Semper fidelis Stamp, Gavin
The Architectural Review,
11/1997, Letnik:
202, Številka:
1209
Magazine Article, Book Review
Stamp reviews "Joze Plecnik 1872-1957: Architectura Perennis" by Damjan Prelovsek and "Josip Plecnik: An Architect of Prague Castle" by the Prague Castle Administration.
Architect Joze Plecnik helped turn the capital of Ljubljana into something beautiful, writes Robert Bevan. From its lovely, bubbly, tongue-twister of a name to the cobbles of its winding streets...
Escaping Stalinismus Hobhouse, Niall
The Architectural Review,
10/2013, Letnik:
234, Številka:
1400
Magazine Article, Book Review
Review of Joze Plecnik exhibition at the Slovenian National Museum of Architecture and Design entitled "Under a Common Roof: Modern Public Buildings". The exhibition sets out to establish the ...continuity of a particular national sensibility in the design of Slovenian public buildings in the second half of the 20C. Plecnik is presented as the progenitor, and specifically represented by the National and University Library and by his strange, unbuilt, conical Parliament building. There is an inappropriate opposition in the presentation between the theoretical concepts of Rationalism and Monumentalism but the fundamental message is convincingly conveyed: that - for whatever reason - good architects in Slovenia after 1950 were often able to escape the coarse template of "Stalinismus". What shines in the exhibition is the thoughtful originality of school buildings and holiday settlements by some of the same architects who then betray themselves with horrible renderings of hospitals and official piazzas. (Quotes from original text)
HOUSES OF THE HOLY Sutton, Kate
Artforum international,
01/2023, Letnik:
61, Številka:
5
Magazine Article
If the Secession’s motto was “To every age its art, to every art its freedom,” Plečnik broke from his colleagues by unabashedly quoting from the past. The building cuts an unexpected silhouette ...against the sky, but its teetering proportions and profligate mix of materials can’t help but recall those libraries and student centers that pop up on university campuses after a substantial donation. To round out the festivities, curator Luca Lo Pinto and artist Olaf Nicolai entered into an imaginary dialogue with Urška, or rather an apocryphal version of her, for “I am only the housekeeper, but I don’t know . . . ,” an exhibition that invites twenty-five artists to infiltrate the architect’s hallowed living quarters.
