Jan Tyrpekl, a Czech architect leading JAN TYRPEKL Studio, is distinguished by his integration of sustainable practices into innovative architectural forms. Educated at the Technical University of Liberec with a master’s degree in Architecture and Urbanism, Tyrpekl excels in creating projects that emphasize ecological sensitivity and material efficiency.
Jan Tyrpekl architectural approach is marked by a commitment to environmental integration, as seen in the Zen House in Austria and the Atelier in Stříbrná Skalice, which both showcase the use of natural materials and strategies to minimize ecological impact. These projects reflect his focus on enhancing the symbiosis between built environments and their natural settings.
Tyrpekl’s designs are recognized for their minimalist aesthetic and functional adaptability, often incorporating local resources to maintain environmental and cultural coherence. Tyrpekl’s work not only adheres to sustainable building practices but also advances the dialogue on how architecture can foster community interaction and environmental stewardship.
What inspires you?
When it comes to architecture, I am most inspired by buildings constructed without architects. As Bernard Rudofsky would say – non-pedigreed architecture. Not always, but often such buildings are authentic, harmonious with their surroundings, cheap, and economical. Nothing in them is superfluous; they are functional. They are also often much more sustainable than contemporary modern buildings. It is similar to the human body. Every part has its function; together they form a graceful whole, and no part is unnecessary. These are often houses in villages here in Europe, but also, for example, slums in South America.
What inspired you to become an architect?
I can’t determine that. At one point, I couldn’t imagine doing anything else. I was about 12 years old. When I started studying architecture, the distance between the project and the actual construction seemed enormous to me. I didn’t understand what it meant to draw a line that represented a wall in the drawing. For some time, I worked on construction sites while studying and learned how to build walls, etc. Now, I consider every line in the drawing very carefully because I know how much work and resources one such line represents. Later, I began to engage in carpentry in my spare time; working with wood is more pleasant.
How would you describe your design philosophy?
It’s mainly about striving to get to the core. That means finding the essence of the problem and focusing attention in that direction. The result should be as simple as possible. In terms of easy construction and using available materials. Expensive design solutions don’t interest me. Construction methods should also be simple, so there is no need to hire specialized companies. Some projects are built communally and self-built, which helps build a relationship between the user and the future structure. For me, appropriate technological solutions are crucial. I strive primarily for conceptual solutions that eliminate the use of technology. For example, adequately sized and properly oriented windows in the building eliminate the need for air conditioning (in the conditions of the Czech Republic).
What is your favorite project?
The best project is probably the boat shelter in the Seurasaari Open-Air Museum in Helsinki. It is an example of vernacular architecture, whose purpose was not to impress anyone, yet its proportions and craftsmanship are fantastic.
Again, it is a very efficient architecture, with the wood being worked only to the minimal necessary extent. Among modern buildings, it is the National Museum of Roman Art by Rafael Moneo. In this building, the sharp Spanish light is distributed in a gentle and poetic manner. The spatial division feels natural, and the brick cladding adds an authentic atmosphere to the whole structure. I was so fascinated by this building that I spent almost three days in it. I even persuaded the museum staff to let me see the original plans of the building.
What is your favorite architectural detail?
I generally try not to glorify details or attribute more importance to them than they actually have. Excessive fetishization of details leads to increased construction costs and distracts from the core issue of why the building was created in the first place. In vernacular architecture, details are resolved naturally and appropriately to the whole, which is often not achieved in many contemporary buildings, and perhaps because of this, attention is diverted from sometimes shallow concepts.
Do you have a favorite material?
Such a question is slightly misleading; an architect should not have personal preferences for material selection. Every material has its pros and cons, although objectively evaluating these characteristics is quite difficult. Traditions in the construction industry are more entrenched than they might initially appear. For the types of projects I usually work on, wood is the most suitable material. These are mostly smaller structures where span is not an issue. Wood is almost universally pleasing and easy to work with.
What is your process for starting a new project?
The cornerstone is a detailed explanation of the entire process of project planning, construction, and usage to the client. The more the client can imagine the challenges and future operations, the better they can specify the requirements and become a more knowledgeable partner during consultations. Only in this way can we strive for a quality outcome. In the beginning, I show clients various options, highlighting the pros and cons of each solution. Sometimes one option is chosen, sometimes a fusion of multiple options, and occasionally the requirements are transformed. Another specific aspect is spending a considerable amount of time at the construction site to understand all the specifics of the environment. I often stay overnight on-site; I want to see the sunrise and sunset, know where the wind blows from, and observe the behavior of the surroundings. This effort can never be complete, but every additional moment helps me find the optimal solution.
How do you balance function and creativity in your designs?
Function and creativity definitely do not exclude each other, quite the opposite. A creative approach to a problem can expand and enrich the use of an object. People will use and protect a beautiful building, even if it is not entirely comfortable. I strive to avoid self-centered creativity. This means coming up with extravagant solutions only if there is an objective reason for them. This is the fault of some architects who try to attract attention with such solutions. These solutions are often expensive, which the client has to pay for. In the worst case, the client doesn’t even resonate with such a solution. ‘Positive’ creativity, on the other hand, arises mainly from the effort to find a better solution to a specific problem in a new way—whether simpler, cheaper, etc.
How does the environment influence your work?
The environment has a fundamental impact on each of my projects. For instance, if the environment is sensational and beautiful, it’s better to ‘stay silent’ and design something unobtrusive. Conversely, if the environment is unfavorable, a bold intervention might be necessary, which can become a catalyst for its future development. However, the specific approach is more about an intuitive process of perceiving it and adding another layer. ‘The effort to objectivize and characterize the environment can often be very difficult. The intuitive process gives the architect a certain freedom. I would rather compare it to poetry, which often reveals aspects of the environment. With such an approach, one can design in a similarly ‘poetic’ way. That means not only reacting to describable facts but also to emotional aspects.
How do you collaborate with clients to achieve their vision?
Collaboration with clients is essential. They are often in a disadvantaged position, lacking experience, and it is easy to persuade them with appealing visualizations, etc. However, the only correct moral approach is to fully respect their position and try to empathize with them as much as possible. They invest enormous effort and resources into the project. They need to feel good in it; the object should not be built for the purpose of photographs and the subsequent self-presentation of the architect. If the client is not compatible with the architect, it will never lead to a good result.
What is the concept for the project Bush House?
Bush House was conceived as an experiment taken to the extreme. A facade made of natural waste materials was attached to a regular timber frame structure. It was not initially clear whether hay, leaves, reed, or something similar would be used. However, by chance, near the construction site, roadside cleaning began, and brushwood overhanging the road was being trimmed. We asked the workers for permission to take the leftovers, and they helped us load it up; otherwise, all the material would have had to be chipped. No other use was considered. The project went all the way to the core not only with the facade but also with the operational scheme. The building includes a sauna, a sleeping loft, and a relaxation area. Residual heat from the heated sauna can be directed into the sleeping loft through an opening in the ceiling, making it possible to stay overnight even in winter. A stream runs by the building, so hygiene is like in the original saunas, using only cold water. Overall, it should serve as a digital detox, often prompting visitors to think about adequate comfort levels.
How did materiality shape the design and sustainability of the Ateliér?
A lot. In Atelier, a significant part of the structure is made from waste materials, meaning leftovers from other constructions that had no use. Utilizing the patina of these old materials led to a camouflaged object. I didn’t want the structure to be a prominent feature in its surroundings. This way, it blended with the environment from the start. Many people don’t even notice it when they drive by. The project is largely self-built. I am not a trained carpenter, and I had limited time for construction, so the concept had to be adapted to my abilities. However, I see this as a positive because such an approach respects the characteristics of the individual materials.
What advice would you give to young architects?
That’s a tough question. Traveling helps a lot, but these days almost everyone does it. I would most recommend trying to work with the material. That means trying to build a wall and cut a beam. The distance between the line on the paper that represents a wall and the actual wall is enormous. It is good to understand this vacuum and be able to work with it. Patience is, of course, also important. From the beginning of the project to its completion, it takes years, and for large buildings, it can take decades. It is better to focus on the process itself rather than the outcome.
