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Side view of the Dancing House
|Former names||Fred and Ginger|
|Address||Ra?ínovo náb?e?í 80, 120 00 Praha 2|
|Town or city||Prague|
|Design and construction|
|Architect||Vlado Miluni?, Frank Gehry|
The Dancing House (Czech: Tan?ící d?m), or Fred and Ginger, is the nickname given to the Nationale-Nederlanden building on the Ra?ínovo náb?e?í (Ra?ín Embankment) in Prague, Czech Republic. It was designed by the Croatian-Czech architect Vlado Miluni? in cooperation with Canadian-American architect Frank Gehry on a vacant riverfront plot. The building was designed in 1992 and completed in 1996.
The very non-traditional design was controversial at the time because the house stands out among the Baroque, Gothic and Art Nouveau buildings for which Prague is famous, and in the opinion of some it does not accord well with these architectural styles. The then Czech president, Václav Havel, who lived for decades next to the site, had avidly supported this project, hoping that the building would become a center of cultural activity.
Gehry originally named the house Fred and Ginger (after the famous dancers Fred Astaire and Ginger Rogers - the house resembles a pair of dancers) but this nickname is now rarely used; moreover, Gehry himself was later "afraid to import American Hollywood kitsch to Prague", and thus discarded his own idea.
The "Dancing House" is set on a property of great historical significance. Its site was the location of a house destroyed by the U.S. bombing of Prague in 1945. The plot and structure lay decrepit until 1960 when the area was cleared. The neighbouring plot was co-owned by the family of Václav Havel who spent most of his life there. As early as 1986 (during the Communist era) V. Miluni?, then a respected architect in the Czechoslovak milieu, conceived an idea for a project at the place and discussed it with his neighbour, the then little-known dissident Václav Havel. A few years later, during the Velvet Revolution Havel became a popular leader and was subsequently elected president of Czechoslovakia. Thanks to his authority the idea to develop the site grew. Havel eventually decided to have Miluni? survey the site, hoping for it to become a cultural center, although this was not the result.
The Dutch insurance company Nationale-Nederlanden (since 1991 ING Bank) agreed to sponsor the building of a house on site. The "super bank" chose Miluni? as the lead designer and asked him to partner with another world-renowned architect to approach the process. The French architect Jean Nouvel turned down the idea because of the small square footage, but the well-known Canadian-American architect Frank Gehry accepted the invitation. Because of the bank's excellent financial state at the time, it was able to offer almost unlimited funding for the project. From their first meeting in 1992 in Geneva, Gehry and Miluni? began to elaborate Miluni?'s original idea of a building consisting of two parts, static and dynamic ("yin and yang"), which were to symbolize the transition of Czechoslovakia from a communist regime to a parliamentary democracy.
The style is known as deconstructivist ("new-baroque" to the designers) architecture due to its unusual shape. The "dancing" shape is supported by 99 concrete panels, each a different shape and dimension. On the top of the building is a large twisted structure of metal nicknamed Medusa.
"In the interior of a square of buildings in the eighteenth and nineteenth century, the Dancing House has two central bodies. The first is a tower of glass that is close to half height and is supported by curved pillars, the second runs parallel to the river, which is characterized by the moldings that follow a wavy motion and distributed through the windows so the non-aligned.[clarification needed] This solution has been driven mainly by a kind of aesthetic consideration: the windows lined would evidence that the building has two windows, although they have the same height as the two adjacent buildings of the nineteenth century.[clarification needed] They also do not have to be perceived in the will of the designer, as simple forms on a flat surface, but must achieve the effect of three-dimensionality, hence the idea of frames as outgoing frames of paintings. Also the winding moldings on the facade make it more confusing perspective, diminishing the contrast with the buildings that surround it."