Savarin Palace to Reopen this Summer; Renovation in Final Phases

The long-awaited renovation of the Savarin Palace in Na Příkopě is drawing to a close, scheduled for completion by year’s end and welcoming visitors as soon as this summer.

Dating back to 1752 and located in the heart of Prague’s vibrant city center, just a stroll from Wenceslas Square, the palace holds a special place as a historical gem for locals and tourists alike.

Since the restoration project started in 2019, spanning over three years, anticipation has been building among residents and passersby, awaiting the unveiling of the palace’s renewed splendor.

Reports suggest that a substantial investment of approximately CZK 500 million has been poured into the project so far, with a significant portion allocated to meticulously restoring its Baroque-styled sculptures.

Recognized as a cultural monument by the Czech Ministry of Culture, the restoration of the Savarin Palace is being closely monitored by the monument inspectorate body to ensure the preservation of its historical significance and architectural integrity.

Plans include the creation of pedestrian-friendly spaces and a direct entrance linking to the Mustek metro station.

In a recent interview, Simon Johnson, COO of Crestyl, expressed his admiration for the scale of the project, describing it as “absolutely extraordinary.” He explained the project’s comprehensive approach, focusing on both the palace itself and the wider project involving neighboring buildings along Wenceslas, Panská, and Jindřišská streets.

A major feature of the renovation project is its future role as the home of the Slav Epic, twenty iconic paintings by famous Czech painter, Alfons Mucha depicting Slavic history and culture, set to grace the palace’s halls for the next twenty-five years.

Baroque sculptures by Ignác František Platzer have also returned to the palace, both restored originals and copies of them on the façade. “We are now deciding where to place the originals so that the public can see them in all their glory,” says Simon Johnson, director of Crestyl.

The statues were dismantled in a state of complete disrepair six years ago. Seven of the statues were originals, the other four were copies made in 1878.

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