OLOMOUC (CZ) - Jan Šépka has found an inventive solution for a cultural centre on a problematical plot in the historical town centre.
Olomouc is a venerable city with a rich cultural tradition, and it even boasts a UNESCO World Heritage Site: the baroque Holy Trinity Column. Since the early 1990s, however, several notable pieces of contemporary architecture have been inserted into the city's historical core. The most outstanding is undoubtedly the conversion of the medieval castle into the Archdiocese Museum (2000–2006), following a competition in 1998 won by HŠH architekti.
The same client – the Olomouc Museum of Art – and a former HŠH architect, Jan Šépka, are behind the current design of the building for the Central European Forum. The Museum of Art abandoned its original plan for an architecture competition because of a dispute with the Czech Chamber of Architects. Foregoing the bright ideas that might have emerged from a competition, the museum decided to employ architects with whom it had already worked, namely Michal Sborwitz, who was entrusted with the task of renovating the original museum building, and Jan Šépka, who assumed responsibility for designing new buildings on the adjacent lots.
The aim of the Central European Forum is to follow cultural events within the Central European Region. Apart from creating a cultural platform for future activities, the Forum will concentrate on presenting diverse forms of artistic expression since the Second World War. Because of its varied programme, the complex of new and old buildings will house not only exhibition spaces but also an international research and training centre, a multi-functional hall with seating for 200, a new central depository for artistic works, plus the inevitable café, restaurant and bookshop.
In terms of the current public debate, the most controversial aspect of the project appears to be the design of the new buildings by architect Jan Šépka. The site selected for the future Forum occupies a very sensitive location in the historical centre, close to small medieval buildings and larger modern palaces, churches and military buildings. Rather than designing a single, monolithic structure, the architect sought to integrate the centre sensitively with the local fabric while also catering to the specific demands of its future users. The five-part ensemble, which takes its cue from the five houses that once stood on this site, is ideally suited to accommodating the Forum’s various activities. The light so necessary for artworks comes from skylights cut into the traditional-looking pitched roofs. Yet, although the five vertical concrete structures blend in outline and in height with their historical surroundings, their virtually blank facades could be seen as turning their backs to the street. Not everyone is charmed by this design.
If the Museum of Art manages to secure funding from the European Union, the Central European Forum building could be open to the public in 2014.
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