Station Českomoravská
realisation 2025-2026
We approach the redesign of Českomoravská in the context of the transformations currently reshaping this part of the city through new development. We understand the station within the broader framework of Line B, where individual stations are united by shared design principles, pillar geometries, structural patterns, and grids. Our intention was therefore to pursue evolution rather than revolution. Českomoravská has also acquired a distinct character through the construction of the O2 Arena, as the station accommodates exceptionally high passenger flows from across the city and the wider region in connection with major public events.
We see the bustle itself — the stress, density, travel, and constant movement — as an essential and defining condition of the place. Our response was to create a universal spatial environment that gently mirrors and interprets this intensity through a glass grid. This grid draws on the existing ceramic cladding and its texture, grain, and neutrality. Air is captured between two layers of glass — the same air that moves through the entire metro system and forms an invisible yet inseparable part of underground travel. The pattern is created by joining and heat-fusing two glass surfaces, with air bubbles remaining trapped between them. Each panel produces a unique structure, while remaining easy to replicate. The textured glass surface is also better able to absorb and visually soften potential wear, scratches, and other optical damage. The treatment of the pillar ends is resolved through rounded forms rather than the original faceted geometry. This allows us to test several cladding options, ranging from glass tiles to full-surface glazing.
The spacing and distances between pillars, the tunnelling method, and the three-nave spatial arrangement all impose specific constraints, unlike cut-and-cover single-vault stations, where the station is perceived from a fundamentally different perspective. In this context, a system based on a restrained yet distinctive surface of tiles or air-infused glass offers a sense of structure and depth — one in which the observing passenger can discover a personal microcosm.
Co-author of the proposal: Maxim Velčovský
Photography: Igor Zacharov, Petr Hejna
We see the bustle itself — the stress, density, travel, and constant movement — as an essential and defining condition of the place. Our response was to create a universal spatial environment that gently mirrors and interprets this intensity through a glass grid. This grid draws on the existing ceramic cladding and its texture, grain, and neutrality. Air is captured between two layers of glass — the same air that moves through the entire metro system and forms an invisible yet inseparable part of underground travel. The pattern is created by joining and heat-fusing two glass surfaces, with air bubbles remaining trapped between them. Each panel produces a unique structure, while remaining easy to replicate. The textured glass surface is also better able to absorb and visually soften potential wear, scratches, and other optical damage. The treatment of the pillar ends is resolved through rounded forms rather than the original faceted geometry. This allows us to test several cladding options, ranging from glass tiles to full-surface glazing.
The spacing and distances between pillars, the tunnelling method, and the three-nave spatial arrangement all impose specific constraints, unlike cut-and-cover single-vault stations, where the station is perceived from a fundamentally different perspective. In this context, a system based on a restrained yet distinctive surface of tiles or air-infused glass offers a sense of structure and depth — one in which the observing passenger can discover a personal microcosm.
Co-author of the proposal: Maxim Velčovský
Photography: Igor Zacharov, Petr Hejna
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