Architektura w XX w. - modernizm, postmodernizm

• Autorzy: Kłosiewicz L.

Warianty tytułu

EN

Architecture of the XX c. - modernism, postmodernism

• Języki publikacji: PL

Abstrakty

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?

Słowa kluczowe

PL

architektura XX w.; modernizm; postmodernizm

EN

architecture of 20th c.; modernism; postmodernism

• Wydawca: Komitet Architektury i Urbanistyki PAN ; Politechnika Warszawska, Wydział Architektury
• Czasopismo: Kwartalnik Architektury i Urbanistyki
• Rocznik: 2002
• Tom: T. 47, z. 3
• Strony: 265--284
• Opis fizyczny: fot., rys.

Twórcy

autor

Kłosiewicz L.