Wyniki wyszukiwania - BazTech

1

Cartography and landscape painting of the 17th and 18th centuries as iconographic sources

Hryniewicz Małgorzata

Technical Transactions

|

2019

|

Vol. 116, iss. 5

23--32

EN

In the study of historical architecture, especially the one that was transformed or ruined, of key importance is iconography, i.e. views of and panoramas of cities or their parts or individual objects.

PL

W badaniach nad architekturą historyczną, a w szczególności pozostającą w stanie mocno przekształconym lub zrujnowanym, kluczową rolę odgrywa ikonografia, czyli widoki i panoramy miast lub ich fragmentów bądź poszczególnych obiektów.

2

Ekologia przestrzeni

Sztumski W.

Problemy Ekorozwoju

|

2011

|

Vol. 6, nr 1

117-138

EN

The subject of the ecology of space is basically the social space. It also includes the physical space only in so far as it is part of the social space and directly interacts with it. The structure of social space is complex. It contains a set of social sub-spaces and related landscapes. The landscape is defined as a subjective perception of objective space. The paper presents descriptions of some social landscapes (physical, urban, acoustic, axiological, and virtual landscapes as well as the landscapes of faith, truth and communication) in respect of their degeneration caused by Western culture, liberalism and the ideology of consumerism. That should entitle the need for the care of social landscapes within the ecology of space.

PL

Przedmiotem badań ekologii przestrzeni jest w zasadzie przestrzeń społeczna, a fizyczna tylko o tyle, o ile wchodzi w skład przestrzeni społecznej i bezpośrednio wpływa na nią. Struktura przestrzeni społecznej jest złożona. Zawiera zbiór przestrzeni cząstkowych oraz odpowiadające im pejzaże. Pejzaż jest określony jako su-biektywne spostrzeganie obiektywnej przestrzeni. W artykule znajdują się opisy niektórych pejzaży (fizycznego, urbanistycznego, akustycznego, aksjologicznego, wirtualnego, wiary, prawdy i komunikacji), przedstawione w aspekcie ich degeneracji spowodowanej przez kulturę zachodnią, liberalizm i ideologię konsumpcjonizmu, co ma uzasadnić potrzebę ich ochrony w ramach ekologii przestrzeni.

3

New urban planning: cityscape - a tool of transformation and arrangement of the city space

Dziubiński D., Wojciechowski Ł.

Architectus

|

2008

|

Nr 2(24)

69--73

EN

A decline of the idea of the city based on industry gave rise to the city of information whose structure is characterized by incoherence and chaos. A growing significance of flow and exchange as well as dependence of building of a city on infrastructure and mobility have led to dispersion of the city and to the situation where a polycentric arrangement is formed in which the system of exchanging information is more significant than spatial dependencies, order or hierarchy. Former cities, which had a coherent structure, owed their arrangement to, first of all, stable economy and a legible structure of the society. Nowadays, the economic system of advanced capitalism constitutes the basic factor which arranges urban areas and this, in turn, leads to the deepening degeneration of the existing historical structures, which was already started by modernism.

4

Spojrzenie na barwę, światło i ruch we współczesnym malarstwie krajobrazu

Borcz A.

Architektura Krajobrazu

|

2007

|

nr 4

9-17

EN

The article includes reflections on the subject of modern landscape painting. By the chosen examples of the author's own paintings and photographs, the author investigates the means which artists use to depict landscape. It is always their own, artistic interpretation. Colour sets, size and temperature of various spots serve to build up an atmosphere and "colour energies". Contrast or assimilation of the nature elements or characters painted on canvas can be a result of spontaneous intuition of the author or a decision on the concept of the work taken previously. A concept not limited by realistic local colour. But it is light which decides which colour we see. It is a director of the artistic spectacle. Sometimes it appears in a focussed form on an object, and sometimes it is diluted over a bigger area. It sculptures plants in the painting, terrain shape, or man-made objects. It mirrors their reflection on the water surface and mutually casts shadows. Due to operating with light and shape, an artist achieves an illusion of movement in the painting. The movement, which in the real world is observed on the basis of differences in short periods of time, is very difficult to show on a flat surface of canvas or paper. However, through intellectual building of the full form of a painting and using the above mentioned artistic forms of expression which are presented in the article, the viewer can read the movement, emotions, mood and even changeability of a landscape.

5

Pejzaż jako synteza miejsca w odczuciu artysty malarza

Bagiński A. W.

Architektura Krajobrazu

|

2007

|

nr 4

18-21

EN

For a landscapist the main theme is nature in all its forms and occurrences. Woods, lakes and rocks are stable motifs ; changeable atmospheric occurrences, such as clouds, fog, sunrise and sunset, cloudy and sunny days, appear simultaneously. Similarly my own experiences and ordeals are present in my creations. Close contact with nature refreshes the imagination and realizes emotional and spontaneous painting to express noticed occurrences and forms. I look for appropriate painting space and form. The main target is to achieve the energetic power of a painting. Cooperation of instinct, intuition and intellect continues until the end of the work. In emotions of work, it seems to me that a painting is finished, but often it occurs that it is not true. After a few days it often happens that some fragments need to be changed and sometimes on this basis a new painting is created, although the first one is not without meaning because the layers of colours create surprising qualities. The form comes from intuition, but in the layout of a painting construction, it is intellectually accepted, that is why it is equally important for me to lay the paint from motion and differing painting material. That gives me a lively and dynamic form.