Vertical Studio Concept

Yearbook
2017 / 2018
Prague 2018
21 × 14.8 cm
140 pp
Illustrated
Paperback
www.archip.eu
Yearbook
2017 / 2018
Part 1
Timeline
Part 2
AD general concept description
Chapter 1:
Studio leaders’ general introduction
Chapter 2:
Studio projects winter term
Chapter 3:
Studio projects summer term
Chapter 4:
GA+D Studio
Chapter 5:
Master diplomas
Chapter 6:
Golden Roubík Award
Part 3
Essays
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95
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107
This second Yearbook
offers an overview of the
2017/18 academic year at
ARCHIP. With a focus on
the Architectural Design
studio works, the book also
features texts, drawings,
models, installations,
photographs and other
materials which document
the international and the
innovative nature of this
School of Architecture. It is
another year in the ongoing
story of the education
of future architects – in
design, urban studies,
technical sciences,
humanities and arts.

Editors: Klára Doleželová, Elan Fessler, Regina Loukotová
Copy Editor: Elan Fessler
Photography: Dominik Kučera, Rostislav Zapletal, ARCHIP archive
Graphic design: Eliška Kudrnovská, Designiq
Printer: AMOS Typografické studio, spol. s r. o.
Print run: 100
© ARCHIP 2018
ISBN 978-80-906990-0-7

Vertical Studio Concept
Regina Loukotová, ARCHIP Rector
The importance of the Design Studio within
architectural education is constantly empha-
sized. Recently, this became the main topic of
the European Association for Architectural
Education Annual Conference, held in The
Faculty of Architecture, University of Porto,
under the title: Design Studio as laboratory
for interactions between architectural educa-
tion and society.
There are two major models for the Design
Studio organization – a horizontal or vertical
system – where the horizontal one includes
the students from one year, while the vertical
system gathers together students from all
years.
At ARCHIP, we follow the principle of the
“vertical studio” model in the organisation
of the Architectural Design studio. Within
the Vertical studio, all years cooperate on
and develop projects for a single site and
program, yet their scale, scope and aims are
different. By this, we believe we can simulate
the competiveness of real life architectural
competitions.
There are in fact multiple independent
vertical studios at ARCHIP running in paral-
lel: four independent studios for the under-
graduate and graduate students. There are up
to 20 students per studio with each having
a similar number of first, second and third
year students.
While the project’s site and program are
the same for all studios, the specific design
approaches and methodologies within each
studio vary. Each is under the direction of
a different pair of studio leaders. After each
semester, students switch studios, to gain
exposure to the full range of practices and

Part 1
Timeline
design thinking unique to each studio. For
their final semesters, third year students are
allowed to select the studio of their choice.
Students become proficient in all phases
of the design process – from analysing the
brief, through searching for and developing
a concept and its architectural form, to the
final presentation of the design. Each phase
of this process (the concept, the project,
and the final submission) is marked with
a studio-wide presentation before a group of
invited reviewers.
In order to design and present projects in
the visual form, an architect needs to culti-
vate artistic sensibilities, master traditional
and digital media and the basics of the arts
and crafts. Every term is dedicated to explor-
ing graphic and presentation techniques (dig-
ital or hand drawing, handmade professional
models, technical construction drawings,
3D modelling, final slide shows). And every
semester project is compiled into a portfolio.
To sum up with the words of Eugene Asse
(Dean of MARCH in Moscow):
Working in the studio is always improvi-
sation. The main tool of the studio is the
conversation. Studio work is most similar to
a psychotherapeutic session, where students
and teachers are then alternately the doctor,
the patient. We talk, eliciting secrets from
each other and seeking frankness.

Part 1 — Timeline ARCHIP 2017/18 54 Part 1 — Timeline ARCHIP 2017/18
July 2018
1. 21/07–05/08/2018:
5 parallel workshops took place during this
year’s Summer School, under C4NC (Center
for Next Crafts) – ARCHIP’s interdisciplinary
research branch – focused on the intersection
of emerging technologies, design, science and
practical craftsmanship. The unique, 2 week
workshops covered 5 separate “futuristic”
programs: Outer Limits: Exploring the Limits
of Architecture, Alien City, Feral City: Future
Scenarios Design in Urban Context, Immer-
sive Spaces: Design Process in Virtual Reality,
“Smart” Contracts with Humans & Things:
Design for Blockchain & IoT, and From Lollipops
to Wearables: Open Hardware Design with Soft
and Flexible Circuits.
June 2018
2. 26/06/2018:
The Final Ceremony for ARCHIP’s graduating
class of 2018 was held in the large auditorium
hall in DOX. Family and friends gathered to cel-
ebrate the occasion of 25 graduates – ARCHIP’s
thus far largest class – which also included
our first Master’s graduates and a diverse rep-
resentation from Mexico, Guatemala, Morocco,
Norway, Russia, Ukraine, Kyrgyzstan, Uzbeki-
stan, France, Iran, the Czech Republic, Korea,
Croatia, the United States, Libya and Singapore!
The student speech – playful yet serious – was
delivered by Isaac M. Sabido about the ARCHIP
family and lasting friendships. Thank you for
your hard work during these years. Congratula-
tions to all!
3. 24/06/2018:
ARCHIP co-sponsored and participated in the
second annual Holešovický Slunovrat –
a neighborhood-wide celebration of the Sum-
mer. Some of our students’ models were also
on display to the public in an event in Tusarova
park.
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4. 23–24/06/2018:
Design Disco participated in Maker Faire!, the
largest worldwide exhibition of innovation, cre-
ativity and invention. Taking place in Prague, for
the first time, in the Industrial Palace in Prague
7, ideas, knowledge and novel productions were
shared within an informal meeting space. With
the support of ARCHIP, the passionate student
volunteers of Design Disco spent the weekend
at the Faire!, showcasing their interactive exer-
cise “Puzzle Furniture”.
5. 18–21/06/2018:
At the Final State Exams, which took place
over four days, students presented and defend-
ed their projects in response to questions within
the disciplines of architecture, construction and
history. The external juries were chaired by Jan
Hájek, Petr Šmídek, Jan Holna and Petr Lešek
on each respective day. Well done!
6. 7/06/2018:
DOX Centre for Contemporary Art opened
a brand new exhibition and project #DataMaze
to show how the Internet has become omni-
present in our lives over the past 30 years. The
exhibition evolved in time (as it is a constant
work-in-progress), with the aim to see this data
revolution from a critical perspective, through
art and design as well as workshops and educa-
tional activities.
7. 5/06/2018:
What is this generation like?
ARCHIP faculty and management participated
in a research seminar which presented infor-
mation and analyses of the rapidly changing
circumstances surrounding pedagogy in an
increasingly digitised and networked age. The
overview provided insights and ideas for how
to improve both teaching and learning in the
school.
May 2018
8. 31/05/2018:
The GoRo IV. award was announced at this
year’s exhibition opening party in the spac-
es around the DOX+ auditorium. The Diploma
projects remained on display for two weeks.
This semester’s GoRo Jury was Ivan Boroš and
Juraj Calaj from Edit! and Sean Clifton from
Jestico+Whiles. The award for Best Student
Project went to Kryštof Redčenkov for his Film
Institute-Prague, while the Best Studio award
went to Nasadil-Duba for 150 m of Culture.
A Special Mention Award was also granted to
all the first year students for their collaborative
row house project, “U Městských domů”. The
beautiful display of work filled the vast space
with a great excitement!

Part 1 — Timeline ARCHIP 2017/18 7
9. 21/05/2018:
ARCHIP had the honour of hosting Casimir
Zdanius, the Head of Industrial Design at Grim-
shaw Architects for a lecture about their
current work. Founded by Sir Nicolas Grimshaw
in 1980, the practice operates worldwide with
offices in New York, London, Melbourne, Sydney,
Doha and Dubai, employing over 500 staff. Mr.
Zdanius underscored the importance placed
in their office of engineering all aspects of the
project, and on cooperation with manufacturers,
while thinking about longevity, efficiency of
construction and maintenance throughout the
design process.
10. 16/05/2018:
Barbara Stec, teacher at Andrzej Frycz Modrze-
wski Kracow University, visited ARCHIP as part
of the cooperation between our Universities
through the Erasmus program. During her one
week visit, she taught two lectures for the
Building Environment course and one lecture
for Construction II. She also gave a beautiful
and poetic presentation of her research on the
complexities and nuances of light in archi-
tecture, with attention to its influence on the
atmosphere and the experience of space.
11. 10/05/2018:
ARCHIP lecturers Markéta Mráčková and Barb-
ora Šimonová and their cultural cooperative
cosa.cz, prepared a series of events at
VIPER gallery, on the theme “Form Follows
Money”: Outsiders, Cooperative Movement and
False or Post-Truth.
6 Part 1 — Timeline ARCHIP 2017/18
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April 2018
12. 20/04/2018:
Letters to the Mayor is an initiative that
displays letters written by architects to their
city mayors. Started in 2014 by Storefront for
Art and Architecture in New York, it has been
presented in more than 15 cities worldwide.
The project serves as an act of evaluation of the
city’s past, present and future. Rector, Regina
Loukotová, was invited to participate with other
internationally recognised architects.
13. 06/04/2018:
Máme otevřeno (We are Open) is an annual
event in Prague 7: 1 evening. 1 neighbourhood.
40 places. ARCHIP’s studio spaces were opened
to the public featuring a special installation
event. Curators Atoosa Ghanaei, Sinan Birsel
and Megi Davitidze together with Design Dis-
co, prepared Outside In: Prague Happiness,
Part II. Using familiar elements encountered
daily within the city, such as traffic signs and
benches – combined with new messages – the
aim was to make new meanings and messages
in public space.
14. 05/04/2018:
As part of the Ecology course taught by Henry
Hanson, students participated in a workshop
along both sides of the Czech-Austrian
border. They conducted intensive, on-site re-
search to explore and document physical, social
and environmental characteristics of selected
small towns, their landscapes, histories and
current forms.
15. 05/04/2018:
ARCHIP Students and Faculty joined those
of the Faculty of Architecture at ČVUT, upon
Libenský bridge, to express their opinions
against its planned demolition. (Most recent
news about the bridge indicates that it will be
renovated and preserved).
16. 10/04/2018:
Students and Faculty from ROC Nova College
Technology (NL) visited us in our studios and
shared some of their work with us. We appreci-
ated our exchange of knowledge, experiences
and project ideas. Nice meeting all of you!
March 2018
17. 29/03/2018:
A discussion between writers and architects,
expressed through stories and illustrations,
took place at DOX as part of the world premiere
of the I WELCOME project.
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18. 15/03/2018:
As part of their Urban Design – Critical Cities
course, second year Bachelor’s students pre-
pared the exhibition “PSYCHOMAPS”: psycho-
geographical readings of cities, drawn from the
writings of Guy Debord and WJ Mitchell. The
beautiful drawings were exhibited in the main
entry foyer of DOX+.
19. 15/03/2018:
Fourth year Master’s students participated in
a student workshop competition: “Crown for
Poruba”, organised by the Technical Univer-
sity of Ostrava. The workshop goals were to
propose a new possibility for the public space
within and between an ensemble of residential
and retail objects of the 1960’s city fabric.
20. 15/03/2018:
Visiting Teachers Toni Kotnik and Pia Fricker
(Aalto University Helsinki) presented an
overview of their school, its pedagogy and
teaching methods. We discussed and compared
our two academic programmes, and the simi-
larities and differences between the Finnish and
the Czech contexts.
21. 14/03/2018:
Mikesch Muecke and Diane Al Shihabi (Iowa
State University) are currently working with
their students in Prague on the 3D scanning of
Villa Petschek in Bubeneč. Their special pres-
entation outlined the tension between conven-
tional preservation techniques and cutting-edge
technologies – revisiting historical preservation
through emerging tools of virtual reality.
22. 10/03/2018:
The annual students’ architectural-urban com-
petition SUPERSTUDIO was founded by AD
assistant David Neuhäusl in 2010. This year’s
theme was affordable housing in the city centre,
with as many as 98 teams participating!
February 2018
23. 26/02/2018:
ARCHIP students partook in the “A Vision for
Prague” event organised by DOX, under the
topics “What do we miss in Prague?” and “What
Prague needs?”. The event and initiative, asked
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for students’ visions of and for the city. Selected
student proposals were presented by our stu-
dents within a public panel discussion, along
with an exhibition of selected projects from last
semester.
24. 26/02/2018:
This AD Summer semester marked a number
of “firsts”: a new approach of teamwork for our
1st year students, our first full semester within
the new school premises, and the first Diploma
projects from our Master’s students.
January 2018
25. 31/01/2018:
The GoRo Award III. ceremony doubled as
the official Opening Party of ARCHIP’s new
location at DOX+. The finalists for Best Project
were Dandika Thanos: Collective Fragmentation
(Dlesk-Horová studio), and Ewa Wroblewska
and Megi Davitidze: Bohemian (Schindler-Fes-
sler studio). The winning award went to Vla-
dyslav Alyeksyenko and Kryštof Redčenkov:
BiodiverCity (Wertig – Neuhäusl studio). The
award for Best Studio went to Schindler-Fessler
studio.
26. 25–29/01/2018:
Over four days of final AD presentations, the
four Architectural Design studios exhibited their
individual and group projects before an external
jury of critics. The works were installed as an
exhibition gallery, along the walls of the shared
studio spaces, showing models, drawings, port-
folios, posters and video presentations. While
the scale of the task of urbanism was quite
a challenge, as a whole could be seen, an im-
pressive amount of creative work!
27. 09/01/2018:
The GA+D Future Cities Design Studio, led
by Peter Stec, started its Spring semester
project with the participation of eleven visiting
international students as well as regular AR-
CHIP students. The studio took the theme of
a Haunted Pavilion as its topic, building upon
last semester’s site just under the rampart of
Vyšehrad in the garden of CIEE.
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28. 01/01/2018:
ARCHIP was registered into the Registru
tvůrčích/uměleckých výstupů (RUV MŠMT),
a public index of information, used for a broader
research into the results and methods of artis-
tic fields taught at Czech universities.
December 2017
29. 28/12/2017:
After a year of renovating the DOX+ expansion,
ARCHIP began the big move into its new prem-
ises. The school is proud to be located within
this important institution, and the connections
between our creative programs is set for many
mutual benefits. Among the new elements in
our campus are a large auditorium hall, a new
cafe and courtyard, and a renovated 6 story
administrative building – of which ARCHIP occu-
pies 3 floors with studio spaces, lecture rooms,
a student lounge and a workshop and art studio.
30. 21/12/2017:
To some degree all parties which involve dance
are moving parties, but this one was special!
The Annual Christmas Feast, a student-or-
ganised dinner, was a celebration of five years
at our address on Františka Křížka. As per tra-
dition, students brought foods from their own
countries, in a sharing of traditions and palettes.
The occassion also doubled as an opportunity to
exchange gifts in an anonymous grab-bag game
of White Elephant, and to say goodbye to our
studio space as we moved into our new home.
November 2017
31. 27/11/2017:
CCZA (Česká cena za Architekturu), the Czech
Prize for Architecture, is a recently established
national award for Architecture in the Czech
Republic – now in its second year. The awards
ceremony took place again this year at Jatka78
(a performing arts theatre in Prague 7). Five of
our teachers won awards this year: Pavel Nas-
adil, Elan Neuman Fessler, Adam Gebrian, Igor
Kovačevič, and Jaroslav Šafer.
32. 16/11/2017:
On a trip to CIEE Berlin, Global Architecture
and Design (GA+D) students presented their
projects for “Haunted Pavillion” to their col-
leagues from Barcelona and Berlin.
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33. 23/11/2017:
The Villa Petschek is a house with a fascinat-
ing story, currently undergoing extended recon-
struction over the coming years. ARCHIP will
be taking part in this project. It is owned by the
National Literary Fund and is being reconstruct-
ed as their new headquarters. A few students
visit the construction site each Monday, to learn
about restoration, the role of the architect dur-
ing construction, and to document the process
of the building’s renovation.
34. 3/11/2017:
The design-build weekend at mmcité was
organised by the instructor of the Product De-
sign course, Jerry Koza. During the trip to the
mmcité product design company in Bílovice,
students toured the factory to see the produc-
tion processes of this world-renowned furniture
maker. The design-build workshop began when
students received their project brief: “An object
that will accommodate 3 people sitting on it.”
Students designed and built many beautiful
(and useful) ideas!
October 2017
35. 31/10/2017:
Halloween cannot be any more fun than it al-
ready is but ARCHIP added new creative twists
to the celebration. Lots of students around,
pivo pong tournaments, good music, photo-
shoots and a best costume contest. Among the
amazing costumes, the first prize was given
to the demon of the underworld, Iman Aljoaki,
the second prize to the futuristic couple, Isaac
M. Sabido and Kaltrine Kabashi and the third
prize to the elf, Martyna.
36. 13/10/2017:
Design Disco Bergen sprouted roots in Nor-
way, in collaboration with KODE Art Museum,
with its first workshop series, led by Tina Athari,
about space in architecture, furniture and form.
The sessions focused on how public spaces are
experienced, through site analysis, critical dis-
cussion and physical installations. The partic-
ipants debated architectural concepts such as
informal program, materials, and sensory stim-
ulation. The workshops visited three distinctly
different public spaces:
Lille Lungegårdsvann – a high-traffic area
enclosed by water and trees, Den Blå Steinen
(aka The Blue Stone)— Bergen’s most famous
meeting point, and Marken – a historic area
lined with medieval streets.
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10 Part 1 — Timeline ARCHIP 2017/18 Part 1 — Timeline ARCHIP 2017/18 11

37. 20/10/2017
This year’s trip to the Venice Art Biennale was
fully organised by the Student Senate. The way
artists achieved and expressed their aims made
an impression on the students. As second year
student Megi Davitidze said “we saw how di-
verse art can be and how many ways there are
to achieve the goal.”
38. 12–15/10/2017:
Organised by professor Henry Hanson, AR-
CHIP’s Landscape Design course set off for
a weekend visit to the city of Berlin. A four
hour train trip north of Prague set the tone for
the excursion, with the region’s unique natu-
ral topography and beautiful river landscape
along the way. The visit was a joint trip with
colleagues from the Landscape and Architec-
ture Studio at ČVUT. Students were to observe,
document and discuss places of significance
which they discovered within the landscape of
the city.
39. 06–09/10/2017:
ARCHIP student volunteers participated in
lectures, tours, and discussions with over 150
professional architects, as part of the Interna-
tional AIA conference in Prague. Hosted in
the Valdštejn Palace of the Czech Senate, the
four-day event brought this diverse group of
architects together to hear from experts from
the Czech Republic speak about the history, ur-
banism, future developments, and recent works
of the city of Prague.
September 2017
40. 25/09/2017:
The New Academic Year begins! School
started on Monday at 10.00 AM – were you
there? Every year, we look forward to seeing all
of our students at ARCHIP, those returning and
those arriving for the first time! ARCHIP warm-
ly welcomed 20 new students to this Winter
2017–18 term. 41
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41. 12/09/2017:
Four ARCHIP students attended a design
workshop in Gyor, Hungary with studio lead-
er Jaroslav Wertig (A69) as part of the Creative
Week. The five-day workshop was speculative,
and TRANSITION was the theme they had to
work with. The task was to make temporary
pavillions, in groups of 2–3, using only a roll of
rope and minimal additional materials, and to
install them in an environment and in a way of
their choosing, which reflected their interpreta-
tion of the theme.
42. 05/09/2017:
The Shanghai Institute of Visual Art (SIVA)
invited ARCHIP to present at a conference in
Shanghai on the topic of “Conflict and Fusion”
at the 12th annual International Advisory Group.
Vice-Rector, Klára Doleželová and AD studio
instructor Elan Neuman Fessler shared a two-
part presentation about the school’s history,
structure, accomplishments and aims, and also
a case-study review of the INVALIDOVNA Sum-
mer Workshop – 2016, which had the participa-
tion of students from SIVA.
43. 01/09/2017:
Regina Loukotová, Rector of the school, began
her 6 month Fulbright Scholarship at Carneg-
ie Mellon University in Pittsburgh.
June-August 2017
44. 24/07–04/08/2017:
This year’s two-week summer workshop –
Prague Discoveries – was co-organised with
COSA.CZ. The workshop introduced „storytell-
ing“as an approach within the field of architec-
ture. Three main aims were: To work “in situ”
on the basis of interdisciplinary approaches
to art and architecture; to make extensive on-
site excursions to better understand the city’s
heritage; and to work with other international
students and instructors to gain valuable local
perspective.
45. 23/06–10/09/2017:
Cultural Hijack is an exhibition of intervention-
ist art and “artivism”, which was installed within
ARCHIP’s gallery space at Františka Krížka.
Cultural Hijack explores the work of artists
who intervene to reclaim the right to the city as
a site for free expression and critical engage-
ment; understanding social space in political
terms. It brought together leading artists from
around the world with a new generation of
Czech artists to present new perspectives on
how our cities shape our thoughts and actions,
and the steps we might take to shape our own
environments.
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Part 2 — AD general concept description ARCHIP 2017/18 17
AD general concept
description
Architectural Design (AD) is the most impor-
tant course (with 10/12 credits) which practi-
cally and systematically draws on knowledge
from other courses. AD is a vertical studio,
where students of all years work on the same
theme within their particular studio. Only
the requirements for delivery, like the level of
detail and complexity, vary between different
years. Students share not only their design
experience together, but other programs of
the studio (such as lectures, field trips, pres-
entations, external critics).
The first and last terms of the Bachelor
studies follow a slightly different approach.
The 1st term is an introduction to Archi-
tectural Design. Two or three smaller tasks
come before the main project. The final, 6th
term on the other hand is dedicated to the
Bachelor diploma project.
Architectural Studio Design Briefs cover
different scales and types of problems and
their themes and topics change from one
semester to the next: from small buildings –
(dwelling), big buildings – (public use), recon-
structions – (interior), to landscapes – (public
space).

Chapter 3
Part 2 — Studio leaders’ general introduction ARCHIP 2017/18 19
Chapter 1
Chapter 1:
Studio leaders’
general introduction
Dlesk-Horová studio
“We believe that the role of architecture lies
in the responsible cultivation of the human
environment. Although every detail matters,
there is a hierarchy of importance, a rela-
tionship between detail and the whole, that
an architect should be aware of in his work.
The less important must be able to obey the
more important. This applies to architecture
in general; to its aesthetic as well as prag-
matic aspects; and to all its scales: human
settlements should honour nature, city dis-
tricts should honour the city, a house should
honour a street or a square, a window should
honour a house, a door-handle should hon-
our a door… However, this chain of values is
interlinked and might work also inversely as
a kind of butterfly effect.
Our aim is to guide students to be able to
recognise and to be aware of this hierarchy.
We would like to motivate them towards
a confident and rational approach; to help
them to resist the temptations of unfounded
ostentation; to believe in the human mind
and hand; and to celebrate everyday life also
in its most ordinary expressions.”
René Dlesk has been the Chair of the Archi-
tecture and Urban Design Studio since 2017.
René is a Prague based architect, currently
running the RDTH office of architecture with
Tamara Horová. In 2010 René co-founded
P-U-R-A, an international research and de-
sign architectural initiative that has operated
in the network of offices between Prague,
Milan, and London. He graduated FA STU in
Bratislava in 2006, he received his Ph.D. for
his thesis on invasive interventions in urban
spaces at the Institute of Urbanism in 2017.
www.rdth.cz
www.facebook.com/RDTHarchitekti
www.instagram.com/rdtharchitekti
rene.dlesk@archip.eu
Tamara Horová has been studio assistant at
ARCHIP since 2017.
Tamara graduated from FA CTU in Prague
at 2015. She gained work experience in Swit-
zerland and Catalunya before she co-founded
RDTH office with René Dlesk in 2017.
tamara.horova@archip.eu
Nasadil-Duba studio
“We teach architectural design which is
contextual, not radical. One of the studio
objectives is a responsibility to context in its
broadest sense. We see context as a frame-
work and ultimate source of limits and inspi-
rations. When we build in a physical environ-
ment, no matter if urban or natural, there’s
always context to work with. We believe that
good architecture must contribute to context
rather than harm it and that contextual limits
are positive contributors to the design pro-
cess. We favour evolution to revolution, both
in architecture and studio work. Hence the
only way to evolve is through an inventive
design process with a strong emphasis on site
sensitive concepts.”
Pavel Nasadil has been the Chair of the
Architecture and Urban Design Studio since
2015.
He is a practising architect and founding
partner of the Prague-based studio FAM Ar-
chitects whose projects are very successful in
open competitions and are widely published.
FAM Architects started out in 2005, as a ven-
ture between the UK firm Feilden + Mawson,
Pavel Nasadil and Jan Horky. FAM Architects
specialise in private residential projects, pub-
lic buildings and transportation hubs with
complex topology and master planning in the
Czech Republic, UK and abroad. They often
collaborate on public projects as part of large
international design teams.
www.famarchitekti.eu
pavel.nasadil@archip.eu
Martin Duba has been studio assistant at
ARCHIP since 2016. He is a Prague-based
practising architect.
martinduba.cz
martin.duba@archip.eu
Chapter 1
18 Part 2 — Studio leaders’ general introduction ARCHIP 2017/18

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 drawing.
In the development stage of the project, our
focus is on abstraction and dialectical rea-
soning. We encourage the process of discov-
ering meaning, form and structure, through
the practice of architecture.
The studio follows a cumulative method
of development – “from the inside-out”,
which consists of a series of bi-weekly as-
signments and desk discussions through
which the concept is developed and refined
in a series of steps, each adding more scale
and complexity to the project. This extended,
dialectical structure of the studio is a process
of working through the project from multi-
ple perspectives, through layers and scales;
this cultivates multi-dimensional reasoning
applied to a specific situation and site. The
aim here is to embody and to represent an
elemental meaning with clarity and purpose
as a form of Architecture … to situate ideas
into the world.“
Jan Schindler has been the Chair of the
2011.
He is an architect and founding member of
a Prague-based architecture practice, SCHIN-
DLER SEKO architects, together with Ludvík
Seko, since 2005.
Their first significant breakthrough came
in the form of an international competition
for the River Gardens development in Prague
8 – Karlín in 2005, on the embankment Ro-
hanské nábřeží. They have since built and
continue to build many buildings in Prague.
www.schindlerseko.cz
jan.schindler@archip.eu
Elan Fessler has been studio assistant at
ARCHIP since 2012.
He is an architect and has worked in Pitts-
burgh and New York before moving to Prague
in 2007. He is currently building up his stu-
dio, Emergenative Architecture.
www.emergenative.com
elan.fessler@archip.eu
Wertig-Neuhäusl 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.
It is impossible to transfer any informa-
tion, experience and knowledge.
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
2011.
He is a practicing architect. Together with
Boris Redčenkov and Prokop Tomášek, he
founded the Prague-based A69 architects
twenty years ago. Their design work covers
a broad range of projects from interior design
to private residences, family and collective
housing, public buildings, healthcare fa-
cilities, offices, etc. Their work is regularly
published.
www.a69.cz
jaroslav.wertig@archip.eu
David Neuhäusl has been studio assistant at
ARCHIP since 2016. He is an architect with
a Prague-based practice. He conceived and
organises Superstudio, a student idea contest.
He writes about architecture and related
topics for BiggBoss label.
www.neuhauslhunal.cz
www.superstudiocontest.cz
david.neuhausl@archip.eu
Part 2 — Studio leaders’ general introduction ARCHIP 2017/18 21
Chapter 1 Chapter 1
20 Part 2 — Studio leaders’ general introduction ARCHIP 2017/18

GA+D Studio
“Utilizing an approach that is interdependent
and interdisciplinary, students are encour-
aged to inquire, debate, collaborate, conduct
experiments, and rethink the potential of
today’s architects and designers. The aim
is to develop a language of technological
design that can create immediacy between
individual responsibility and the current
global environmental crisis. Environmental
problems are a crisis of human alienation
from the natural world, and the Future Cities
Studio explores ways in which humanity
and nature can come back together. What is
required in order to comprehend globality
today is a close study of specific places, cities
and cultures. To create an educational expe-
rience that breeds cosmopolitanism, Global
Architecture and Design in Prague works
with elements of history and tradition just as
it takes full advantage of new technologies
and the opportunities of global exchange.”
Future Cities Design Studio
Peter Stec has been Chair of the ARCHIP
FCD Future Cities Design Studio since 2017.
He is a practising architect with feet firmly
planted in academic research: he recently
completed a Fulbright Advanced Research
fellowship at Rice University and led studios
at Cornell University, the State University of
New York at Buffalo and the Academy of Fine
Arts and Design in Slovakia.
www.peterstec.com
peter.stec@archip.eu
Future Cities Seminar
Martin Hejl is a Future Cities Studio lectur-
er, teaching the Future Cities seminar since
2014. In 2015, he began teaching research
and theory of architecture at ARCHIP MA+U.
He is an architect. His Prague based practice
is greatly involved with academic research.
He worked on the Czech and Slovak pavilion
at La Biennale di Venezia in collaboration
with the Faculty of Arts and Architecture of
Technical University in Liberec, the Fine Arts
Academy in Bratislava and the Czech Techni-
cal University in Prague.
www.kolmo.eu
www.loomonthemoon.com
martin.hejl@archip.eu
Future Cities Workshop
Shota Tsikoliya is a Future Cities studio
lecturer teaching the Future Cities (Science,
Engineering, and Technology) Workshop
since 2014.
He is an architect and a PhD student at the
Academy of Arts Architecture and Design in
Prague. The focus of his doctoral research is
computational design and emergent archi-
tecture. He holds a position of assistant pro-
fessor at the Academy of Arts, Architecture
and Design in Prague in the studio Architec-
ture III.
www.issuu.com/shota_tsikolia
shota.tsikolia@archip.eu
Part 2 — Studio leaders’ general introduction ARCHIP 2017/18 2322 Part 2 — Studio leaders’ general introduction ARCHIP 2017/18
Chapter 1 Chapter 1

Chapter 2
Part 2 — Studio projects winter term ARCHIP 2017/18 2524 Part 2 — Studio projects winter term ARCHIP 2017/18
Chapter 2:
Studio projects
winter term
Winter term 2017/18: studios’ selections of students’ works.
AD1 introductory projects (same for all first year students):
Before taking part in the main semester design project, AD1 students worked
on a pair of introductory tasks. While these tasks demonstrate technical and
conceptual skills, they also serve to familiarize and to orient each student with-
in the surrounding city and the school.
Task 1
Piece of Prague (1 Week)
Students are invited to pick an urban
space of a certain size (10 × 10 × 100
meters) and document it at 1 : 100 scale,
using only pencil on paper. Students
also outline their activities if they were
to stay for 10 hours within this selected
space. This task lasts only 1 week. It is
not about design, but about observing
urban life and exploring the city – a new
challenge for most beginning students.
Task 2
My Space (2 Weeks)
Students abstract part of their real
studio space, from floor to ceiling,
including columns and a wall. They
remodel the space and design it for
themselves, as a temporary project,
suitable for spending their time,
working, relaxing, etc. The projects
also reflect the individuality, the
character, interests or origins of the
authors. The task is presented only
with a 1 : 10 model, after 2 weeks of
design work.
Chapter 2

Chapter 2Chapter 2
AD1+3+5+7+9 Semestral Project General Brief:
Urbanism in Prague 7
Site for all studios:
The lower portion of Holešovice, Prague 7
The themes of the AD studio briefs for
this semester varied between studios,
yet all projects engaged the question
of the future of Prague 7 – specifically
the lower portion of Holešovice within
the bend of the Vltava river. The area of
the entire neighbourhood was divided
amongst the four AD studios, each
with its own site, scale, theme and
approach.
“Correlating Patterns”, in Dlesk-Horová
studio, focused on the triangular,
brownfield site on the southern
embankment. “Terrain Vague”, in
Nasadil-Duba studio, focused on vacant
spaces in the city. “Pu77le City”, in
Schindler-Fessler studio, focused on
the area surrounding Holešovice train
station. “H – – – – – – – – E”, in Wertig-
Neuhäusl studio, focused on a re-
thinking of the entire peninsula.
A new approach for the 80 %
presentations was tested this
semester. Studio leaders switched
positions, crossing into each other’s
studios, to look into each project with
a familiar yet different perspective.
Students presented their (almost-
finished) work before this internal
jury – as a practice round before their
final presentations – when external
critics were invited to the school to
review the students’ completed work.

Chapter 2 Dlesk-Horová Studio
Dlesk-Horová Studio
Correlating Patterns
For this semester we’ve chosen a triangular site in
Prague 7 defined by Komunardů and Tusarova streets
and the riverbank. It is a site which contains the strong
presence of its industrial past. It is a site full of physical
contradictions and apparent discontinuities: a site with
a lot of potential. The site has been affected by the
spontaneity of utilitarian solutions which are seemingly
applied without any conscious framework for a complex
urban development.
During this semester, we will use this site to study
how urbanity is composed of more than just patterns
of physical matter. Equally important are rich patterns
of social interactions, human culture and the natural
environment: these are all interlinked, affecting each
other. The presence of these intangible matters exceeds
physical boundaries and can be felt beyond the limits of
the given site or neighbourhood.
By unveiling those patterns and understanding their
correlations, we will try to suggest grounding principles
for further interventions on this site to become catalysts
of new urban qualities.
The key virtues of studio candidates are open-
mindedness and patience, enthusiasm and a proactive
approach to learn and to explore.
Part 2 — Studio projects winter term ARCHIP 2017/18 29

Fadri Horber (AD3):
MODULARITY
The main points of the new design are to challenge
the existing site while still respecting it. In the
proposal, most of the existing buildings have been
removed and the road grid has been reconfigured.
With the highest buildings placed on the edges of
the site, they gradually lower towards the riverbank.
A contemporary and energy efficient design is
proposed which respects the modular rectangular
buildings and their inner courtyards. Only one building
contradicts this new layout: the existing historical
Silo. It is preserved in place and the riverbank is
reconfigured according to its new function. The site
is further connected to Karlin with a pedestrian-only
bridge and a new boardwalk connecting to the Market.
Dandika Thanos (AD7):
COLLECTIVE FRAGMENTATION
ISOLATED
The existing buildings feel isolated and the street grid
focuses too much on car access.
RECONNECT
By connecting focal points and tram stops, the new
street grid can give way for pedestrian access to the
site.
RENEW
New blocks with access to public courtyards and views
to the river revitalise the site.
Chapter 2 Dlesk-Horová StudioChapter 2 Dlesk-Horová Studio

David Lameš (AD7): COURTYARDS
The semester’s theme of urbanism hit a deep note
with me. I always considered urbanism to be a form
of monumental, all-encompassing architecture,
one that is in a league of its own. After all, people
don’t ask what house you live in but where you live.
Context is of the utmost importance in urbanism as it
shapes our understanding of spaces and of ourselves,
otherwise the terms Londoner, Parisian, or “Pražan”
would not have any meaning or purpose. When
confronted with a part of the city that was surrounded
by other urban areas, the issue of interpreting context
was paramount. I tried going through preliminary
experimental phases to see if this district could or
should have an alien character to its surroundings,
but in the end, I came to the conclusion that at this
scale, incorporation and incubation through continuity
should be the goal of the development. As a result,
I tried to maintain as many “relics” of old Maniny as
possible, to use them as puzzle pieces for developing
something new, while still in the familiar context of the
surrounding cityscape.
Louise Nebelsztein (AD9):
URBAN ODDITY (Jablonec nad Nisou)
WHY JAB’?
Two years ago I got a road bike, having decided to
reach the South of France from Prague. I tested the
bike before going on that long trip and visited a friend
in Jablonec nad Nisou, hurt my knee, and never made
it to France. I fell for that intriguing North Bohemian
city. A heart stopper.
THE CITY
The city of Jablonec nad Nisou is situated in the North
of Bohemia in the Jizera Mountains. It is known for
the production of costume jewellery, based on a glass
production tradition since the second half of the 17th
century. It used to be part of the Sudetenland, an area
in Czech Republic populated by Germans until 1945.
The city has now 45‚000 inhabitants.
AN URBAN ODDITY
To put it in simple words, based on immediate feelings
when you enter the city, something feels wrong with
Jablonec nad Nisou. Amazing architecture left to
decay. Empty plots. Empty shops. A juxtaposition of
different typologies of public and private spaces. No
access to the river. Sometimes good, often terrible,
house refurbishments. This, in a region that has one of
the best schools of architecture in the Czech Republic,
in Liberec. Jablonec has beauty but people perceive it
as “grey and ugly”. This brings many questions to mind.
And it is the trigger of the present study.
INTRODUCTION TO THE METHODOLOGY
Understanding a city in its whole complexity is not
a matter of a few months. Therefore I am taking this
limitation into consideration. I base this project on
a sensitive approach rather than an empirical analysis.

Nasadil-Duba Studio
Terrain Vague
Vacant places in the urban periphery, incomplete
blocks, brownfield gap spaces, inner courtyards –
programmatically and physically undefined spaces –
that’s terrain vague. Spaces with hidden potentials
and rich surrounding contexts, waiting for smart
interventions that would repair lost and undiscovered
relationships, enhance and add value to the city. We
would like to encourage a design process based on
a complex understanding of the city through rigorous
analysis. The semester will be structured into three
parts: analysis, master planning and finally the
presentation of both the proposals and the knowledge
gained through research. The aim is not to develop solely
through building design, but to define characteristics and
atmosphere, and to discover the potential and unlock the
possibilities of the sites through urban design.
For this task we chose areas and spaces in Holešovice
bounded by railways and main roads passing through
the Prague 7 district. The task was to analyse particular
problems of these spaces and reframe them in a way
that would be beneficial for the city, particularly with
regards to the typology of cohousing, coworking and
structured public space.
Chapter 2 Nasadil-Duba Studio

Sinan Birsel (AD3): HALF-A-BLOCK
The concept of this project is to create a space where
new communities can emerge and gather: an Agora. To
accomplish this, two new building masses are created
in order to enclose and define the “empty” space in the
centre. The new massing is built in the optimal way
to ensure light, to protect from wind, to allow access
to transportation, to have vision over the agora and to
create attractiveness.
Bachir Benkirane (AD5):
DWELLING INITIATIVE
What if we let the people chose the way they want
to live? Instead of building out all of the residential
developments…
…why not build the infrastructure and let the people
fill it? It has been done before – why is this system not
utilised more often?
Chapter 2 Nasadil-Duba StudioChapter 2 Nasadil-Duba Studio

Schindler-Fessler Studio
Pu77le City
The site is framed by existing, hard linear barriers of
infrastructure: Plynarenská (450 m), Partyzánů (500 m),
Argentinská (550 m) and the Vltava river (600 m).
Despite its clear boundaries and prominent train station
at its centre, it is a “broken heart” of the city – without
a coherent form or image. Nevertheless, it is an area rich
in nuance.
The two key lines of infrastructure within the site are
the raised railway platform (above a lowered ground)
and the underground subway (just beneath an artificially
raised ground). Further complicating the site is the non-
linear warped topography and the odd and disjunctive
array of somewhat abandoned buildings and spaces in
between. All elements of the existing fabric (including
roads and objects) can be demolished or preserved
according to the needs of each project.
Varikatt Sherin Sunny(AD7):
HOLESOVICE
REVITALISATION -TERRAIN VAGUE
The primary idea is to create connectivity within the
site for the pedestrians. Urban interventions are made
at the street level. To achieve this in the five blocks
within the site, open spaces, both green belts and
paved courtyards, are explored. A sense of relation
is created among the properties by segmenting and
zoning the site into a pedestrian-friendly environment.
New pedestrian connectivities created throughout the
site, allows it to become more active. The five blocks
within the site are zoned to accommodate commercial/
shopping, work/business centres, co-working and co-
housing spaces, hospitality and to reconnect with the
existing, neighbouring academic institutions.
38 Part 2 — Studio projects winter term ARCHIP 2017/18
Chapter 2 Schindler-Fessler Studio

We will work through historical layers of the past,
fragments of past footprints, and subjective wanderings
through the site, in order to define the possible new
edges, boundaries and forms of new blocks and
buildings. The common central figure of the “agora” will
serve as a unifying concept to support the negotiated
communication between groups.
Like a puzzle, the fragmented site will be re-assembled,
and will be joined together according to its own set of
internal rules. Each team will work on one piece of the
site, and we will produce 1 final, studio model (with its
separate pieces fitting together).
Chris Stian Høydahl (AD1):
HIDDEN TREASURES
The concept originated from the thought of reviving
two already existing places: the ground plaza and the
underground passage. The public space behind the
building (at the existing ground plaza) is the natural
way to access the performance area of the building
situated on the surface. From the underground gallery,
(in the existing underground passage) there is the
possibility to enter all the way to the second floor
through a staircase located in the south hallway. The
empty underground and the empty ground surface
are opened and interconnected through a new public
building.

Chapter 3
Megi Davitidze, Ewa Wróblewska
(AD3): BOHEMIAN
The site has very delicate qualities. An abandoned
concrete factory and an abandoned house carry
years of history. These buildings create an industrial-
domestic atmosphere, suitable for an artistic
community. Despite being difficult to access – blocked
by the train platforms, the high-speed road and the
river, the area is nevertheless occupied by cyclists,
families and people who just want to escape reality.
The 15 m high columns, next to the concrete factory,
created a grid. We perceived the site as one building,
where streets indicate corridors. The site was then
divided into three main parts (starting from the east):
educational/ creative, semi-public/ commercial and
urban park/ recreational.
The motion of buildings follows the program.
Densities change smoothly and horizontally
throughout the site. Starting from an “arts and crafts
factory” situated within the existing concrete factory
building and finishing at a spacious urban park with
pavilions. In the middle is a “village”, smoothly unifying
the factory and the park. The aim of the village is
to get lost, to explore, to stop, to meet people and
to enjoy a human-scaled space. There are ateliers,
galleries, shops, bistros, cafes, and apartments. The
riverside merges into the grid. The extensions into the
river provide people an exceptional moment.
Elizaveta Karpacheva, Kasimir
Suter Winter, Oleksandra Yeloyeva
(AD5): RE-URBAN
Looking at our site, we felt that there was a real
need to bring back some of the historic qualities and
preserve existing cultural spaces. The site had been
cut off by the development of infrastructure, so we
wanted to remove existing boundaries and increase
connection with the surrounding urban fabric. By
emphasising walkability and the human scale, and
through the placement of public programs and public
spaces, we propose for this portion of Holešovice to
become a new city centre.
It was important for us to also consider temporary
and long-term use of the urban space, as there would
be a lot of through-traffic from the transport hubs, as
well as more permanent use by the locals. In mixing
a myriad of programs and functions, we wanted to
create a safe city, with life on multiple ground levels
throughout the day. All these activities are focused
towards the agora, acting as the public square: the
place of culture, life and activity.

Iman Aljoaki (AD9): PUZZLE CITY
The project aims to connect the fractured site through
a series of voids, with paths connecting all the voids
towards the central hub, and having variously scaled
built structures formed around them.
Overlaying the urban blocks from different time
periods shows the transition of various parts of Prague
7. The most striking change is the area of the former
villages, with only traces left of its urban patterns that
can be re-found in the built voids making up streets
and in the shape of the land parcels.
Praha-Holešovice can be the “Welcome to Prague”
stop you can’t wait to get out and go experience…
A piece of the city that reflects its history of drastically
changing urban fabric, from a village to an industrial
neighbourhood, to the transportation hub it is today. It
is the final pressure point of the collective experience
that is the train ride along the river.
Wertig-Neuhäusl Studio
AD2+4+6+8+10 studio project l brief:
H – – – – – – – – E
“…I would say the biggest problem today for architects
is the city, and for that reason it is important in
architectural education to start with the problem
of the city.“
— Luigi Snozzi
“…Architecture is not so much the knowledge
of form but a form of knowledge.“
— Bernard Tschumi
We will focus our thoughts on the city – trying to
understand a piece of urban structure in its complexity
is the purpose of this semester. A city is formed and
affected by an enormous number of elements, actions
and processes. To support individual and progressive
reflection on this subject, each student will define his/
her own brief. Each can focus on any aspect of the city –
the only restrictions are the given area, the urban scale
and meaningfulness.
Chapter 2 Wertig-Neuhäusl Studio

The semester will start with an exploration of the
area both virtually and physically in situ, analyses,
readings, writings and discussions. To promote the
possible range of unique approaches, each student can
create their own methodology to advance their specific
research.
The key issue is the Brief – of equal importance
as the actual answer to it, which is limited only by
its reasonability in relation to the selected topic.
The proposal can cross the area borders, if justified.
Nevertheless, it is crucial to think conceptually
concerning the whole district, keeping in mind potential
details. First year students will proceed as a team with
the task to define, design and construct a physical
intervention in the area.
It implies for this rather experimental brief, which
inherently contains examining the architect´s role at
the scale of the city, that the journey could be more
important than the destination. The whole process
shall be captured in a book, the main outcome of this
semester, which also serves as a research basis for the
subsequent semester.
Marie Meland (AD5): CYCLE
The project is to inspire more people to use the bike
as a means of transportation. In the long run, it has
a lot of benefits for the city and occupants. It will help
people to have a more active daily life, and following
that, a better health. Also it will reduce heavy car
traffic, an important part of a more sustainable city in
the future, with less air pollution.
Chapter 2 Wertig-Neuhäusl StudioChapter 2 Wertig-Neuhäusl Studio

Tugce Ari (AD5): THE WAY
TO THE RIVER
Holešovice is an isolated site located between this
huge neglected area and the Vltava river. There are
a few connections with nearby sites yet no connection
with the central zone – Bubny.
The main goal of the project is to take people to
the river by attracting them and to solve the problems
along the way towards the reaching of the water.
Vlad Alyksyenko,
Kryštof Redčenkov (AD5):
BIODIVERCITY
The proposal supports the ideology whereby people
trade nature fairly for humanity.

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

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

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

Chris Stian Høydahl (AD2)
(Wertig-Neuhäusl studio):
STAIRCASE HOUSE
Clients: Isumi and Akyjama Seihachi, a couple, both do
art, focus on painting and sculpting. They both enjoy
modern Japanese house architecture and want to
sit down in a place they can call home, where living,
working, and exhibiting spaces are blurred.
AD4+6+8+10 semestral project general brief:
The four different design briefs,
from each of the AD studios, shared
common overlapping themes: Culture,
Infrastructure, Landscape, Housing,
and Prague 7.
“Reclaiming the Bridge”, in Dlesk-
Horová studio, focused on re-thinking
the possible uses of Libenský bridge.
Due to its poor condition, it was
temporarily closed, bringing with it
an opportunity to become “more than
a bridge for traffic”, but also a place
Chapter 3Chapter 3

for new life in the city. “150 meters
of Culture”, in Nasadil-Duba studio,
asked students to propose a cultural
institution, on a narrow and unused
piece of land. “Scales of Living”, in
Schindler-Fessler studio, asked for new
residential typologies to be introduced
into a typical yet unique city block
near the school. “H – – – – – – – – E”,
in Wertig-Neuhäusl studio, continued
from the previous semester, and asked
students to develop their projects from
their masterplan to a building.
Dlesk-Horová Studio
Reclaiming the Bridge
The recent collapse of the Trojský bridge (a suspended,
pedestrian bridge) triggered an accelerated discussion
about the safety of other bridge structures in the capital.
As a result, the Libeňský bridge, an important piece of
city infrastructure connecting Holešovice (Prague 7) with
Palmovka (Prague 8), was subsequently closed – with
exception to pedestrians. Discussions over its demolition
began and the future of a valuable piece of the Cubist
era’s infrastructural heritage was in danger.
For a short period of time, this vehicular route
turned into a pedestrian and cyclist bridge, with all
other forms of traffic, cars and trams, not allowed.
This temporary situation not only demonstrated that
the busy city was able to find short-term bypasses for
traffic when necessary, but more importantly, it offered
an opportunity to rethink the role of the bridge that no
longer served its intended use.
This circumstance allowed us to speculate on
different or additional uses for the bridge, instead of
solely traffic: a use that can promote city life; a use that
Chapter 3

upgrades the bridge from its sheer functional linkage
between two sides of the river into a real connector, or
even an accelerator, of city life and exchange between
two stagnating riversides. Traffic would return to the site
after the Libeňský bridge is reconstructed, and after new
urban tissues, representing new civic functions that have
the capacity to activate city life, are introduced.
Historical references of no longer used and nearly
forgotten urban typologies of “living bridges” can teach
us valuable lessons in re-evaluating well-established
stereotypes of what function a bridge can bear (for
example the still existing Ponte Vecchio of Florence,
Poultney bridge in Bath, and Rialto bridge in Venice as
well as the already demolished Old London Bridge or the
bridges of Île de la Cité in Paris e.g. old Pont au Change).
The aim of this semester’s AD task was to rethink the
role of Libenský bridge in Prague under the following
premises:
– we will honour the historical values of the bridge
– we will honour present socio-cultural values (including
the values of views from the bridge to its surrounding
scenery)
– we will take the technical properties of the bridge and
the surrounding site into consideration (e.g. load bearing
capacity, flooding levels.)
Megi Davitidze (AD4):
OF PEOPLE AND SPACE
Libeňský bridge, together with Dělnická street,
appears to be a long empty avenue, with no life or
spirit. Abandoned buildings, without people or any
kind of activity characterises this street, with just
a few cafes – waiting for customers. The project aim
is to develop life on the Holešovice side and to add
life on the Libeň side. A new structure is added to the
existing bridge, from both sides, in order to transform
the street into a stage for public life, and to create new
places for people to interact.
The human-scale concept provides walking, sitting
and standing as well as living spaces. Units, located
on a 6 m grid, serve as multifunctional buildings. The
ground floor is a public space, and the upper floors
are apartments. The units are suitable for different
categories of people – singles, students, or small
families and can be arranged according to each one’s
needs. There are two types of building units – 6 × 10 m
and 6 × 8 m. This difference allows to have small
gardens facing the river.
Moreover, gaps between the units create corridors
which serve as “urban living rooms”, and offer another
platform for life.
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60 Part 2 — Studio projects summer ARCHIP 2017/18

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

Dandika Thanos (AD8):
LIBENSKY CROSS
The project aims to invite humans through design
based on circulation patterns and public functions.
It intervenes into the existing bridge but does not
overshadow it, creating a play between the old and
new through symmetry.
David Lameš (AD8): PERIPTEROS
“Peripteros” revitalizes the Rohan Island by instilling
and giving the surrounding community an avenue to
develop civically and culturally. By using the bridge
itself as a focal point, the area can become a centre of
activity as well as a new identity in the greater context
of Prague. The cultural and commercial functions
housed here improve walkability and reprioritise
the pedestrian, in a typology that is now considered
solely the domain of cars. Auxiliary commercial
and residential developments and complementary
recreational green facilities in the Rohan ecological
protected area improve the project’s long-term
sustainability. The structure itself respects the
Purist Cubist architecture of Janák’s bridge without
historicising pastiche. The structure’s monolithic
monumentality lends to its history of stoic eloquence
and reaffirms the stability of this long-suffering link
over the Vltava.

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

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

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

Hedy Lemus Bird (AD6 bachelor
diploma project): ARCHITECTURAL
RESEARCH CENTRE
The Architectural Research Centre is created for
the exploration of design. Each space is made so
that the user can spend their time either studying,
reading, making research, developing a new product
or material. The building is packed with libraries,
workshops, classrooms, working spaces, exhibition
spaces, lounge areas, and many other corners that
help a person develop their ideas.
The project starts with the division of the site into
9 main elements (library, workshop, office, classroom,
research, open space, exhibition, coffee shop, and
auditorium). Of these elements, the two most
relevant (library & workshop) get extruded in opposite
directions. The remaining elements merge together
to create multi-use spaces that flow throughout the
entire building.
Schindler-Fessler Studio
Spaces of Living
From the room to the city and back.
The site: A piece of a city. The task: Housing.
The project: A collection of rooms and a small
landscape.
The program: 80 % total area for housing,
20 % for supporting functions.
Each AD year will focus on a different scale and different
area of the same larger site:
AD2 – from a room to a house: a small tower
(10 m × 6.5 m)
AD4 – from a room to a building: an infill building
(30 m × 50 m)
AD6 – from a room to a block: a corner building and
courtyard (80 m × 50 m)
The character, scale and type of units (both rooms and
residents) will be decided by each student.
Chapter 3 Schindler-Fessler StudioChapter 3 Nasadil-Duba Studio

Questions:
—What is in a room?
—To what does this room connect?
—What society is formed by the arrangement and
collection of its rooms?
—How can we think of housing in the city?
—How can all parts (rooms and residents) co-operate
and what larger whole do they form?
—Housing for the richest? Housing for the poorest?
Something in between?
—What to do with the existing elements of the site: keep,
demolish, adapt?
—What will be the program/use: how many, for whom,
how much?
Chapter 3 Schindler-Fessler StudioChapter 3 Schindler-Fessler Studio

Elena Štefková (AD4):
HOUSING FOR SENIORS’
AND ARTISTS’ INTERACTION
The building will have a mixture of functions and
will provide social housing for seniors as well as
apartments for artists. At the same time, the old
industrial building will provide public spaces including
a café. The building/buildings would provide seniors
with ample daylight as well as connections to urban
life, greenery and a range of activities for helping them
to stay active as long as possible.
The idea is to help seniors to overcome their
loneliness, separation from others and revive their
vitality and mobility via layers of activities. For this
reason, the housing will group seniors in small
communities which will share common spaces such
as kitchens, living room corners and spaces for playing
cards at each floor. These common spaces will be
shared also with artists, who will have the possibility
to join seniors in their daily activities.
The opportunity to meet with residents of other
floors will be in the common garden area, where
together residents can grow vegetables as well
as flowers. These interactions will be provided not
only at the internal level, but also the external level.
Communities of seniors and artists will be connected
with the public via the cafe, the piazza in front of the
cafe, workshops, and a rooftop gallery as well as
a small cinema.
Kasimir Sutter Winter (AD6 bache-
lor diploma project): MAKER VILLAGE
Maker Village is an attempt to design for the 21st
century, a time when humanity is being forced to find
a new way of inhabiting our home, planet Earth. Along
with new scientific developments, there have also been
huge breakthroughs in the development of computer
architecture, social architecture, and legal/financial
architecture. Together, these emerging developments
provide a new foundation of peer-to-peer systems,
which will create an outbreak in grassroots social
ventures.
Agency will be returned to Homo sapiens. Remixing,
adapting and exploring will be celebrated, and our
divergent interests will lead to adaptive, evolving
communities with strong convergent identities. This,
thereby, will create living communities that are in tune
with the places we live, and the work we do.
How will architecture shift its productive capacity
from form vs. function, to performance engaged in
productivity and adaptability? How will we build in a
post-capitalist society? Maker Village is a step in the
direction towards an open-source environment.

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

Chapter 3
Olga Horobynska (AD6 bachelor
diploma project): INVERSION
The main concept is focused on inverting the building
from the street towards the courtyard with vertical
living and horizontal working spaces. The main radical
solution was to demolish the existing and try to
achieve a better environment instead.
At the urban scale, I wanted to create a space
which could fill the courtyard area with a range of new
working units as well as to keep the garden element
which is implemented on the roof top. Additionally,
from this roof top connection, a new circulation flow
will allow access for the public through the layered
block.
The new building units are planned for both
students and families, each on its own edge of the
block. In order to connect these two parts together,
and bring importance to the building corner, I
combined shared spaces (library, laundry, lounges etc.)
which could be used by both types of inhabitants as
well as the public.
The strategy of units was generated from a
principle of negative and positive space – where
families are more about positive – because they
stay and dwell in one place. And students are about
negative space – which is movement, interaction,
visual communication.
Wertig-Neuhäusl Studio
H – – – – – – – – E
From a masterplan to a building:
rethink your urban design;
set up a design brief;
design a building.
Chapter 3 Wertig-Neuhäusl StudioChapter 3 Schindler-Fessler Studio

Ewa Wroblewska (AD4): rePLAY
The concept is focused on the fusion of the “village”
and the “concrete pre-cast columns” (used as cranes
in the past) on the east side of the factory. To this
end, the building’s envelope is refurbished and various
objects are placed inside. The distinction between
outside and inside is vanishing.
Gaia Delepine(AD4): CASA 22
What is an empty space? A missing corner? A non-
functional riverside?
But most importantly… What will happen in the empty
space?
“The courtyard is a place to dream, from within and
from above.”
My plot is the corner of a city block: it gives way to
two roads which grant it its cuspidate shape, as does
the current “empty space”, the courtyard, which is
redefined to allow my building to be in contact with
the inner block in a new way. The building is divided
into 5 floors. The ground floor and the first floor
are dedicated to commercial uses, followed by two
floors of standard apartments, a floor composed
of 2 apartments and a bookstore cafe linked to the
garden, and on the last floor a terraced roof.

Chapter 3Chapter 3
Kryštof Redčenkov
(AD6 bachelor diploma project):
FILM INSTITUTE PRAGUE
The new building of the Film Institute Prague is a
collection of institutions currently scattered over the
city. The aim of the building is to have all of them
under one roof and connected with the public and the
surroundings. Additionally, there are apartments for
people from the industry, either visiting or filming in
Prague.
The building is divided into four strips, defined as
urbanism and as program. All strips are possible to
cross through at ground level. Each strip also has its
specific conceptual approach to its wall definition,
articulating specific views and transparencies.
The first strip contains all cinema rooms and a
museum with a shop, cafe-bar and main reception/
entry lobby. The entrance is oriented to Ortenovo
square, with a cantilever to invite people inside. The
second strip is an interior open street, which is ready
and flexible for holding any interventions or actions.
It is also a bridge between the first and third strips,
between visitors and working people. During events,
it is a generous space for all people to come and
talk about the new movie. This street links to the
renovated brewery and its square. The third strip is for
“production”, where offices, apartments, archives, and
a school are located. The fourth strip is an open park
with trees to continue the connection to the brewery
square and the main street.
Marie Meland (AD6 bachelor diplo-
ma project): LIBRARY
The project is located on Ortenovo square in
Holešovice, Prague 7. The site is currently functioning
as a public space but does not serve that purpose
well. It is surrounded by traffic on all sides, and is
mostly used for passing through. The main program
of the building is a library with additional supporting
functions. It is a gathering place for people and
knowledge and an improvement to the existing public
space.
The project includes passages to allow circulation
though on ground level and to provide hidden, outdoor
areas. The building is therefore fragmented on the
ground level. Each part has a different function:
the main entrance, cafe, and book shop, offices and
learning centre, conference and auditorium spaces,
and an activity centre for youth. All of these functions
connect on the 2nd floor of the building, where the
main library space is located.
The height of the ceiling varies, as the roof has been
made accessible by ramps. This provides a dynamic
building form and interior space, ranging from cosy,
smaller scaled spaces to more grand atmospheres at
important parts of the building. The accessible roof
connects with the library space with ramps going
down to the inner courtyard. Altogether, this creates a
holistic structure that connects on many levels.

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

Elizaveta Karpacheva
EDUCATIONAL HUB FOR
THE 22ND CENTURY
With the development of technology, questions about
the role of education, communication, libraries, and
cultural centres continually renew. What will the
typology look like, which can fit all the requirements
of this new age? And how will architecture influence
human interactions, education and culture? At the
same time, how should we preserve the value of the
past and the importance of history?
The main goal of the project is to create a hybrid
of a library, cultural hub and educational centre for
the 22nd century. The building itself represents an
historical timeline that combines different fields of
study in an open-ended continuum.
Chapter 4:
GA+D studio
Haunted Pavilion project brief
Will spaces behave on a scale from
symbiosis to malice? Isn’t the future
of architecture about designing the
interactions and behaviours of spaces,
in addition to their form?
Part 2 — GA+D Studio ARCHIP 2017/18 89
Chapter 4Chapter 3 Wertig-Neuhäusl Studio

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

Margarita Pershina,
Victoria Pershina (AD5):
HAUNTED PAVILION
The situation:
Cemetery and Kindergarten? Death and Life.
A metamorphic process of transformation:
body + spirit – form without a boundary – there is no
outside and inside – a body without the body.
The Möbius Strip by August Ferdinand inspired us to
consider how structure with only one boundary can
change one’s spatial perceptions and give suggestions
for movement. The UK Pavilion by Heatherwick Studio
inspired us to consider how design components can
vary spatial perception of structure. The Prada
Transformer by OMA inspired us to think about how
simple geometrical shapes can acquire different
characters and accommodate different activities.
The Hybrid Tower by CITA inspired us to think about
how skin and structure could act as an integrated
structural system.
The pavilion provides various activities for kids,
students and teachers. It is an interactive textile
cocoon membrane wrapped around structural steel
ribs; a continuous single-curved surface on a curved
structure.
Genevieve Tok, Olha Horobynska
(AD5): RENOVATIO_ A CONVERSA-
TION WITH ARCHITECTURE
Renovatio aims to explore movement as a form of
communication and an ongoing discourse between
inhabitant and space. Through the implementation
of kinetic architecture and artificial intelligence, the
nature of the pavilion is dynamic and ever changing
as it learns and adapts to different people within it.
It is a platform for interaction and expression and
encourages both younger and older students to
experience and contemplate the future of the spaces
we could come to inhabit.
Structural Layers:
TEXTILE
Perforation with a pattern generated from a delaunay
mesh according to the intensity of daylight radiation.
GREENERY
Plants grow hydroponically along the inside of the
textile surface on a permeable substrate.
LEDs
Provide supplementary lighting for the plants and
function as an interactive display at night.
STRUCTURAL RIBS
Individually movable aluminium profiles that support
the weight of the whole structure.
HYDROPONICS LOOP
Pump is activated when the structure moves,
circulating water and nutrients to the plants.
SEATING/PLAYSCAPE
Wooden sections that evolve from seating to gathering
to a climbing playscape.
CONCRETE FOOTINGS
Anchor each rib to a rotor in the ground.
Chapter 4
92 Part 2 — GA+D Studio ARCHIP 2017/18 Part 2 — GA+D Studio ARCHIP 2017/18 93
Chapter 4

Vertical Studio Concept

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