Pavilion at Miura Hotel
The new exhibition pavilion stands at the entrance to the Miura Hotel in Čeladná and was primarily created as a space for the presentation of sports cars designed by the Italian design studio Pininfarina. From the outset, it was essential that the new building did not compete with the hotel’s striking architecture but instead appeared calm, timeless, and naturally complemented its surroundings.
The pavilion is situated on a grassy area among mature trees, in the space between the parking lot, surrounding residential development, the hotel, and the adjoining golf course. The diversity of the surroundings led to the choice of a simple shape and a very limited material palette. The building also enlivens what was originally a rather operational area in front of the hotel and creates a new space accessible both from the main road and directly from the hotel reception.
The architecture of the pavilion is based on the contrast of two primary materials – concrete and glass. The concrete structures are intentionally substantial, solid, and pronounced. In contrast, the glass is designed to be as light as possible and nearly barrier-free. The frames of the glazed surfaces are concealed within the concrete structures, so nothing unnecessarily disturbs the view through the building or the outlook from the interior into the surrounding landscape.
Large glazed areas allow the exhibited cars and artworks to be appreciated from the outside. However, the pavilion is not a simple glass showcase. The angled concrete walls gradually open and close individual views. As one moves around the building, the interior reveals itself in parts, and sightlines through the pavilion connect with the surrounding greenery. From the interior, on the other hand, the glass almost disappears, allowing the trees, sky, and landscape behind them to stand out.
The only entrance to the pavilion consists of large sliding doors, which also serve as access for the exhibited sports cars. When opened, the entire wing slides into a pocket created within the concrete structure, and the entrance remains completely free. Here, too, the goal is to suppress technical elements and maintain maximum clarity of the space.
The mass of the concrete walls also serves a practical function. Their thickness allows for the creation of niches in the interior, where cabinets, technology, toilets, and all other facilities are concentrated. What is essential for the operation of the building thus remains hidden and does not disrupt its simplicity.
A similar principle applies to the lighting. The light fixtures are embedded directly into the concrete ceiling so that their source is not immediately apparent. The light seems to emanate directly from the structure. This unobtrusive solution allows for very precise and technically sophisticated lighting of the exhibited cars, contributed by the company iQuizziny.
Concrete appears in several forms within the pavilion. The facades have a deliberately rough surface with impressions of unplaned boards, exposed stones, caverns, and traces of the very process of pouring concrete. Inside, the material continues with a cast smoothed floor and an exposed concrete ceiling with impressions of the formwork. The upper surface of the roof and the reinforced areas around the building are also concrete, creating a sense of the pavilion as a single compact entity.
The result is a simple, almost elemental object based on the tension between heavy concrete and the lightness of glass. The concrete gives the structure strength, scale, and a sense of permanence, while the glass opens it to the surroundings, allowing views through it and letting trees, the sky, and the landscape enter the interior. The architecture itself thus recedes into the background, creating an accurate frame for the most important elements – the exhibited cars, artworks, and their relationship to the surrounding environment.
The pavilion is situated on a grassy area among mature trees, in the space between the parking lot, surrounding residential development, the hotel, and the adjoining golf course. The diversity of the surroundings led to the choice of a simple shape and a very limited material palette. The building also enlivens what was originally a rather operational area in front of the hotel and creates a new space accessible both from the main road and directly from the hotel reception.
The architecture of the pavilion is based on the contrast of two primary materials – concrete and glass. The concrete structures are intentionally substantial, solid, and pronounced. In contrast, the glass is designed to be as light as possible and nearly barrier-free. The frames of the glazed surfaces are concealed within the concrete structures, so nothing unnecessarily disturbs the view through the building or the outlook from the interior into the surrounding landscape.
Large glazed areas allow the exhibited cars and artworks to be appreciated from the outside. However, the pavilion is not a simple glass showcase. The angled concrete walls gradually open and close individual views. As one moves around the building, the interior reveals itself in parts, and sightlines through the pavilion connect with the surrounding greenery. From the interior, on the other hand, the glass almost disappears, allowing the trees, sky, and landscape behind them to stand out.
The only entrance to the pavilion consists of large sliding doors, which also serve as access for the exhibited sports cars. When opened, the entire wing slides into a pocket created within the concrete structure, and the entrance remains completely free. Here, too, the goal is to suppress technical elements and maintain maximum clarity of the space.
The mass of the concrete walls also serves a practical function. Their thickness allows for the creation of niches in the interior, where cabinets, technology, toilets, and all other facilities are concentrated. What is essential for the operation of the building thus remains hidden and does not disrupt its simplicity.
A similar principle applies to the lighting. The light fixtures are embedded directly into the concrete ceiling so that their source is not immediately apparent. The light seems to emanate directly from the structure. This unobtrusive solution allows for very precise and technically sophisticated lighting of the exhibited cars, contributed by the company iQuizziny.
Concrete appears in several forms within the pavilion. The facades have a deliberately rough surface with impressions of unplaned boards, exposed stones, caverns, and traces of the very process of pouring concrete. Inside, the material continues with a cast smoothed floor and an exposed concrete ceiling with impressions of the formwork. The upper surface of the roof and the reinforced areas around the building are also concrete, creating a sense of the pavilion as a single compact entity.
The result is a simple, almost elemental object based on the tension between heavy concrete and the lightness of glass. The concrete gives the structure strength, scale, and a sense of permanence, while the glass opens it to the surroundings, allowing views through it and letting trees, the sky, and the landscape enter the interior. The architecture itself thus recedes into the background, creating an accurate frame for the most important elements – the exhibited cars, artworks, and their relationship to the surrounding environment.
author's report
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