernism are replaced by the language ones – it consists in combining numerous and
of constructing new meanings based on valuable values among themselves.
already existing similarities between multiple Such approach removes the question
structures. Atomization, in this light, ceases of the style and formal language of architec-
to be perceived as a catastrophe but is not ture: it seems to force the architect to take
denied as a fact. Instead, the global becomes a more objective, comprehensive position,
part of local stories, which ultimately means and integrates these issues into broader con-
only the existence of the local. ceptual and social layers. This does not mean
The most valuable thing in this case is that the material elements of architecture
the information exchange between these and their appearance do not matter – it rath-
local worlds, because it is able to link them er means that the nature of their occurrence
together – that is, they do not exist in a state is connected with the specific circumstances
of permanent unity, but exist as a complex of the design, and the architect’s idiom is not
set of autonomous phenomena capable in the set of formal techniques that he oper-
of periodic interaction. In the architectural, ates with, but in the way he thinks.
as well as in the socio-cultural dimension, Perhaps this is the way of thinking asso-
the medium of such communication is the ciated with solving specific problems and
city, which includes both modernist and establishing connections between small
postmodern paradigms (and sometimes ear- individual worlds, with the recognition of the
lier classical, medieval, and even ancient). death of large narratives and the adoption
In this sense, the absolute architecture that of many truths can become the basis for
Aureli insists on [7], where every building a new conceptual paradigm.
and every territory has well-defined borders,
supports this structure of the city-medium
and increases the concentration of interac- * Pier Vittorio Aureli: The Possibility of an Absolute
Architecture; The MIT Press; 11 February 2011.
tions (because if the city does not spread, it Rem Koolhaas: Delirious New York; The Monacelli Press;
becomes denser) – and, as it does, it suggests 1 December 1997.
ordering, self-organization and complication
of structures.

Part 5
T
imeline
June – August 2020
June 2020
3. 11/06/2020:
ARCHIP’s 7th graduating class of 7 Masters and
12 Bachelors, come from 13 countries! Special
thanks to the students who organised this
Graduation Ceremony as a live-streaming
online event, taking place inside the studio,
3 and being viewed over 1300 times! After a cel-
ebration and photo shoot on the green lawn,
everyone is ready for the after-party at SWIM!
July – August 2020
4. 11/06/2020:
1. 25/08/2020: A series of discussions on architectural edu-
ARCHIP moves to Vyšehrad! cation, Architectural (De)Schooling in the
Age of Quarantine, opens with the meeting
2. 27/07/2020: of MARCH dean Eugene Asse and rector of AR-
This year’s summer school (rescheduled for CHIP Regina Loukotová, in an online debate and
Summer 2021) takes the timely theme of archi- discussion.
tecture and health with the topic of waiting
rooms: often neglected areas where health 5. 08–10/06/2020:
professionals and patients meet. Participants Changes in safety measures allowing 10 people
will redesign a real waiting room and in this in one room, coincides conveniently with our
way transform a forgotten and unfriendly space. Final State Exams, and allows our students
to present in person before the external jury!
Three days of exams are chaired by Jan Holna,
Petr Lešek and Jan Hájek respectively. The Jury
5 makes a special note of the Masters students’
research books. Congratulations to all!
78 Part 5 — Timeline ARCHIP 2019/20

April – May 2020
May 2020
6. 22/05/2020:
The GoRo award is announced, by each studio
and its guest critics, with the following results: 6
Victoria Gerasimova wins in Schindler-Fessler
studio, Simon Sjursen wins in Wertig-Kopecký
studio, and Marion Mayfield and Nicola Florence
Ziboni win in Tsikoliya-Janků studio.
7. 26/05/2020:
Marianna Pjechová, Head of Study Department,
and 2nd year student Victoria Gerasimova an-
swer questions in an On-line livestream about 7
the architecture programs and about student
projects from this semester.
8. 21/05/2020: April 2020

Studio leaders meet with students individually
(as well as online), with social distancing, hand 10. 28/04/2020:
disinfectant, and face masks. While present- ARCHIP opened its doors again for an OPEN
ing final AD presentations via Zoom calls, HOUSE, but this time only virtually. Video
students learn to present efficiently, and how tours and Question and Answer sessions took
to cooperate in a common model space, even place online.
from a distance. Despite the unconventional
restrictions this semester, the final results were 11. 21/04/2020:
very good! ARCHIP faculty reach the 2nd round of the
Lety Memorial Competition! Ultimately, recog-
9. 03/05/2019: nition goes to Lynda Zein who collaborated on
Students complete their works of Photogra- the 2nd place winner, and to Martin Duba who
phy course – as a quarantine version, with co-authored the 4th place winner.
a unique collection of self-portraits.
12. 04/04/2020:
We are on TV! See the report (in Czech)
9 about the students’ projects and the school.
Great thanks to our TV stars! https://www.
ceskatelevize.cz/porady/10116288835-z-metro-
pole/220411058230014/
12
Part 5 — Timeline ARCHIP 2019/20 79

February – March 2020
13
March 2020 14
13. 24/03/2020:
Professor Cor Wagenaar (University of Gro-
ningen and TU Delft) gives a live-streamed
lecture at CAMP, to discuss Health and the
City, as part of cooperation between the Gener-
al University Hospital in Prague, the University
of Groningen and ARCHIP.
14. 20/03/2020:
We are proud to share that our partner PrusaL- 15
ab is helping out with 3D printing protective
masks.
15. 11/03/2020:
Courses go online! In accordance with the
decision of Czech Government, ARCHIP cancels
all in-person teaching as well as events and
excursions until further notice.
February 2020
16. 10/03/2020:
All three studios, Schindler-Fessler, Wertig-Ko- 17. 27/02/2020:
pecký, and Tsikoliya-Janků, spend the last day What’s the vision for Prague? The second
of in-person classes presenting their project part of the discussion series, about the city’s
concepts to external guests. 1920’s growth and polycentric character, mod-
erated by Regina Loukotová, takes place at
DOX.
18. 24/02/2020:
16 Dewi Jayanti from Udayana University, Bali
gives a lecture at ARCHIP about Bamboo Ar-
chitecture, characteristics of bamboo, why and
how to use it for interior and exterior design.

February 2020
19. 20/02/2020: 22. 14/02/2020:

Czech television ČT24 comes to ARCHIP to Via video conference call with students of the
see our school and ask about last semester’s Fay Jones School of Architecture and Design in
student projects at Pohořelec and Nádraží Arkansas, US, Lucia Bombova, Marion Mayfield,
Bubeneč. Alex Yeloyeva, Robert Youssef and Chris Stian Høydahl, Dina Mjåland, Ekaterina
Andreas Bergem present their projects while Sinelnikova, Victoria Gerasimova and Caroline
studio leader Jaroslav Wertig describes the Ayoubi present their projects virtually and
topics and the school itself. share their experiences designing last semes-
ter’s project.
20. 17/02/2020:
Students of the photography course with 23. 04/02/2020:
Andrea Thiel Lhotáková spread out across the The AD summer semester begins with first
green roof in a change of perspective! year students joining their colleagues in three
studios: Schindler-Fessler, Wertig-Kopecký,
21. 17/02/2020: and the new Tsikoliya-Janků studio, which also
Our former student Isaac Zeugram Marquez is hosts our GAD students.
featured on our blog with a reflection on the
significance of understanding the space you
are working with in order to create comfortable
surroundings.
20
18
19
21
22

December 2019 – January 2020
January 2020
24
24. 31/01/2020:
ARCHIP’s Yearbook 2018/19 is released!
25. 09/01/2020:
The GoRo award for Best studio goes to
Wertig-Kopecký studio and the GoRo for Best
project goes to “Passing through the camp” by
Victoria Gerasimova & Mitchell Znamenacek,
also from Wertig-Kopecký studio. 25
26. 07–09/01/2020:
Final AD presentations + Open House December 2019
Three main events take place during this Open
House: final presentations; the official opening 27. 16/12/2019:
of the semester exhibition; and the announce- Congratulations to Modern and Contemporary
ment of the Golden Roubík Awards (GoRo)! Architecture teacher Helena Čapková, with
Kóiči Kitazawa for a successful book launch:
Antonín Raymond in Japan 1948–1976 / Memo-
ries of Friends!
28. 07/12/2019:
Another festive ARCHIP Christmas party,
enjoying various middle eastern, Georgian,
Mexican, Turkish, Slovak and Czech specialties.
A special addition to the evening tradition is
introduced – an ugly sweater contest! And the
lucky winner of this year’s 4 hour project dead-
line extension is Caroline Ayoubi!
26
27
26

28
November 2019
29
31
30
32
November 2019
29. 26/11/2019: 31. 05/11/2019:

5th semester students join Jerry Koza, from Students of Sculpture and Modelling display
Atelier SAD and David Karasek from | mmcité their sculpted busts, and photographs of these
street furniture – for the third straight year – to works are exhibited in the library alongside
conceive and build seating, directly at the fac- portraits of the authors.
tory of mmcité! The collection of built results is
then put to good use in the Student Lounge! 32. 03/11/2019:
Taking down the CLOUD69 exhibition at
30. 19/11/2019: a Dernisáž at Jaroslav Fragner Gallery!
Vašourková studio students present their series The installation, reflections and mass of the
of tasks to guest critic Marketa Zdebska while works of A69, will be transformed into a garden
the other AD studios present their landscape gazebo for a Senior Home in Uhlířské Janovice!
projects to Daniela Barancová, Martin Duba and
Sean Clifton.

October 2019
34
33
36
37
33
35. 15/10/2019:
After researching the area, history of the event
October 2019 as well as cultural context, Students make their
first concept presentations for a philosophi-
33. 31/10/2019: cal, poetic and scenographic memorial and its
In competition against Where’s Waldo, the King landscape.
and Queen in chess, Jason Voorhees from Fri-
day the 13th, a lighthouse, a marionette, and 36. 14/10/2019:
many vampires, third year student Bella wins First year students of Construction 1 go
this year’s Halloween party best costume, on a field trip with Sean Clifton to the site
dressed as Darla from Finding Nemo. of Sakura, a project of Jestico + Whiles.
34. 24/10/2019: 37. 05/10/2019:

Meet our freshly elected Student Senate: Archip participates in Den Architektury
Isabella Shaw, Caroline Ayoubi, Victoria Gerasi- (Day of Architecture) by opening its doors to
mova, Hannah Holmen and Vanesa Vuniqi! the public and exhibiting students’ projects.

July – September 2019
September 2019
38. 27/09/2019:
Projects from GAD studio, led by Shota Tsiko- 41
liya, are part of an international exhibition
organized by Bilkent University Department 41. 09/09/2019:
of Architecture (Ankara, Turkey). Martin Arfalk and Kateřina Vondrová from
Mandaworks (SWE) lead an introductory
39. 15/09/2019: workshop centred on the site of Ortenovo
Students of Landscape Design and Landscape náměstí. As part of the Nordic architecture
Architecture embark again with professor series, co-hosted by ARCHIP, Martin Arfalk also
Henry Hanson on a trip to Berlin to explore, delivers a lecture at CAMP.
observe and document note-worthy landscape
designs. 42. 05/09/2019:
Our welcome party is at Café Jedna, in the
40. 12/09/2019: Veletržní Palác, where ARCHIP had its first
AD studios Schindler-Fessler and Wertig-Ko- premises 8 years ago! Teachers, administration,
pecký begin their projects for the site at Lety alumni, and students enjoy the time together
with research and presentations of memorials welcoming 21 new students!
from each student’s home country. First year
students follow a series of three tasks, SPACE –
URBANITY – LANDSCAPE, within the theme
LIFE AND DEATH.
42
38 July – August 2019
43. 22/07/2019:
The Summer School workshop, CUBICAL
CITY, with nearly 25 students, is led by Jerry
Koza and Jakub Kopecký. Exploring the interre-
lations of architecture and design and producing
1:1 models of “Seating in a public space inspired
by cubism and Prague itself”.
43
39
40

ARCHIP Yearbook 2019/20
Published by: Architectural Institute in Prague
Štulcova 89/1, 128 00 Praha 2
[email protected]
www.archip.eu
Editors: Klára Doleželová, Elan Fessler, Regina Loukotová

Copy editor: Elan Fessler
Photography: Dominik Kučera, Andrea Thiel Lhotáková, Marek Příhoda, ARCHIP archive
Graphic Design: studio Designiq
© ARCHIP 2020
ISBN 978-80-906990-2-1
This Yearbook offers an overview
of the 2019/20 academic year.
With the exceptional circumstance
of this year being partly online,
this book as well is printed in
a digital format. It showcases
Architectural Design studio
works, and also f eatures texts,
drawings, models, photographs
and other materials which docu-
ment the events and productions
of the school. This publication
is another part of the ongoing
story of the education of future
architects at ARCHIP.
Prague 2021
21 × 14.8 cm
80 pp
Illustrated
Paperback

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What are the four main parts of the new BA curriculum structure?

What are the four main parts of the new BA curriculum structure?

What subjects are covered in the Arts, Technical knowledge, and Humanities categories?

What subjects are covered in the Arts, Technical knowledge, and Humanities categories?

Yearbook

The curriculum, an object of design, is both a material and a concept

2 Part 1 — Intro ARCHIP 2019/20

Most importantly, the structure of the curriculum is a clear organi-

Part 1 — Intro ARCHIP 2019/20 3

Golden Roubík Award

1. Student projects are nominated from all

6 Part 2 — Projects ARCHIP 2019/20

Part 2 — Projects ARCHIP 2019/20 7

GoRo Winter 2019–20

A General comment from the Jury

8 Part 2 — Projects ARCHIP 2019/20

Part 2 — Projects ARCHIP 2019/20 9

Nominated projects are:

GoRo for Best Student Project is awarded to

10 Part 2 — Projects ARCHIP 2019/20

GoRo Summer 2019–20

The winner of Schindler-Fessler studio:

The winner of Tsikoliya-Janků studio:

The winner of Wertig-Kopecký studio:

Part 2 — Projects ARCHIP 2019/20 11

This year’s projects range in scale

12 Part 2 — Projects ARCHIP 2019/20

Part 2 — Projects ARCHIP 2019/20 13

14 Part 2 — Projects ARCHIP 2019/20

Part 2 — Projects ARCHIP 2019/20 15

16 Part 2 — Projects ARCHIP 2019/20

Part 2 — Projects ARCHIP 2019/20 17

Ivan Tamayo Ramos:

18 Part 2 — Projects ARCHIP 2019/20

Part 2 — Projects ARCHIP 2019/20 19

The following Bachelor projects

20 Part 2 — Projects ARCHIP 2019/20

Part 2 — Projects ARCHIP 2019/20 21

22 Part 2 — Projects ARCHIP 2019/20

Part 2 — Projects ARCHIP 2019/20 23

24 Part 2 — Projects ARCHIP 2019/20

Chris Stian Høydahl:

Part 2 — Projects ARCHIP 2019/20 25

26 Part 2 — Projects ARCHIP 2019/20

Part 2 — Projects ARCHIP 2019/20 27

28 Part 2 — Projects ARCHIP 2019/20

Part 2 — Projects ARCHIP 2019/20 29

30 Part 2 — Projects ARCHIP 2019/20

Part 2 — Projects ARCHIP 2019/20 31

32 Part 2 — Projects ARCHIP 2019/20

Part 2 — Projects ARCHIP 2019/20 33

Shota Tsikoliya and Ondřej Janků studio:

Between Built and Unbuilt,

The semester project focuses on the topic

34 Part 2 — Projects ARCHIP 2019/20

Part 2 — Projects ARCHIP 2019/20 35

Marion Mayfield, Nicola Ziboni:

36 Part 2 — Projects ARCHIP 2019/20

Janek Schindler and Elan Fessler studio:

Benešovská Hana History of Architecture 1–4

Loukotová Regina rector