beyond your map

Tabakfabrik in Linz, designed by Peter Behrens and Alexander Popp in 1929-1935, is a heritage-listed industrial complex and Austria's first steel-framed building in the New Objectivity style. Originally a tobacco factory, it symbolized economic progress for over 350 years. Now overseen by Tabakfabrik Linz, the complex serves as a hub for contemporary arts and businesses, housing about 250 organizations and offering various workplaces. The ongoing revitalization will continue to transform the historic site into a thriving creative and business community.

Originally an administrative house showcasing classic functionalist architecture, the Zikmund villa in Zlín underwent significant changes in 1953 by architect Zdeněk Plesník. The resulting individualized space, shaped through collaboration with owner Miroslav Zikmund, featured an expanded bay window and a dining area extension. The use of prefabricated concrete panels contributed to its iconic appearance. The interior was transformed into a workplace, with a library, darkroom, film laboratory, and private office. The villa, a rare post-war residential example, became a cultural monument in 2000. Architect Zdeněk Plesník, known for iconic works in Zlín and beyond, is recognized among the leading Czech architects of the late 20th century.

Between 1964 and 1969, the Havířov train station was built based on architect Josef Hrejsemnou's design. The station hall, featuring a crystal-clear example of Brussels-style architecture, includes notable elements such as a glass front facade, a pierced ceiling, and a unique glass sculpture by Vladimír Kopecký. Additionally, the brutalist sculpture "Směrník" by Václav Uruba, initially facing demolition, was saved through citizen opposition and cooperation with the National Heritage Institute, ultimately being reconstructed and relocated to the NPÚ headquarters in Ostrava.

In 1926, restaurant owner Miroslav Kostelecky commissioned Bohuslav Fuchs to design a modern hotel on Ceska Street, featuring a ferro-concrete structure with spatial effects. Fuchs emphasized lightness with large windows and ceramic cladding. The central entrance leads to a cafe on the first and second floors, featuring a two-level oriel and diverse spaces connected by a rounded staircase. The upper stories house hotel rooms and the owner's apartment, fostering spatial diversity with mirror walls and ample natural light. Despite landmark status, the interior furnishings deteriorated over the years, prompting architect Eva Jiricna to propose a reconstruction project. The hotel's future remains uncertain as it is currently up for sale.

Brno officials sought designs for a new crematorium in 1925, favoring Ernst Wiesner's proposal near Jihlavská Street. Wiesner, joined by Pavel Janák, modified the design, and despite its higher cost (4 million crowns), the jury unanimously selected it for its innovative technology and spiritual depth. Wiesner emphasized the need for architects to shape a new cult around cremation, blending technology and art to match ancient rituals. The expressive architecture, including a roof crown, graded stairs, and a monumental platform, creates an emotional experience. The interior features celestial skylights, a black marble catafalque, and a symbolic journey towards the furnace. However, the initially planned coke furnace was replaced with gas furnaces, altering the intended metaphoric conclusion.

Founded in 1920, the Czechoslovak Hussite Church aimed to establish a unique Czech religious identity. Led by Karel Farský, the church held early services in various locations while fundraising for a dedicated space. In 1927, they acquired a plot in Botanická Street, selecting Jan Víšek's functional and simple design through an architectural competition. The structure, incorporating a later-added tower, aligns with the sloping terrain. The main entrance leads to the divine service hall, presbytery, and basement facilities, now housing a restaurant and pool hall.

Out of the various tram stops created by architect Oskar Poříska in Brno, only one remains. The stop situated at Obilný trh was conceived by the architect in 1926 as one of the initial designs. After facing neglect and deteriorating to a hazardous state, the stop underwent substantial restoration in the past and current year, courtesy of the Brno-střed district. As of June 1, 2017, it is back in operation, serving its original function.

The collective house in Zlín, designed by architect Jiri Vozenilek, is a unique post-World War II housing project. Unlike typical units, these apartments lacked kitchens and were organized for family living. Shared amenities included a roof deck, dining room, bar, and laundry. The building aimed to mimic factory architecture, featuring a thick concrete frame, high-contrast brick infill, and horizontal windows with alternating balconies. Despite stylistic self-consciousness, the central glass block staircase added complexity to the facade.

Architect Josef Kranz designed the Era Cafe in 1927, drawing inspiration from Dutch De Stijl avant-garde movement principles. Influenced by J. J. Pieter Oud's De Unie Cafe, Kranz created a building with intersecting right-angled areas, emphasizing simplicity and geometric shapes. The cafe's facade features a minimalist composition of windows and color fields. The interiors reflect De Stijl ideas, with the spiral staircase replacing traditional decoration. Despite post-war and Communist-era modifications, the building faced a critical moment after 1989. It was restored in 2011, preserving its unique design and functionality.

Originally named the Palace of Industry and Commerce, the pavilion, designed by Josef Kalous and refined by Josef Valenta, quickly garnered admiration for its monumental structure, completed in just 230 days. Renowned for its extensive glass surfaces providing ample natural light, the pavilion underwent a comprehensive reconstruction in the late 1970s and early 1980s. This included connecting the two western wings with a five-story arcaded administrative building, integrating a hall for 450 people into the entrance rotunda, and adding galleries to both exhibition halls. Nearly two decades later, an elevated covered walkway system linked Pavilions A, B, C, D, and E into a cohesive complex.