Wyniki wyszukiwania - Biblioteka Nauki

1

Dekorowanie w „Ścinkach”

100%

Gorwa K.

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2011

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tom nr 2

23-23

PL

Stare meble, lampy, świeczniki, ramy i naczynia oklejone kolorowymi tkaninami zyskują niepowtarzalny wygląd w pracowni „Ścinki”, prowadzonej przez siostry Elżbietę Mirecką i Dorotę Przeździak-Maghdoori. Zawsze miały wokół siebie mnóstwo tkanin, w związku z czym często coś szyły i przerabiały. Towarzyszyło temu zamiłowanie do tworzenia i dekorowania. Nigdy jednak nie myślały o tym, żeby zaprezentować swoje prace szerszej publiczności.

2

Computing with Böhm tress

88%

David R.

|

2001

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tom Vol. 45, nr 1,2

53-77

EN

This paper develops a general technique to analyze the head reduction of a term in a context. This technique is used to give a direct proof of the theorem of Hyland and Wadsworth : two l-terms that have the same Böhm trees, up to (possibly infinite) h-equivalence, are operationally equivalent. It is also used to prove a conjecture of R. Kerth : Every unsolvable l-term has a decoration. This syntactical result is motivated by (and gives the solution to) a semantical problem.

3

Teresa Szałowska - ceramik.

88%

Puff Z.

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2007

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tom R. 58, nr 2

48-48

4

Metody dekorowania wyprasek w formach wtryskowych. Cz. II

75%

Zwierzyński A.

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2010

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tom R. 83, nr 5-6

406-406

EN

This is continuation of similar article in issue 4/2010, discussing classification, nomenclature, IMP process and IML method.

5

Ornament a sztuka abstrakcyjna. Florenski, Kandinsky, Malewicz

75%

Sury P.

Estetyka i Krytyka

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2016

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nr 1(40)

85-104

EN

This paper attempts to exhibit similarities between an idea of abstract art by Wassily Kandinsky and Kazmir Malewicz and Pavel Florensky’s theory of ornament. The article is based on Florensky’s book Анализ пространственности и времени в художественно-изобразительных произведениях which hasn’t been translated into Polish yet. It also refers to theoretical works of Russian artists which are revealed above. According to Florensky the ornament is not just a decorative element but it appears as a representation of arrangement and structure of life. This kind of art, in his opinion, was not appreciated by people from art environment, especially abstractionists. Presentation of ideas by Pavel Florensky is the leitmotiv of this paper which appears as an opportunity for Polish receivers to become acquainted with Russian philosopher’s original interpretation of, so called, decorative art. It also leads to the question if decorative art should be included what could be referred to as non representational art.

6

Metody dekorowania wyprasek w formach wtryskowych. Cz. I

75%

Zwierzyński A.

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2010

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tom R. 83, nr 4

262-267

PL

W wielu wypadkach wypraski - poza funkcjami użytkowymi - muszą spełniać również funkcje dekoracyjne. Zdobienie może być wykonane na gotowej wyprasce w oddzielnym procesie (nadruk, lakierowanie, etykietowanie itp.) lub wykonane bezpośrednio w formie poprzez zespolenie umieszczonej w gnieździe powłoki z wtryskiwanym tworzywem. Dekorowanie wyprasek w formach to od 20 lat jedna z najbardziej dynamicznie rozwijających się technologii wtryskiwania.

EN

In many cases injection moldings are expected not only to efficiently perform their practical function, but also to meet anticipated decorative function. Either finished injection molding can be subject to decoration treatment in a separate operation, or such treatment can be carried out immediately by application of decoration layer placed in the injection mold before injection operation.

7

Dekoracje kamienic krakowskich z przełomu XIX i XX wieku

75%

Makowska B.

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2005

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tom T. 50, z. 1-2

80-88

EN

National temperament and traditions added specific local quality to Poland's architecture of the turn of the 19th century; this quality was supported by characteristically shaped details and ornaments. This can be very well illustrated by the work of Kraków architects who attempted to retain local and vernacular character of the architecture in that town. The so-called "Kraków school" was well known for its attempts to create its own interpretation of immigration processes based on traditionalism, non-standard decorative quality and the presence of decorative elements characteristic for painting, which was decisive for the artistic expression of architecture. At that time, developers in Kraków began to build tenement houses of high technical and functional standards, with individual, valuable formal solutions. The development of this housing standard was supported by the migration of affluent land gentry of Galicia region, who commissioned their houses, villas and palaces with renowned architects (Talowski, Odrzywolski, Pokutyński, Stryjeński, Szyszko-Bohusz, Ekielski, Zaremba, Pryliński itp). Decorations of facades of these houses, made by renowned artisans, have considerable significance for the national heritage. At the turn of the 19th century, the architecture in Kraków evolved from Romantic historicism, going through its final stage which manifested itself in formal eclecticism and other phenomena and had developed into Art Nouveau. Architects often resigned from departing from traditional composition principles, in favour of a natural and evolutionary combination of eclectic and art nouveau motives which made the facades look "modern". Most of the tenement houses do not have full features of Art Nouveau; it is restricted to decorations only. Decorations from that period combine geometrical motives typical for Viennese Art Nouveau with plant motives; decorations are most often reduced to clearly separated areas. Geometrical ornaments often emphasise vertical directions, while plant motives are most often horizontal. Characteristically enough, plant motives used for decoration are often derived from local species, such as chestnut trees, sunflowers, roses, tree branches etc. These elements are complemented with animal motives including lions, eagles, owls, spiders, peacocks, donkeys etc. The architects used also folk motives and patriotic symbols; in this way the new form found its place as a continuation of cultural traditions characteristic for the region.

8

Detale, dekoracje i mała architektura w mieście oszczędnym

75%

Makowska B.

|

2010

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tom R. 107, z. 6-A/2

171-176

PL

Idea oszczędności w aspekcie działań podejmowanych w sferze architektury nie do końca sprawdziła się w przypadku ograniczenia detalu i eliminacji ornamentu zapoczątkowanych w latach dwudziestych XX w. Spowodowała ona zerwanie tradycyjnych więzi architektury z innymi dziedzinami sztuki, sprzyjające atrofii więzi społecznych. Detale i mała architektura (pomniki, fontanny itp.) są niezwykle istotną częścią budynków, ściśle powiązaną ze skalą człowieka. Są one bliskie oku, skupiają, czasem przykuwają naszą uwagę, kiedy przez jedno spojrzenie obejmujemy fragmentarycznie formę architektoniczną lub wnętrze urbanistyczne. Choć nie są elementami najistotniejszymi, umożliwiają niekiedy poprzez nieoczekiwane skojarzenie poznanie całościowego zamysłu twórcy i zrozumienie idei projektu. Różnorodność, którą mogą one wnieść do architektury, wpływa także na zmienną stymulację percepcji przestrzeni, a ich wartości artystyczne i zdolność oddziaływania na emocje może ułatwić identyfikację i zapamiętywanie form, tworzyć charakter miejsca. Detal, dekoracja i mała architektura pomagaj ą rozpoznać związki kompozycyjne i przestrzenne struktury urbanistycznej, tworzą niezwykle istotną część determinującą jej jakość.

EN

The idea of economy of the activities undertaken in the field of architecture has not really proved itself as regards the tendency to reduce the number of details and eliminate ornaments which started in the 1920s. It resulted in breaking the traditional ties between architecture and other art disciplines and thus facilitated atrophy of social bonds. Details and landscape architecture (monuments, fountains etc.) are an extremely important part of buildings, tightly interlinked with the human scale. The are close to our eyes, sometimes they rivet our attention when with just one look we embrace in a fragmentary way an architectural form or an urban interior. Although they are not the most important elements, sometimes, because of an unexpected association, they help us understand the holistic intention of the author and of the project's idea. Besides, the diversity they may introduce into architecture influences the changing stimulation of space perception whilst their artistic value and ability to exert influence on emotions may facilitate identification and memorization of forms and create the character of a place. Details, decorations and landscape architecture help us recognize compositional and spatial relations of the urban structure and they are an unusually important element of this structure, determining its quality.

9

Scheda Wyspiańskiego - szczególny wątek witraży krakowskich

51%

Reinhard-Chlanda M.

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2008

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tom R. 59, nr 1

38-42

10

Ceramiczne farby triadowe do zdobienia płytek ceramicznych.

51%

Widaj J. , Chmielewska D. , Stachura Z. , Synowiec B. , Lis J.

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2007

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tom R. 58, nr 4

3-7

EN

In presentation of ceramic triad colours' elaboration for decoration of ceramic tiles there. Are discussed range and methods of carried out tests. There are given physical parameters of colours for two ranges of firing temperatures: 780-850 degrees centigrade and 1050-1150 degrees centigrade and decorations carried out in the conditions of ceramic tiles manufacturing works.