PLACES FOR PLAY

October 8–December 31, 2025

INTERNATIONAL EXHIBITION – Krenovka courtyard, Husitská 22, Prague 3

opening on October 7 at 6 p.m.

ADVENTURE PLAYGROUND WORKSHOP – Krenovka courtyard, Husitská 22, Prague 3
October 16–17, 2025

INTERNATIONAL CONFERENCE – Unijazz Reading Room, Krenovka, Husitská 22, Prague 3
October 17, 2025, 10:00 a.m.–6:00 p.m.
Free admission, no registration required

In the last third of the last century, children’s playgrounds began to appear in our country with entertaining and often original features, created with the help of artists and landscape architects (such as ZdenÄ›k NÄ›meÄŤek, Olbram Zoubek, and Eva Kmentová in Prague, Kurt Gebauer in Ostrava, Miroslav Jirava in Krnov, VladimĂ­r Sitta, Tamara Divišková, and ZdenÄ›k Macháček in Brno, and Roman Richtermoc and OldĹ™ich Semrád in Hradec KrálovĂ©). They used to be isolated, but often became icons, and many of them have recently been restored, albeit under the new status of works of art rather than play elements. The end of the 1990s saw a boom in standardized and not always creative, but above all materially and aesthetically uninteresting play elements. This mediocre production prompted a re-evaluation of the high-quality production of previous years and, especially among parents who were artists, architects, and landscape architects, a strong need to change the situation. Examples of successful implementations abroad, often signed by renowned authors and awarded at international architectural and urban planning exhibitions focusing on the revitalization of public spaces, also played a significant role in this. Czech parents, teachers, and local politicians are also becoming aware of the phenomenon of adventure playgrounds (a concept of unfinished playgrounds that children build themselves under the supervision of instructors), which originated in Denmark in the 1940s and has been common practice in Europe for the past 80 years. A number of scientific playgrounds, educational and sports facilities in nature, skateparks, and parkour areas are also being created.

Our selection of forty projects, which includes contemporary Czech and foreign examples as well as older and still popular implementations, sought to present as diverse a view of this topic as possible. That is why there are projects offering successful solutions for the revitalization of former mining areas, power plants, housing estates, abandoned parks, empty spaces in front of schools, areas under bridges, embankments, the use of parking garage roofs, climbing frames, and entire sports, educational, or fairy-tale complexes in nature, as well as urban and artistic transformations of parks, squares, and ordinary sports grounds. The playgrounds in our selection have become places where new community life has emerged, where a small sculpture museum has been created, and where children of different ages can get involved in sports, environmental, theatrical, or artistic activities. Encountering these projects and their creators has been a great inspiration for us, and we believe that their stories will also inspire visitors and that the exhibition will contribute, at least in a small way, to positive changes in play spaces.

EXHIBIT ARCHITECTURE

4. 10. 2025 – 22. 2. 2026


organizers / Gočárova galerie, Fakulta umÄ›nĂ­ a architektury TechnickĂ© univerzity v Liberci, ARCHITECTURA
coorganizers / GAMPA, Nadace AutomatickĂ© mlĂ˝ny
main curator / Dan Merta
SILO section curator / Filip Ĺ enk

exhibiting authors /
ZbynÄ›k Baladrán, Pavla Beranová & Martin Krupa, COLLARCH & Architekti Ĺ ebo LichĂ˝, DOXA, Jakub Fišer, Martin Gsandtner & OndĹ™ej Pokoj, Jan JaneckĂ˝, MatÄ›j KratochvĂ­l, Jiří Kovanda, JĂĽrgen Mayer H., MCA – Pavla Melková & Miroslav Cikán, JaromĂ­r NovotnĂ˝, JinJan – JindĹ™ich Ráftl & Jan TĹŻma, Rintala Eggertsson Architects – Dagur Eggertsson & students of FUA TUL & ARCHIP Praha, Jan StolĂ­n, SUNAKI – Toshikatsu Kiuchi & Taichi Sunayama, Jan Ĺ Ă©pka, Jiří VĂ­tek, Jan VranovskĂ˝, FA VUT Brno studio Svatopluk SládeÄŤek – Nicol Gale

& artists whose works are represented in the Gočár Gallery collection /
JindĹ™ich Hegr, Stanislav KolĂ­bal, VladimĂ­r KopeckĂ˝, František Kyncl, Kamil Lhoták, Jaroslav Paur, VladimĂ­r PreclĂ­k

production / Klára PuÄŤerová, Jakub Semerád
graphic design / Milan NedvÄ›d
exhibition design / Iva Dvořáková, Jakub Fišer
text editing / Klára PuÄŤerová, Jana Palacká
translation / VĂ­t Zelinka
promotion / Nikola Kopecká, CecĂ­lie Kutálková
education / Andrea Koláčková, KarolĂ­na Novotná, Hana Paulusová, AlĹľbÄ›ta Ĺ tenclová, Anna Vitvarová
acknowledgements / Petr KratochvĂ­l, Irena Mertová, Eduard Seibert, Helena Vágnerová, Petra Valašteková, Petra Vlachynská, Tomáš VlÄŤek


supported by / Metrostav, Stora Enso, Zumtobel, VOIX Audio & Cinema, ARCHIP Praha, FA VUT v BrnÄ›

The exhibition is under the patronage of Mr. Roman LĂ­nek, Councillor of the Pardubice Region for Culture. The Gočár Gallery is established by the Pardubice Region.


Is it even possible to exhibit architecture? It is possible to use technical or literary texts, plans, sketches, photographs, physical and digital models, visualizations, films and documents, audio recordings, light installations, haptic samples of materials, social and economic analyses, graphs, statistics, virtual or augmented reality to sufficiently convey to the viewer the information and emotions associated with experiencing architecture? These questions are answered by curators and prominent figures in the fields of architecture, urbanism, and visual arts at the Automatic Mills complex, which is associated with both an iconic figure of Czech architecture and renowned contemporary artists. Architectural historian Eeva-Liisa Pelkonen has described the effort to exhibit architecture as Sisyphean: “The ambition to exhibit architecture always carries with it a paradox: how to exhibit something as large and complex as a building or a city, and how to communicate something as elusive as the architectural experience that takes place in space and time?”Architecture, often referred to as the Mother of the Arts, not only has a functional role but also an ethical and aesthetic one. How can these fundamental functions be presented to gallery visitors? It is not sufficient to describe only the technical structure; it is necessary to find ways to convey the essential experience of a given place or building. Only then can we present it in its entirety and in the context of its anchoring in place and social ties. Does it even make sense to exhibit architecture in an age characterized by an overload of information of very varying quality? What are the main forms of exhibiting architecture? Strategies and themes in the field of architectural exhibitions are changing worldwide based on social needs, trends, and fashions, which can be regularly observed in the curatorial concepts of the premier exhibition, the Venice Architecture Biennale, as well as other international institutions dedicated to the presentation of architecture.
From the 1990s until the economic crisis of 2008, the celebration of economic growth continued, and exhibitions were based primarily on iconic buildings or the presentation of so-called starchitects. However, all of the crises of the new millennium, which we now see coming cyclically or transforming into a single long-term geopolitical, social, and environmental crisis of global proportions with various territorial hotspots, fundamentally permeate the concept of exhibitions on the theme of architecture. One can see a strong parallel with the 1960s. At that time, many art institutions, philosophers, artists, and architects used the medium of architectural exhibitions to discuss environmental and social issues caused by uncontrolled economic growth and the modernist approach after World War II. Central to contemporary multimedia visual culture is the intermingling of the worlds of fine art, architecture, and scenography, a mix of genres and media, and a call for multisensory art and architecture in the form of conceptual installations that evoke a special atmosphere for the viewer’s perception. Personal encounters and discussions, workshops, exhibitions, organized walks, and festivals aimed at the general public and the popularization of architecture continue to play an irreplaceable role. We strove for such multi-layeredness in the preparation of this exhibition (and accompanying program).
The curatorial concept incorporates objects from the transformed Automatic Mills complex into the exhibition. The buildings are presented as exhibition artifacts with historical and contemporary reflections. The public space is complemented by architectural and artistic interventions that engage in dialogue with historical material and create new connections within visual communication.