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Problemy rewitalizacji osiedli socjalnych dwudziestolecia międzywojennego w Gdańsku w kontekście wybranych przykładów holenderskich, ukraińskich i rosyjskich

Cielątkowska R.

Kwartalnik Architektury i Urbanistyki

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2007

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T. 52, z. 1-4

121-128

PL

Celowo poniższe opracowanie zawiera przedstawienie metody rewitalizacji osiedli socjalnych Gdańska w kontekście "nie pasujących" do siebie przykładów architektury początków XX wieku Amsterdamu, Odessy i Tomska. Intencją autorki było z jednej strony pokazanie uniwersalności gdańskiej metody, z drugiej zaś wyeksponowanie różnic między trudnymi problemami ochrony i ożywiania zespołów architektury mieszkaniowej znajdujących się w odrębnych kulturowo i politycznie krajach. Jak wiemy z wielu prowadzonych na różnych forach, dywagacji wokół rewitalizacji, słowo to ostatnio stało się kluczem równie popularnym jak zrównoważony rozwój, bywa równie spłaszczane i rozmyte oraz nadużywane. W poniższym opracowaniu wystąpią dwa pojęcia, rewitalizacja jako wielowątkowe przywracanie życiu, z położeniem nacisku na aspekt społeczny zespołu mieszkaniowego oraz rewaloryzacja dotycząca szeregu zabiegów wokół samego budynku celem przywrócenia mu formy wyjściowej. Rewitalizacja mimo różnorodnych poszukiwań wspólnych cech dla różnych okresów historycznych, odrębnych struktur mieszkaniowych, odmiennych celów szczegółowych musi posiadać jasno określoną strategię zlokalizowaną - zwerbalizowaną i realizowaną przez instytucję tutaj odpowiednio przyjętą jako biuro rewitalizacji (operator rewitalizacji). Opracowana autorska metoda (R. Cielątkowska, P. Lorens) - jest w ostatecznej formie grafikiem zależności i uwarunkowań postępowania, gdzie prostym celem jest podtrzymanie lub rozbudowa gdańskich osiedli socjalnych. Uniwersalność, czytelna na przedstawieniu graficznym wiąże się z logicznym układem związków zmierzających do celu jakim jest podniesienie standardów mieszkańców, rozbudowy, uszczelnienie zabudowy, z jednej strony przy pełnym uczestnictwie mieszkańców, a z drugiej wsparcie ekonomiczne m.in. przez wprowadzenie stosownych udogodnień finansowych. Wyeksponować tutaj należy fakt iż działania rewitalizacyjne związane są bardzo silnie ze strategią rozwoju miasta oraz metodami zarządzania. Właśnie struktura graficzna pokazuje czytelnie, które czynniki zależą od polityki państwa, struktur własności, systemów ekonomicznych, a które z nich są wartościami uniwersalnymi (np. opracowania dotyczące zebrania danych historycznych czy też sam projekt architektoniczny, lub współpraca ze środowiskami naukowymi). Oczywiście poza położeniem geopolitycznym, wielkością powierzchni objętych procesem rewitalizacji, które są zmienne, same cele bezpośrednie sa różne, uwarunkowania kulturowe są odmienne a potrzeba rozbudowy nierównomierna.

EN

This study includes a presentation of the revitalisation of social housing estates in Gdańsk in the context of "mismatching" examples of the XX century architecture of Amsterdam, Odessa and Tomsk. The intent of the author was, on one hand, to present the universality of the Gdańsk method, and on the other side to expose the differences between the difficult problems of protection and revival of residential architecture complexes located in culturally and politically different countries. The original revitalisation method (R. Cielątkowska, P. Lorens), presented in the form of a diagram of dependencies of various institutions, is based on the Revitalisation Operator as a coordinating institution of all actions. These multi-area dependencies, require large financial investments, depend, to a large extent, on the city development strategy and long-term development forecasts. The feature of Dutch patterns, which became a starting point for discussion, is that their revitalisation process has been completed. It was conducted in a rigorous and straightforward manner. The contemporary, supplementary architecture is characterised by moderation, culture, cubature-material reference with simultaneous expression in modern detail. The architecture of social housing estates in Gdańsk, taking up a significant city's space more or less degraded, allows to a lesser extent, in multi-family development, for extension and change of standard of citizens (example of ul. Hallera was presented), and to a larger extent regarding one-family developments. The applied extension consists of adding a new cubature not exceeding the initial form, repeatable for the entire complex of elements. Re-designed development fully adapts the "historical" building to the contemporary needs of the users. Unfortunately, the published revitalisation study has not until today been appropriately used by the city, which will consequently lead to further degradation of the complexes as urban structures. The architecture of Odessa consists of several floors developments, from bricks from the inter-war period, supplementing individual blocks in the street network, with common green areas inside them. Detail is sporadic. The architecture is degraded by chaotic temporary development and built up balconies and loggias. This is a relatively simple system for phase revitalisation. The complexes of Tomsk, the most valuable (wooden development, one or several floors, with rich details) from the beginning of the century, exist as a shabby open-air museum, not degraded yet. They require a complex, expensive and long revitalisation process.

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Minimalizm jako aktualny nośnik piękna - "uderzenie w duszę"

Cielątkowska R.

Czasopismo Techniczne. Architektura

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2007

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R. 104, z. 6-A

24-27

EN

Can be an alchemical substance the link mediating between humanity and nature? Can't we present the beauty o minimalist architecture in a descriptive way? "We are in agreement with Mr Pawson in saying that architecture (minimalism) has an impact on the soul"[1]. It is not the objective of minimalism to satisfy a collective reveiver, along with the expression of form, prestige of the elitist snobbery. Instead, it aims at the facilitation of the possibility to awake individual and subjective feelings of an interested receiver. It reaches every one individually through one's senses and it becomes elitist only because of its strictness[2].

3

Możliwości logiki metody kreowania przestrzeni jako definicja architektury

Cielątkowska R., Radziwiłowicz M.

Czasopismo Techniczne. Architektura

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2005

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R. 102, z. 11-A

20--22

EN

As the basis concept for discussing the issues in architecture - picked from many "themes" - was deliberately selected the following quote: "The most common definition of architecture is the one including bumptious conviction that architecture is the process of shaping the space, which makes the person deling with this almost equal to demiurge". Challenging this definition, we try to present the Method of Five Structures, developed by Marta Radziwiłowicz and Marek Moczorat. This method is based on an assumption that architecture is the art of shaping the idea in space. On the basis of further considerations there were defined five basic structures: structure of the idea, architectural structure, additional architectural structure, structure of the construction, structure of the installations. All of them are inseparable to the basic idea.

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Architektura współczesnych świątyń chrześcijańskich versus sztuka czy architektura wnętrz - studium dwóch przykładów

Cielątkowska R.

Czasopismo Techniczne. Architektura

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2004

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R. 101, z. 10-A

26-29

EN

The paper is on the interrelation: the outside - the inside - the receive, the aim of this being the achievement of the mystical in sacral architecture. The examples show differences between West and East. A Norwegian church breaks the continuity of the mystical because of the "novelty" approach. The East Orthodox temple shows .old. discipline, thus exceeding three dimensions and a mere utilitarian function. Seeming freedom after Vaticanum II allows Western architects to create freely, but... is sacral art still being created?

5

Czy definiowanie sakralności architektury cerkwi zachodniej Ukrainy lat 90-tych służy poznaniu rzeczy? Sama rzecz bowiem wymyka się...

Cielątkowska R.

Czasopismo Techniczne. Architektura

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2003

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R. 100, z. 8-A

361--364

6

Konstruktywizm Odessy na tle historycznego rozwoju urbanistyki i architektury miasta

Cielątkowska R.

Kwartalnik Architektury i Urbanistyki

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1998

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T. 43, z. 4

323-327

EN

The beginnings of the grandeur of Odessa date back to the end of the eighteenth century. The originally Slav settlement of Kotsubievo became know as Khadgibei after it was seized by the Turkish occupants, who fortified the town. In 1789, Russian forces, together with Ukrainian Cossacks, drove the Turks out of the northern Black Sea provinces. A new port town was founded in May 1794. The first authors of pertinent projects, entrusted with delineating and constructing the outline of the town, arrived already in August of the same year. Ensuing work was performed extremely efficiently and effectively. During the first quater of the nineteenth century, Odessa became an important administrative, economic and cultural centre of Southern Russia, as testified by the highly attractive appearance of the city. The town planning evolution of Odessa took place in two essential stages. A plan from 1794 introduced a division of streets, arranged in a chessboard pattern, with particular attention paid to localisation and outlay of the terrain. The well-designed plan was realised consistently. More than ten years after its confirmation, it became necessary to pursue a consecutive project due to intensive territorial develompent. A comparison of the plan from 1814 and its predecessor from 1794 demonstrayes cleary that the former was a nescessary supplement of the original version. A new period in local town planning coicided with the golden age of Classicism in Russian architecture. During the end of the eighteenth century and the beginning of the nineteenth century Russian Classicism reflected patriotic and democratic ideas shared by the progressive members of Russian society. This current is testified by the representative premises of the town, as well as its boulevards, squares and residential buildings (the Alexander Boulevard, Prieobrazhanskaya Street). An indubitable centre of Russian Classicism was St. Petersburg, which attracted the most renowned architects, such as A. N. Voronin, A. D. Zakharov, V. P. Stasov, K. I. Rossi, A. I. Melnikov and Thoma de Tomon. Some of them moved to Odessa, where they installed superior Classicistic architecture. During its development, from the eighteenth to the twentieth century, the architecture of Odessa succumbed to the impact of West European and Russian currents, and was the outcome of the efforts of both local and foreign architects. Initially, inter-war Russian architecture was predominatly avantgarde. In the wake of the October Revolution, the spirit of transformations prevalent troughout the country affected also architecture. Many projects, however, remained in the realm of fantasy - the dreams cherished by architects - since the economic-technical conditions offered by the state deprived them of all feactures of reality already during the initial phase. An essential role, particulary for residential housing, was played by decrees and laws which changed fundamentally all town-planning activity. The context of such directives proved to be decisive for the great mass-scale realisations of whole cities. The post-revolutionary isolation of Russia from the rest of Europe led to a sui generis repetitiveness of model solutions in particular parts of country (Odessa became familiar with the imposition of from already during the tsarist period). An analysis of the town planning configuration of Odessa shown that the appearance of its inter-war architecture (further described as constructivism) was of a supplementary nature. Thanks to the planned foundation of the town, its regular network was successively supplemented in the course of the following 200 years, in this manner condensing urban development. This process entailed also a supplementation of blocks, granted a constructivistic form; they never assumed the form of filling development, as was the case in Western Europe, but always remained compositions that constituted part of a block and frequently revealed the special treatment of the corner. The structure of the flats is, as a rule, leigible and frequently repetitive, and only sporadically linked into sections. The flats are predominantly composed of 2-3 rooms (bath, WC, kitchen, rooms) with differentiated space heated by means of stoves. Owing to differrences in the political system, they did not include servants' accommmodation adjoining the kitchen, as was the case in Lvov, or a concierge flat on the ground floor. A characteristic feature was the adaptation of the typical Odessa colour - all the hues of yellow. The form of the solids remained extremely simple, operated with offsets and balconies, and accentuated vertical staircases by means of glass walls and, at times, semi-circular forms. Undoubtedly, all such solutions refer to forms which appeared in Moscow. Taking into consideration the changing political situation in Russia, the author placed the development presented below at the turn of the 1920s.