Jiří Vítek is a Czech architect, researcher, and educator specializing in digital and parametric architecture. He graduated in Civil Engineering and Architecture from Brno University of Technology (2006) and subsequently from the Faculty of Architecture at the same university (2009). He further developed his architectural thinking at the University of Applied Arts Vienna, studying in Zaha Hadid’s Studio (2012–2015) and later in Hani Rashid’s Studio (2019–2020), where he completed his master thesis Hydrogen Island.
In January 2024, he successfully defended his doctoral dissertation Anatomy of Architecture at the Faculty of Art and Architecture in Liberec, earning a Ph.D.
His work spans architectural design, experimental research, and fine art, with a focus on innovative structures and spatial typologies. Since 2024, he has served as Assistant Professor at the Faculty of Art and Architecture at TUL Liberec, where he teaches in the Information Architecture Lab. The same year, he was appointed Design Director at CHYBIK + KRISTOF leading advanced design strategies and international projects.
Jiří has previously taught at the Faculty of Architecture in Brno (2016–2021) and founded the Experimental Laboratory of Architecture (ELA) which explores future-driven architectural education and research. He is the co-founder of architectural platforms SUPERLABOR and the Jiří Vítek Architectural Workshop / JVAW /. In 2019, he established BiotectArchitects, a studio focused on innovation and technology in architecture.
His professional collaborations include work with ArchDesign (2007, 2015) and Franek Architects (2008–2009, 2017–2019). In 2020, he founded Studio URAN. Since 2021, he has collaborated with ICE Inc., and in 2022 co-founded ICE Architects, a practice pioneering design for 3D concrete printing (3DCP).
Professional Experience:
Design Director at Chybik + Kristof Architects, 2024, International Studio
responsible for leading and overseeing global architectural projects, from conceptual design to execution. Focused on integrating innovative solutions, sustainability, and context-driven designs and AI while guiding multidisciplinary teams through complex challenges.
University Lecturer and Asistant profesor at Informed architecture lab FUA TUL Liberec. CZ [2024-present]
Taught architecture courses and studio to graduate and undergraduate students and led diploma thesis. Mentored and guided students in their academic and professional growth, established courses for experimental design methods and structural optimization student work awarded the prize repeatedly
Head of Architect Department, 3DCP Technology - ICE Architects, ICE industrial sevices ,2021-2024, CZ
Spearheaded architectural research and software development in 3D Concrete Printing (3DCP) technology. Led a team in solving complex architectural challenges through innovative technology solutions, nominated for the Czech National Prize for architecture 2023 / Pavilion Between Conflicts /
Founder & Principal Architect, [Studio URAN, ELA, BiotectArchitects ( Own Architectural Studios)] [2019-present], CZ
Established and managed a successful architectural studio focused on pushing the boundaries of architecture. Led all aspects of project delivery, from initial concept to final realization, including client communication, design, permitting, and construction supervision. Cultivated a strong client base and maintained high levels of client satisfaction through effective communication and collaboration.
University Lecturer research Cluster Uran BUT Faculty of Architecture Brno CZ [2016-2022]
Taught architecture courses and studio to graduate and undergraduate students and led diploma thesis. Mentored and guided students in their academic and professional growth, established courses for experimental design methods and structural optimization student work awarded the prize repeatedly
Partner Architect, Franek Architects 2016 - 2019, CZ, Brno, Over 40 projects, Led a team in solving complex architectural challenges through innovative technology solutions.
Played a pivotal role in concept design, 3D modelling and project delivery.
winning competitions implementing BIM and advancing parametric modelling into projects, building teams and leading improvement
Architect, X Architecten, AT, Vienna, 2015-2016 BIM, 3D modelling, drawing, physical modelling
Founder & Principal Architect, [SuperLabor & Jiri Vitek Architectural Workshop ( Own Architectural Studios)] [2009-present]
Established and managed a successful architectural studio focused on residential projects and innovation Led all aspects of project delivery, from initial concept to final realization, including client communication, design, permitting, and construction supervision. Winning Competitions
MArch, Studio Zaha Hadid & Studio Hani Rashid, Die Angewandte, WIena AT, 2020
ing. arch. /eq. MArch / BUT Faculty of Architecture Brno. CZ. 2009 ing. / civil engennering / BUT Faculty of civil engennering Brno. CZ. 2006
Awards :
1st place in the competition for the new pavilion P at BVV in Brno, 2007/ Not realized/ ( together with J.Sedlák, V.Medková), 1st place in the public competition for the redesign of Svobody Square in Znojmo, 2009 ( together with J.Sedlák, J.Kopec, O.Bartůšek, P. Hurník ),
3rd prize in the public competition for the English Square in Pilsen, 2009, ( together with J.Sedlák, J.Kopec, O.Bartůšek, P.Hurník), 3rd shared prize in the public competition for the Revitalization of the agricultural building in Doubravník ( PP2015 ,together with : J.Kopcem, J.Železným ),
2015 final of the competition at AIRPORT City PRAGUE, 1st place Entrance object of the Botanical Garden, 2017 in the studio of Zdeněk Franek, honorable mention, competition House of the Future 2017, 1st place invited competition Marshmallow 2, 2018 in the studio of Zdeněk Franek
The first printed 3DCP pavilion “Between Conflict” was nominated for the Czech Architecture Award 2023. honorable mention, competition House of the nature, jesenik.cz 2025 with Michal Mačuda
Workshops :
Kulturní Prostor PARDUBICE 2009 / installation Living Room - together with J. Kopec, J.Sedlák /, SpringChalange 2011, Angewandte, Wien / grasshopper, fabrication, Spring-Chalange 2012 Angewandte Wien / grasshopper, fabrication /, Drift and Dreams 2013 , 3D dreamer, Wien / MAYA , Zbrush, Steven Ma /, ECOTYPE 2014 , 3D dreamer, Bratislava / grasshopper /, Digital Summer 2014 organized by UMPRUM Re. Code.Nature | Co-de-iT CIEE / processing /, Iterative Interpretations 2014, Bratislava / Anemone, Grasshopper /, Santini’s Language 2016 , 2017, 2019 / tutor Artificial Ecologies (Digital Futures with Daniel Bolojan) 2020 AI in Architecture, Workshop in TIRANA 2024 / Tutor PC ACADEMY - 3DCP Architecture online 2025 / Tutor
Exhibitions :
salon of wooden buildings 2012 (rd Hluboké Dvory, with J.Zelezny ); solo exhibition Fluids 2013 galerye Brno; Essence 2014 Wien,( CaveRoots, with I.Binica; Integro, with J.Park, S. Nabavi)
Santini’s Language - minigallery Fa Vut Brno, 2019, Succesive palimpsest, minigallery Fa Vut Brno, 2019, Design Blok 2022 : Between Conflicts / ICE Coral /, Biomorphic Machines - Interpretation 6, Villa Tugendhat 2021 with Eric Goldemberg /FIU/ , Festival of Architecture - Stereotomic Tecton - ice architects, BVV, 2023,
Wide Parameter of Architecture, exhibition of works by students of the Institute of Experiment, Fa Vut Brno, KUNST, 2023 together with Sládeček,Gale, Rozwalka, Kaftan)
Experience in Brief : With over fifteen years of experience in the dynamic field of architecture, I have dedicated my career to driving innovation and advancing the boundaries of design. From the outset, my focus has been on fostering a deep understanding of architecture while actively pushing the envelope of creativity. Throughout my journey, I have been deeply involved in every aspect of project development, from initial concept ideation to the final stages of realisation. During my almost 18 years of career, I have done over 140 projects and nearly 20 realisations. I also publish theorist texts and participate in research and teaching.
As the founder of my own architectural studio, I assumed a multifaceted role, overseeing everything from client communication and design to sales and construction supervision.
Concurrently, my passion for education led me to teach architecture courses at the university level, guiding and inspiring the next generation of architects.
Most recently, I have served as the Lead Architect for 3DCP technology, where I spearheaded groundbreaking research, software development, and sales initiatives. My diverse experiences have equipped me with a comprehensive skill set and a relentless drive to excel in the field of architecture.
Key Skills and Accomplishments:
Extensive experience in all stages of architectural project development, from concept study to realization.
Strong leadership and project management skills, demonstrated through successful completion of complex projects.
Proficient in architectural software and technologies, focusing on innovation and cutting-edge solutions. / Maya, Rhino, Grasshopper, Vray, Archicad /
Excellent communication and interpersonal skills, proven through effective client and team collaboration.
Track record of academic excellence and teaching effectiveness, contributing to students’ academic and professional success.
Restaurant and Cable Car Station ICE Architect, 3DCP / realization
Restaurant and Cable Car Station, ICE Architect, 3DCP / realization, 2024 study, project, realization : the fist 3d printed restaurant and cable car station in the world.
3DCP Cable Car Station & Restaurant – Kopřivná, Czechia
As a key contributor to this groundbreaking project, I collaborated with ATELIER3M in designing the world’s first 3D-printed cable car station, integrating a restaurant within the structure. Situated in the mountainous landscape of Kopřivná, this project redefines architectural innovation through cutting-edge 3D Concrete Printing (3DCP) technology.
Architectural Concept & Design
Inspired by natural rock formations, the structure harmonizes with its surroundings, resembling a sculpted stone embedded in the hillside. The station is divided into two key sections: the functional area for cable car operations and an elongated day room providing panoramic views for visitors. This dual-purpose design merges infrastructure with hospitality, enhancing the user experience while maintaining an organic architectural language.
Restaurant and Cable Car Station, ICE Architect, 3DCP / realization, 2024 study, project, realization : the fist 3d printed restaurant and cable car station in the world.
3DCP Cable Car Station & Restaurant – Kopřivná, Czechia
Construction & 3DCP Innovation
ICE Industrial Services spearheaded the development of the 3D-printed components, utilizing advanced prefabrication and on-site printing techniques. The walls integrate insulation, interior elements, and exterior finishes in a single production process. Two distinct surface textures define the structure: a smooth, water-resistant lower cantilever, and a rugged, rock-like upper section that reinforces the building’s contextual identity.
Sustainability
& Performance
The project incorporates a range of sustainable features, including a green roof and fixed aluminum windows with ventilation slits, optimizing energy efficiency and natural airflow. The use of 3DCP significantly reduces material waste while ensuring precision and adaptability in the design process.
Restaurant and Cable Car Station, ICE Architect, 3DCP / realization, 2024 study, project, realization : the fist 3d printed restaurant and cable car station in the world.
3DCP Cable Car Station & Restaurant – Kopřivná, Czechia
Impact & Future Applications
This project represents a paradigm shift in architectural and infrastructural development, demonstrating the vast potential of 3D concrete printing in real-world applications. By integrating automation and digital fabrication, the cable car station and restaurant showcase the future of sustainable and innovative construction methodologies.
My role in this endeavor involved shaping the architectural vision, ensuring the seamless integration of technology and design, and pushing the boundaries of what is possible with 3DCP. This achievement marks a significant step toward redefining construction possibilities in extreme environments and complex structures
chapel of reunion ICE Architects / 3DCP
study, prototype : synthesy of the ghotic baroque4.0 & cutting edge technology
The Chapel of Convergence seamlessly integrates cuttingedge 3D printing technology to realize an optimized architectural form. Inspired by the fusion of Gothic and Baroque styles, particularly influenced by Jan Blazej Santini’s visionary designs, this nnovative approach allows for the creation of intricate, yet structurally optimized shapes. Through meticulous digital modeling and fabrication, the chapel embodies a harmonious blend of tradition and contemporary design, symbolizing humanity’s journey towards spiritual enlightenment amidst the evolving landscape of modernity.
Chapel of Convergence creates a bridge between the material and spiritual experience of man. Standing quietly by the pilgrimage path at the edge of the forest, it follows the pilgrimage chapels that lead man to the awareness of his reality and being.
Man’s journey through his existence is full of dramatic moments and finding the path to stillness and peace has become increasingly important in recent times. To be in a beautiful place, to pause for a moment and to connect with oneself and others is and will be crucial for the next moments of human existence on Earth. The Chapel of Convergence is based on the study of Baroque chapels and especially the work of Jan Blazej Santini and his fascinating synthesis of the Gothic Baroque. Thanks to developments in the digital and technological domain, we are now able to create objects that combine the dynamism of the Baroque with the rationalization of today, bringing the past and the future together,manifesting in the tangible presence of contemporary architecture
chapel of reunion ICE Architects / 3DCP study, prototype
chapel of reunion ICE Architects / 3DCP study, prototype
chapel of reunion ICE Architects / 3DCP study, prototype
“The New Dawn” – Mixed-Use Development on King Fahad Road, Riyadh Design Hotel 5-Star Hotel Residential | Healthcare Offices Restaurants
“The New Dawn” is a transformative mixed-use development rising along Riyadh’s iconic King Fahad Road. The project embodies a new architectural language for the capital—one that merges structure and softness, clarity and emotion. Behind its rational urban façade, the heart of the building opens into a fluid, light-filled atrium, a vertical oasis where nature, light, and movement converge.
At the core of the concept lies the metaphor of a new beginning—a dawn not only in form but in experience. The project reimagines the high-density urban block as a multi-layered ecosystem, weaving together hospitality, living, healthcare, and workspaces into a single, harmonious organism. The atrium, with its cascading greenery and carved terraces, offers a meditative counterpoint to the city’s intensity—a place for rest, reflection, and interaction. Sustainability is embedded in every layer of the design, from passive environmental strategies to integrated planting and climate-responsive materials. The project becomes a living landmark, an architectural gesture of optimism, and a vision of the future where architecture becomes both shelter and story.
“The New Dawn” is not just a building—it is an invitation to inhabit the future of Riyadh.
Žofinka transforms a 20-hectare brownfield between Nová Karolina and Dolní Vítkovice into a resilient, inclusive, and nature-driven district. The masterplan is anchored by the intersection of a successional park and structured urban green, creating a living framework that connects neighborhoods, public space, and the Ostravice River.
The plan promotes walkability, child-friendly design, and ecological continuity. A clear public space hierarchy—from block courtyards to civic boulevards—supports everyday life. New mobility structures prioritize pedestrians, bikes, and transit, while car access is minimized and consolidated underground.
Sustainability is embedded through renewable energy, smart grids, water-sensitive design, and biodiversity corridors. The revitalized riverbed restores ecological processes, integrates flood protection, and reconnects the city to its natural history.
ŽOFINKA is a city for new beginnings—where infrastructure, landscape, and community shape Ostrava’s next chapter.
Parking house Dolní Břežany / franek
architects realization 2020
A unique project designed by architect prof. Zdeněk Fránek, who developed yourArchitects studio for all project stages, integrates novel design with contemporary design techniques. The parametric model was connected to the BIM model via the Rhino - Grasshopper - Archicad platform. Parametrization facilitated complex geometry, optimization and work with project details.
The Parking House is an original minimalist building that demonstrates its function by a facade formed by road barriers. These, brought to an unusual situation, create an original architectural layer. Smooth striping, typical of the work of Zdeněk Fránek, is given a new materiality and meaning. The roundness, which reflects the context with the landscape, underlines the movement and dynamics of the present. It reacts to the flows in the surrounding area, where different speeds of cars, pedestrians and cyclists blend. Everything is enhanced by transferring the slope to the inclination of the ceiling slabs. The overall design process took full advantage of the digital parametric capabilities - from shape generation to the virtual object model presented in HTC glasses.
Two-storey building with mobile roof allows parking up to 200 cars. It forms a triangle with a convex side, using the slope of the land and respecting the slope of the terrain. The layout of the house is divided into parking spaces with a ramp and communication cores. The facade from the north is formed by road barriers with a ventilation function and a high aesthetic experience. The facades of the east and south are concrete with small air vents in a diverse pattern and will grow with ivy and local plants. The LED illumination placed on the crash barrier of the northern façade refers to the long exposure of the passage of cars.
The pond in front of the parking house collects rainwater, supporting effective retention and management. The structure is a non-basement, three-storey monolithic reinforced concrete building founded on 600–800 mm drilled piles. All above-ground slabs are inclined at a 1:60 slope. The 300 mm thick waterproof concrete baseplate and 250 mm floor slabs are complemented by expansion joints in the ceilings. The 100 mm reinforced concrete roof slab provides protection from weather and integrates drainage troughs designed to use gravity for rainwater outflow. Above the ramps and staircases, an extensive green roof was added.
Peripheral walls are 300 mm thick, inner load-bearing walls are 200 mm, and vertical columns measure 400 mm in diameter, all in reinforced concrete. The main façade uses a ventilated system composed of columns and horizontal crash barrier segments. On the east and south sides, crash barriers are welded into a rectangular grid, fixed to the concrete walls. These grids feature rectangular openings that enable natural ventilation while preventing light pollution from escaping the building.
The original design envisioned a flat site, but after surveying the terrain, the project was adapted to a slope. Thanks to parametric design, this transition was seamless. By rotating slabs along the YZ axis and defining columns from slab points, the geometry remained consistent. The parametric model also generated various façade and opening configurations, optimizing for ventilation and headlight containment. Elements like crash barriers, walls, and columns were modeled in Rhino and imported into Archicad, with continuous real-time visual checks in virtual reality to ensure architectural quality.
Parking infrastructure Ostrava
Jiri Vitek architectural workshop Competition
Thesis:
Considering the concept of a new parking house in Ostrava, we were concerned with two main theses. 1. What is the essence of a parking house and 2. how it affects its surroundings? We came to the conclusion that the essence of a parking house is a simple road and parking slots. The resulting open structure of the “track” does not close and fill the space with impenetrable objects, but naturally coexist with the place. The resulting art form consciously refers to movement, mobility, speed and semiotically refers the importance and program of the object. As a result, it is clearly read and positively complements the urban structure the context of the place where its openness communicates with the opposite park, its graceful curves guides the pedestrian and its cantilever pull communicates with the Steven Holl Opera building.
Methodology:
Digital techniques are used to design accurate and complex architecture. All the design steps could be optimized and made highly efficient. In subsequent steps, other inputs can easily be integrated painlessly into the process.
The limit of the possible building area was defined and subsequently the points in space defined the ramp curve. Optimization was important to ensure underpasses and appropriate ramp slopes. Thanks to that it was created the very artistic shape of the whole mass of the object. The parking geometry was then generated along with the curve home. The escape cores were suitably positioned to meet the required distances. Given geometry was then analyzed statically. Parking spaces have been digitally positioned to avoid columns and the minimum parking width was maintained.
Structural optimization:
The design of the house is strictly reduced to the essence of the project, a ramp with parking slots. During the design, structural analysis and optimization was performed synchronously to make it
it has been proven that the material and structure will be properly distributed and the deflections on the structure will be eliminated. Thus, genetic algorithms were used in the first phase to deploy supports. Movement is up to 3 cm, and the distribution of materials is proven at a pressure of 98% and a tension of 87%
Language of Architecture:
The building communicates its purpose and maximally demonstrates the possibilities of its time. Elegant curves evoking the movement of cars that today achieve fascinating aesthetics and performance, elegance and efficiency. The horizontals are supported by column verticals that create the same logic thanks to the L profile and
distance alternation of matter and void as a railing line. Coherent aesthetics is topped by narration in the sense bas-reliefs imprinted on pillar surfaces.
Ostrava is rich in great poetics and poetry. Poems by Petr Bezruč, František or members of Jaroslav Žila or Petr Hruška raise the column to an emerald plate.
project by StudioURAN: Jiri Vitek, Vaclav Hurnik, Petr Malasek, Mariana Kubova, Vojtech Marek
Green factory Li-KoVo
Franek Architect/ realization
The industrial area on the south-western outskirts of Slavkov u Brna has grown this year by another green building. After the LIKO-Noe experimental building, which serves as a development centre for a company engaged in the production of interior partitions, prefabricated halls and green elements for buildings, a new LIKO-Vo production hall, the first “living” hall in the world, was put into operation here. The concept of living buildings is based on natural thermal stabilisation provided by a green roof and façade, a retention pond and other technologies that enable them - unlike conventional indoor buildings - to cool not only themselves but also their surroundings. In addition to the obvious aesthetic benefit and thermal insulation capacity, the green areas also act as a root treatment plant for wastewater, which is naturally treated and further used for irrigation. With the construction of the hall, LIKO-S is responding to the current climate situation and trying to inspire environmental friendliness.
Over the past two decades, approximately 45,000 hectares of production and warehousing halls, along with a similar area of paved surfaces, have been constructed in the Czech landscape. This amounts to a total of 90,000 hectares, primarily fertile land, being utilized for rooftops. These structures contribute to water drainage acceleration, sunlight reflection, and high energy consumption for heating and cooling, negatively impacting the environment.
LIKO-S aims to lead in environmental responsibility by transforming its production site into a modern industrial estate. This involves initiatives such as planting trees, green roofs, grassed parking areas, root-based sewage treatment plants, retention ponds, and photovoltaics. The company supports electromobil-
ity and emphasizes a “happy and green company” philosophy. Regular data evaluation enables the development and demonstration of the benefits of these eco-friendly solutions, creating a positive impact on both employees and the surrounding environment. The entire site, showcasing these initiatives, can be explored through LIKO-Stezka, accessible virtually or in person as part of the company’s awareness-raising efforts.
Hydrogen Island
Hani Rashid Studio Vienna / Diploma thesis 2019
Airport City Prague. CZ
SUPERLABOR Competition 2019. 4th place
AirportCity Prague, CZ
Smooth striped space /1/ framed by the elastic properties of a city is exploring everyday rhythms and changes in a smooth and soft manner. If we would like to generate a city, we have to provide some rules and boundaries, but in the same time, we keep the process open as much as its possible, and errors and deviations are invited more than denied. Evolution of a system is an opportunity to move to next branch of a genome. Emergence states help appear to new qualities. Improvisation is a natural part of the process of creating and leading to randomness. But we are able to understand randomness as patterns or signals. When we see a certain pattern which could be seen as a signal, we use them in the next creative process. Than new language emerge from the system and can be further developed as the new agenda of the urban design. Due to the big evolution of computers and their computation power architects are able to work and manipulate the giant amount of data in the real time. Exact methods as simulation, optimization are used to generate and predict the behaviour of users and architectures. The main aim of urban design should be to provide as elastic plan as possible. This plan should define private and public space and allow users maximum possibilities and freedom to build. We seek for such tools and methods which would be elementary but also sophisticated that with few
rules will define the coherent and rich environment situations.
This thesis started as pre diploma thesis at Die Angewandte in studio Zaha Hadid as a Emergent Cluster project and had been applied and tested in several competitions. The smooth and striped methodology could be understood as bottom-up system which uses the idea of smooth regulations lines whooly path). a rhizomatic street system which generates differentiated urban cells. In cells, we evolve the solar envelope based on genetic algorithm and solar exposition calculation. Public space is translated as urban field / S.Allen ) to provide better navigation and orientation of users. Digital possibility to work with whole part of a city to smallest part of the street is the greatest benefit of computer-aided design. Thanks to the generative design we can share qualities of whole with their parts.
Solar Envelope
One of the key theme how to define a space or regulate a city is a solar envelope. This concept is based on “ zoning Low “ produced by Hudge Ferrise and research of Ralph L. Knowlese, who define a solar envelope as basic urban tool. The solar envelope defines the maximum possible built-in volume with respect to the shading of neighboring envelope objects. The envelope determines the polygon of the building plot, which can be from geometric primitives to rugged polygonal shapes. There is no flat roof. The top points are joined by a polygon and create a differently sloping roof area according to a specific context. Using the genetic algorithm, we are looking for the optimal solution to the set points, maximum volume and maximum exposure to the sun. The program can look at a large number of envelopes at a time, so the system looks for such a possibility that the whole newly proposed part takes into account the shadowing of itself and the context of the place, ie the surrounding objects, therefore, no block objects / maximum volume / so that the total volume passes the beams to adjacent envelopes. Another change is the possibility of measuring the entire spectrum of the sun’s movement, not just a specific hour but, for example, a whole day. Using meteorological data we can include the number of cloudy days. Setting the resolution of the
measured area creates a sunbathing gradient where it is easy to increase the accuracy of the high resolution measurement. Another key moment is the number of envelope polygon checkpoints. With only 4 polygon vertexes, there is a relatively simple cut of the block, but when vertex increases, we reach far more complex envelopes. / Fig. 2 / The envelope tendency then naturally accents the corners and creates a rich platform that very well develops the original language of the city. In a situation where several envelopes are generated, we achieve great complexity and richness of structure while maintaining a unified and coherent language. The resulting architecture reminds of its rich and self growing city.
Project by SuperLabor : Jiri Vitek, Jakub Kopec, Michal Mačuda, Marek Chmiel, renderings: Flying Architects
Dvě Věže Plzeň. CZ
The design of the second tower of the Pilsen Church of St. Bartholomew is based on the geometry of the existing tower. The analysis of geometry shows the basic position on the square, which is offset in the ledge. The base of the roof is built on an octagon and the top of the tower is pushed to the point. The height of the individual geometric formations is placed in accordance with the existing template. Between the layout control objects / diagrams /, we generate a new control surface to maintain the longitudinal and transverse views. The basic reasoning assumes the tower as a skeleton structure derived from a gothic model without a material filling. This creates a discussion between the two towers. Functionally, there is no need to load the assignment. Lightweight steel frame construction is applied by components to the generated control surface. The component is based on a square and rotated hexagon with rounded edges. The number of
components is optimized in the U-axis to 3 and in the V-axis to 4. The generated structure is precisely fitted to the existing pillars of the unfinished tower. the structure is clad with steel sheets with a weather-resistant finish and is gold-plated. The material refers to the installed statues in the square. It is not only by using a new design methodology - digital design - that we achieve a contemporary language. The materialized construction of the new tower is embedded in the tradition and ontology of sacred geometry, allowing visual interconnection - vist with the existing tower and refers to the future. It will have bells installed.
Skywalk Klínovec / franek architects
The site is located beneath the mountain ridge of Klínovec. The structure comprises several components: Entrance Structure (SO01), Connecting Footbridge (SO-02), and Slide Object (SO-03).
The boarding platform for the footbridge is situated near the upper station of the cable car and the newly designed restaurant. From there, the connecting footbridge leads to the entrance structure and extends to the tower object.
The entrance structure is positioned at the beginning of the construction with secured access from the boarding footbridge. It is designed as a single-story building without a basement. The structure accommodates two small ticket booths, a gift shop with storage and operational facilities, an office, a technical room, a staff changing room, and restroom facilities for both men and women. The small booths are intended for ticket sales and visitor information services, while the gift shop will offer souvenir items. The total number of employees in both the entrance structure and the slide object is expected to be a maximum of 8.
The connecting footbridge links the surrounding terrain via the entrance structure to the proposed tower of the slide object. The footbridge has a total length of 307 meters, featuring no roofing and bordered by vertical posts. It is equipped with protective railings along its entire length.
The slide object is a new type of tower allowing an unrestricted 360° view of the horizon. At the top, the tower is adorned with a ring with an inner diameter of 54 meters. Beyond this ring, there are no structures obstructing the panoramic view, except for safety lighting for aerial navigation. The tower incorporates various attractions such as slides, sleeve attractions, and more. An steel stairway and an elevator shaft, designed for evacuation purposes, are located adjacent to the tower to ensure safe egress of individuals.
Fránek Architects
Prague. CZ
ThedesignofthesecondtowerofthePilsenChurchof St. Bartholomew is based on the geometry of the existingtower.Theanalysisofgeometryshowsthebasic positiononthesquare,whichisoffsetintheledge.The base of the roof is built on an octagon and the top of the tower is pushed to the point. The height of the individualgeometricformationsisplacedinaccordance with the existing template. Between the layout control objects / diagrams /, we generate a new control surfacetomaintainthelongitudinalandtransverseviews. The basic reasoning assumes the tower as a skeleton structure derived from a gothic model without a material filling. This creates a discussion between the two towers. Functionally, there is no need to load the assignment. Lightweight steel frame construction is applied by components to the generated control surface.Thecomponentisbasedonasquareandrotated hexagon with rounded edges. The number of components is optimized in the U-axis to 3 and in the V-axis
Návrh druhé věže Plzeňského kostelu svatého Bartoloměje vychází z geometrie stávající věže. Z analýzi geometrie vyplývá základní postavení na čtverci, které se v římse offsetuje ven. Základna střechy je postavena na osmiúhelníku a vrchol věže aprosimujeme na bod. Výškově jsou jednotlivé geometrické útvary umístěny shodne se stávající předlohou. Mezi rozvrženými kontrolními objekty / diagramy / generujeme novou řídící plochu tak, aby byl zachován průhled v podélném i příčném směru. základní úvaha předpokládá věž jako skeletovou konstrukci odvozenou z gotizující předlohy bez hmotné výplně. Tím vzniká diskuse mezi oběmi věžemi. Funkčně není třeba zatěžovat zadání. Lehká skeletová konstrukce z ocelových prvků je aplikována pomocí komponentů na generovanou řídící plochu. komponent je založený na čtverciapootočenémšestiúhelníkusezaoblenými hranami. Počet komponentů je optimalizován v
ThedesignofthesecondtowerofthePilsenChurchof St. Bartholomew is based on the geometry of the existingtower.Theanalysisofgeometryshowsthebasic positiononthesquare,whichisoffsetintheledge.The base of the roof is built on an octagon and the top of the tower is pushed to the point. The height of the individualgeometricformationsisplacedinaccordance with the existing template. Between the layout control objects / diagrams /, we generate a new control surfacetomaintainthelongitudinalandtransverseviews. The basic reasoning assumes the tower as a skeleton structure derived from a gothic model without a material filling. This creates a discussion between the two towers. Functionally, there is no need to load the assignment. Lightweight steel frame construction is applied by components to the generated control surface.Thecomponentisbasedonasquareandrotated hexagon with rounded edges. The number of components is optimized in the U-axis to 3 and in the V-axis to 4. The generated structure is precisely fitted to the existingpillarsoftheunfinishedtower.thestructureis clad with steel sheets with a weather-resistant finish and is gold-plated. The material refers to the installed statues in the square. It is not only by using a new de-
Návrh druhé věže Plzeňského kostelu svatého Bartoloměje vychází z geometrie stávající věže. Z analýzi geometrie vyplývá základní postavení na čtverci, které se v římse offsetuje ven. Základna střechy je postavena na osmiúhelníku a vrchol věže aprosimujeme na bod. Výškově jsou jednotlivé geometrické útvary umístěny shodne se stávající předlohou. Mezi rozvrženými kontrolními objekty / diagramy / generujeme novou řídící plochu tak, aby byl zachován průhled v podélném i příčném směru. základní úvaha předpokládá věž jako skeletovou konstrukci odvozenou z gotizující předlohy bez hmotné výplně. Tím vzniká diskuse mezi oběmi věžemi. Funkčně není třeba zatěžovat zadání. Lehká skeletová konstrukcezocelovýchprvkůjeaplikovánapomocíkomponentůnagenerovanou řídící plochu. komponent je založený na čtverci a pootočeném šestiúhelníku se zaoblenými hranami. Počet komponentů je optimalizován v ose U na 3 a v ose V
1.st place/
The building is designed for the city of Prague and is based on Prague inspiration. The design is simple, drawn in one line. This line should be memorable and should forever characterize the Botanical Garden. We have designed an experiential house that will encourage repeated visits. The building is designed as economical, both in its design and in its operation. Dominate in it and its surroundings will be mainly plants.
Objekt je navržen pro město Prahu a vychází z pražských inspirací. Návrh je jednoduchý, nakreslený jednou čarou. Tato čára by měla být zapamatovatelná a měla by navždy Botanickou zahradu charakterizovat. Navrhli jsme zážitkový dům,kterýbudevybízetkopakovanýmnávštěvám.
Objekt je řešen jako úsporný, jak svým provedením, tak i ve svém provozu. Dominovat v něm a jeho okolí budou hlavně rostliny.
make structural logic speak : Floating Shells
project 2014
Zaha Hadid Studio Vienna / studio
Situated on the waterfront of East River, next to UN Headquarters, our project represents an urbanistic and architectural iconic articulation on the grid of Manhattan, a cluster point for the horizontal pedestrian movement and a vertical articulation in relation with buildings around, closing in frames, depending on different perspective points, other iconic building of New York City, such as UN and Chrysler Building.
Developed on a large plot, almost like a replica of the UN Headquarter’s site, it concentrates different programs such as: performance art center (grand theater, concert hall, multifunctional hall), completed by spaces for library, restaurant, cinema, galleries, activating on a horizontal circulation people attracted by the two plazas described by the building’s architectural design.
In relation with the high-rise character of Manhattan, precisely outlined by the invisible curves described by the maximum points of the buildings surrounding our plot
Structurally is based on shells structure optimization with natural force flow and deformation which is used for form finding. Deformation is analysed and recomputed for optimal material displacement and stress lines of shell are translated into the structure’s pattern. The mega structure of roof is hanged on the supporting system represented by vertical cores. The optimal shape represents tectonic articulation of architectural structure and her behaviour.”
alternated sets of regulations, which are based on two distinct approaches, both sets concerned with daylight at street level, this structure vertically grows by overlapping a macro-structure obtained by three floating shells. In this case, new programs are enlightened,such as offices and residential (hotel), which. in accordance with urbanistic analysis, their presence is truly argued.
Project by Ioana Binica, Jiri Vitek, Lin Wang
In the era of the interconnected digital landscape, we find ourselves immersed in the intricate web of the internet - a network that transcends boundaries and binds us together. Similarly, the city emerges as a complex urban structural network, comprising six distinct platforms seamlessly interwoven: infrastructure, residential, commercial, recreational, and cultural domains. Our endeavor has been to meticulously observe the dynamic interplay among these platforms - their reactions, interactions, and symbiotic relationships. We scrutinize their modes of communication, their impact on the surrounding environment, and their mutual influence.
In our pursuit, we seek novel methods of organizing these diverse systems within a unified territory. We aspire to redefine modes of communication, striving for optimal integration and synergy. Our aim is not merely to construct physical edifices, but to orchestrate a harmonious circulation of these systems within the urban fabric. They must coalesce into a singular entity, functioning as a cohesive complex.
Our vision extends beyond mere construction; we prioritize the creation of verdant spaces within the community, fostering harmony and well-being among its inhabitants. In essence, our approach transcends conventional urban planning, embracing a holistic perspective that integrates human needs with environmental sustainability.
the objective of this experimental study project was to create a conceptual layout for a site, to cover 3000x3000m, to develop a coherent masterplan, to build a new city. the global urban population increases, so let’s focus on making them better.
city is a medium (medium=the sourrounding enviroment, an intervening substance trough which signals can travel as a means for communication)
the modern city is a super-society where nothing exists by itselfs, without context and without fixed ties to the surroundings. that is why the individual themes overlap and merge in many different directions and layers.
Pavilion P, BVV Brno CZ
invited competition / 1st. place
A two-round invited competition for the new Pavilion P caught me in practice at Arch.Design. Several Brno architects were invited, among them AD, who first took part in an in-house competition. My concept was chosen for possible versions and consequently it was submitted to the first competition round in parallel with the design by arch. Dokoupil, who used a segmental roof on a rectangular ground floor. Our design was different, reflecting the differentiation of the corners of the pavilion, where one serves the entrance to the premises, the other is the accent of space in front of pavilion Z. Our design was chosen
for the second round and we could address the key issue - the facade.WiththehelpoftheartistVáclavKrůček,wedesigned a laminated facade of openwork cassettes creating an irregular rich structure. It had a very special property of dematerializing and creating an indefinite, almost immaterial layer. The glass cladding was made up of Copility and was illuminated, referring to the cladding of pavilion Z.
The subsequent development of events, when we won the first prize and continued on the project for building permit, was a very special step. There was a demand for the “ravages” of the pavilion. By arguing that it is not possible to ruin the project, because its form is an architectural project that has more layers than just an envelope, I finally concluded that rather than participate in the mindless box, I prefer to give up the project.
So my interest in rational and irrational thinking in architecture began and I set out on a journey of discovering the capacities and boundaries of architecture and thinking within its framework.
pavilion Between Conflicts
ICE Architect/ realization 2022
Between Conflicts / 3DCP Pavilion
realization / Ice Architects
Today’s world can be understood as a constant change. Some are so serious that they cannot be overlooked or ignored. Like the bark beetle or war. We were used to Ukrainian men working on construction sites. Not anymore. They have to defend their homes, and perhaps our homes.
The Between Conflicts object, which we exhibited in the garden of the Museum of Decorative Arts in Prague, is based on a modular system of elements. Within the exhibition pavilion, the object was contextualised and adapted to refer to defensive buildings, but also to respond to the architectural and socio-political context. The core elements of our Modesty system were complemented by highly articulated walls of the corrugated structure, thus connecting the building to the surrounding garden. The corrugated walls responded to the nearby fountain, playing up the space and, thanks to 3D printing capabilities, creating shapes that would have been difficult to achieve with other technologies. The ceilings were complemented with patterning that was based on structural analysis and depicts the principles of stress lines. On the floor we created patterning based on the principle of curve filling using a growth algorithm. On the walls, AI-generated patterning was used. Our concept was to test the possibilities of informed surfaces and inlays in 3D printed concrete. children hiding in the forest ..
AI generated images based on the phrase „Ukrainian children hiding in the forest .....Als“ were converted into data that subsequently informed the print paths. We used different data and images for each panel. We thus verified that it is quite easy to have each panel as an original, which supports the basic thesis of 3DCP as it is a so-called mass customization.
2005
- House Sedlak / study, sp, realization 2007
- House in Zdar extension / study, sp, realization 2006
