Municipal Cultural Centre

Dolný Kubín

Category: Cultural institutions

Architect: Viera Mecková
Works of art: Alex Mlynárčik, Viera Mecková
Location: Námestie Slobody 3, Dolný Kubín
Design: 1975–1978
Built in years: 1979–1986 

Estrádna sála – výtvarne dominantnou súčasťou interiéru je oranžový lamelový podhľad so spusteným bielym baldachýnom; pódium je situované na diagonále pravouhlého pôdorysu

The Municipal Cultural Centre follows the tradition of the activities of the former Edification House which used to provide a wide range of activities of cultural and social nature. Its accompanying missions include educational activities, informational and promotional activities in tourism, providing a venue for professional and amateur art ensembles, and other activities. 


The building’s composition consists of several spatially interconnected units, the tectonics of which are naturally reflected in the interior. Despite the use of the typical rectangular construction system, the interior concept was very avant-garde at the time. The interior is characterised by an expressive articulation that evokes dynamism and movement, and by the usage of timeless architectural means of expression. The tectonics of the building’s interior, the materiality, and the colour palette demonstrate the architect’s exceptional artistic potential, sense of architectural and interior detail and of the harmonious arrangement of elements, as well as her visionary abilities. 


A theatre hall, an event hall, an exhibition hall, teaching, and club rooms are all available to the public and visitors to the town. Lucia Frančeková explains the characteristic features and interiors’ specifics by the following words: “The interior of Municipal cultural centre is characterised by several unifying elements of architecture and interior design. The way the acoustic is resolved visualises the aesthetic-functional domain of the spaces. Artificial lighting is specific to each of the mentioned rooms and in addition to the illumination function, it also shapes the space and graphically completes the individual suspended ceiling. In combination with daylight, it also revives the existing colour palette of the interiors. In the entrance foyer surrounding the hall, a diagonally placed wooden raster ceiling is used, within which are mounted linear lights The columns wrapped with metal sheets, which visually communicate with the metal window sills adapted for sitting, pose as expressive strong building elements of the interior. The visual expression of the space is based on using the principles of contrast and colour accent. The darker wooden ceiling contrasts with the light floor tiling. The diagonally arranged cloakroom shelves have a veneered walnut wood surface with a varnish finishing typical of this period of the last century. The beige to amber rectangular tiles lining the cloakroom counter give a partly lightened impression.[4] 


“In the event hall, the square grid is complemented by a slatted suspended ceiling that follows the different heights of the ceiling. There are cylindrical spotlights, which together with the suspended ceiling create an ambient effect. The acoustic quality of the space is also enhanced by the wooden wall panelling and parquet flooring. There is again a repetition of the principle of colour contrast and accent. The orange ceiling as the accentuating element is complemented by a white canopy, giving the room a festive look. The stage is constructed on the diagonal of the rectangular floor plan, which gives the interior a dynamic, almost sophisticated touch. The all-wood panelling of the theatre hall creates a pleasant, subdued lighting atmosphere. The slatted suspended ceiling with integrated lights is arranged in denser diagonals to create a unified visual impression. The principle of contrast is secondary, and a monochromatic colour palette prevails, using warm-toned wood and dark olive seat upholstery. This allows the spectator’s eye to focus fully on the stage, the building interior elements and design serving as an optimal backdrop for a full performance experience.” [4]


An unmissable part of the interior of the entrance foyer is the art object “Concrete Trees”, which is the result of collaboration between Viera Mecková and the artist Alex Mlynárčik. As the authors themselves state, the sculptural object was designed for a specific environment in strong harmony with its composition and content. The “presence” of a garden designed by way of the light green stage steps and the ceramic wall in the background is not accidental, rather it is an allusion to a surreal, imaginary world of theatrical experiences. 

Individual components of the building interior as well as the facade are currently in an unfavourable technical and aesthetic condition, because of which extensive renovation and modernisation is planned. “Providing well-designed spaces for cultural and social use along with a formal language, the building is a work of art with a unique atmosphere. The forthcoming renovation can be seen as an expression of respect for the genius loci of the author’s work and appreciation for the positive aspects of our national history.” [4] One can hope that the reference to the original interior architecture and the expressive qualities of this work will be preserved.

Used sources
  1. Dom Kultúry Dolný Kubín. [House of Culture in Dolný Kubín.] Website: Register of Modern Architecture – Department of Architecture, Institute of History of the Slovak Academy of Sciences. Available at:
  2. Moravčíková, Henrieta: Neviditeľné architektky: prvá generácia žien v slovenskej architektúre. [The invisible female architects: the first generation of women in Slovak architecture.] In: Architektúra a urbanizmus. Year 49, No. 1-2 (2015), pp. 82-103. Available at:
  3. Sliepková, Barbora: DAAD/DAAF 2020 – IKONY [ICONS] – Viera Mecková + discussion. Available at:
  4. Frančeková, Lucia: Dom kultúry Dolný Kubín. [House of Culture in Dolný Kubín.] Seminar paper for the Public Interior course, Faculty of Architecture and Design STU Bratislava, Summer Term 2022–23
Photo documentation

Lucia Frančeková
Andrej Orčík