The National Assembly building was constructed between 1966 and 1974, based on designs by Karel Prager. His project offered a unique and technically intriguing solution with a “building over a building” structure on its own supporting framework. The facility, located between the National Museum and the State Opera, has a fascinating history. Originally the Prague Stock Exchange from 1937, it served as a provisional home for the parliament after World War II. Following its completion in 1974, it became the seat of the National Assembly, later the Federal Assembly. In 1995, Radio Free Europe started broadcasting from the location for several years. Today, the building is part of the National Museum. Karel Prager — Jiří Albrecht — Jiří Kadeřábek Reconstruction and completion of the former Stock Exchange for the needs of the National Assembly, 1966-1974 Vinohradská 1, Praha 1 – Vinohrady Although most competitions ended without actual construction, many of Karel Prager’s significant buildings were realised specifically thanks to such tenders. The same is true of the National Assembly buildings. The historically protected Stock Exchange building, its proximity to the opera house, railway and a busy road (still in planning at the time), combined with the desired large-scale program for the new compound, posed challenges. Prager’s desire to find innovative and technically interesting solutions led him to employ Vierendeel girders used in bridge engineering. This preserved the historic building and expanded the structure’s volume without compromising its functionality. The unusual “building over a building” concept was not the only innovative aspect of the structure. The architect also incorporated countless ideas based on his one great desire – the building features many prefabricated, industrially manufactured components unique for their time. These go beyond the first structural façade in the country, visible on the side facing the National Museum. There are many interior elements, starting with the Gama partition walls and the use of standardised components in the ceiling of the House of Nations, which together created a sufficiently sculptured, rich structure while being interchangeable, replaceable and easily dismantled. It continued with the parapets, for instance. The perfect collaboration between architecture and visual arts was another standout feature – all the artists worked together from the outset, each of them knowing that the building would look like and what position their work would have therein. In the end, this concept was not fully realised. What is worth noting, however, is that there are only a few deviations between the initial perspective of the project and the final realisation. The building was (and still is) maximally innovative down to the last detail. That some do not understand it? Perhaps we simply do not understand ourselves and the time we live in. Karel Prager (1923-2001) He graduated with a degree in architecture from the Czech Technical University in Prague (1945-1949). He worked at the Regional Design Institute in Prague, became the director of Atelier 3 at the Prague City Design Institute, and reestablished the Gama architectural studio in 1990. He was a member of the Mánes association, the Union of Czechoslovak Architects and the editorial board of the Architektura ČSR magazine. He founded the Huť creative group in 1967 and co-founded the Czechoslovak Centre for Construction and Architecture in the same year. In 1989, he initiated the establishment Architects and Artists Bloc, which he chaired until 2000. In 2001 he was awarded the Architects’ Guild Award for Personality of Czech Architecture and in 2011 he was awarded the Architects’ Guild Award for Lifetime Achievement. Excerpted from the book Architecture 58–89 Publication concept, editor, author of discussions: Vladimir 518 Foto: Prague City Tourism