\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\
jiří prokeš  /////////////////////////////////////////////////////////////////////////////////////////////////////////////////architect
\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\
// cv ///////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////
\\ vision \\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\
// contact //////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////
\\ portfolio \\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\
/////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////
\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\

identity of place

Wild nature seems perfect to us. We feel harmony in a countryside without human intervention. What is the reason behind this? Only the components that belong there are present, each of them having its own meaning, each of them supporting the rest, creating a functioning entity. The whole is completely natural. Adding a new, foreign element often results in devastation and loss of a unique charm. Since every place is original, every house should be original as well. What seems identical can make for a provocative difference in a different light. Plots of the same size, situated in the same way and designated for identical use always have different surroundings and different inhabitants ... This often neglected diversity is the carrier of an inspirational charge. The better we understand the environment we enter, the easier it is for us to give it a new meaning that will not come at the expense of meanings already present. Through a proper observation of a place, “listening” to it, we can create new content living next to the old, both supporting and highlighting each other. A place for building is misused if a thoughtless design is applied. In such cases, the meaning of the place is degraded for decades. Construction of this nature can be seen as a missed opportunity for quality architecture. A building does not emerge for the present time, but for the future. Its emergence has an impact on the surroundings for generations. A routine fulfilment of a business plan without reflecting the possible impact of construction on the surroundings is professional malpractice and mismanagement of the architect’s work. Identification of potential obstacles is just as important as knowledge of the place itself.

development x stagnation

Nearly every day a new technology or material is discovered and eventually appears in architecture. Wood, the primal source of light and warmth, served as a fundamental building material for millennia. As walling materials expanded, wood became, in spite of some exceptions, of marginal interest and was regarded only as an additional and decorative material. Nowadays we are aware of glued beams, wooden frameworks competing with steel or panels of layered massive wood which reduce house construction time to a matter of days. Metals, though originally rejected, have developed into high-strength steel, a material representing the slenderness and elegance of high-rise buildings, bridges and towers. We know of steel textiles and meshwork able to cover any possible surface and model any space. We know of steel panels of “oxidized” aluminium with incredible strength and minimal weight. Concrete, originally used as a rough building material for reaching the necessary structural effect, has become a material that does not restrict genius, in the hands of architects. There is the option of colour penetration, the creation of any possible imprint using silicate moulds and unlimited plasticity allowing boundless creations. Modern technologies, such as semi-transparent concrete or concrete with plastic properties, shift this material even farther. State-of-the-art textiles, plastics (e.g. ETFE foils), composite materials, vacuum insulation, etc. along with digital designs and structure generation shift architectural options beyond the horizon of what was formerly thought possible. At the same time, ecological thinking, energy efficiency, renewable resources, waste utilization, etc. lead architecture in a different direction and seem to bring it back along the imaginary time axis. As society evolves, options evolve in parallel. This is an ongoing process and should be reflected in the development of architecture and in architectural work. Materials and architectural development are unquestionably connected. Accepting contemporary technologies, procedures and thinking is vital. Acceptance of this unstoppable development is not a loss of one’s own identity, but a way of perfecting one’s own possibilities.

definitions!?

What is architecture? Every human being should be able to explain who he/she is and what he/she is doing. Is architecture art? Science? Half one and half the other? Is architecture the synthesis of rational and emotional recognition of the world, as Le Corbusier put it? The harmony between the outside and inside, the harmony between shape and content? Is it architecture when it is pleasing to us? ... The definition is a matter of perspective. To answer the question of when something is architecture is probably as difficult as recognising when we are in love for the first time. Love/architecture is when something is pleasing to us. Love/architecture is when one feels great ... These seemingly unrelated words share one thing: they are genuine when they incite emotions. If we fail to find the genius loci in a place, that place cannot cause any reaction in us. We cannot only like it or hate it. If it fails to incite emotions in us, it is nothing to us. The essence of architecture might lie precisely in these emotions which the architect, through his/her design, inspires in the user. Despite all its spontaneity, architecture remains a truly rational artistic discipline. The long process of creation and subsequent implementation does not necessarily lead to what we might call “cooling of relationships”. The true essence comes only with recognition and awareness. If we are able to find new beauty in something even after years have gone by, if we remain convinced about its correctness, then this is what makes it GENUINE.

ethics = quality

The possibility of building a house has numerous pitfalls. One of many is the economic independence of the designer. As projects come along, the financial health of the business improves as well. This does not however necessarily go hand in hand with a rise in professional prestige. One can have the largest project design business in town, but this does not mean that this business will be appreciated by the expert public or sought after by laymen for its fine qualities. Where is the mistake? You can be an inconspicuous author with modest achievements, but you can still give shape to contemporary architecture for good. You can be in a problematic financial condition, but still reject a controversial job that you have doubts about. On the other hand, you can be financially stable in the long run and hence enjoy the ability to choose, but first-plan investors will still remain your alpha and omega. Everything is a matter of choice. Through thoughtlessly turning out one building after another with no reflection of the place and time of emergence and without vital project development, architects and designers make themselves voluntarily, if future impacts are considered, the creators of building monsters. Economic stability is of course essential and so are decisions resting upon one’s core ethics and moral beliefs. Many constructions have left a deep footprint in us. A great many buildings have convinced us that they are outstanding solutions and demonstrations of flawless architecture. With all such constructions, we perceive over time that they were made with the utmost care and that their creators found answers to all questions. Such an approach requires a considerable moral focus and determination. Quality architecture cannot be achieved without a high standard of professional ethics.

/////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////
\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\