In 2001, Litomyšl town council announced a competition for modifications to the banks of River Loučná which, in the past, had broken its banks during floods and endangered the nearby Komenského Náměstí housing estate. The traditional solution would have been to build a flood barrier with a pavement along the top. The winning design by architect Pleskot's team decided on a more complex solution: “We approached the design with the aim of creating a public space for the money spent on flood defences.” The aim of the project was to open up access to the river for inhabitants of the neighbouring housing estate and thus, create a new living space for walking and relaxation. The river banks have become terraces which, according to Petr Volf have an almost “spa-like atmosphere”.
The promenade, leading along the river on a raised bank, is interconnected with the housing estate and enables access to a pathway running close to the water. The pathway is composed of gabions (wire cages filled with rocks) which strengthen the banks and facilitate the growth of greenery. The bridge across the river is conceived not merely as a byway but also as a wide platform for congregating. It is possible to descend to the river, via wide steps constructed from old railway sleepers, and feed the fish.
The revitalization of the River Loučná has an almost “Zen-like” character and betrays its inspiration in traditional Japanese culture which carefully balances the relationship between natural chaos and architectural order. The revitalization is reminiscent of modifications to Jelení příkop in Prague – also Pleskot's work. In both cases we can see signs of a similar concept where an easily accessible, wide main promenade is provided, along with an alternative hiking-style trail offering visitors a feeling of adventure in overcoming obstacles. When following the “footpath” along the River Loučná it is necessary to avoid trees and go under the bridge, all the while being careful not to fall into the water. However, this type of “architectonic-hiking path” requires constant maintenance which respects its natural character. In the case of Jelení příkop, the modifications are often stark. However, in Litomyšl we are faced with the opposite extreme – the path along the river is slowly becoming overgrown, almost disappearing. But in being overgrown it underlines the temporal character of architecture, something with which Pleskot works intentionally, with many of his creations displaying “traces of time”, pointing to the transience and precariousness of the world. It is however, necessary to achieve the correct ratio between romantic dilapidation and decomposition leading to decadence.
EK
