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1

Kultura Animi wzorem Altanników

Kapecki T., Gibała-Kapecka B.

Czasopismo Techniczne. Architektura

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2008

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R. 105, z. 6-A

355-360

PL

Estetyzacja twórczości ucieka od celebracji dzieła jako przedmiotu estetycznego, od zrozumienia, że piękno generowane jest przez ład własnościowy kształtowanej przestrzeni, tym samym od skali w stosunku do człowieka, a to przekłada się na detal, na rozumienie materiału, urody i harmonii formy. część do całości. To, co definiowalne jako forma poprzez wzór czy system kodyfikujący także naszą kulturę, uległo przekształceniu w sytuację architektoniczną, mającą nie wiele wspólnego z nawiązywaniem relacji z tym, co zastane. Zmierza ona do celu nadrzędnego - bytu odzwierciedlającego bogactwo formy życia, bytu który w czasie staje się jej wykładnikiem. Piękno oddziela się od prawdy i dobra, równocześnie od moralności. ...oryginalność, gest, chimera; ...twórcze - oryginalne...oryginalne - odważne.

EN

Esthetics of creation runs away from a celebration of a work of art as an esthetic object, runs away from comprehension of the fact that beauty is generated by proprietary order of formed space; ipso facto it runs away from a scale in accordance to a human, and that trans-poses on comprehension of detail, material, fairness and a harmony of form ... a part to the entirety. That what had been defined by pattern or system as a form, today has transformed in an architectural situation which has nothing in common with a relation in reference to this has been established. It heads to superior aim - existence which reflects riches of living form, existence that is becoming its exponent. ...originality, gesture, chimera; ...creative means original and original means courageous.

2

Byt sam w sobie czy alternatywny świat?

Gibała-Kapecka B., Kapecki T.

Czasopismo Techniczne. Architektura

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2007

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R. 104, z. 6-A

265-268

EN

In the context of objective truth myth, which has been abolished by science, there is creative freedom obtained which concedes ambiguous acting and ipso facto gives admittance for far.reaching arbitrariness in justifying artistic assumptions. Creators are focused on searching for their own creations certain models for their creative activities; they form a theory of their own work in discontinuous way because each time a theory becomes appropriate for each artistic idea. Therefore, the perception has become clear to all concerned that all the canons we had won so far within experience of temporariness and superfluity of established values and concepts became effaced. In addition, again there is an accompanying feeling of lack of acknowledgement for objective significance in using general predicates such as symbolic, semiotic, representative, stylistic, traditional... Permanent experimentation to prove that art tends towards feasible entities. Michael Walzer tries to curb the situation by finding justification for those pluralistic acts in a matter of esthetic approbation for dissimilarity, which is being treated as cultural form expressing variety of this world and functional approbation if dissimilarity is necessary condition for human development and gives sense to his autonomy.

3

Tolerancja wielu tolerancji - odniesienia w architekturze

Gibała-Kapecka B., Kapecki T.

Czasopismo Techniczne. Architektura

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2005

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R. 102, z. 11-A

247--251

EN

Does the present-day architecture design reality of the present? or future? Universal order of things - disputed. We continue questioning principles which lay the foundation for architecture. Therefore we build architecture of .discord. as abstract activity in advance, interpreting reality without confrontation with particular space, assuming that democracy means also injustice acceptance. Subjective freedom of creator wins to point novelty illusion which immanent attribute is liberty limit.