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
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• The style bloated in shapes and colours,00:02:58.786
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• 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
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• 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
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• 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 wor��fA��fA00:10:07.088

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