The new Lahofer Winery headquarters was built especially to fit into the vitricultural landscape of the Znojmo region. The company offices are located here as well as the production plant and the visitor area. The design concept is based on the idea of repeating the orderly character of vine rows inside the building in the form of the structural system. The architects also invited artist Patrik Hábl to collaborate on this project, and his artwork can be seen on the concrete vaults. The public part of the building program is enhanced by the undulating roof fitted with outdoor seating, which forms a sort of amphitheatre and serves for staging various events. Offices of the company management and employees are next to the visitor center. The entrance to the production area, divided into two separate volumes, leads from the intersection of the visitor center and offices.

Rekodifikace českého stavebního práva je opředena řadou mýtů. Zejména tím, že je údajně napsána na přání developerů. Základem legendy se stalo memorandum o spolupráci Ministerstva pro místní rozvoj ČR a Hospodářské komory ČR na přípravě předlohy stavebního zákona a související legislativy z roku 2018. První teze rekodifikace ale vydalo MMR už v rámci přípravy „velké novely“ zákona v roce 2017. Hospodářská komora ukončila v únoru 2020 s ministerstvem spolupráci, následné verze paragrafového znění zákona už zpracovávají úředníci ministerstva sami. Připomínková místa výsledek vesměs hodnotí jako promarněnou šanci a další dílčí novelu, která původní cíle nenaplnila. Kritizují vypořádání připomínek, ve kterém zůstaly rozpory a řada nových ustanovení se natolik odlišuje od původní verze k projednání, že připomínkovým řízením vlastně ani neprošla. Na nutnost nápravy zásadních vad v návrhu zákona před jeho přijetím upozornila ve svém usnesení valná hromada České komory architektů.

In 2015, I managed to introduce the issue of visual pollution into the public debate in the Czech Republic. I had returned from an internship abroad and suddenly I saw Brno as never before: overlaid with a meaningless mixture of signs, notices, and canvases. This experience shaped my decision of how to spend my spare time for the next few years.

The phrase “industrial architecture” contains two seemingly contradictory notions. One purely technical, framed by monofunctional purposefulness and efficiency; the other artistic, based on art principles and idealized history. They find synergy in architectural transformations that have reverberated through Czech society since the 1990s. Dozens of projects have been started since that time, their success measured mostly by their continued existence (or the lack thereof), or the level of artistic and architectural creativity harnessed in their preservation. But the main thing, that which is often left out, are the individual protagonists in the transformations of industrial architecture.

Prague citizens now regard their riverfronts as something approaching a miracle: a car park ten years ago, today a cultural and social scene unparalleled around the city, maybe even the country. For a while the surprising metamorphosis of Vltava riverfronts went unnoticed, keeping to the ephemeral plain of the program. This spring it ventured to the plain of the physical, with the refurbishment of twenty vaults (originally ice storage areas) in the riverfront wall. The new hybrid spaces, halfway between interior and exterior, operate under the convenient status of “public space meander” and they will serve as bars, cafés, galleries, or a public library.