Chrámy peněz

• The 1990s represent a period when our society was radically00:00:07.768
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• changing from socialist regime into a democratic capitalism.00:00:11.420
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• The period was often full of almost naive dreams00:00:15.842
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• about free country and fulfilled wishes.00:00:18.152
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• Banks and saving banks became desire mediators00:00:21.142
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• and offering ways to fulfilling the dreams,00:00:23.842
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• they became modern palaces00:00:26.989
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• which factually took power in the country.00:00:28.695
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• Money temples00:00:31.410
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• While building socialism provided many Czech towns00:00:37.943
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• with buildings of party secretariats,00:00:41.557
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• whose largely pompous character of forts00:00:43.955
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• demonstrated the society power organization,00:00:46.590
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• building capitalism in the Czech Republic is accompanied00:00:49.502
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• by almost explosive increase of banks,00:00:52.224
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• savings banks and insurance companies.00:00:54.858
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• The post-revolution period of the 1990s is apparent00:01:02.203
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• in every village, small town, square,00:01:05.466
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• city centre boulevard, housing estate or suburbs.00:01:08.130
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• Besides building hotels, administrative buildings00:01:14.720
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• and other business centres, the banks typologically represented00:01:17.423
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• the biggest group of freshly emerging buildings.00:01:21.465
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• Banks and saving banks became the first commissions00:01:24.369
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• for starting private studios and also the first evidence of their free production.00:01:27.060
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• The banks investors provided architects with00:01:32.412
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• benevolent and unlimited finances to realize their projects.00:01:36.103
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• I guess I haven't met such a good investor00:01:41.954
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• as the National Bank since then,00:01:44.492
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• we remember the times with gratitude because00:01:47.310
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• we really had an absolutely free hand.00:01:53.703
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• There weren't any hard and fast rules at that time,00:01:59.071
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• so it was possible to comply with a certain above-standard00:02:03.698
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• such as stone facing or financially demanding technical comforts.00:02:07.802
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• There was a radical change in technological opportunities00:02:15.323
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• and the willingness to carry out what00:02:19.536
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• had been projected instead of projecting00:02:21.992
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• what the provider was able or willing to build.00:02:25.680
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• The free production euphoria played into the hands of architects00:02:32.422
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• who weren't afraid to experiment and champion their individual style,00:02:35.828
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• an architectonic gesture that would noticeably00:02:39.478
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• reflect on the city appearance,00:02:41.655
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• even in the context of so much protected historic environment,00:02:43.303
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• the demand for new bank institutions brought about00:02:47.799
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• specific architectonic forms creating a single universal style.00:02:50.687
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• Easy to distinguish but rather hard to define.00:02:55.289
• 00:02:55.289
• The style bloated in shapes and colours,00:02:58.786
• 00:02:58.786
• reflecting the subsiding post-modernist style.00:03:01.550
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• The aspect of a strong modernistic tradition00:03:05.265
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• together with the previous regime heritage,00:03:07.627
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• especially the remaining technical imperfections,00:03:09.846
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• mix with post-modern features in a peculiar connection.00:03:12.391
• 00:03:12.391
• A settled architectonic style influenced by post-modernism00:03:27.331
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• as a depleted fashion wave started to predominate in most commissions.00:03:30.239
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• Bank and savings bank houses became symbolic representatives00:03:36.145
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• of architectonic and ethical failures,00:03:39.372
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• often called a poor or trashy post-modernism.00:03:42.570
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• Numerous theorists when describing such architecture00:03:49.901
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• speak about blank gestures,00:03:53.057
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• coulisse-like and histrionic facades,00:03:57.854
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• a tasteless eclecticism of style,00:04:02.763
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• parasites on modernism,00:04:07.181
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• unsuccessful copies of foreign examples.00:04:11.245
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• Banks and savings banks were driving force at that time,00:04:17.332
• 00:04:17.332
• which resulted in a negative response00:04:20.799
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• and experience among ordinary population00:04:24.611
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• and this was logically passed on the architectonic production.00:04:31.084
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• As there was a certain latitude and liveliness among architects,00:04:35.449
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• not only quality but also monstrous buildings emerged.00:04:40.830
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• All the bloated ideas, new shapes,00:04:47.785
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• statues and sculptures were included,00:04:51.365
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• but in a different way from the baroque or renaissance.00:04:54.907
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• The buildings often lacked in the right criterion or00:04:58.750
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• the right amount of restraint.00:05:03.393
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• Here the author ironically uses historicized forms00:05:12.025
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• in contrast to a modern glass construction.00:05:15.280
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• The irony is demonstrated by an intentional confusion00:05:18.304
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• caused by an unusual end point on the central axis00:05:20.725
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• but also a deformation of the facade made by a waved crack00:05:24.248
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• supported with plain monolithic piles and00:05:27.911
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• lion sculptures made by the sculptor Miroslav Páral.00:05:30.430
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• The facade looks like a fictive ruin,00:05:33.715
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• a torso of the past separated by a modern glass material00:05:36.185
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• from a socialist building from Boletic panels.00:05:38.975
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• The architect Michal Gabriel decided for a different concept00:05:43.619
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• of work with historicized form when projecting00:05:46.502
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• the Czech National Bank in Ústí nad Labem.00:05:48.766
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• We wanted to create a presentable space00:05:52.966
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• and the relation with a baroque church face00:06:00.262
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• appeared to us as an interesting form of dialogue00:06:06.073
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• between the church face and the bank main frontage.00:06:11.141
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• We wanted to establish more presentable and spiritual space.00:06:16.540
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• When you look at the frontages,00:06:24.272
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• a certain segmentation is probably apparent.00:06:28.265
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• Especially the segmentation of a giant order in individual squares00:06:34.741
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• repeating both at the baroque and the modern or post-modern building.00:06:38.406
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• The billowy building appeared interesting to us as it shows00:06:53.567
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• a certain dynamics, which I consider a certain feature00:06:59.710
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• of modern times or present days.00:07:04.572
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• Investment costs:00:07:08.053
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• I admit I wasn't really willing to accept when someone told me00:07:13.021
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• the building was too close to the church00:07:19.872
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• or that the glass blocks in the tower didn't go together00:07:24.348
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• with the baroque church located right next to it.00:07:29.180
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• That the round windows above the giant order00:07:34.052
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• are inappropriate and reminded of a swimming pool.00:07:36.405
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• I don't consider this a professional discourse.00:07:39.488
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• These features pushed the building to post-modernism,00:07:41.625
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• whether it's the cupola that should identify00:07:46.069
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• a certain point of rotation when the facade winds into00:07:48.655
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• a cylinder and keeps on in a different rhythm where00:07:52.846
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• shape creations in individual fragments change...00:07:56.119
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• So we had no limitations in this respect which is pretty rare situation.00:08:04.051
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• The bank even accepted a two-storey hall00:08:11.937
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• with a glass wall which meant a certain hazard.00:08:15.691
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• Inside there is a fantastic collection of contemporary art00:08:24.380
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• of both young and renowned modern artists.00:08:28.130
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• With the investor's assistant we visited the Academy of Fine Arts00:08:34.992
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• and selected some students' work the bank bought in the end.00:08:45.491
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• The collection is a part of the interior today.00:08:51.351
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• A very bold conception of a gilded pendulum made by Vratislav Novák00:08:56.627
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• is a very unusual feature on the facade.00:09:05.884
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• The bank provided us with an absolutely free hand at that time.00:09:10.992
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• Inside there is a very interesting counter which looks like an iceberg,00:09:14.660
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• it was made by Ivo Rozsypal, a glassworker from Nový Bor.00:09:18.546
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• We wouldn't even dream of such possibilities today.00:09:22.209
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• The Commercial Bank building00:09:33.856
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• In Ostrava by Evžen and Roman Kuba00:09:35.133
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• demonstrates another original approach to work with a post-modern language,00:09:37.579
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• which brings about completely unique and unintentional qualities.00:09:41.246
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• The authors worked with a dynamic material penetration00:09:45.428
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• of a modern minimalist morphology.00:09:48.503
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• An organic shaping of glass and white parts of the facade00:09:51.366
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• with typical features referring to modernism00:09:54.668
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• shows a strong and persisting influence00:09:57.328
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• of the post-modern architect Richard Meier.00:10:00.754
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• Similar architectonic composition evokes Meier's work so much00:10:04.047
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• that we can call it a diminished copy of his work.00:10:07.088
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• Česká spořitelna in Příbram shows00:10:17.685
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• a post-modern influence mixing with the post-revolution tendency00:10:20.177
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• to return back to the values of the Czech functionalism.00:10:24.087
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• Simple geometric forms shaped on the basis00:10:26.948
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• of placing the object into an existing housing development.00:10:29.885
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• Česká spořitelna in Příbram was our first bigger commission00:10:36.844
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• we acquired on the ground of an architectonic contest.00:10:42.966
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• It was a new experience for us,00:10:48.783
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• before that we had worked on a savings bank in Vlašim,00:10:51.868
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• but it was a smaller building.00:10:55.030
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• It was very lucrative and I have to admit it saved us,00:10:57.317
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• because there weren't so many commissions at that time.00:11:03.571
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• The savings bank project in Příbram00:11:08.425
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• was a kind of boost and a real start of our business.00:11:10.065
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• The locality was given at the beginning00:11:17.785
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• when the contest was announced.00:11:21.270
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• The locality is very specific and it inspired us00:11:24.102
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• with respect to the ground plan and material.00:11:27.129
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• The building is compact, but the shape is irregular.00:11:31.483
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• We tried to fill up an area which was empty00:11:36.653
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• as a result of pulling down old houses00:11:42.277
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• that used to be there and at the same time00:11:44.889
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• we wanted the building to fit in the street line and the square.00:11:47.539
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• From one side there are huge civil houses,00:11:56.322
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• a county court and a local authority from the 1970s,00:11:59.652
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• these are huge monolithic buildings of the prefabbed era.00:12:04.222
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• From the other side there is a small built-up area,00:12:11.594
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• which is quite diverse, there are houses with yards,00:12:15.248
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• picturesque facades and so on.00:12:19.611
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• Even though it is a solitary building,00:12:21.490
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• the horizontal structure of noticeable lines00:12:25.886
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• moderately reminds of00:12:29.486
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• horizontal structure of historical facades.00:12:33.191
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• On the other hand the building's mass fills one side of the square.00:12:38.047
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• I didn't work with post modernism on purpose,00:12:47.079
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• but everyone subconsciously follows certain examples and inspirations,00:12:50.267
• 00:12:50.267
• be it Louis Kahn or other post-modernist architects.00:12:56.758
• 00:12:56.758
• Everyone started to travel after the revolution00:13:02.113
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• and absorb both post modernism and functionalism00:13:05.864
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• some of us have embedded for a long time00:13:11.633
• 00:13:11.633
• regarding the Czech inter-war architecture.00:13:14.117
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• All this was a compilation of particular influences and inspirations.00:13:18.632
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• The building is designed as three wings connected into a triangular interior hall.00:13:25.637
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• The wings are structural triple-modules,00:13:34.993
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• the hall is glassed-in from above00:13:44.552
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• and it creates an exceeded multi-storey atrium,00:13:47.894
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• on the ground floor there are counters,00:13:52.057
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• on the first floor are separate departments,00:13:56.387
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• around there are offices with their own partitions or doors,00:13:59.106
• 00:13:59.106
• providing a quiet place for data processing.00:14:07.071
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• I discovered that the interior and00:14:38.359
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• office layout had not changed much,00:14:40.427
• 00:14:40.427
• only the house contents arrangement.00:14:47.270
• 00:14:47.270
• Even the chairs and the furniture remained the same00:14:52.934
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• we'd originally projected seventeen years ago.00:14:57.069
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• It's surprising that twenty years later00:15:06.218
• 00:15:06.218
• it still works quite well and there was no need00:15:09.284
• 00:15:09.284
• for any radical reconstruction.00:15:12.815
• 00:15:12.815
• There is something adversely common00:15:15.705
• 00:15:15.705
• about many of these realizations.00:15:17.428
• 00:15:17.428
• We may call such feature discreetly00:15:19.108
• 00:15:19.108
• as a lavish immoderateness.00:15:21.010
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• Luxurious or pretending to be luxurious materials00:15:23.682
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• are practically inevitable precondition.00:15:26.639
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• The more shiny marble the better.00:15:28.730
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• Immoderateness is often being demonstrated by00:15:32.179
• 00:15:32.179
• a bloated decoration which should brighten the building up00:15:34.079
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• and imprint the interior with a joyfully optimistic appearance.00:15:36.699
• 00:15:36.699
• Sometimes both tendencies happen to occur together00:15:42.338
• 00:15:42.338
• as if the building presented two characters or worlds.00:15:44.860
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• A respectable dignity and a joyful world of commercials.00:15:49.799
• 00:15:49.799
• The architect Vladimír Štulc together with00:15:55.706
• 00:15:55.706
• his colleague Jan Vrana projected00:15:57.783
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• three buildings for Česká spořitelna.00:15:59.583
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• Although each building is00:16:02.923
• 00:16:02.923
• situated in a different context,00:16:04.496
• 00:16:04.496
• the conception idea of a bank00:16:06.456
• 00:16:06.456
• as a uniform art work is evident.00:16:07.882
• 00:16:07.882
• We wanted the building to correspond with00:16:13.252
• 00:16:13.252
• the context of its surroundings,00:16:17.627
• 00:16:17.627
• which means an adequate mass,00:16:21.694
• 00:16:21.694
• structure and a scale but at the same time00:16:24.941
• 00:16:24.941
• also a simple modern shaping.00:16:28.202
• 00:16:28.202
• We didn't want to copy or refer to the history00:16:30.943
• 00:16:30.943
• of the central square or the neighboring ecliptic houses.00:16:37.692
• 00:16:37.692
• The building is based on a square ground plan,00:16:45.722
• 00:16:45.722
• due to its bit out corners it looks like a four leaf clover,00:16:49.102
• 00:16:49.102
• in the square of the main ground plan00:16:55.429
• 00:16:55.429
• there is a square hall placed diagonally.00:16:58.213
• 00:16:58.213
• It's roofed with a simple pyramid.00:17:02.720
• 00:17:02.720
• A primitive fundamental geometry.00:17:05.247
• 00:17:05.247
• There wasn't any problem to complete the building00:18:02.987
• 00:18:02.987
• with visual art at that time,00:18:10.485
• 00:18:10.485
• but it has currently lapsed into an oblivion.00:18:12.806
• 00:18:12.806
• Most investors have the money counted precisely00:18:16.890
• 00:18:16.890
• just to build the house but they are not really00:18:20.324
• 00:18:20.324
• interested in details such as sculptures or paintings.00:18:23.484
• 00:18:23.484
• The four seasons theme in the main hall00:18:38.287
• 00:18:38.287
• and a man being associated with them00:18:41.807
• 00:18:41.807
• was made by the professor Jiří Sopko.00:18:46.133
• 00:18:46.133
• We wanted it vividly colourful and00:18:49.930
• 00:18:49.930
• there was no need to convince professor Sopko about it00:18:54.007
• 00:18:54.007
• as he makes only colourful and beautiful paintings.00:18:57.443
• 00:18:57.443
• The entire bank hall is a huge art work.00:19:01.563
• 00:19:01.563
• The paintings in the meeting rooms00:19:07.071
• 00:19:07.071
• and the director's office were made by Aleš Lamr.00:19:11.082
• 00:19:11.082
• We designed just atypical features such as00:19:16.073
• 00:19:16.073
• a fountain in the main hall00:19:18.178
• 00:19:18.178
• or an illuminating column which works00:19:20.764
• 00:19:20.764
• as an entrance point of orientation.00:19:24.698
• 00:19:24.698
• In Pelhřimov we reconstructed00:19:47.705
• 00:19:47.705
• a building on a square,00:19:50.727
• 00:19:50.727
• It used to be a hotel and then a multi-purpose community hall,00:19:53.383
• 00:19:53.383
• where balls and theatre performances were held.00:19:59.122
• 00:19:59.122
• Our idea followed the manner00:20:12.516
• 00:20:12.516
• of savings banks from the 1930s00:20:17.302
• 00:20:17.302
• when they wanted to show they are savings banks,00:20:20.475
• 00:20:20.475
• they weren't top-class but functional buildings00:20:26.768
• 00:20:26.768
• and high-grade material was used.00:20:32.818
• 00:20:32.818
• We kept to the tendency by00:20:37.068
• 00:20:37.068
• using a combination of different colour stones.00:20:40.938
• 00:20:40.938
• The roof or transparent ceiling00:20:51.167
• 00:20:51.167
• should help an even illumination of the hall.00:20:56.047
• 00:20:56.047
• We also felt the hall,00:21:07.747
• 00:21:07.747
• which had a lower level of ceiling on both sides,00:21:11.350
• 00:21:11.350
• reminding of a basilica in a cross-section,00:21:17.760
• 00:21:17.760
• shouldn't have a flat and plain ceiling.00:21:24.376
• 00:21:24.376
• So the construction created a symbol of00:21:30.645
• 00:21:30.645
• a vault and as an antipole we used00:21:36.663
• 00:21:36.663
• a swagged tubular steel constituent which is00:21:41.388
• 00:21:41.388
• in the back part above the cash windows.00:21:45.731
• 00:21:45.731
• There are graphic transparent components inspired by00:21:52.072
• 00:21:52.072
• bank notes ornaments suspended in the steel construction.00:21:57.278
• 00:21:57.278
• They felt it was quite an important place00:22:12.745
• 00:22:12.745
• and because the housing estate was rather dull00:22:18.245
• 00:22:18.245
• and uninteresting, they wanted00:22:21.053
• 00:22:21.053
• the savings bank look noticeable or dominant in their words.00:22:23.391
• 00:22:23.391
• As it was a small building,00:22:32.151
• 00:22:32.151
• we tried to solve the dominant role00:22:35.026
• 00:22:35.026
• by shaping and lively colours.00:22:37.880
• 00:22:37.880
• The colours comes out from the ones00:22:41.959
• 00:22:41.959
• the savings bank uses - red and blue.00:22:44.193
• 00:22:44.193
• Functionalism proclaimed building was a statue,00:22:50.139
• 00:22:50.139
• so we wanted the building to look like a statue a bit.00:22:53.564
• 00:22:53.564
• The same goes for the one in Jindřichův Hradec.00:22:56.283
• 00:22:56.283
• It's projected as a composition of00:22:59.016
• 00:22:59.016
• an exterior building with a front glass wall.00:23:01.883
• 00:23:01.883
• Through the wall you can see an ordinary00:23:06.589
• 00:23:06.589
• prism of the operation itself,00:23:09.962
• 00:23:09.962
• in front of which there is the bank hall and00:23:13.496
• 00:23:13.496
• the prism has the structure of the exterior facade inside as well.00:23:18.741
• 00:23:18.741
• Similarly as in the two preceding projects,00:23:44.993
• 00:23:44.993
• we used stone for atypical features00:23:48.665
• 00:23:48.665
• of the interior house contents00:23:52.868
• 00:23:52.868
• such as tables, stools and the supporting element00:23:57.747
• 00:23:57.747
• or plinth for the counter or the entire shaping of the counter00:24:06.646
• 00:24:06.646
• and other atypical features such as00:24:13.237
• 00:24:13.237
• a plant pot or rather a round sculpture00:24:16.959
• 00:24:16.959
• in the tip of the bank hall.00:24:22.521
• 00:24:22.521
• Behind the counters there was a relatively big column00:24:28.983
• 00:24:28.983
• which was the point de vue of the entire hall00:24:35.806
• 00:24:35.806
• and there we projected a painting made by the professor Jiří Sopko.00:24:40.267
• 00:24:40.267
• As for the visual art aspect, we wanted the technicist hall00:24:53.520
• 00:24:53.520
• to demonstrate nature we were inclined to then.00:24:58.446
• 00:24:58.446
• In this case there's a motive00:25:04.776
• 00:25:04.776
• of water surface, lets say a South Bohemian lake.00:25:08.213
• 00:25:08.213
• The corridor to the offices on the first floor00:25:14.248
• 00:25:14.248
• is quite a spacious area,00:25:18.931
• 00:25:18.931
• there are graphics by Marie Blabolilová installed.00:25:21.216
• 00:25:21.216
• They are all simple black and white etchings00:25:27.226
• 00:25:27.226
• depicting nature, forest, trees00:25:32.269
• 00:25:32.269
• and things of such character.00:25:36.905
• 00:25:36.905
• They correspond with the geometric shaping of the building very well.00:25:40.114
• 00:25:40.114
• History proffers us traditional schemes00:26:05.337
• 00:26:05.337
• inviting to forms arousing almost sacred respect.00:26:08.150
• 00:26:08.150
• But isn't such connection of money world with00:26:13.110
• 00:26:13.110
• a superior, power imperial, patriotic and moral mission00:26:15.430
• 00:26:15.430
• rather outdated, misleading and inappropriate in present days?00:26:21.182
• 00:26:21.182
• Money institution is neither noble nor dignified.00:26:27.870
• 00:26:27.870
• It's a primarily very useful and practical institution,00:26:33.233
• 00:26:33.233
• nothing more but nothing less.00:26:36.709
• 00:26:36.709
• Banks and savings banks from the 1990s00:26:41.727
• 00:26:41.727
• represent an utterly specific phenomenon00:26:44.361
• 00:26:44.361
• being unjustly criticized in connection with00:26:46.490
• 00:26:46.490
• failures of the incoming capitalism.00:26:48.967
• 00:26:48.967
• Striking bank forms were regarded as00:26:51.850
• 00:26:51.850
• a certain ethical problem with respect to the Czech modesty.00:26:54.240
• 00:26:54.240
• The citizens criticized there were no resources to meet00:26:58.068
• 00:26:58.068
• fundamental welfare system and despite that,00:27:01.148
• 00:27:01.148
• there were institutions burning with money built.00:27:04.651
• 00:27:04.651
• In the course of time, the bank luxury became00:27:11.066
• 00:27:11.066
• undesirable and unsuitable for bank institutions.00:27:13.109
• 00:27:13.109
• The representative style of the early 1990s00:27:17.416
• 00:27:17.416
• presenting for many people a sterile elegance of00:27:20.187
• 00:27:20.187
• stainless steel, polished marble and reflective glass00:27:22.499
• 00:27:22.499
• was soon replaced by a general standardization00:27:26.435
• 00:27:26.435
• of individual components, mainly interiors.00:27:28.664
• 00:27:28.664
• Once luxurious but operationally demanding buildings were abandoned00:27:31.941
• 00:27:31.941
• and became problematic buildings waiting for demolition.00:27:35.223
• 00:27:35.223
• The wave running through our towns was unreproducible00:27:40.227
• 00:27:40.227
• and the demand is getting close to being saturated.00:27:43.881
• 00:27:43.881
• The buildings will remain there as a monument of00:27:47.724
• 00:27:47.724
• the founding era with both00:27:49.619
• 00:27:49.619
• its prospects and maladies for a long time.00:27:51.426
• 00:27:51.426
• Was it really wasting an unrepeatable era?00:27:55.523
• 00:27:55.523
• Or has the era become unrepeatable?00:27:59.123
• 00:27:59.123
• Are we able to reassess this architecture twenty years later?00:28:02.112
• 00:28:02.112
• Shall we also discontinue the long-standing tendency00:28:05.936
• 00:28:05.936
• predominating at the Czech architectonic scene00:28:08.319
• 00:28:08.319
• which aims rather for moral education00:28:10.735
• 00:28:10.735
• than for courageous experiments incitement?00:28:13.393

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