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Polski plakat Art Deco w zbiorach lwowskich recenzja z wystawy w Muzeum Zamoyskich w Kozłówce

Kłosiewicz L.

Kwartalnik Architektury i Urbanistyki

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2005

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T. 50, z. 1-2

98-101

EN

Zamoyski Museum in Kozłówka located in the Palace - an old seat of count Zamoyski family (some 20 km North of the historic district town of Lublin) is one of few existing in Poland and well preserved aristocratic residences. Most of the like places were destroyed, mostly after 1945, as an outcome of Marxist utopia put into practice. They owners were expropriated, many emigrated, others arrested, some ended their lives in Syberia. Their seats left without care for decades frequently turned to ruins. Only several places thanks to unexpected happy coincidence of events, and far sighted view of open minded individuals who were put in charge of their post 1945 administration were saved. This is the case of Kozłówka which now is State owned Museum perfectly administered by its Director Krzysztof Kornacki and his professional and competent staff. The Museum collection includes original mid XIX c/ and early XXc. interiors of the Palace, Coach House with splendid collection of horse pulled vehicles, and paradoxically: a collection of art of Socialist Realism, of different artistic value, but sometimes signed with famous artists names... Besides the Museum of Kozłówka plays the role of an important cultural center and organizes variety of artistic events, concerts and temporary exhibitions. One of them was "Polish Art Deco Poster" exhibition which presented collection of posters of the years 1920/1930 saved in Lvov Ethnography and Handicraft Museum (Director Roman Czmelyk). For many richness of the collection was a surprise. This kind of "temporary street art" was saved despite of "stormy winds of war" which these lands experienced in XX c., thanks to wise and caring contribution of the Museum collectors. Now in the new situation and developing international cooperation common cultural heritage is presented to the public. It enriches our view of the history with the positive and moving facts. Posters present high artistic value and a specific style. Many of they authors were graduates of the Department of Architecture of Warsaw Polytechnic and passed through courses of drawing and painting of prof. Zygmunt Kaminski. So there should not be a surprise to note that, in a sense, they have an architectural structure of their composition and artistic idioms. If Robert Venturi maintains that one can draw lessons from popular art of Las Vegas, so there is probably no less to learn from the "art of the street" of the posters presented at the exhibition of Lvov Museum of Ethnography and Handicraft in Kozłowka, and its intellectual message.

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Dziedzictwo i architektura Warszawy przełomu XX i XXI w.

Kłosiewicz L.

Kwartalnik Architektury i Urbanistyki

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2005

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T. 50, z. 1-2

3-29

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Jan Szymański 8.X.1928 - 31.XII.2003. In memoriam

Kłosiewicz L.

Kwartalnik Architektury i Urbanistyki

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2004

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T. 49, z. 1-4

134-139

EN

Jan Szymański was an architect, and devoted artist. He graduated from Faculty of Architecture Warsaw University of Technology in 1952. For almost next 3 decades he taught architectural drawing and graphics at the same School. He started his career as an assistant to professor Zygmunt Kamiński who in 1915 formulated the curriculum of the Visual Art Studies Unit at the Faculty of Architecture of WUT. Jan Szymański in 1950 ties together with his colleagues Henryk Dąbrowski, presently professor emeritus, and the late Karol Żarski further developed program, technique and subject of art studies within the School of Architecture, treating it as a way to develop students abilities of seeing and imagination, as well as a skill to present three dimensional visions of architectural concepts. Jan Szymański was talented draughtsman, and brisk observer of various aspects of life and visual world. His criticism of students' work was sharp, full of humor, friendly and inspiring. He treated his teaching assignment enthusiastically and with optimism characteristic for postwar reconstruction decade shared by wide circles of society, despite of experiences of political oppressions under soviet model of the socialist regime. In 1956 he joined leftist reformers groups of youth publishing cartoons with political overtones. So called "Polish October" 1956 reforms had not changed authoritarian system dramatically but brought about its softening. Under new circumstances it became easier to travel abroad. Szymański used these opportunities to visit Mediterranean countries, Paris, Moscow, and Mexico where he was also lecturing for some time. In 1970 ties he started turning more to work in his private studio and to private life. In 1978 he ended his teaching work at Warsaw Polytechnic. The direct reason of such decision was his weakening health. In his later years he started painting nostalgic images of disappearing forms of vernacular countryside architecture. He also published several popular books on interior design. His cartoons were published in popular magazines. Within academic community of Warsaw School of Architecture he is remembered as a talented educator and author of brilliant architectural drawings who contributed remarkably to rising standards of architectural training.

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Zebranie Komitetu Architektury i Urbanistyki PAN kończące kadencję 1999-2003

Kłosiewicz L.

Kwartalnik Architektury i Urbanistyki

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2002

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T. 47, z. 1

73-75

EN

A plenary meeting of the Committee of Architecture and Town Planning at the Polish Academy of Sciences, ending the Committee's 1999-2003 term in office took place on 28 and 29 May 2003 in the Architects House of the Society of Architects of the Republic of Poland in Kazimierz DoIny. The chairman of the Committee presented a short report on Committee activity, recalling some of the plenary meetings and associated scientific sessions as well as the work of certain sections. The Committee selected the "housing question" as the theme of the scientific session held during its last meeting. This topic became the leading motif of the session. A summary of the discussion can be enclosed in the following theses: - it is necessary to stimulate intellects and render the problem more universal: this is a task for the mass media and the school system, both general and architectural training; - from 1989 no effective programme of solving the housing problem has been presented, as confirmed by the gulf between construction productivity and the existing needs; - work on programmes and projects for the development of assorted types and standards of residential housing must be initiated immediately; this is a task for the government and the local authorities; - it is necessary to promptly amass suitable financial means, obtained from the budget and thanks to social fund raising in cooperation with such organisations as Caritas and the Polish Humanitarian Campaign; - it is mandatory to create legal restrictions directed against construction wastage apparent in the excessive embellishments of public institution buildings (town halls, insurance societies, banks, the interiors of chairman's offices, etc.), trade institutions and so-called residences, and against the scattering of buildings which occupy farmland or terrains of high natural qualities. The last meeting of the Committee of Architecture and Town Planning at the Polish Academy of Science ended with the chairman thanking members of the Committee and its commissions for their great contribution to the improvement of architectural order in Poland.

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Sesja naukowa "Tychy 1952-2002"

Kłosiewicz L.

Kwartalnik Architektury i Urbanistyki

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2002

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T. 47, z. 2

188-190

EN

Introductory comments by Lech kłosiewicz on the occasion of the session of the Committee of Architecture and Urban Planning of the Polish Academy of Sciences - in the 50ties anniversary of planning and building of the New Town - Tychy in Silesia.

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Metropolitan

Kłosiewicz L.

Kwartalnik Architektury i Urbanistyki

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2002

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T. 47, z. 1

81-85

EN

59 years after the total devastation of Warsaw the reconstruction of the city is still being continued, and much remains to be done. A considerable part of the capital., the Old Town and the Royal Route had been raised from ruin already during the first post-war decade. The discussed conception of reconstruction, however, has already become part of a different era and manner of comprehending architecture than the one represented by the generation of builders of Warsaw in 1945-1970. The Metropolitan building raised in recent years on the northern side of the Marszałek Józef Piłsudski Square is an example of a new venture and approach to the reconstruction of the historical city. How are we to assess the Metropolitan today, without prejudice and excessive hopes? It is necessary to take into consideration several fundamental issues, the first being localisation. The next important problem concerns the relation of the form of the Metropolitan towards the architecture in its immediate surrounding. If the original premises stemming from conservation directives were to entail a harmonious reference to the ambience of the site, then the measures applied by Norman Foster proved insufficient for attaining this goal. It would be difficult to attain a composition harmonising with an architecture of a different, although excellent origin, by applying those principles, together with their characteristic consistency, unless one opts for a pastiche. Within the limits of the accepted convention the building designed by Foster displays consistency and perfection.

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Architektura w XX w. - modernizm, postmodernizm

Kłosiewicz L.

Kwartalnik Architektury i Urbanistyki

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2002

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T. 47, z. 3

265-284

EN

XX c belongs already to the past. But historical processes rarely fit to the numerical sequence of ages. Dates are used to put our meditation of time in an order. It applies in its way to the history of architecture. In the Polish literature of the subject there is relatively few original works (books) devoted to contemporary art of architecture. Piotr Biegański wrote his book "Sources of Contemporary Architecture" on the brake of 1960/1970, Stanisław Latour and Adam Szymski published their students' text book "Development of Contemporary Ideas of Architecture" in 1985. On contemporary architecture wrote also I. Wisłocka, T. P. Szafer, A. Olszewski, A. Miłobędzki giving an extremely valuable record of Polish XX c architecture, but these books were also written about 20 years ago. Since then so many things happened on architectural scene. Not having newer up to date Polish original works on developments in contemporary architecture some publishers turn to translations of foreign authors. But there is a hidden trap in it. A history written by foreign authors do not fit to the experience and knowledge of the Polish readers. Diana Girardo in her book "Architecture after Modernism", recently published in Polish, says how Robert Venturi stay in Italy reoriented his attitude to history as a possible source of inspiration, and that his later writings were the decisive factor which caused departure of architecture from the ideals of modernity. This story when read by the Polish student sounds as curiosity. History of architecture in Poland was always present in the curriculum of Polish Schools of architecture and in architectural practice. There would not be possible for example to undertake post 2nd world war reconstruction without profound knowledge of history. David Watkin in his History of Western Architecture translated to Polish in recent years depicts historical developments from antiquity to the present, but as far as Polish architecture is concerned he ends his story around 1830! With rather surprising comment on the origins of Warsaw neoclassicism as an attempt to make Warsaw similar to St. Petersburg. There is no doubt an urgent need to intensify efforts and studies on XX c. architectural developments by the Polish authors which would show interdependence of the world movements and the local. David Watkin gives a good advise: whenever you start reading a history try to learn first who is the author. The Polish historian professor Anna Świderkówna adds that written history more frequently says more about the one who writes it than about what actually happened. The late professor Adam Miłobędzki maintained that as far as history of architecture in Poland is concerned there were two histories: one lectured at the History of Art Faculties of Universities and another one which he calls a Polytechnic History. This is probably true. Marian Sulikowski, architect and professor at the Faculty of Architecture Warsaw Polytechnic used to say that history in the School of Architecture should be taught "ad usum" of the design process. One may add that architecture can not be fully understood, and evaluated without the context, physical and cultural, in which it was conceived. However there are exceptional examples of works of architecture which became famous not for its particular relation to the context but because its originality of form and structure (i.e. Shroeder House in Utrecht). Understanding of the word contemporary depends on the context in which it is being used. Władysław Tatarkiewicz in his History of Philosophy wrote that "contemporary philosophy begins around the year 1830". When begins contemporary architecture? There are some indicators that achievements in science, technology and curiosity of human mind brought about solutions which opened ways to future revolution in architecture. Construction of Severn bridge gave evidence that, old material known since antiquity, iron may become an independent and only material of the structure. Cristal Palace abolished visual separation of interior and the surrounding. Eifel Tower, which from utilitarian point of view has no meaning, expressed pride of XIX c building engineering with mastering technology to built high. Francois Hennebique experience with reinforced concrete opened ways to new spectrum of structural and architectural forms. All these will mark aspirations of the XX c - contemporary architecture which will be stronger than so called "stylistic" fluctuations, or better say esthetic preferences. Again the term has different references. The most elaborated, and probably right definition and discussion of the meaning of this term one can find in Richard Weston book: "Modernism". Who writes: "This book is not a defence of Modernism - the works, once some effort has been made to understand them, are their own best defence - but I do write with sympathy and admiration for what I belive history will judge the most remarkable outpouring of artistic creativity since the early Renaissance" and he continues: "Modernism was closely linked to economic and social modernization". One may add that behind ideals of early modernism there was a deep conviction of moral responsibility of any design decision. Helena Syrkus, a key figure of Polish Modern Movement had given me, as a kind of a heritage - message, a picture of a family with a squater's shelter in the background, which was one of the images justifying modernists social involvement in improving living conditions through engagement in social housing initiatives. A copy of the picture has been adjoined to this article. The movement appeared as a reaction against simplification of the ideas of modernists. It was also a reaction against any overwhelming bureaucracy, totalitarian or capitalist. As far as architecture is concerned it was claiming a necessity to look backward for inspiration by historical forms, but treated with freedom of choice without any consistency. One of the most comprehensive definitions of the term was presented in Encyclopedia of Modern Architecture edited by V. M. Lampugnani. In the article written by R. Bruegmann one can read: "In the most developed definition, the term (Post-Modernism) may describe a world - view which rejects all of the Western world's verities: religious, rational or humanist". If this is true so looking from the Polish perspective one may be surprised of the fact that the movement in Poland has manifested itself in the first instance in architecture of many built after 1970 new Catholic churches? This may lead to conclusion that Post-Modernism in Poland, a local phenomenon, was rather a superficial reflection of the international fashion then a tendency rooted deeper in local building tradition and deprived of intellectual background, and understanding. Furthermore Poland in the years 1949-1955 passed through the experience of so called "socialist realism" which included in its official program a search and continuation of "national" forms of architecture combined with a certain socialist use program (i.e. so called "houses of culture" with a dominant Palace of Culture in Warsaw, as a key example). So a turn towards inspirations with history was not such a new thing in this context as "discoveries" of Venturi. But influence of Western Post-Modernism was so strong that many design and built objects reminds details of Californian origin rather than the Polish Cottage Style of early 1920. Probably this Polish Post-Modernism may be named a kind of Post-Modern Mannerism? Finally author looks back at his own design experience and gives examples of his three works; A club and office of the Teachers Housing Cooperative (1968); A new auditorium of the Nicolaus Copernicus University in Toruń Poland (1973); Main Hall of the Faculty of Physics Warsaw University of Technology, original design by Stefan Szyller (1901), restoration and modernization project by the author (2001). He remains convinced that despite of time flowing main principles of the design are the same, and different forms result from change in technological potential, function and context. Would there be some principles of architecture which are not so vulnerable to fluctuations as frequent as the elegant ladies fashion?

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Rysunki i akwarele Adama Suflińskiego

Kłosiewicz L.

Kwartalnik Architektury i Urbanistyki

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2001

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T. 46, z. 2

204-207

EN

Adam Sufliński is a trained architect (he graduated from the Department of Architecture at Warsaw University of Technology in 1975) and a draughtsman and author of water colours by vocation. At the beginning of the new century he was appointed to the prestigious post of head of the Drawing, Painting and Sculpture Workshop in the Department of Architecture at Warsaw University of Technology. Recently, Adam Sufliński received the important Premio Internazionale Comune di Roma "Beato Angelico", per La Polonia (verso Giubileo 2000) for a cycle of drawings comprising his "Roman Portfolio". A number of those works, presented in this issue of "Kwartalnik", reflect the artist's insightful perception of the nature of his surrounding, the sophisticated mastery of his draughtsmenship, and the delicacy of applied hues, features which to a certain extent correspond to his personality. Views of the Eternal City and its ancient buildings add a transcendent motif of beauty concealed in architecture, discerned and recorded by the artist, to debates concerning the complicated problems of spatial development, legislation, and pessimistic visions of the state of the profession as well as the over-population of the Earth, which comprise the major part of the contents of the issue. How grim and narrow would our debate be if we were to ignore the beauty of the world around us - a world of Nature and architecture for whose form we too are co-responsible.

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Świątynia Opatrzności

Kłosiewicz L.

Kwartalnik Architektury i Urbanistyki

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2000

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T. 45, z. 1

64-65

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Malarstwo Alicji Henrych

Kłosiewicz L.

Kwartalnik Architektury i Urbanistyki

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2000

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T. 45, z. 2

192-193

EN

Alicja Henrych was born in Vilno (Vilnius) and studied in the Department of Architecture at Warsaw University of Technology and the Department of the Architecture of the Interior at the Academy of Fine Arts in Warsaw. After graduation, she worked as an assistant and collaborator of Prof. Bohdan Lachert. In 1946, Alicja Henrych emigrated to Canada and then moved to the U.S.A., where she settled down permanently in Chicago. Here, she developed her interest in painting, initiated already in Poland. The prime theme of her works is an individually perceived architectural landscape. For numerous viewers, the extremely original canvases, bearing the features of Surrealism and conceived by a painter who studied architecture in the rationalistic-functionalistic atmosphere of Warsaw School of Architecture and at Warsaw Academy of Fine Arts, opened to artistic experiments, come as a true surprise. The compositions demonstrate how individual artistic sensitivity, predilections, and her rich personality are capable of employing variegated motifs in order to enhance a vision of the world by means of the beauty-suffused imagery of infinity, discovered in daily life.

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Komitet Architektury i Urbanistyki. Polska Akademia Nauk 1952-2002

Kłosiewicz L., Kunkel R.

Kwartalnik Architektury i Urbanistyki

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2000

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T. 45, z. 2

194-195

PL

W 2002 roku Polska Akademia Nauk obchodzi pięćdziesięciolecie. Kierownictwo Akademii zwróciło się do Komitetów Naukowych o przygotowanie w związku z tym, krótkiej informacji zawierającej główne dane o ich działaniach w ciągu tego czasu. Tekst zamieszczony poniżj jest także informacją o Komitecie Architektury i Urbanistyki PAN.

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Hasło "Architektura"

Kłosiewicz L.

Kwartalnik Architektury i Urbanistyki

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2000

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T. 45, z. 1

7-17

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Architektura i społeczność - Aldo van Eyck, 1918-1999

Kłosiewicz L.

Kwartalnik Architektury i Urbanistyki

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2000

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T. 45, z. 1

66-67

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Architecture Culture 1943-1968. A Documentary Anthology

Kłosiewicz L.

Kwartalnik Architektury i Urbanistyki

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2000

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T. 45, z. 2

186-191

EN

While browsing among the multitude of books and periodicals offered by the "American Bookstore" in the Department of Architecture at Warsaw Polytechnic our attention is drawn to Architecture Culture 1943-1968. A Documentary Anthology, edited by Joan Ockman with the cooperation of Edward Eigen, and published by Columbia University in New York. For the European reader, the year 1943 appears to be a caesura rarely applied in history. One has to read the introduction in order to discover a justification for such a time limit. The editors declare that this particular year predicted a breakthrough along the World War II fronts, which exerted an indirect on the solution of architectural problems, i.a. plans for preventing the housing shortage foreseen in view of the return of war veterans. (Up to this day, the landscape of the suburbs of great American cities, e.g. St.Louis, bears the effects of such plans in the form of large numbers of houses situated on small lots of a density not encountered elsewhere). From the European viewpoint, the above mentioned time boundary comes as a surprise. Millions died on the European and Japanese fronts and in the death camps between 1943 and 1945. Even if somewhere plans of reconstruction were being considered, is it possible to speak about architectural culture prior to the Yalta Conference and its fatal consequences, felt today up to this day not only in Europe? All things considered, we are dealing with a highly interesing book. The presented comparisons offer rich material for further studies and reflections. Naturally, Polish historians will be specially interested in two names associated with the academic milieu of the Department of Architecture at Warsaw Polytechnic. A commentary appears to indispensable. The text by Maciej Nowicki is a record of his contributions to the development of contemporary architectural thought and new forms of architecture attained in conditions offered by a democratic country at a time when in postwar Poland both thought and praxis were subjugated to totalitarian rule. This is the reason why the presentation of his study next to a second text dealing with Polish architectural thought - the statement made by Helena Syrkusowa at a CIAM Congress held in Bergamo in 1949 - is an apt (intentional?) decision of the editors, showing the drama of history and the degree to which the totalitarian system is capable of "enslaving the intellect". The proposed attempt at explaining the attitude represented by Helena Syrkus is, however, based on imagination rather than on reality. The blind (but planned!) cruelty on the part of the Nazis towards all ethnic and religious groups living in the conquered terrains, including Poland, and in particular towards Jews, Gypsies, Poles, and Ukrainians as well as those Germans who refused to sign the "Volksliste", is simply incomparable (see here: page 189, column 2, lines 10-14). An explanation of the puzzling personality of Helena Syrkus is a complex task, and requires the avoidance of simplification. For instance she joined clandestine Polish Workers (communist) Party (PPR) in 1944 - before the war ended. As her personal acquaintance, familiar with the academic milieu in which she worked and the archives of Warsaw Polytechnic, and having experienced the period described in the commentary; I know that the reasons for her stance were intricate. In oreder to understand them fully it would be probably best to read the poetry of Julian Tuwim! Quite certainly, they are not the same reasons as those suggested in the book under examination. Despite the above remarks, the study by Joan Ockman is of great help for learning about the paths of the development of twentieth-century architecture. The main editor should be praised predominantly for the enormous effort involved in preparing the publication. Special recognition is due to the befitting title: this is not a book about architecture as such, but about culture, whose many derivatives include architecture.