- Tytuł:
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Ewolucja koncepcji ekspresjonistycznej w niemieckiej i austriackiej architekturze współczesnej
DEVELOPMENT OF THE EXPRESSIONIST CONCEPT IN GERMAN AND AUSTRIAN CONTEMPORARY ARCHITECTURE - Autorzy:
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Serafin, Aleksander
Nadolny, Adam
Racoń-Leja, Kinga - Powiązania:
- https://bibliotekanauki.pl/books/27796284.pdf
- Data publikacji:
- 2022
- Wydawca:
- Politechnika Łódzka. Wydawnictwo Politechniki Łódzkiej
- Opis:
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Zarówno aktualny stan wiedzy, jak i samo obcowanie z architekturą prowadzą do jednego wniosku. Tendencja ekspresjonistyczna, w szerokim rozumieniu, domaga się poszerzenia zakresu podstawowych badań, obejmujących problematykę formy, funkcji, techniki i technologii oraz postaw i sposobów podejścia do procesu projektowego. Celem badawczym tej pracy jest określenie istoty koncepcji ekspresjonistycznej, współtworzącej obraz współczesnej architektury. Chodzi nie tyle o samo ustalenie aktualnego zbioru sklasyfikowanych realizacji budowlanych, co o wzbogacanie stanu wiedzy o osobach i zjawiskach powiązanych z rozwojem tej tendencji. To z kolei pozwoli zrozumieć bardziej zaawansowane zależności i kształtujące się na ich podstawie mechanizmy, funkcjonujące we współczesnej architekturze.
Niniejsze rozważania mają poza aspektem czysto poznawczym również wymiar utylitarny. Upowszechnianie wiedzy o rzeczonych zagadnieniach wydaje się równie istotne w kręgach naukowych, co wśród projektantów, dlatego ta publikacja jest adresowana do obu środowisk. Zrozumienie teoretycznych podstaw praktyki architektonicznej umożliwia bowiem zarówno krytyczny namysł nad jej istotą, jak i warunkuje jej rozwój. Dzisiejsze następstwa ekspresjonizmu zachęcają do wyjaśnienia jego podstaw, a jednocześnie pozwalają prognozować perspektywy. Chodzi tu o przegląd architektury, która bądź już została oficjalnie zaklasyfikowana jako ekspresjonistyczna, bądź przejawia cechy, które historia uzna w przyszłości jednoznacznie za kontynuację lub reinterpretację tego kierunku, określając zamknięty katalog dzieł reprezentujących nurt.
Expressionism is etymologically related to expression because its main attribute is expressiveness, which means the strength of the work’s impact on emotional sphere. Since no architectural work can be deprived of expressiveness as a rule, the intensified influence in this case lies in the emphasis of artistic means such as form, colour and texture. Nowadays, a review of numerous projects often proves that the creator’s ambition is a uniqueness of the work itself. It can be assumed achieving originality is conditioned upon the expressiveness of the architectural form. Furthermore, it relates to the type of aesthetic feeling when “expressive” experience occurs in contrast to “habitual”, “understanding” or “professional” one. The very essence of the object corresponds both with the creator’s motivation and the nature of the recipient. Expression in architecture, therefore, follows regardless of any predefined visual pattern. The continuous and timeless nature of this process makes it impossible to define the time frame. It does not allow this phenomenon to be assigned to any specified era. Consideration of expressionism only from a historical perspective excludes some contemporary interpretations. Today we are dealing with its new form. However, it should be noted that apart from very few cases there is no duplication of the aesthetic patterns of the primary style. The original trend in this case should be understood as the architectural method of the 1920s and 1930s in the north of Europe, mainly in Germany. The new trend, in turn, is a rather broad concept based on the development of very original and pure assumptions underlying the aesthetic convention. What is more, the expressionist paradigm in the past could only be developed efficiently in painting. Contemporary architecture illustrates it thanks to new material and technical possibilities. In the first half of the twentieth century, pioneers propagated the supremacy of feelings. As a rule, this spontaneity resulted in unbridled freedom of forms and colours. The discrepancy between emotive paintings and architecture of that period, however, seems to be disappearing today. Although the old ideological potential of expressionism has been diminished, a certain social impact of the trend is still noticeable. The above observation has become the foundation of the study which aims to show that we are dealing with a new form of expressionism. In addition, the territorial scope seems to be significant. Under certain assumptions, the area of occurrence can be limited to Germany and Austria similarly to the primary trend. Interestingly, the phenomenon does not apply to Switzerland, another German-speaking country. A different paradigm is recognised there. With few exceptions, we can speak of the dominance of rationalist architecture based on the Cartesian spatial model in that region. At present, aesthetic and functional reductionism is gaining importance. Minimalism has dominated many aspects of contemporary culture. The need to distance oneself from this phenomenon naturally imposes some scenarios. Therefore, one can speak of an occurrence known as “New Expressionism”. This term is used interchangeably with the term “New Expression”, which is intended to emphasize the importance of the expressive factor in the context of modern times. Bearing in mind original expressionism, it is worth emphasizing the difference between emotive painting and the ornamental buildings in this style. It should be noted that new architecture has not repeated stylistic features of the original trend. One would rather say that it has captured the features of primary expressionist painting such as dynamism and spontaneity. The issue of continuation of expressionist tendencies is present in the current discourse, which has covered primarily two German-speaking countries mentioned above. New Expressionism does not always refer to modern architectural values. The trend is also inspired by the significant past styles such as German gothic or Austrian baroque. On the one hand, it expresses international modern spatial rules in that way, but on the other hand, it demonstrates local aesthetic traditions. Therefore, such a strict territorial scope of research could be defined. A review of projects allows distinguishing specific issues within the broadly understood expressionist trend. The New Expression can be represented by both compact and coherent layouts as well as internally differentiated systems. This creates a gap between uniformity and diversity in architecture. Moreover, this reflects the difference between an individual’s creative dictate and pluralism in a broader way. The monumental implementations of Hans Poelzig in Saxony from the beginning of the 20th century are a foretaste of the contemporary traditionalism of Hans Kollhoff. It can be contrasted with the erudite pluralism represented in Germany by British architects: James Stirling and Michael Wilford. A completely different aspect is the sculptural dimension of concrete as a building material. It opened up new possibilities for architecture based on neoexpressionism. The new era initiated by Goetheanum meant a series of unique architectural implementations by the team of Hermann Fehling and Daniel Gogel, which can be compared with the concept of “Betonfelsen” by Gottfried Böhm. However, there was an opposite tendency within the same trend. Displaying concrete masses that are optically strongly grounded was opposed to the poetics of crystal forms. Glass as an architectural medium ultimately led to deconstruction tendencies that were initiated by Günter Behnisch. The destabilisation of structure evolves to dynamism, which becomes an autonomous environment of expression. The works of Austrian designers like Günther Domenig and teams such as Coop Himmelblau or Delugan Meissl, as well as world-renowned architects such as Zaha Hadid, lead to a state in which not only the irreducible complexity but the kinetic properties are exposed. Expression mechanisms can also have a destructive formal nature. The key issue is the cultural concept of “der Riss”, which was introduced to architecture by Hans Hollein. Currently, simulated form breakthroughs are used not only by Günther Domenig and Coop Himmelblau but also by Daniel Libeskind in his German works. The projects by Michael Szyszkowitz and Karla Kowalski mean the transition to some sort of “soft deformation” that becomes the basis for more geometrically advanced transformations by Zaha Hadid and Patrik Schumacher. In fact, the development of the deformation tendency was preceded parallelly by Actionism and the architectural work of Friedensreich Hundertwasser. Later, Viennese traditions were continued by Günter Zamp Kelp and Ortner & Ortner Baukunst, the successors of the counter-cultural art group Haus Rucker Co. Contemporary transformations and opposition to the obviousness are also noticed in Frank Gehry’s work, but also German teams like Hild und K and Wandel Hoefer Lorch + Hirsch. An alternative to deconstruction is a biomorphic trend. The movement called “Grazer Schule” is important in this case because it has become an Austrian phenomenon on a global scale. The last dimension of contemporary expressionism demonstrated here is based on a specific approach to colour. Traditions derived from “Farbenlehre” by Johann Wolfgang Goethe were continued by expressionist artistic groups such as Der Blaue Reiter. The neo-avant-garde approach in this regard is noticeable at the Düsseldorf Academy of Fine Arts and is comparable to the tendency initiated in the field of architecture by Volker Giencke’s “Red Stage” in Graz. It is continued by Klaus Kada. In Salzburg, however, the implementation of Massimiliano Fuksas is significant. RüdigerLainer’s projects play a special role in Vienna. In German architecture, the role of the team of Ingrid Spengler and Manfred Wiescholek in Hamburg and Leipzig should be emphasized. On the other hand, the group of Matthias Sauerbruch, Louisa Hutton and Juan Lucas Young of have co-authored such an implementation in Munich. To sum up, it should be noted that the phenomenon of expression is the key to understanding the essence of contemporary architecture. Frank Werner claims the new narrative of Expressionism no longer represents early ideals but it has a protective function that is perceptible on two levels. On the one hand, the new trend by its dissociative character improves the community’s resistance to ideologies that the authority can transfer through the architecture. On the other hand, anarchism is typical of this tendency. It protects against the permanent unification of the language of form, which can also be considered as a protest against globalization. Thus, it is evident that this movement is constantly making claims against the contemporary architectural environment. Expression in architecture, therefore, goes beyond the category of any predefi ned visual style. What it means is rather a process. Its continuous nature makes this phenomenon impossible to assign to a particular era. The attempt to organise information consists primarily in establishing the relations between the past and the present, with an indication of the tendencies of introducing architecture into the future. The compilation of the issues grounding expressionist thought in contemporary architecture shows that this trend covers a wide creative spectrum. It should be said that expressionism breaks with the scheme of obligatory trend’s internal coherence. Thus, the research in its development may follow some parallel paths. Thus, the tendency reaches a turning point after demonstrating specific material preferences, referring to primary symbolism, and fi nally recognizing the complexity paradigm that triggers certain destructive mechanisms. On the one hand, this is due to the exhaustion of the constructive potential that every concept is obliged to contribute to architectural development. On the other hand, the destructive nature of the form could only lead to unproductive progress of aesthetic aberration and further to the questioning of artistic values in general. Those aspirations were reduced by the expansion of the biomorphic alternative, which can be interpreted as an affirmation of life. Although it is already a closed chapter in recent history, it played an important role because it marked a withdrawal from implementation of nihilistic aspirations. Another question is the theme of colour. It is an independent element of strengthening the expressionist paradigm. Thanks to this, the discussed tendency enters seemingly distant formal areas. This is another proof that the movement is independent of style and its multidimensionality allows it to be called a general cultural trend. In conclusion, it should be emphasized that architecture like other creative disciplines encapsulates the experiences of a contemporary human. Expression, in turn, is a weapon in the struggle with rationalism and everyday life in the field of stylistic architecture. It adds a certain sublime, sometimes even ritualistic dimension to the building creation. It should be noted that it is met with justified opposition as it legitimises atavistic behaviour in a broad understanding of civilisation. Therefore, there is a risk that its uncontrolled escalation will lead to an imbalance between impulsive and rational factors. However, it should be emphasized that, ultimately, it also has a constructive meaning as a tendency that prevents the separation of the intellectual and emotional spheres. - Dostawca treści:
- Biblioteka Nauki
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