Prague, a city renowned for its historical architecture spanning centuries from Baroque to Gothic, is also home to a striking example of modern design: the Dancing House. Officially known as the Nationale-Nederlanden building, but affectionately nicknamed “Fred and Ginger,” this architectural anomaly stands on Rašínovo nábřeží (Rašín Embankment), presenting a captivating contrast to its traditional neighbors. Conceived by Croatian-Czech architect Vlado Milunić in collaboration with Canadian-American architectural luminary Frank Gehry, the Dancing House was designed in 1992 and completed in 1996, quickly becoming an iconic landmark in Prague.
The building’s nickname, “Fred and Ginger,” was inspired by the legendary dance duo Fred Astaire and Ginger Rogers. The structure visually resembles a pair of dancers, with one tower appearing to be male (Fred) and the other female (Ginger), seemingly caught in mid-dance. This playful and unconventional design initially sparked controversy, as the building sharply deviated from Prague’s established architectural styles. Its deconstructivist form challenged the aesthetic norms of the Baroque, Gothic, and Art Nouveau buildings that characterize the city. Despite the initial reservations, the then Czech President Václav Havel, who resided adjacent to the site, championed the project, envisioning it as a vibrant hub for cultural activities. While the “Fred and Ginger” nickname, initially suggested by Gehry himself, has become less common, the building’s dancing silhouette remains deeply embedded in Prague’s modern identity.
The site chosen for the Dancing House carries significant historical weight. Prior to its construction, the location was occupied by a house that was tragically destroyed during the U.S. bombing of Prague in 1945 in World War II. The site remained derelict for years until 1960 when it was cleared, leaving a void in the urban fabric. The adjacent property was owned by the family of Václav Havel, who spent a significant portion of his life there. As early as 1986, even during the Communist era in Czechoslovakia, Vlado Milunić, already a respected architect, conceived the initial idea for a building on this very spot. He discussed his vision with his neighbor Havel, who was then a dissident figure. Following the Velvet Revolution, Havel’s rise to prominence as a popular leader and subsequently the President of Czechoslovakia provided the necessary impetus for the project to move forward. Havel entrusted Milunić to survey the site, hoping it would become a center for culture, although the final outcome leaned towards commercial use.
The Dutch insurance company Nationale-Nederlanden (later ING Bank) stepped in as the project’s sponsor, agreeing to finance the construction. They appointed Milunić as the lead designer and encouraged him to collaborate with a globally recognized architect. While French architect Jean Nouvel initially declined due to the project’s limited square footage, Frank Gehry embraced the opportunity. The financial stability of Nationale-Nederlanden at the time allowed for substantial funding for the project. During their initial meeting in Geneva in 1992, Gehry and Milunić developed Milunić’s original concept of a structure composed of two contrasting parts: static and dynamic, representing “yin and yang.” This duality was intended to symbolize Czechoslovakia’s transition from a communist regime to a parliamentary democracy, reflecting the dynamic societal changes occurring in the Czech Republic at the time.
The architectural style of the Dancing House is classified as deconstructivist, which the architects jokingly referred to as “new-baroque” to highlight its divergence from conventional forms. Its distinctive “dancing” shape is achieved through a complex system of 99 uniquely shaped and dimensioned concrete panels. Crowning the structure is a prominent twisted metal and mesh sculpture aptly nicknamed “Medusa,” adding another layer of visual intrigue. The interior design cleverly integrates the building into the surrounding urban context, which is predominantly composed of 18th and 19th-century buildings. The Dancing House features two central sections within a square layout. One is a glass tower, reaching approximately half the building’s height and supported by curved pillars. The other section, running parallel to the river, displays undulating moldings and non-aligned windows. This design choice was primarily driven by aesthetic considerations, aiming to create a three-dimensional effect with the window frames projecting outwards like picture frames, rather than appearing as simple flat surfaces. The winding moldings further contribute to visual complexity, softening the contrast with the adjacent historical buildings.
While initially controversial due to its stark contrast with Prague’s traditional architectural landscape, the Dancing House has gradually gained acceptance and is now widely celebrated as a significant piece of modern art that enriches Prague’s cityscape. The initial debates have subsided, and the building is recognized for its artistic merit and its contribution to the city’s architectural diversity. Its unique form has achieved national recognition, even being featured on a 2,000 Czech koruna gold coin issued by the Czech National Bank as part of the “Ten Centuries of Architecture” series, solidifying its place in Czech architectural history and popular culture. The Dancing House stands not only as an architectural landmark but also as a symbol of Prague’s embrace of modernity and its ability to blend historical charm with contemporary innovation.
