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Dalibor Veselã½ Charrette:freespace In memoriam: Dalibor Veselý. Helen Mallinson. London Metropolitan University. ‘In every culture a series of things is taken for him but planted its ideas afresh. What he saw granted and lies fully beyond the explicit very clearly was that cultural repression was consciousness of anyone, and even in the not just the distinguishing feature of dodgy greatest dissolution of traditional forms, mores dictators or the Soviet communist regime, it and customs, the degree to which things held lay at the very heart of the modernity itself. Its in common still determine everyone, but is only characteristic projects, whether construed as more concealed.’ - Hans-Georg Gadamer repressive or emancipatory, rationalist or utopian, were essentially anti-culture and anti- In 2006 the RIBA honoured Dalibor Veselý urban. For Dalibor the whole point of Western with the Annie Spink Award for Excellence in freedom lay in its freedom to practice its Architectural Education. Dalibor had just culture. So the question he raised again and retired after seventeen years of teaching at again, was what exactly constituted culture and Cambridge and ten years teaching at the AA, how could its practice be continued? Dalibor over which time his ideas had become well believed that architects, amongst others, had known, even outside the small circle of places lost the plot (some two or so centuries before) he frequented; the idea, for example, that you and become quite incapable of recognising the could develop a fragment of city collectively relationship between culture and architecture around a series of institutions, or use or the deep culture of architecture itself. architectural drawings to develop a cultural Needless to say he imagined culture as setting, or phenomenology as a rationale, or something more than coffee shops, retail see architecture as part of the framework of the therapy and ubiquitous public space. everyday, or embodiment of its deepest meanings. Ideas take fire, even when the main My experience of Dalibor’s teaching serves as mode of communication is old-fashioned face- one instance of the impact his thinking has to-face dialogue. Dalibor’s printed output is a had. When I began studying architecture at shadow of the real thing and the real thing is, Newcastle University in 1972 there were many as he might argue, the city. Dalibor devoted his wonderful things to discover about the place life to the education of architects. but the curriculum of the architecture school was not one of them. I don’t know how we Prague, Dalibor’s home city, is now one of the collectively knew something was wrong but most visited. In 1968, when he fled to London, we absolutely did and proved restless students it was hidden behind the Iron Curtain that in consequence. It was not a bad education per came down on the Prague Spring. Like many se. Projects started small and simple in first exiles Dalibor brought his home culture with year and got bigger as you went up the school Charrette 2(1) Autumn 2015 129 ISSN: 2054-6718 finishing with something like a thesis project had just signed up to the EU; that was merely a on an airport. Briefs were always highly trade agreement. You had to go to Paris to find specific about function and space a coffee shop. requirements. You got to design an office, a school and a bit of housing; a yacht club I encountered Dalibor, Europe, the Eastern encouraged architectural expression and an Bloc, and the idea of the city, by signing up for artist’s studio stood in for landscape. Design a place on the Essex postgraduate programme progressed in an orderly fashion through site that he taught with Joseph Rykwert. Rather sketches and a photograph or two, to plans, to than attend the PCL history lessons you could sections, to elevations, to details, to the final spend Thursdays at the Royal Academy. Here perspective. In building science they told us Joseph presided over the history seminar in the about all the dreadful mistakes that modern morning; it moved at a shocking speed. We architects were prone to make so you thought spent weeks studying a paragraph or two by about structure and services as you went. We Vitruvius, then Alberti, and so it went on. designed using grids. In history we submitted a Dalibor directed the theory seminar in the weekly sheet of tracings from books to afternoon. It comprised a philosophical pursuit illustrate Classical, Gothic, Renaissance and of the origins of modernity and the threat it Mannerist buildings by well-known architects. posed to European culture, working backwards We competed with each other over colouring from Merleau Ponty through Heidegger and techniques, types of print paper, and Husserl, to Descartes. It was chronologically presentation drawings. Forty years later this the opposite but set at about the same pace as educational process is still recognisable but Joseph’s class. The experience was at once even the most conservative of RIBA visiting terrifying – it induced a constant feeling of boards might expect students to figure out painful ignorance – and completely issues of culture and context, or grapple with exhilarating. Strangely, study in depth things like programme. Ensconced within the provoked extraordinary extent. Between them hessian-lined walls of the architecture Dalibor and Joseph opened a floodgate of department, we learned nothing of Newcastle books, buildings, cities, countries, architecture, the city or how architecture partook of its art, which quickly expanded into an alarming urban domain. wealth of ideas that seems to have grown rather than diminished over the years. The hard As students we did not really know what to do part was trying to make sense of what it all with our revolutionary conviction that things meant, particularly in terms of design. ought to change. The year out became the moment of revelation as we drifted south to the Dalibor’s Unit 1 at the AA was conspicuously AA and PCL (Polytechnic of Central London – different to anything anyone else was doing as Westminster was known then). Here we and, at least for some of us, led the way. encountered a plethora of competing teachers Working with Mohsen Mostafavi, his then and prophets in full swing. Roughly speaking studio assistant, now Dean of the Harvard they divided into three main parties. One Graduate School of Design, Dalibor produced collected around issues of social inequality. a new programme for architecture, best There were some notable feminist architects represented in the final catalogue of their and social activists in my Newcastle cohort. studio projects, Architecture and Continuity: Another attracted the more scientifically Kentish Town Projects 1978-81. Dalibor’s minded who saw the potential for combination of design vision, intellectual and technological innovation in architecture. We moral authority was such that in 1978 he was had been avid readers of the Whole Earth invited to move to the Cambridge Department Catalogue. The third group gathered around of Architecture, as was Joseph, where they the arts. Amongst the broad spectrum of established a new Graduate Programme in the thinkers and practitioners to be found here, History and Philosophy of Architecture. In Dalibor Veselý had already emerged as a Cambridge Dalibor mounted a critical charismatic figurehead. He was utterly challenge to the scientifically oriented status scathing of any approach to architecture that quo, running and propagating a succession of did take on board the significance of European design studios with tutors that included Eric culture. I for one had no idea of what this Parry, Phil Meadowcroft, Carolyn Steel, David meant. Indeed at this point no one really saw Dernie, and, from the beginning, Peter Carl. London as a European city even though we Peter also co-taught the Graduate programme Charrette 2(1) Autumn 2015 130 ISSN: 2054-6718 with Dalibor following the departure of Joseph André Breton and his circle – developing an to the University of Pennsylvannia. The Essex insight that culminated in his involvement in course, meanwhile, had already launched a an exhibition at the Hayward and guest editing bevy of academics that including Robin Evans, the seminal Surrealism and Architecture AD in Alberto Pérez-Gómes and David 1978. Leatherbarrow. For students of Dalibor a version of his words Imagine how exotic a Czech dissident seemed in written form was something of a treat. back then. He exuded intellectual authority as Words mostly passed from mouth to mouth, well as a quick wit and copious amounts of conversation to conversation. Dalibor stood cigarette smoke. In fact Dalibor’s European quite determinedly within a lineage of teachers credentials were impeccable. He had studied that stretched back to the ancient Greeks and engineering, architecture and art and finished a the art of discourse. Cigarette in hand, alive to PhD at Charles University in Prague on the the situation, the ensemble of arguments, the Baroque-Gothic architecture of Santini-Aichel. joke, the ironies, the politics and pathos, the His father was a noted painter, his brother depth. Dalibor would stir the surface of a Drahosh a physicist, and Dalibor an difficult discussion and let fall a summary accomplished violinist as well as an architect phrase or two that would illuminate the who worked for Josef Havlicek and Karel problem. It seemed momentary, like a flash of Honzik. He knew in person some of the most lightning in a cave. The problem was never distinguished and interesting intellectuals, technical: the meaning of techne, on the other artists, filmmakers and poets of the day. As hand, demanded careful attention. You could Dalibor’s long term colleague and close friend begin to understand through drawing, or by David Leatherbarrow recounts, whilst in learning to think historically and Prague Dalibor had attended the seminars of philosophically, sometimes both.
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