Architecture for Export: Brutalism, diplomacy, and the global legacy of Czech embassies
What do the Czech Embassy buildings in Delhi, Athens, Berlin, Beijing, Brasília, Cairo, Tokyo, London, and Washington have in common? They were all designed in the 1960s and 70s in bold, expressive styles of Brutalism and Modernism. A new exhibition on Prague’s Rašín Embankment celebrates these remarkable structures, as well as the stories they tell about architecture, diplomacy, and Czech identity. I met with the exhibition’s curator, Adam Štěch, to find out more.
The exhibition Architecture for Export is part of a broader initiative that was launched by the Foreign Ministry two years ago. What was the original idea behind the project?
"I was very happy about the idea because it came from diplomats based in New Delhi, India. In New Delhi, we have one of the best brutalist embassy buildings, built in the 60s and 70s.
"Specifically, Filip Dufek, a cultural diplomat who spent several years in Delhi. He’s not an architecture professional, obviously. But while staying at the embassy, he realized the building was quite interesting.
"He began researching its history and discovered that last year marked 50 years since its completion and opening. So it was his idea to invite me to give a lecture and curate a small exhibition in the embassy’s garden.
"I'm very pleased because it shows the building's appeal isn’t limited to architects or architecture lovers; it also captivates diplomats who simply work there.
"That says something. It’s clear the architecture is anything but ordinary. So everything began with this Czech embassy in Delhi."
Can you tell us more about it? What makes it so outstanding architecturally and historically?
"The embassy in Delhi is one of several embassy buildings designed by Karel Filsak and his team. Filsak was the leading figure in embassy construction during that era. He designed several embassies, and I believe the one in New Delhi is among the finest.
"It reflects the global modernist trends of the 1960s. Filsak used what's known as raw concrete and was clearly influenced by Le Corbusier and the purist brutalism emerging in the UK.
"In fact, the building is like a small town—multiple structures linked together to form a diplomatic village. It was a large-scale project with global architectural ambition. But it’s not just about the architecture; it also includes interior design and artistic decoration.
"This was typical for embassy buildings of that time. They had nearly unlimited budgets because the communist government wanted to represent the country impressively abroad. They invested heavily and hired top architects and designers.
"Many of these buildings are filled with exceptional art and design, and that’s certainly true of Delhi.
So it's not just the exterior, it’s the interior spaces and furnishings, too…
“Yes. I’d call it a great example of Gesamtkunstwerk, or a total work of art.
"It was a collaborative effort. Filsak led the project, but interior designers like Zbyněk Hřivnáč created custom furniture. I actually wrote my diploma thesis on him, which is how I got into studying these embassies.
"Of course, these designers also worked with renowned artists like Stanislav Libenský and Jaroslava Brychtová, the famous glass artists, and Stanislav Kolíbal, along with other painters and sculptors.
"The building was an essence of representation of our country."
So it was deliberately used by the regime to shape how the country was seen abroad?
"Absolutely. You could call it architectural diplomacy. It’s quite funny, because life in Czechoslovakia at the time was not easy. There was little money, and people queued for basic things like bananas. Yet the government poured vast sums into international representation.
"It’s quite funny, really, because life in Czechoslovakia at the time was not easy…Yet the government poured vast sums into international representation."
"Ethically, that’s a bit complex. But the buildings themselves were the work of brilliant minds. They were executed to a high standard and weren’t compromised politically in terms of quality.
"Paradoxically, they were built in a style resembling capitalist architecture."
You mentioned raw concrete. What other elements of brutalist or modernist design do these buildings share?
"Most buildings feature raw concrete cast on site. They’re very sculptural: massive and visually striking. You’ll often see large glass surfaces that contrast with the heavy concrete volumes.
"The interiors include custom-designed furniture made of wood or metal. These pieces were made specifically for the building and its diplomatic function.
"There was a lot of inventiveness. Some pieces are unusual, oversized, and not especially practical. They prioritize representation over daily functionality.
"That’s typical of the interiors of these embassy buildings."
Who were the main architects behind these buildings? You mentioned Karel Filsak for New Delhi. Were there others?
"Yes. Filsak also designed the embassies in Brasília and Cairo, as well as the Czechoslovak mission to the United Nations in Geneva.
"Another key figure was Jan Bočan, who designed embassies including the award-winning one in London, which received the Royal Institute of British Architects prize in 1970 for best foreign-designed building.
"They were executed to a high standard and weren’t compromised politically in terms of quality. Paradoxically, they were built in a style resembling capitalist architecture."
"Jan Šrámek also contributed significantly, often as a collaborator. Věra and Vladimír Machonin, who are best known for the Kotva department store, designed the embassy in Berlin, one of their few embassy projects.
"There were very few Slovak architects involved. One notable exception is Ferdinand Milučký from Bratislava, who designed the embassy in Rome."
So how do these buildings fit into the broader story of Czech or Czechoslovak architecture during the communist era?
"I’d call it elite architecture—the crème de la crème. I would also connect it to hotels built in the same era, like Hotel Intercontinental (recently reopened, also by Filsak) and Hotel Praha, which was sadly demolished.
"These hotels were also conceived as Gesamtkunstwerk, and were similarly used for state representation.
"The movement of embassy construction began with the embassy in Pakistan at the end of the 1950s. That marked a turning point when Czech architecture returned to modernism.
"The 1950s were a dark time for art in Czechoslovakia—Soviet-imposed socialist realism forced architects to create decorative, ideological designs.
"But in the late '50s, the political climate relaxed, and modernist architecture re-emerged. That shift toward creative freedom is well reflected in these embassy buildings."
What state are these embassies in today? Maintaining them must be difficult, given the custom elements and unconventional materials. Are they still used as embassies?
"As a student, I dreamed of visiting all of them. I’ve seen a few now.
"Unfortunately, the condition is sometimes disappointing. Much of the original furniture is gone, and some renovations harmed the original aesthetic. From the outside, most buildings remain authentic. The interiors, being more delicate, suffer more.
"New Delhi surprised me—it’s almost fully preserved, with many beautiful details intact. Cairo is also in good shape, with only minor alterations.
"Stockholm is no longer a Czech embassy—it now houses the Acne fashion brand’s headquarters. But they’ve adapted the space respectfully and retained the architecture.
"A general challenge is that these buildings are very large, while today’s diplomatic missions are much smaller. This raises issues of energy use and practicality. We need to think about new purposes for these buildings.
"While they can continue to serve as embassies, they might also become cultural spaces. Sometimes Czech Centers are housed in embassy buildings. It’s a broader issue with buildings from that period—they were designed for a different system with very different energy requirements."
Finally, brutalism is a style that tends to divide public opinion. Do you see a growing interest in this architectural style? You mentioned diplomats are becoming aware and appreciative of their spaces.
"Definitely. When I was writing my diploma thesis, brutalism was just one small thread in 60s and 70s architecture. Many other movements were better known.
"But today, architecture from the second half of the 20th century is much more appreciated. Fifteen years ago, hardly anyone was interested. Now there are books, articles, and young researchers exploring the subject.
"This has led to broader public awareness and appreciation compared to twenty years ago, so the value of this architecture is much more widely understood today."
