<\/p>\n
N\u00e1vrh architektonicko-sc\u00e9nografick\u00e9ho \u0159e\u0161en\u00ed st\u00e1l\u00e9 expozice pov\u00e1le\u010dn\u00e9ho um\u011bn\u00ed a\u00a0architektury ze sb\u00edrek N\u00e1rodn\u00ed galerie Praha ve Veletr\u017en\u00edm pal\u00e1ci s\u00a0sebou nese \u0159adu nevyhnuteln\u00fdch v\u00fdzev a\u00a0ot\u00e1zek. Ka\u017ed\u00fd kdo navrhuje expozici do Veletr\u017en\u00edho pal\u00e1ce, bez ohledu na konkr\u00e9tn\u00ed kur\u00e1torskou koncepci, se mus\u00ed vypo\u0159\u00e1dat s\u00a0prostorem, kter\u00fd m\u011bl slou\u017eit jin\u00e9mu \u00fa\u010delu. Prostory ur\u010den\u00e9 k\u00a0vystavov\u00e1n\u00ed jsou sp\u00ed\u0161e obchodn\u00edmi pas\u00e1\u017eemi bez obchod\u016f ne\u017e ide\u00e1ln\u00ed galerijn\u00ed prostory. N\u00edzk\u00e1 sv\u011btl\u00e1 v\u00fd\u0161ka stropu a\u00a0\u00fanosnost, nedostate\u010dn\u00e9 rozpony mezi hust\u011b rozm\u00edst\u011bn\u00fdmi sloupy a\u00a0absence denn\u00edho osv\u011btlen\u00ed vytv\u00e1\u0159\u00ed v\u00a0kombinaci s\u00a0plo\u0161nou panel\u00e1\u017e\u00ed nep\u0159ehledn\u00e9 prostory p\u0159ipom\u00ednaj\u00edc\u00ed sp\u00ed\u0161e labyrint ne\u017e-li velkorys\u00e9 prostory vhodn\u00e9 k\u00a0prezentov\u00e1n\u00ed um\u011bn\u00ed. Vazba na jednoduchou konstruktivistickou architekturu, jej\u00ed\u017e p\u016fvodnost je zna\u010dn\u011b naru\u0161ena dlouhodobou a\u00a0ne zcela zda\u0159ilou rekonstrukc\u00ed z\u00a0let 1983\u20131995, se vytr\u00e1c\u00ed a\u00a0t\u00edm p\u00e1dem i\u00a0smysluplnost a\u00a0funk\u010dnost vystavov\u00e1n\u00ed ve Veletr\u017en\u00edm pal\u00e1ci jako takov\u00e9m.<\/p>\n
V na\u0161em n\u00e1vrhu p\u0159istupujeme k dan\u00e9mu prostoru ve 2.podla\u017e\u00ed tak, abychom v\u00fd\u0161e zm\u00edn\u011bn\u00e9 nedostatky dan\u00e9ho prostoru minimalizovali.<\/p>\n
Zjednodu\u0161\u00edme-li p\u016fdorysn\u00e9 sch\u00e9ma 2. podla\u017e\u00ed tak, \u017ee z n\u011bj vyjmeme obslu\u017en\u00e9 prostory (vertik\u00e1ln\u00ed komunikace, infrastruktura a z\u00e1zem\u00ed) z\u016fstane n\u00e1m struktura sest\u00e1vaj\u00edc\u00ed ze s\u00edt\u011b nosn\u00fdch prvk\u016f (sloupy a p\u0159eklady) a technick\u00e9 infrastruktury (vzduchotechnika, osv\u011btlen\u00ed) obalen\u00e1 vn\u011bj\u0161\u00edm pl\u00e1\u0161t\u011bm budovy. Do t\u00e9to jasn\u011b vymezen\u00e9 struktury vkl\u00e1d\u00e1me strukturu novou.<\/p>\n
Jedn\u00e1 se o jednoduch\u00fd konstruk\u010dn\u00ed syst\u00e9m slo\u017een\u00fd z jeklov\u00fdch ty\u010d\u00ed zap\u0159en\u00fdch mezi stropem a podlahou. Struktura ocelov\u00fdch ty\u010d\u00ed vytv\u00e1\u0159\u00ed lehkou a jednoduchou konstrukci, \u201cv\u011b\u0161\u00e1k na um\u011bn\u00ed\u201d, kter\u00fdm lze dob\u0159e vymezovat prostor pro jednotliv\u00e9 t\u00e9matick\u00e9 sekce \u010di okruhy. Struktura m\u00e1 \u0159\u00e1d vych\u00e1zej\u00edc\u00ed z \u0159\u00e1du budovy a z\u00e1rove\u0148 umo\u017e\u0148uje rozmanit\u00e9 prostorov\u00e9 konfigurace a variabilitu. Pro zvolen\u00e9 \u0159e\u0161en\u00ed a k\u00fd\u017een\u00fd v\u00fdsledek vn\u00edm\u00e1me jako z\u00e1sadn\u00ed nedota\u017een\u00ed panel\u00e1\u017ee k podlaze jako\u017e i ke stropu. Zvolen\u00e1 struktura, svoji vzdu\u0161nost\u00ed, transparentnost\u00ed, a translucenc\u00ed v mnoha p\u0159\u00edpadech, podporuje architekturu Veletr\u017en\u00edho pal\u00e1ce.<\/p>\n
\u0158e\u0161en\u00ed panel\u00e1\u017ee umo\u017e\u0148uje div\u00e1kovi jasnou orientaci v prostoru expozice um\u011bn\u00ed funguje i jako orienta\u010dn\u00ed syst\u00e9m. A\u010dkoliv maj\u00ed ob\u011b expozice sv\u00fdm obsahem i zp\u016fsobem uspo\u0159\u00e1d\u00e1n\u00ed r\u016fzn\u00e9 koncepce, r\u00e1di bychom, aby byl zvolen\u00fd syst\u00e9m pou\u017eit v obou p\u0159\u00edpadech a byl tak zachov\u00e1n jednotn\u00fd duch obou v\u00fdstav. Jeklov\u00e9 profily vytv\u00e1\u0159\u00ed nosn\u00e9 prvky pro panel\u00e1\u017e a maj\u00ed jednotn\u00e9 rozestupy vych\u00e1zej\u00edc\u00ed z \u010d\u00edseln\u00e9 \u0159ady po 0,75m. Mohou vytv\u00e1\u0159et m\u00edstnosti, z\u00e1st\u011bny nebo samostojn\u00e9 panely v prostoru. Na ocelov\u00e9 profily um\u00eds\u0165ujeme v\u00fdstavn\u00ed panely r\u016fzn\u00e9 v\u00fd\u0161ky a d\u00e9lky dle pot\u0159eby.<\/p>\n
V\u00fdstavn\u00ed panely jsou vytvo\u0159eny z\u00a0r\u016fzn\u00fdch materi\u00e1l\u016f jejich\u017e charakter rezonuje z\u00a0tehdej\u0161\u00edmi dobov\u00fdmi materi\u00e1ly. R\u016fzn\u00e9 povrchov\u00e9 struktury a\u00a0materi\u00e1ly pou\u017eit\u00e9 na panelech vych\u00e1z\u00ed z\u00a0dan\u00e9 doby a\u00a0kladou si za c\u00edl vn\u00e9st do expozice dal\u0161\u00ed vrstvu, kter\u00e1 neinvazivn\u011b navod\u00ed atmosf\u00e9ru doby a\u00a0expozici dod\u00e1 na detailu. Jedn\u00e1 se nap\u0159\u00edklad o\u00a0tyto materi\u00e1ly: linkrusta (plastick\u00fd n\u00e1t\u011br dekorovan\u00fd v\u00e1le\u010dkem), hrub\u00e1 strukturovan\u00e1 malba (v\u00e1le\u010dek), nalepen\u00e1 juta, sololit \u010di hobra na deskov\u00fd materi\u00e1l, p\u0159ekli\u017eka. V\u0161echny panely bez ohledu na pou\u017eitou povrchovou strukturu budou opat\u0159eny b\u00edlou barvou.<\/p>\n
Vzhledem k celkov\u00e9 prostorov\u00e9 i obsahov\u00e9 n\u00e1ro\u010dnosti obou expozic pova\u017eujeme za d\u016fle\u017eit\u00e9, aby n\u00e1v\u0161t\u011bvn\u00edci m\u011bli mo\u017enost volby, jak\u00fdm zp\u016fsobem v\u00fdstavou proj\u00edt. T\u00edm mysl\u00edme mo\u017enost zvolit si r\u016fzn\u00fd zp\u016fsob proch\u00e1zen\u00ed expozic\u00ed, takzvanou kr\u00e1tkou \u010di dlouhou cestu. K tomu v expozici \u010cas postoj\u016f<\/em>, pou\u017e\u00edv\u00e1me obt\u00e1\u010dej\u00edc\u00ed velkou dvoranu, oboustrann\u00e9 sloupo\u0159ad\u00ed z v\u00fd\u0161e zmi\u0148ovan\u00e9 ocelov\u00e9 konstrukce, kter\u00e9 div\u00e1kovi ji\u017e p\u0159i vstupu nazna\u010duje cestu a prov\u00e1z\u00ed jej celou v\u00fdstavou.<\/p>\n Zvolen\u00e9 \u0159e\u0161en\u00ed umo\u017e\u0148uje kur\u00e1tor\u016fm expozice pracovat s d\u016fle\u017eit\u00fdmi pr\u016fhledy na kl\u00ed\u010dov\u00e1 a v\u00fdrazn\u00e1 d\u00edla, kter\u00e1 se div\u00e1kovi postupn\u011b p\u0159i proch\u00e1zen\u00ed v\u00fdstavou otev\u00edraj\u00ed. Toto \u0159e\u0161en\u00ed nab\u00edz\u00ed i tomu, kdo se rozhodne z n\u011bjak\u00e9ho d\u016fvodu zvolit \u201ckr\u00e1tkou\u201d cestu vid\u011bt z\u00e1sadn\u00ed d\u00edla v\u00fdstavy. Naopak ten, kdo se rozhodne proj\u00edt ve\u0161ker\u00e9 expon\u00e1ty v\u00fdstavy v\u010detn\u011b dopl\u0148uj\u00edc\u00edch informac\u00ed, je d\u00edky barevn\u00e9mu syst\u00e9mu \u201csloupo\u0159ad\u00ed\u201d prostorem proveden, v\u00ed kde se nach\u00e1z\u00ed a kam se m\u00e1 d\u00e1le vydat, co\u017e pom\u00e1h\u00e1 zejm\u00e9na p\u0159i pr\u016fchodu z\u00e1padn\u00edm a v\u00fdchodn\u00edm k\u0159\u00eddlem jejich\u017e d\u00e9lka p\u0159esahuje 80m. Navazujeme tak na p\u016fvodn\u00ed my\u0161lenku obchodn\u00edch pas\u00e1\u017e\u00ed.<\/p>\n V expozici um\u011bn\u00ed<\/em> orientaci ve v\u00fdstav\u011b zaji\u0161\u0165uje barevn\u00e9 \u0159e\u0161en\u00ed konstruk\u010dn\u00edch prvk\u016f panel\u00e1\u017ee, jeklov\u00fdch sloupk\u016f, kter\u00e9 jsou nat\u0159eny v\u017edy jen ze dvou stran, t\u00edm nep\u016fsob\u00ed p\u0159\u00edli\u0161 v\u00fdrazn\u011b a z\u00e1rove\u0148 vedou div\u00e1ka prostorem expozice. Tento efekt v r\u00e1mci ka\u017ed\u00e9ho z \u010dasov\u00fdch a tematick\u00fdch celk\u016f, jemn\u011b podtrhuj\u00ed drobn\u00e9 detaily, akcenty p\u0159\u00edslu\u0161n\u00e9 barevnosti a t\u011bmi jsou hlavn\u00ed panely s texty, uvozuj\u00edc\u00ed t\u00e9ma (etapu), popisky a drobn\u00e9 detaily v instalaci. Barevn\u00e9 panely ve v\u00fdstav\u011b pln\u00ed funkci vizu\u00e1ln\u00edch, orienta\u010dn\u00edch bod\u016f, identy pro rozli\u0161ov\u00e1n\u00ed jednotliv\u00fdch \u201csektor\u016f\u201d v r\u00e1mci proch\u00e1zen\u00ed expozic\u00ed a celkov\u00e9ho pohledu do n\u00ed.<\/p>\n P\u0159esto \u017ee se v\u00a0obou expozic\u00edch zab\u00fdv\u00e1me p\u0159ev\u00e1\u017en\u011b minulost\u00ed, ov\u0161em v\u00a0mnoha p\u0159\u00edpadech minulost\u00ed vizion\u00e1\u0159skou a\u017e futuristickou, r\u00e1di bychom celkovou instalac\u00ed vtiskli v\u00fdstav\u011bsou\u010dasn\u00fdcharakter a\u00a0nechali tak vyniknout d\u00edl\u016fm v\u00a0aktu\u00e1ln\u00edch kontextech.<\/p>\n V\u00a0expozici architektury (1958-1989)<\/em> jeklov\u00fdmi konstrukcemi navazujeme na p\u0159edchoz\u00ed expozici, ov\u0161em v\u00a0drobn\u011b pozm\u011bn\u011bn\u00e9m stylu, p\u0159izp\u016fsoben\u00e9 t\u00e9matu expozice, nesouc\u00ed textov\u00e9 informace a\u00a0obrazov\u00fd doprovod na transparentn\u00edch i\u00a0netransparentn\u00edch ploch\u00e1ch. Pracujeme a\u00a0d\u00e1le interpretujeme p\u016fvodn\u00ed koncepci obchodn\u00edch k\u00f3j\u00ed, co\u017e se vzhledem ke zvolen\u00e9 kur\u00e1torsk\u00e9 koncepci p\u011bti hlavn\u00edch sekc\u00ed nab\u00edz\u00ed. Ochoz kolem mal\u00e9 dvorany je ur\u010den pro voln\u00fd pr\u016fchod n\u00e1v\u0161t\u011bvn\u00edk\u016f do jednotliv\u00fdch \u010d\u00e1st\u00ed expozice. Zde ov\u0161em nepracujeme s\u00a0barevn\u00fdm sloupo\u0159ad\u00edm, ale s\u00a0velkoform\u00e1tov\u00fdmi fotografiemi a\u00a0infopanely uvozuj\u00edc\u00ed jednotliv\u00e1 t\u00e9mata. Narozd\u00edl od expozice um\u011bn\u00ed, kde na jeklov\u00e9 konstrukce um\u00eds\u0165ujeme deskov\u00fd materi\u00e1l, zde pracujeme s\u00a0translucentn\u00edm (polopr\u016fhledn\u00fdm) materi\u00e1lem, na kter\u00fd instalujeme velkoform\u00e1tov\u00e9 fotografie a\u00a0pl\u00e1ny, dopln\u011bn\u00e9 o\u00a0z\u00e1kladn\u00ed informace k\u00a0jednotliv\u00fdm sekc\u00edm. Nejedn\u00e1 se v\u0161ak o\u00a0plnou st\u011bnu v\u00a0cel\u00e9 plo\u0161e kolem mal\u00e9 dvorany, ale o\u00a0por\u00e9zn\u00ed strukturu kterou m\u016f\u017ee n\u00e1v\u0161t\u011bvn\u00edk voln\u011b proch\u00e1zet. D\u016fle\u017eit\u00e9 jsou i\u00a0pr\u016fhledy z\u00a0respiria a\u00a0ostatn\u00edch pater Veletr\u017en\u00edho pal\u00e1ce p\u0159es malou dvoranu na velkoplo\u0161n\u00e9 fotografie.<\/p>\n Prezentace materi\u00e1l\u016f na translucentn\u00edm materi\u00e1lu, zejm\u00e9na pak v\u00fdkresov\u00e9 dokumentace prezentovan\u00fdch staveb se n\u00e1m jev\u00ed jako spr\u00e1vn\u00e9 \u0159e\u0161en\u00ed, kter\u00e9 funguje jak sm\u011brem k n\u00e1v\u0161t\u011bvn\u00edkovi tak sm\u011brem ke k\u00fd\u017een\u00e9 atmosf\u00e9\u0159e a charakteru expozice. Ve vybran\u00fdch m\u00edstech expozice navrhujeme vedle ve\u0161ker\u00fdch form\u00e1t\u016f a v\u00fdstup\u016f, kter\u00e9 definuje kur\u00e1torka v zad\u00e1n\u00ed um\u00edstit op\u011bt velkoform\u00e1tov\u00e9 iluzorn\u00ed fotografie vybran\u00fdch referen\u010dn\u00edch staveb, tak aby vytvo\u0159ily prostor charakteristick\u00fd pro dan\u00e9 t\u00e9ma. N\u00e1v\u0161t\u011bvn\u00edk bude t\u00edm p\u00e1dem sou\u010d\u00e1st\u00ed vystavovan\u00e9 architektury a bude v\u00edce vn\u00edmat dan\u00e9 t\u00e9ma v intenc\u00edch n\u00e1zvu v\u00fdstavy, tedy \u017eivotn\u00edho stylu. D\u00e1le pak vzhledem k velk\u00e9mu mno\u017estv\u00ed digitaliz\u00e1t\u016f a multimedi\u00e1ln\u00edch stanic uva\u017eujeme um\u00edst\u011bn\u00ed na m\u00edru vytvo\u0159en\u00e9ho mobili\u00e1\u0159e jeho\u017e forma (viz vizualizace) vych\u00e1z\u00ed mimojin\u00e9 z akustiky vlastnost\u00ed a bude d\u00e1le v projektu rozpracov\u00e1na.<\/p>\n Jako z\u00e1sadn\u00ed pro celkov\u00e9 vyzn\u011bn\u00ed expozice pova\u017eujeme \u0159e\u0161en\u00ed osv\u011btlen\u00ed. Na historick\u00fdch fotografi\u00edch m\u016f\u017eeme vysledovat, \u017ee prostory disponovaly velkou m\u00edrou denn\u00edho osv\u011btlen\u00ed, co\u017e je dnes vlivem um\u00edst\u011bn\u00ed ochrann\u00e9 folie na sklo z\u00e1sadn\u011b potla\u010deno. V\u00a0expozici um\u011bn\u00ed bychom r\u00e1di, vzhledem k\u00a0jej\u00edmu chronologick\u00e9mu uspo\u0159\u00e1d\u00e1n\u00ed, pracovali s\u00a0osv\u011btlen\u00edm tak, \u017ee odr\u00e1\u017e\u00ed ducha doby a\u00a0jednotliv\u00e9 atmosf\u00e9ry st\u0159\u00eddaly. Toho m\u016f\u017eeme doc\u00edlit troj\u00edm zp\u016fsobem: 1) plo\u0161n\u00fdm nebo bodov\u00fdm zp\u016fsobem nasv\u00edcen\u00ed expon\u00e1t\u016f, 2) m\u00edrou intenzity osv\u011btlen\u00ed stropu, 3) m\u00edrou zatemn\u011bn\u00ed oken. Expozici architektury si p\u0159edstavujeme i\u00a0vzhledem k\u00a0um\u00edst\u011bn\u00ed v\u00a0Mal\u00e9 dvoran\u011b jako zalitou sv\u011btlem. Prostorov\u00e9 uspo\u0159\u00e1d\u00e1n\u00ed expozice architektury na jednotliv\u00e9 k\u00f3je, odkazuj\u00edc\u00ed se na p\u016fvodn\u00ed koncepci veletr\u017en\u00edch k\u00f3j\u00ed p\u0159\u00edstupn\u00fdch z\u00a0ochozu Mal\u00e9 dvorany v\u0161ak umo\u017e\u0148uje v\u00a0ur\u010dit\u00fdch sekc\u00edch nebo jejich \u010d\u00e1stech pracovat s\u00a0osv\u011btlen\u00edm individu\u00e1ln\u011b (nap\u0159. v\u00a0sekci EXPO v\u00edce divadeln\u011b) a\u00a0odr\u00e1\u017eet tak v\u00edce jednotliv\u00e1 t\u00e9mata a\u00a0jejich obsah.<\/p>\n \u00davod a vstup do obou expozic\u00ed pova\u017eujeme za velmi d\u016fle\u017eit\u00fd moment cel\u00e9 v\u00fdstavy. Je \u00favodem a z\u00e1rove\u0148 propojen\u00edm obou pom\u011brn\u011b odli\u0161n\u00fdch expozic. Jako pomocn\u00fd prost\u0159edek pro zorientov\u00e1n\u00ed a naveden\u00ed div\u00e1ka jsme zvolili velkoform\u00e1tovou projekci s motivem st\u0159\u00eddaj\u00edc\u00edch se z\u00e1b\u011br\u016f, detail\u016f i celk\u016f, z obou expozic pomoc\u00ed kamer um\u00edst\u011bn\u00fdch v nich. Kamery zab\u00edraj\u00ed nejr\u016fzn\u011bj\u0161\u00ed d\u00edla a m\u00edsta ve v\u00fdstav\u00e1ch, \u010dasto s lidmi kte\u0159\u00ed si d\u00edla prohl\u00ed\u017e\u00ed. P\u0159\u00edchoz\u00ed n\u00e1v\u0161t\u011bvn\u00edk tedy m\u016f\u017ee pozorovat, co se pr\u00e1v\u011b v ten dan\u00fd moment d\u011bje v expozic\u00edch. Architektonick\u00e9 a grafick\u00e9 \u0159e\u0161en\u00ed by m\u011blo jednoduch\u00fdm a z\u00e1rove\u0148 n\u00e1zorn\u00fdm zp\u016fsobem umo\u017enit div\u00e1kovi sledovat d\u016fle\u017eit\u00e9 vztahy a vz\u00e1jemn\u00e9 souvislosti i zd\u00e1nliv\u011b nesoum\u011b\u0159iteln\u00fdch fenom\u00e9n\u016f – nap\u0159\u00edklad konfrontace ofici\u00e1ln\u00edho a alternativn\u00edho um\u011bn\u00ed v dob\u011b komunistick\u00e9 totality v\u010detn\u011b jejich prom\u011b\u0148uj\u00edc\u00edch se pozic v \u010dase. V expozici um\u011bn\u00ed bychom r\u00e1di podtrhli konfrontaci ofici\u00e1ln\u00edho a neofici\u00e1ln\u00edho um\u011bn\u00ed, jeho\u017e prov\u00e1zanost, a\u0165 u\u017e v pozitivn\u00edm nebo negativn\u00edm smyslu bychom zd\u016fraznili decentn\u00edm u\u017eit\u00edm dobov\u00fdch materi\u00e1l\u016f p\u0159\u00edmo na panel\u00e1\u017ei. V\u00a0expozici architektury s\u00a0pracovn\u00edm n\u00e1zvem \u017eivotn\u00ed styl pro v\u0161echny bychom r\u00e1di pracovali s\u00a0velkoform\u00e1tov\u00fdmi iluzivn\u00ed fotografiemi (pop\u0159.projekcemi) dokresluj\u00edc\u00ed dobovou atmosf\u00e9ru. D\u00e1le pak oproti expozici um\u011bn\u00ed bychom jako z\u00e1kladn\u00ed stavebn\u00ed k\u00e1men panel\u00e1\u017ee r\u00e1di pova\u017eovali translucentn\u00ed materi\u00e1l. Ke zv\u00e1\u017een\u00ed je um\u00edst\u011bn\u00ed tiskovin a\u00a0p\u0159\u00edpadn\u00fdch relikvi\u00ed \u010di fragment\u016f architektury p\u0159\u00edmo do expozice.<\/p>","protected":false},"excerpt":{"rendered":" Veletr\u017en\u00ed pal\u00e1c N\u00e1vrh architektonicko-sc\u00e9nografick\u00e9ho \u0159e\u0161en\u00ed st\u00e1l\u00e9 expozice pov\u00e1le\u010dn\u00e9ho um\u011bn\u00ed a\u00a0architektury ze sb\u00edrek N\u00e1rodn\u00ed galerie Praha ve Veletr\u017en\u00edm pal\u00e1ci s\u00a0sebou nese \u0159adu nevyhnuteln\u00fdch v\u00fdzev a\u00a0ot\u00e1zek. Ka\u017ed\u00fd kdo navrhuje expozici do Veletr\u017en\u00edho pal\u00e1ce, bez ohledu na konkr\u00e9tn\u00ed kur\u00e1torskou koncepci, se mus\u00ed vypo\u0159\u00e1dat s\u00a0prostorem, kter\u00fd m\u011bl slou\u017eit jin\u00e9mu \u00fa\u010delu. Prostory ur\u010den\u00e9 k\u00a0vystavov\u00e1n\u00ed jsou sp\u00ed\u0161e obchodn\u00edmi pas\u00e1\u017eemi bez obchod\u016f […]<\/p>\n","protected":false},"author":1,"featured_media":3923,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-2734","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-archive"],"_links":{"self":[{"href":"https:\/\/www.rcnksk.com\/index.php?rest_route=\/wp\/v2\/posts\/2734","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.rcnksk.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.rcnksk.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.rcnksk.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.rcnksk.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=2734"}],"version-history":[{"count":13,"href":"https:\/\/www.rcnksk.com\/index.php?rest_route=\/wp\/v2\/posts\/2734\/revisions"}],"predecessor-version":[{"id":3930,"href":"https:\/\/www.rcnksk.com\/index.php?rest_route=\/wp\/v2\/posts\/2734\/revisions\/3930"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.rcnksk.com\/index.php?rest_route=\/wp\/v2\/media\/3923"}],"wp:attachment":[{"href":"https:\/\/www.rcnksk.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=2734"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.rcnksk.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=2734"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.rcnksk.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=2734"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}Osv\u011btlen\u00ed \/ Atmosf\u00e9ra<\/h2>\n
Vstup do expozice \/ Respirium \/ \u00favod do v\u00fdstavy<\/h2>\n
\nKonkr\u00e9tn\u00ed pojet\u00ed respiria a\u00a0\u00favod\u016f do obou expozic pova\u017eujeme v\u00a0t\u00e9to f\u00e1zi projektu za p\u0159edm\u011bt dal\u0161\u00edch diskuz\u00ed s\u00a0kur\u00e1tory expozic. Rovn\u011b\u017e i\u00a0podoba a\u00a0p\u0159esn\u00e9 um\u00edst\u011bn\u00ed odpo\u010dinkov\u00fdch z\u00f3n, grafick\u00fdch kabinet\u016f pova\u017eujeme za p\u0159edm\u011bt dal\u0161\u00edch diskuz\u00ed.<\/p>\nZ\u00e1v\u011brem<\/h2>\n