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Tytuł:
Traktat architektoniczny Bohdana Lacherta: summa mitów awangardy czy zapis doświadczeń?
Autorzy:
Wąs, Cezary
Powiązania:
https://bibliotekanauki.pl/articles/1033749.pdf
Data publikacji:
2020-06-30
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Bohdan Lachert
architektura nowoczesna
traktat architektoniczny
awangardowy modernizm
teoria architektury
modern architecture
avant-garde modernism
theory of architecture
architectural treatise
Opis:
Traktat architektoniczny Bohdana Lacherta jest podsumowaniem postaw przejawianych w środowisku architektów nurtu awangardowego modernizmu w Polsce. Architekt należał w okresie przedwojennym do grupy najwybitniejszych inicjatorów nowoczesnej architektury i znawców teorii sztuki nowoczesnej. Swoją twórczość uprawiał, przejawiając silne zaangażowanie emocjonalne, które uważał za decydujący czynnik dzieła architektonicznego. W okresie powojennym napotkał ograniczenia w swej działalności wynikające z doktryny socrealizmu. W końcu lat pięćdziesiątych XX wieku postanowił spisać swoje przekonania, uwzględniając ówczesną historiografię i filozofię. Sporządzony traktat nie odegrał dużej roli w dziejach polskiej architektury ze względu na małą rolę niezależnych postaw architektonicznych w systemie politycznym realnego socjalizmu. Obecna publikacja traktatu pozwala dostrzec w nim nie tylko dokument dwóch minionych epok, lecz także dzieło, które zawiera elementy zbieżne ze współczesnymi trendami intelektualnymi.
Bohdan Lachert’s architectural treatise is a summary of the attitudes manifested in the environment of architects of the avant-garde modernist trend in Poland. In the pre-war period, Lachert  belonged to the group of the most outstanding initiators of modern architecture and experts in the theory of modern art. He cultivated his creativity by displaying strong emotional commitment, which he considered a decisive factor in architectural work. In the post-war period, he encountered restrictions in his activities resulting from the doctrine of socialist realism. At the end of the 1950s, he decided to write down his beliefs taking into account contemporary historiography and philosophy. The prepared treatise did not play a major role in the history of Polish architecture due to the small role of independent architectural attitudes in the political system of real socialism. The current publication of the treatise makes it possible to see in it not only a document of two past eras, but also a work that contains elements coinciding with contemporary intellectual trends.
Źródło:
Acta Universitatis Lodziensis. Folia Philosophica. Ethica – Aesthetica – Practica; 2020, 35; 97-112
0208-6107
2353-9631
Pojawia się w:
Acta Universitatis Lodziensis. Folia Philosophica. Ethica – Aesthetica – Practica
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Znikająca wyspa modernizmu w architekturze. Panayotisa Tournikiotisa Historiography of Modern Architecture.
Autorzy:
Wąs, Cezary
Powiązania:
https://bibliotekanauki.pl/articles/560061.pdf
Data publikacji:
2006-02-02
Wydawca:
Uniwersytet Wrocławski. Instytut Historii Sztuki
Tematy:
architektura
XX wiek
modernizm
Panayotis Tourniokiotis
Sigfried Giedion
Nicolaus Pevsner
Emil Kaufmann
Bruno Zevi
Leonardo Benevolo
Henry-Russel Hitchcock
Rayner Banham
Peter Collins
Manfredo Tafuri
Źródło:
Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego; 2006, 2(2); 95-107
1896-4133
Pojawia się w:
Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Od perwersji do dekonstrukcji. Architektura Bernarda Tschumiego Część I
From perversion to deconstruction. Bernard Tschumi’s architecture. Part 1
Autorzy:
Wąs, Cezary
Powiązania:
https://bibliotekanauki.pl/articles/560188.pdf
Data publikacji:
2013
Wydawca:
Uniwersytet Wrocławski. Instytut Historii Sztuki
Tematy:
Bernard Tschumieg
Opis:
In Bernard Tschumi’s writings from the 1970s and 1980s we can find a transposition of important threads of post-structuralist ideas deriving from Georges Bataille, Roland Barthes and Jacques Derrida’s works. The analysis of the architect’s writings also shows roots in Phillippe Sollers, Michel Foucault and Denis Hollier’s works. The analysis of borrowed elements from the beginnings of Tschumi’s theoretical activity may be helpful in explaining the contents of his later writings, more inspired by philosophy of deconstruction. The set of his earliest views was inspired by Marxism, Neo-Marxism and French Structuralism, mainly by the writings of Henri Lefebvre and Guy Debord. From the thought of Lefebvre Tschumi took interest for city as not only a question of urbani- stics but also as a political issue. From Debord’s concepts he borrowed a conviction about the role of situational violation for changes in the society structure. Some of these beliefs were preserved in his own concepts of architecture as an event. From this period derived also his will to change conservative elements of social structure not by means of political revolution but of theoretical and creative activity. Tschu- mi acknowledged that the effective way of the proceedings towards achieving his aims would be accepting the role of both a critical intellectualist and architecture expert who would not hide away his left-wing orientation. The speculations defined by the architect as “revolting analyses”, were about to characterise contradictions which tear the society apart, penetrate architecture and constitute the basis of culture. Spreading away of the conscience of false assumptions hidden away in various disciplines could have weakened cohesion of a conservative society and influence the will to change among the elites. This way the beginnings of political revolution were rooted in philosophy of architecture. In 1977 Tschumi published his text entitled The Pleasure of Architecture inspired by Roland Barthes’s The Pleasure of the Text, it also included some concepts derived from Georges Bataille and Jacques Derrida. First of all the author used Barthes’s concept which made an assumption that literary activity is pervaded by the spirit of resistance towards social rules, and Tschumi transferred this remark onto architecture. From the ideas of Bataille, acquainted via Holier’s work, he derived his belief that two concepts of space, a conceptual one (defined as Pyramid) and a sensual one (defined as Labirynth), not loosing their distinct features, they join in the concept of experienced space which exceeds contradictions. The exceeding itself was defined as the basic rule of architecture and it was referred to situations in which architecture not only negates social needs, but also disavows its own tradition, crossing the borders applies not only to political issues or permanent rules of the very discipline but also interfering with other fields (especially literature and film). The fact that architecture is associated with organising events turned Tschumi’s attention to questions of violence that results from upsetting architectural order of a given building by its users on the one hand, and on the other from forcing the users on specific acts imposed by this very order. The analysis of the concepts used by Tschumi in his early writings indicates that they are close to definitions that would occur in his reflection in the following years influenced by philosophy of deconstruction.
Źródło:
Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego; 2013, 1(27); 70-95
1896-4133
Pojawia się w:
Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Bunt kwiatu przeciw korzeniom. Polska architektura sakralna lat 1980-2005 wobec modernizmu.
Autorzy:
Wąs, Cezary
Powiązania:
https://bibliotekanauki.pl/articles/560219.pdf
Data publikacji:
2006
Wydawca:
Uniwersytet Wrocławski. Instytut Historii Sztuki
Tematy:
modernizm
architektura
polska architektura sakralna
Źródło:
Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego; 2006, 1(1); 74-87
1896-4133
Pojawia się w:
Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Practicing Theory. Concepts of early works of Daniel Libeskind as references for real architecture
Praktykowanie teorii. Koncepty wczesnych prac Daniela Libeskinda jako wzorce realnej architektury
Autorzy:
Wąs, Cezary
Powiązania:
https://bibliotekanauki.pl/articles/560272.pdf
Data publikacji:
2015
Wydawca:
Uniwersytet Wrocławski. Instytut Historii Sztuki
Tematy:
Daniel Libeskind
Wolter
August de Villiers de L’Isle-Adam
Comte de Lautréamont
Giulio Camillo
Jüdisches Museum (Berlin)
Voltaire
Opis:
Treści wczesnych prac Libeskinda, w tym zwłaszcza idee zawarte w cyklach rysunków pod nazwą Micromegas: The Architecture of End Space (1979) i Chamber Works: Architectural Meditations on the Themes from Heraclitus (1983) oraz trzy maszyny określone jako Three Lessons in Architecture (1985) w decydujący sposób wpłynęły na wszystkie późniejsze realizacje architekta. Prace te w dużym zakresie zmieniły zasady oddzielania teorii od praktyki budowlanej, w tym także odgraniczania architektury od literatury czy filozofii. Już Micromegas były polemiką z traktowaniem rysunku architektonicznego wyłącznie jako utylitarnego narzędzia w procesie stwarzania budowli i postawiły na uczynienie z tej techniki pełnoprawnej postaci realnej architektury. Chamber Works w jeszcze większym stopniu niż prace z serii Micromegas akcentowały samodzielność rysunku i jego odrębność od wszelkiej rzeczywistości czy zewnętrznych źródeł treści. Maszyny połączone w Three Lessons in Architecture streszczały dokonania dawnych epok historii sztuki budowania. Reading Machine opowiadała o rzemieślniczych początkach, Memory Machine o intelektualizmie okresu nowożytnego, Writing Machine zaś o współczesnym okresie mechanizacji pamięci i kreacji. Zadaniem maszyn była metafizyczna refleksja nad głównymi założeniami i mitami architektury, a zarazem przeniesienie tej refleksji na poziom doświadczenia zmysłowego. W berlińskim Jüdisches Museum wymyślone liternictwo architektoniczne połączyło się z narracją na temat zagłady żydowskich mieszkańców miasta. Libeskind wykreował nie tyle budowlę, ile literacką relację o zbrodni przełamującej historię ludzkości.
Źródło:
Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego; 2015, 2(36); 98-121
1896-4133
Pojawia się w:
Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Architektura, która naśladuje niemą filozofię. Peter Eisenman a dekonstrukcja. Część III
Architecture which imitates mute philosophy. Peter Eisenman and deconstruction. Part 3
Autorzy:
Wąs, Cezary
Powiązania:
https://bibliotekanauki.pl/articles/560186.pdf
Data publikacji:
2012
Wydawca:
Uniwersytet Wrocławski. Instytut Historii Sztuki
Tematy:
Peter Eisenman
Jacques Derrida
Jeffrey Kipnis
Ann Bergren
Maria Theodorou
Opis:
The series of Jacques Derrida and Peter Eisenman meetings, which took place in the period of 1985–1987, induced many authors to make comments. Some of them (Jeffrey Kipnis, Ann Bergren, Maria Theodorou) developed the subject of chôra which was introduced to the discussion by Derrida. The problem that was about to be solved was the question of tying up the concept of chôra with architecture, including Eisenman’s architecture and the series of meetings within frames of Chora L Works project. Kipnis on this occasion paid attention to chôra and its character of anachronia which infects any being created within chôra. In other words, any event has its counterpart (analogon) in another, earlier event. He demonstrated the similarity of structure of many events and statements from the times of Derrida and Eisenman’s meetings to the almost identical behaviour of figures in Plato’s dialogue Timaios. The loss of beginning present in this phenomenon was appropriate to both features of chôra and the effects of typical analyses of philosophy of deconstruction. Bergren’s analyses focused on accentuating gender of chôra, which, according to this author, had been neglected hitherto in discussions. She collated chôra descriptions with characteristics of women in myths, early Greek epic and philosophy and she arrived at a conclusion that chôra has features of a single woman and a married one at the same time. And yet Theodorou’s studies showed that in the Homeric epics chôra is not treated as an idea but it is related with single things and events. The other part of the comments (represented by Andrew Benjamin and K. Michael Hays’ utterances) concerns Eisenman’s attitude to tradition which was treated as a variety of iteration understood philosophically. Benjamin commenced his considerations at the point of closeness between a definition of tradition and a concept of chôra understood as perpetuation (placement). A problematic issue was for him Eisenman’s complex relation to tradition based on its contest and affirmation at the same time. Overcoming the simple subordination to tradition – according to Benjamin – was based on awareness of the role of repetition in culture not known before. Hays made an attempt to explain the pleasure and torment of repetition with the support of Sigmund Freud and Roland Barthes’ concepts. According to Hays the repetitions are the attempts of a single being to return to a certain primal state perceived as free of any tension. In a similar way Rosalind Krauss explained a motif of a grate present in Modernistic art and also exceptionally frequent in Eisenman’s work.
Źródło:
Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego; 2012, 3(25); 68-86
1896-4133
Pojawia się w:
Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Muzeum czy sklep? Uwagi na temat wystawy „Mendini. Maestro del Design” w Muzeum Architektury we Wrocławiu
A museum or a shop? Remarks concerning the exhibition “Mendini. Maestro del Design” at The Museum of Architecture in Wrocław
Autorzy:
Wąs, Cezary
Powiązania:
https://bibliotekanauki.pl/articles/560268.pdf
Data publikacji:
2015
Wydawca:
Uniwersytet Wrocławski. Instytut Historii Sztuki
Tematy:
postmodernizm
włoski design
Alessandro Mendini
Opis:
Alessandro Mendini’s exhibition was a review of his artistic output in the areas of design and architecture. The Italian artist’s works ranging from redesigned furniture to the newest versions of the Proust armchair were introduced. The part of the exposition were also models and photograms of the executed architectural works, including the Groningen Museum. The exhibition showed also a model of a sculpture representing a harlequin, which is going to be executed on one of the squares in Wrocław. On 1st December 2014 Mendini was awarded the title of doctor honoris causa of The Eugeniusz Geppert Academy of Art and Design in Wrocław.
Źródło:
Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego; 2015, 1(35); 83-89
1896-4133
Pojawia się w:
Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Ekstatyczna pustka we współczesnej architekturze kultowej.
Autorzy:
Wąs, Cezary
Powiązania:
https://bibliotekanauki.pl/articles/560274.pdf
Data publikacji:
2007
Wydawca:
Uniwersytet Wrocławski. Instytut Historii Sztuki
Tematy:
architektura sakralna
XX wiek
Źródło:
Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego; 2007, 2(4); 92-106
1896-4133
Pojawia się w:
Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Reprezentacje architektury w filmach science fiction jako symboliczny wyraz wizji przyszłości
Representations of architecture in scence-fiction films as a symbolic expression of the vision of the future
Autorzy:
Wąs, Cezary
Powiązania:
https://bibliotekanauki.pl/articles/1197969.pdf
Data publikacji:
2019-06-30
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
XX wiek
filmy science fiction
utopia
dystopia
przyszłość
fantastyka naukowa
20th century
science fiction films
future
science fiction
Opis:
W filmach gatunku science fiction z II poł. XX i początku XXI w. zawartych zostało wiele wizji przyszłości, które były jednocześnie refleksją nad osiągnięciami i mankamentami współczesności. W latach 60. XX w. w dziełach kinematografii dominował optymizm i wiara w możliwość nigdy nie kończącego się postępu. Przewidywano zanik podziałów politycznych między blokami państw i wspólną eksplorację kosmosu. Scenografowie podejmowali współpracę z naukowcami, która przejawiała się w ukazywaniu kosmicznych konstrukcji dalece przewyższających realne możliwości techniczne. Poczynając od lat 70. XX w. w filmach zaczął narastać pesymizm i przekonanie, że przyszłość przyniesie przede wszystkim nasilenie negatywnych zjawisk teraźniejszości. Obawy przed przyszłością nasycone były wskazaniem na różne możliwe defekty i nierozwiązywalne sprzeczności między nimi. Kiedy zatem pewna część dystopijnych wizji obrazowała zagrożenie wzrostem przestępczości, to inna przedstawia przyszłość jako nasyconą mechanizmami kontroli państwowej i powszechnością inwigilacji. Pokazywane na ekranach lęki wzbudzał także przez rozrost wielkich korporacji, zwłaszcza zaś zyskiwanie przez nie wpływów politycznych czy też pozostawanie poza systemem demokracji. Twórcy filmów przedstawiali też swoje przypuszczenia związane z tworzeniem przez korporacje nowych rodzajów broni, których stosowanie przekraczało aktualne normy prawne. Szczególne zastrzeżenia dotyczyły badań nad bronią biologiczną i możliwością rozprzestrzenienia się śmiercionośnych wirusów. Trwogę wzbudził ponadto rozwój robotyki i badań nad sztuczną inteligencją, której skutkiem musiało być pojawienie się androidów i nieuchronnych napięć w ich relacjach z ludźmi. Osobnym problemem stały się dla filmowców hybrydy będące połączeniem ludzi i części elektronicznych. Podobnie zastanawiał scenarzystów i reżyserów rozwój inżynierii genetycznej, który prowadził do tworzenia zmutowanych osobników ludzkich. Pewna część filmowych dystopii rozważała możliwość upadku systemów demokratycznych i rozwoju w ich miejsce reżimów autorytarnych, często w oparciu o szerokie poparcie społeczne. W obrębie tej odmiany dystopii mieszczą się także filmy przestawiające konsekwencje współczesnego hedonizmu i konsumpcjonizmu. Problemem jest jednak, iż dzieła krytyczne wobec wymienionych zjawisk same bywały reklamami atrakcyjnych produktów.
Science fiction films from the second half of the 20th and early 21st century, contain many visions of the future, that were also a reflection on the achievements and shortcomings of the present. In the 1960s, works of cinematography were dominated by optimism and faith in the possibility of never-ending progress. People predicted the vanishing of political divisions between blocks of states and future joint space exploration. The set designers collaborated with scientists, which manifested in the depiction of cosmic constructions far beyond the real technical possibilities. Beginning in the 1970s, pessimism and the belief that the future would primarily intensify the negative phenomena of the present began to increase in films. Fears of the future were saturated with an indication of various possible defects and insoluble contradictions between them. Therefore, while a certain part of dystopian visions portrayed the threat of an increase of crime, another presented the future as saturated with state control mechanisms and the universality of surveillance. The fears shown on the screens were also caused by the growth of large corporations, especially of their growing political influence or possibility of them remaining outside the system of democracy. The filmmakers also presented their suppositions related to the creation of new types of weapons by corporations, the use of which exceeded current legal norms. Particular reservations concerned the research on biological weapons and the possibility of the spread of deadly viruses. Moreover, the development of robotics and artificial intelligence research aroused fear, which must have resulted in the appearance of androids and the inevitable tensions in their relations with people. Hybrids being a combination of human body and electronic components have become a separate problem for filmmakers. Similarly, screenwriters and directors wondered about the development of genetic engineering that led to the creation of mutated human individuals. Some film dystopias considered the possibility of democratic systems collapsing and authoritarian regimes developing in their place, often based on broad public support. Within this variety of dystopia there are also films showing the consequences of modern hedonism and consumerism. The problem is, however, that works critical to these phenomena were themselves advertisements for attractive products.  
Źródło:
TECHNE. Seria Nowa; 2019, 3; 171-211
2084-851X
Pojawia się w:
TECHNE. Seria Nowa
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Antynomie współczesnej architektury sakralnej
Autorzy:
Wąs, Cezary
Powiązania:
https://bibliotekanauki.pl/books/1705584.zip
https://bibliotekanauki.pl/books/1705584.pdf
https://bibliotekanauki.pl/books/1705584.mobi
https://bibliotekanauki.pl/books/1705584.epub
Data publikacji:
2008
Wydawca:
Uniwersytet Wrocławski. Instytut Historii Sztuki
Opis:
Architekturę sakralną XX wieku cechowała niespotykana wcześniej różnorodność formuł artystycznych. Przyczyną takiego stanu rzeczy było pojawienie się na przełomie XIX i XX wieku nowych idei teologicznych i koncepcji artystycznych, które pozostawały w sprzeczności z bardziej tradycyjnymi ujęciami. Jednym z ważnych zjawisk ideowych, które naruszyły dotychczasowe podstawy budownictwa kościołów, było wystąpienie wśród teologów tezy o pozytywnym sensie zjawiska desakralizacji. Pogląd taki zrodził postulat odrzucenia rozróżniania sfer bytu na część sakralną i świecką, a w architekturze doprowadził do zaistnienia dwóch wykluczających się obyczajów: zachowywania niezwykłości charakteru jednych kościołów i odbierania wszelkiej nadzwyczajności innym. Podobnych sprzecznych koncepcji, które rozbijały właściwą poprzednim epokom jednolitość obiektów sakralnych, było więcej. Dotyczyły one między innymi stosunku do piękna i symbolu, przemian w liturgii oraz możliwości zastosowania architektonicznego modernizmu do tworzenia miejsc kultu. Część architektów podtrzymywała kanoniczne wartości dawnej architektury sakralnej, podczas gdy coraz większa grupa innych twórców próbowała stosować radykalnie nowe formy. Wraz z biegiem lat logika i konsekwencja w obu grupach twórców zaczęła słabnąć, a sprzeczność między „tradycjonalistami” i „modernistami” straciła swoją wyrazistość. Opisywana historia przemian w architekturze sakralnej przebiega zatem od wyostrzania sprzeczności między wartościami modernistycznymi i tradycyjnymi, przez stan czasowej dominacji modernizmu, okres postmodernistycznej kontrrewolucji, aż do aktualnej aprobaty dla wartości irracjonalnych, która przejawia się między innymi w subtelnie artykułowanym kulcie transcendencji. The church architecture of the 20th century was marked by previously unknown variety of artistic formulas. The applied forms were not only variants of model groups with common pre-conditions, but they constituted different versions of controversial models as far as the ideological and artistic assumptions were concerned. Getting to know the differences within the theological and artistic concepts, enables an understanding of reasons for which the exterior and the interior of the modernistic churches show so many dissimilarities. The first group of problems refers to doctrinal sources of individual solutions. The religious architecture depends on the attitude towards religious values which are common in given society and age and it embodies its forms in particular theological concepts and views included in official documents referring to individual confessions. As far as the big world religions are concerned, the most complex phenomenon in the 20th century within the sacred building is connected with the Catholic confession, although a lot of important concepts and official points of view can be associated with the Protestant believers of Christianity too. The convergence of Christian confessions, pointed out by some researchers, makes it possible with reference to the issue of architecture, to treat these two sections altogether. To a much smaller extent the mentioned changes affected the construction of Orthodox churches, synagogues, mosques and buildings serving other wellknown religions. The basic issue in this book refers to logical inconsistencies, which destroyed the uniformity of architecture, typical for the previous ages and having the aim to gather the Christian believers. Searching for reasons of forms’ diversity and opposite concepts for church building a few most important sources can be pointed at. The first one was the point of view of some theologians that the desacralization has a positive meaning. Besides the period of the early Christianity, the holiness connected with the world of matter was treated positively, and after having been favoured with artistic values, it was directed towards the source of all possible existence. The emerging of the opinion that the activity of Jesus Christ sanctified the whole world and in the same time put an end to all previous forms of holiness engendered a demand to give up a distinguishing of existence spheres between sacred and secular ones. This demand referred also to church buildings which according to this concept were no more built in a way that let them look different from other buildings constructed to serve other purposes. The idea of desacralization was contradictory to long-lasting tradition of separating in the visual world the values which could have been associated with holy existence and of creating outstanding places of worship. All this led to two mutually exclusive traditions: maintaining the peculiarity of some churches and deprivation of any extraordinary nature in the case of others. The custom of depriving the churches of their miraculousness was also connected with two contradictory concepts of the role of art and beauty in architecture. Some modernistic architects and theoreticians in the 20th century created an idea about a diminished role of artistic features compared to the role foreseen in the architecture for new building materials, constructions and proper solutions for matching buildings to their usage. Therefore, a vast number of churches were built exclusively as engineering works, whereas for another group the objective was to achieve a satisfactory appearance. The beauty – characteristic for traditionally formed churches, began to be respected gradually also in the modernistic buildings, though still as a second rate quality compared with the importance of materials and the construction itself. Usually the beauty resulted from the perfect looks of steel and glass elements and layers of precious kinds of stone. In the 20th century only a small group of architects and theoreticians defended the term of beauty as of metaphysical origin and thus difficult to comprehend, and playing a special role in the approach to God. Beauty treated as coming from and back to God reminds of traditional concept of the symbol, according to which the symbol was a visible manifestation of invisible existence. The duality of the character of beauty and symbol supplied such a strong basis for the sacred art that the idea of neglecting the beauty and symbol in this field seemed almost impossible to imagine. During the 20th century however the symbolic values of sacred art works did not show the features of God’s world any more. They were expected to speak about the characteristics of the present earthly world following the example of the remaining kinds of art. Instead of being helpful by illustrating the reality of the Kingdom of Heaven, the symbol became an element of the technical worship belonging to the reality of the kingdom of humans. The church buildings stopped resembling civitas Dei, Heavenly Jerusalem and became similar to factories, railway stations or pavilions of world exhibitions devoted to technical achievements. This might be a new aspect of the approach to sacred art, deeply contradictory to the traditional one, which developed almost undisturbed from the beginning of the Middle Ages until the 20th century. The main ideological contradictions described so far, that is the contradiction between a positive and negative attitude to sacrum, the contradiction between aspiring to create buildings presenting symbolically the eternal works of God and aspiring to create buildings telling about the modern humans’ world, finally the contradiction between treating beauty as a means of approaching God and indifference towards beauty as an objective of architecture, were all together a result of a discussion carried out not by theologians but first of all secular researchers, columnists and artists. The theory of sacred architecture was significantly influenced by statements of secular people, revealing thereby a relation between the present mental attitudes and specific area of activities like the very church building. However, it is obvious that the form of the churches was also to some extent influenced by the discussions about strictly religious subjects conducted by theologians. Within this scope, a special role fell to deliberations about liturgy. At the beginning, the issue concerning the revival of liturgy and its clearing of excessive complications was dealt with at some French, Belgian and German Benedictine monasteries. A renewal in the circles of Gregorian chant and generally putting attention to music as a factor of increasing the engagement of participants in liturgy gained the approbation of pope Pius X. Further experiments that took place in smaller milieus grew with time to bigger events described later as a movement of liturgical reform. Demands formed by representatives of reformers aimed at getting the altar closer to believers, which was achieved by shortening the chancels, moving the altar close to nave crossings or building central churches, where the altar could have been surrounded at various sides by benches. New material made it additionally possible to construct one-spatial churches without side-naves. All this aimed at strengthening the feeling of community among believers and their activity at fulfilling the rituals. The proposals depicted by theologians of the reforming movement in the 1940s were taken over some several dozen years later into the documents of the Second Vatican Council as the official doctrine of the Catholic Church. This council debated under a great pressure of the need to update the Catholic Church, followed finally by radical changes, these questioned however with time. Besides, the supporters of the changes in liturgy promoted some solutions that went far beyond resolution made in the documents of the last council. The reformation thought developed in a spirit of the council was followed by opinions which at the end of 20th century were regarded as containing a lot of serious theological mistakes. Those of them which had an impact on the particular church forms and the implemented space solutions have been presented in this book, based on findings of Otton Rudolf Hoffmann and Klaus Gamber as well as, in the first place, Steven Schloeder. Moreover, similarly to the movement of liturgical reforms that developed beyond the main stream of Catholic religion, the critics of its achievements unfolded in opposition to commonly accepted convictions. Another separated group of reasons because of which the modernistic churches differ so much from each other has to do with growing complications within their artistic roots. Already a pre-research enables to notice that the 20th-century churches can be divided in two big juxtaposing complexes: traditionalistic churches (works of late historical stream) and churches built in a spirit of avant-garde modernism. This at least in accordance with the whole historiography due to which works were eagerly brought together by contrasting styles. This model dating back to the philosophy of Hegel, in 20th century sustained by Nicolaus Pevsner or Siegfried Giedion, has not been exhausted as much as suggested by positivist critics of historism (inspired by Karl Raimund Popper) or its irrational enemies (inspired by Martin Heidegger’s and Hans-Georg Gadamer’s philosophies). Although this book sustains the belief in dissimilarity of the late historism-formula and avant-garde modernism, it also takes into consideration the methodological suggestions of the newer historiography. However, the author tries above all to define more precisely than before symptoms of traditionalism and modernism in sacred architecture and later on presents analyses of works passed over so far and belonging to the field between traditionalism and avant-garde modernism. As highly representative for churches showing separate aspirations both in reference to traditionalism and modernism was chosen the Dominikus Böhm Church in Leverkusen, this also due to the fact that it contains extremely contradictory features. In its formal layer Böhm Church was based on patterns originating to the same extent from late historism, expressionism and Neues Bauen-stream alike. Ideologically, it took advantage of three contradictory religious concepts. Advancing the thesis that the diversity of forms chosen by modernistic churches is born of simultaneous functioning of two competing and strongly opposing styles needs a further explanation. The so far existing great styles evolved developing the accessible forms’ sets. The history of traditionalism and modernism was different. Late historism was influenced by diverse possibilities of creating forms and additionally many different artistic and ideological attitudes. Though the development of avant-garde modernism was similar, it was in addition connected with a certain difficulty that there were not only profound transformations within its development process, but also within its theoretical and historiographic presentations. Such a situation makes it possible to recognize a few variants of modernism at least, sometimes seriously contradictory to each other. A quite new phenomenon is a clear impact of modernism among styles of late historism, and among styles of modernism – of forms or attitudes typical for traditionalism. In the reflexions about manifestations of traditionalism in the sacred architecture, the issue of continuity and respect for the chosen forms is the very beginning of getting to know these possibilities of artistic creations. At a closer look emerge values associated with metaphysical sources of art and convictions about the necessity of artist’s engagement in the questions of faith or the people. The people’s issue is again connected with artistic searching for the forms which could not be attributed but to the own ethnic group. Whenever such quests among historic forms failed, they used to be directed to archaic or folk values. It resulted in quite new formal possibilities. Typical for traditionalists was also a constant positive attitude to values of beauty and art. Shaping originated from the will of creating an aesthetically satisfactory work lets this group of artists be different from their modernistic colleagues, who even if not having rejected the role of beauty in architecture, used to look for adequate new forms for it. In the second half of 20th century, after the period of dominant modernistic formulas, there was partly a comeback of traditionalistic attitudes. The long ago rejected forms, the ones to be deliberately chosen again and, similar to the first half of 20th century, gothic, archaic and folk values became the ones to be looked to. Back was the time of respect for creative invention, beauty and symbolic values. New was however the implementation of motifs from the pop culture in the sacred architecture and appealing to the taste of ordinary people. A summing up of the restoration tendencies of the second half of 20th century was a turn towards monumentalism and a few cathedrals, the program of which combined artistic sophistication and commonly understandable symbolic motifs. In the research reflexion about the manifestations of modernism in sacred architecture attracts attention the effort put by architects, theoreticians and historians into creating an individuality of a new style. A few generations later there were attempts carried out with a big effort to prove the thesis about the whole system of relations between the modernistic works and the earlier style forms on which the first ones were dependant. The Perret’ Church in Le Raincy starting almost canonically the row of modernistic sacred buildings is nowadays regarded as a neogothic hall church standing out only because of ferroconcrete. The historians have changed their attitude to the once extolled Moser Church in Basel. It was also seen as too little modernistic and according to its interior close to gothic churches. The Metzger Church in Lucerne, extremely material and without any features of a sacred building, is the first on a long list of dependencies between modernistic buildings and antic as well as classicistic works. Tracking down classicism in modernistic works took also place in the case of a most simplified sacred building, the chapel designed by Mies van der Rohe for the IIT campus in Chicago. The classicism of this work was not able to suppress its own contradictions resulting from the simultaneous aspirations of the architect to underline the materiality and negating it. The architects discovered this inconsistency and some of them even made it to the main motif of their designs. The church designed by Mangiarotti and Morassutti in Baranzate stands out through elegance and softness of the walls collated with the exposed concrete construction. Heikki and Kaija Sirén’s university chapel in Otaniemi has a radical simple modernistic form put together with a forest environment, whereas metal and glass build up a relation to rough wooden beams. The pilgrims’ chapel in Ronchamp started a departing from the modernistic logics. The orthogonal shape, typical for modernism, was replaced by a block consisting of many curves. The result of it was a complication of form and a shape which was often associated with a material sphere, followed by traditional symbols in modernistic buildings which was difficult to accept by the modernists. The chapel designed by Le Corbusier was to be followed by numerous next ones later described as belonging to the so-called neoexpressionistic or brutal style. In this field the struggles of modernistic architecture against unwanted symbolism are clearly visible. A part of brutalistic works successfully resisted the narrativeness. This was the case of the church in Lourdes whose uncovered concrete skeleton was hidden under the earth in a way that made it possible to create a huge meadow above it. In the works of the late neoexpressionism, as for example the church designed by Gottfried Böhm in Neviges, the audience was expecting symbolic values so fiercely that the architect was forced to accept this. Later, he also explained his work in symbolic categories. The sculptural character of the brutalistic church buildings made people spontaneously think of certain motifs from the range of religious symbols. The biggest paradox is however the restoration of traditional symbolism within neomodernistic churches – glass boxes erected under using the most modern technologies possible. Examples of such cases are described at the end of the book: churches in Munich (architects: Allmann, Sattler, Wappner) and Paris (architect Franck Hammoutène). Researching ideological and artistic contradictions in the modernistic work of sacred architecture is also important for the reflexions about the general history of modernism which was an attempt to create culture without contradictions. In the first half of 20th century the modernistic tendencies led to enforcing rational character upon strictly irrational values, like religion and art. When in 1960s modernism seemed to gain the final victory, in the same time emerged the first symptoms of a serious crisis. According to architecture it has been described e.g. by Robert Venturi in the book „Complexity and Contradiction in Architecture” (1966) Here, the author depicts contradiction and complexity as desired values and not as such to be necessarily deleted. Restoration of respect for religion, past, beauty or symbolic values took place in 1970s and 1980s in the atmosphere of antimodernistic counterrevolution finished by none of the parties as an undisputable winner. The following decades were full of odd hybrids combining values typical for modernism with respect for irrational virtues. Although it never came to a complex restoration of old religious and artistic traditions, the reflexion about metaphysical roots of the European culture questioned many canons of rationality. A typical for the period of the end of 20th century and the beginning of 21st century inclination of crossing cognitive restrictions imposed by modernism led to a situation in which many contemporary modernists are sensitive about the phenomenon of transcendence stuck even in the commonest products of their age. Therefore, the presented history of changes in the sacred architecture runs from sharpening the contradictions between the modernistic and traditional values, through a period of a momentary domination of modernism, then the period of postmodernistic counterrevolution, until the current acceptance for irrational values, which is among other things visible in a subtly articulated worship of transcendence.
Dostawca treści:
Biblioteka Nauki
Książka
Tytuł:
The ideological sources of Ludwig Mies van der Rohe’s architecture: comments on Letters from Lake Como by Romano Guardini
Uwagi w związku z publikacją Listów znad jeziora Como Romana Guardiniego
Autorzy:
Wąs, Cezary
Powiązania:
https://bibliotekanauki.pl/articles/2200377.pdf
Data publikacji:
2022
Wydawca:
Polska Akademia Nauk. Czytelnia Czasopism PAN
Tematy:
Guardini Romano
Mies van der Rohe Ludwig
Modernism
architecture
theories in architecture
modernizm
architektura
teorie w architekturze
Opis:
A collection of nine letters from the Catholic theologian Romano Guardini to his friend Fr. Josef Weiger was published in 1927. In Ludwig Mies van der Rohe’s library of several hundred items, it was a book that he used to formulate the basic principles of his own architecture. The aim of the paper is to present the content of Guardini’s book and its influence on the views and work of Mies van der Rohe. The architect’s insightful monographs, especially the book by Fritz Neumeyer, accurately document the relationship between the theologian’s statements and attempts to adapt them to the theory of architecture. The more recent analysis of these relationships presented in the article leads to the conclusion that Mies van der Rohe set himself the task of finding a pure spirit in the world of pure abstractions. His creative involvement was a form of contemplating and developing forces which, although contained in nature or technology, can also be considered transcendent.
Zbiór dziewięciu listów katolickiego teologa Romana Guardiniego do jego przyjaciela ks. Josefa Weigera opublikowany został w roku 1927. W liczącej kilkaset pozycji bibliotece Ludwiga Mies van der Rohego była to książka o wyjątkowym znaczeniu, która posłużyła mu do sformułowania podstawowych zasad własnej architektury. Celem artykułu jest przedstawienie treści książki Guardiniego oraz jej wpływu na poglądy i twórczość Mies van der Rohego. Wnikliwe monografie poświęcone temu architektowi, w tym zwłaszcza książka Fritza Neumeyera, dokładnie dokumentują związki między wypowiedziami teologa a próbami ich adaptacji do teorii architektury. Przedstawiona w niniejszym artykule nowa analiza tych związków prowadzi do wniosku, że Mies van der Rohe postawił sobie zadanie odnalezienia czystego ducha w świecie czystych abstrakcji. Jego twórcze zaangażowanie było formą kontemplowania i rozwijania sił, które jakkolwiek zawarte w naturze czy technice, mogą być też uznane za transcendentne.
Źródło:
Teka Komisji Urbanistyki i Architektury Oddział PAN w Krakowie; 2022, 50; 357--373
0079-3450
2450-0038
Pojawia się w:
Teka Komisji Urbanistyki i Architektury Oddział PAN w Krakowie
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
GRANICE PYTAŃ Poezja nie bez związku z wystawą sztuki
Autorzy:
Wąs, Cezary
Powiązania:
https://bibliotekanauki.pl/articles/487983.pdf
Data publikacji:
2016-12-05
Wydawca:
Akademia Sztuk Pięknych im. Eugeniusza Gepperta we Wrocławiu
Źródło:
DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu; 2016, 22; 240-251
1733-1528
Pojawia się w:
DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
CAŁKOWICIE INNA SZTUKA
Autorzy:
Wąs, Cezary
Powiązania:
https://bibliotekanauki.pl/articles/487993.pdf
Data publikacji:
2017-12-12
Wydawca:
Akademia Sztuk Pięknych im. Eugeniusza Gepperta we Wrocławiu
Źródło:
DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu; 2017, 24; 204-207
1733-1528
Pojawia się w:
DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Nowe ustalenia dotyczące domu handlu tekstyliami firmy Erwina Weichmanna w Gliwicach. Uwagi w związku z książką Leszka Jodlińskiego „Mieszkanie kawalera. Między imperatywem nowoczesności i gustem własnym inwestora” (Kraków 2023)
New Findings Regarding Erwin Weichmann’s Textile Trading House in Gliwice. Notes in Connection with the Book by Leszek Jodliński “Mieszkanie kawalera. Między imperatywem nowoczesności i gustem własnym inwestora” (Kraków 2023)
Autorzy:
Wąs, Cezary
Powiązania:
https://bibliotekanauki.pl/articles/38714143.pdf
Data publikacji:
2024
Wydawca:
Polska Akademia Nauk. Instytut Sztuki PAN
Źródło:
Biuletyn Historii Sztuki; 2024, 86, 2; 206-218
0006-3967
2719-4612
Pojawia się w:
Biuletyn Historii Sztuki
Dostawca treści:
Biblioteka Nauki
Artykuł
Wyświetlanie 1-15 z 16

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