In addition to working for the Miloš Alexander Bazovský Gallery, they are also connected by their love for architecture. Alexandra Mutala, Radka Nedomová, and Lucia M. Tóthová decided to establish the Center for architecture Trenčín to raise public awareness about public spaces and to bring back forgotten stories of buildings, architects, and architecture itself.
The Center for architecture Trenčín (CAT) is a newly established institution. How did the idea of founding it come about?
Lucia: As early as 2018, when Radka and I worked together on our very first architectural exhibition, we realized that we worked well together. The exhibition was dedicated to my grandfather, Ján Blich.
Radka: The gallery has an excellent program related to contemporary art and ongoing educational activities, but design and architecture were always absent. I see them as equal to art. At that time, the Arts Support Fund (FPÚ) had just announced a new grant call, and together with Lucia, we decided to develop a project to prepare for a future center. However, back then, it was still a very abstract idea…
None of you studied architecture, yet you have a close connection to it. What does it mean to you?
Alexandra: Architecture is part of everyday life. We literally live in it, but we often don’t realize its value. I grew up in a village near Trenčianske Teplice, a hub of functionalism, and I was aware of the impact of public space from an early age. Even my thesis was about the architecture of Trenčianske Teplice. When you learn the stories of buildings and their architects, you see not just the structure but also its background.
Radka: I studied architecture and heritage conservation, but in gallery practice, this topic remained somewhat in the background. I returned to it later, thanks to my collaboration with Lucia on her grandfather’s exhibition. Architecture is a connection between rationality and art, full of good and bad examples, but every piece of architecture is a testimony of its time, and it should be viewed in a certain context. These various contexts fascinate me, and I enjoy sharing them with others.
Lucia: In my family, there was no way to avoid the topic – I come from an architectural background. Currently, I focus on architecture from a theoretical perspective and work at the Faculty of Architecture in Prague. Unlike other art forms, where we can choose whether to engage or not, architecture is something we cannot avoid if we step outside. There’s no escaping it.
CAT will be located in the basement of the gallery. Why there?
Radka: The basement is an exhibition space that was previously used only for certain sculptural works or specific installations due to high humidity and cold. While setting up an installation with Lucia, we realized that architecture could also be presented there. It’s a compact space with three rooms that allows for creative use. However, we needed to improve the conditions during the renovation so that the space could be used to its fullest and include variable and functional furniture. A professional two-round competition was won by the Gut Gut studio.
Alex: Since February, the gallery has been closed, and currently, investigative and preparatory work is being done for a complete renovation, which is expected to be completed by 2026. CAT will serve as an architectural exhibition that changes at regular intervals.
You are also collaborating with the Trenčín 2026 project. What does your cooperation look like?
Lucia: It may not sound as poetic as it could, but the financial support from Trenčín 2026 is something that allows us to breathe. When working with a tight budget, you have to cut corners everywhere. It’s different when you can plan for what you truly want and know that it’s possible to achieve. Especially in times like these in Slovakia, where we have no future even with FPÚ funding, this support is a real lifesaver.
Radka: When we came up with the idea for the center, the application for the European Capital of Culture was being submitted. Tomáš Tholt approached us, and together we included this idea in the Bid Book. Later, urban planner Lívia Gažová, who is also the project manager for urban projects at Trenčín 2026, joined us – and that was the best thing that could have happened. She fit into the team perfectly and is incredibly inspiring and helpful.
Alexandra: I completely agree. Lívia understands the context and the essence of CAT. She knows what we aim to achieve, and our collaboration works exceptionally well. For any emerging project, cooperation with the European Capital of Culture is a tremendous help. Thanks to their reach, people eager to discover new things can find us more easily.
Radka: The connection and cooperation with other European architectural centers, in which they also assist, is another great aspect. We already have support from international partners such as the Warsaw Architecture Center (PL), Curatorial Research Collective (NL), and CAMP Prague (CZ).
Your first exhibition was Nová Dubnica alias Vorošilovo. Why did you start with this city?
Alexandra: The mission of the Center for architecture Trenčín is not to focus solely on the city of Trenčín but on the entire region. Nová Dubnica is a unique example that deserves attention—not only within our region but also on a national level. I believe it worked well as part of the festival as well.
How did the public respond?
Alexandra: A lot of questions were specifically about the choice of city. However, our events during the Days of Architecture attracted many people, and the guided tour of Nová Dubnica saw a great turnout, including many of its residents and visitors from the surrounding areas. Discovering that people are genuinely interested in architecture and public space—even in a small town like this—was a pleasant surprise.
Why should people care about architecture, public space, and the way their city looks?
Lucia: When people understand and connect with something, they naturally want to protect it. They care about what happens to their surroundings. In every city, community engagement and resident education through various activities are crucial. I believe people have an honest interest in their environment—they just need the right stimuli.
Alexandra: I’d like to refer to the slogan of the European Capital of Culture—Awakening Curiosity. I understand that not everyone finds this topic interesting, but through awareness-raising efforts, even those who initially aren’t engaged might find associations or connections and begin to see the value of architecture. A great example is Nová Dubnica—long-term residents attended our festival activities, even though they might not have been fully aware of its architectural history before. Seeing their interest grow was incredibly rewarding. That’s why education and sharing information about architecture are the most important aspects of our work.
Do you have favorite places in Trenčín and its surroundings?
Lucia: My absolute favorite is our hydroelectric power plant. It’s a technical monument, and unfortunately, such structures are often overlooked from an architectural perspective—it deserves more attention.
ODA (Okruhový dom armády) is controversial, but for me, it’s an intriguing architectural gem. It disrupted the original urban structure of the city center and is a striking example of post-war architecture. And I can’t help but mention my personal favorite—the House of Mourning in the Juh district of Trenčín, designed by my grandfather. The building holds many details and stories, some of which I wasn’t even aware of myself.
Radka: ODA is like a time capsule of history, “preserved” by the Ministry of Defense for 40 years. It contains incredible architectural treasures. Another noteworthy place is Blich’s House of Mourning in Zlatovce. I love the basalt pavement—the entire cemetery complex has a powerful atmosphere. I also appreciate the direction Karpatská Street is taking. I grew up in the Noviny housing estate, and we were always cut off from the rest of Trenčín. While I’m not a huge fan of the new golf course, I have to admit that thanks to it, the surrounding area has been well-maintained, made more accessible up to the second sluice gates, and even includes a playground for children. It’s an example of working effectively with public space and community needs.
I’ve also always been fascinated by socialist-era shopping centers like Družba and Narcis, which combined commerce with culture and maintained a sense of community. It’s unfortunate that today they are mostly deteriorating, and their original purpose is fading, even though there are efforts to revive them.
Alexandra: I find the area between Rázusova and Hodžova streets urbanistically interesting. Both functionally and visually, it’s a pleasant and ideal residential environment. Nová Dubnica is my favorite—it has fascinating and highly functional architecture.
My third favorite place is Trenčianske Teplice. One of many great examples is the post office building by architect Jacques Oblatt. It’s like an architectural detective story—Oblatt was of Jewish descent and disappeared one day, and given the context of the 1930s, it’s clear what likely happened. The building and its story both hold great value and deserve attention.
Lucia: I’ll never forget how Mat Slow and Pavel Rat, the authors of our visual identity, visited Trenčín for the first time and, upon arriving at the main square, exclaimed: “Wow, this looks like Bibione!” (laughs). They were pleasantly surprised by the city’s atmosphere. They know Bratislava and other Slovak cities, but they said they had never felt the same way anywhere else in Slovakia.
You presented the Nová Dubnica exhibition as a concept of an ideal city. Is this a specific direction for the exhibition, or is it your vision?
Alexandra: It’s related to how the city was built and the regime under which it was created. The city was constructed from scratch on an empty field, meaning there was an opportunity to avoid mistakes or burdens from the past. The idea was to create an ideal city that would fully meet the housing needs of its residents, providing access to all necessary services. However, the concept was never fully realized—construction continued into the late 1960s, the project was scaled back, and some planned buildings were never completed.
Do you think an existing city can still become an ideal place to live today? How do you see Trenčín in this regard?
Radka: I don’t want to sound pessimistic, but I don’t see Trenčín as an ideal city at the moment—especially considering the traffic situation. However, certain districts can definitely be improved or even transformed into perfect neighborhoods. Trenčín is developing rapidly, and I think some excellent projects are taking shape, with a focus on residents’ comfort. Existing cities have historical layers and preservation constraints, whereas Nová Dubnica had the advantage of being built from the ground up.
Alexandra: In Nová Dubnica, they had the chance to learn from the mistakes of other cities and study problematic urban areas. Whether in Trenčín or other existing cities, a lot depends on how they deal with the past and the historical layers that remain. I like how this is being approached in Bratislava. I believe other cities could benefit from considering and implementing proposals from municipal architects and urban planners more seriously.
What would your ideal Trenčín look like?
Radka: I don’t know about all the upcoming projects, but I’ll mention Hviezdoslavova Street, where I’m excited about the emphasis on greenery and urban furniture for relaxation. That’s something the city has always lacked. The center of Trenčín used to be just one long concrete street with no shade. The revitalization of the central square has certainly improved it, but I sense that many Trenčín residents still don’t feel the urge to go for a walk in the city and admire its beauty. I hope that changes soon, and that Hviezdoslavova Street will encourage people to stroll, relax, and experience culture in the city center.
Alexandra: It’s difficult to define it briefly. Through the eyes of foreign visitors I’ve guided around the city, movement in the wider center felt a bit limited. On Hviezdoslavova Street, for example, the visual appeal wasn’t as strong as in the main square or the historic alleys leading to the castle. The ongoing reconstruction will certainly help expand the visually attractive part of the city center and, most importantly, support its quality and active use.
Lucia: Maybe it’s because I don’t live here permanently, but I perceive Trenčín very positively. I love its architectural diversity. When entering the city, the first thing you see is the castle and other landmarks, which undoubtedly have great value. But what we want to highlight through CAT is often overlooked—the places that are more community-oriented, the ones that are not as heavily promoted as the castle or other major monuments.
Through CAT, we want to uncover hidden architectural treasures and, ideally, integrate them into the city’s public spaces. The ongoing transformation of Bratislava is a great example, and I see similar potential for Trenčín. The city truly has a lot of potential for working with public space, and I believe that the European Capital of Culture initiative is pushing it in the right direction.
I really appreciate the transformation of the main square—it’s a great example of how small changes can have a big impact. Maybe some of these changes went unnoticed by the public, but to me, the square functions much better now.
One of the center’s goals is also to connect the city with smaller surrounding towns and villages, which would enrich both sides. These places are often just short distances apart, yet there seems to be a barrier preventing easy interaction between them. If we could change that in the future and create better connections across the region, it would be fantastic.
Your first exhibition, Nová Dubnica, ended in January. What are your upcoming plans?
Alexandra: Since the building is set for a complete renovation and we will gradually be moving out, we can’t rely on this space for the time being. Until 2026, CAT’s activities will mostly—though not exclusively—focus on theoretical work.
Radka: We are currently preparing a project plan for 2025 as part of the European Capital of Culture. Our goal was to have our first major exhibition in 2026, covering the entire region with a theme that is relevant and resonates with society. We decided to focus on the theoretical groundwork for heritage conservation in modern architecture.
This is something we constantly grapple with, and it affects all of us. A strong example is the former Merina Textile Factory, which, despite various initiatives, could not be saved. We realize this will stir controversy, but we want to open people’s eyes—especially those who are skeptical about architecture—and show them what modern heritage is and how it should be preserved.
We plan to reach out to theorists to contribute essays on buildings or places in the Trenčín region that could be protected as heritage sites or that, unfortunately, were not saved. Our goal is to compile these writings into a publication, which will serve as the foundation for our planned 2026 exhibition.
About the Center for architecture Trenčín
The CAT space was founded by curators Radka Nedomová and Alexandra Mutala from the Miloš Alexander Bazovský Gallery, together with architectural theorist Lucia M. Tóthová. The institution is being developed with support from Trenčín 2026 and will be housed in the basement of the M. A. Bazovský Gallery. CAT focuses on presenting architecture with an emphasis on the Trenčín self-governing region. It will serve everyone interested in local architecture, urbanism, forgotten stories of buildings and architects, new trends, development projects, and various interdisciplinary aspects of architecture. Following the model of other architectural centers, CAT will become an important communication platform between the public and the architectural and artistic community. CAT has already successfully launched its first exhibition, Nová Dubnica alias Vorošilovo.
Text and photos: Veronika Š. Pilátová, Trenčín 2026
