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1
Content available remote Konstrukcje żelbetowe a kształtowanie form architektonicznych na początku XX wieku
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Niebrzydowski W. , Tribiłło R.
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2000
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tom Z.20
147-165
PL
Autorzy artykułu podkreślają znaczenie konstrukcji żelbetowych w zakresie tworzenia nowych form architektonicznych i powstawania "ruchu nowoczesnego" w architekturze. W tym celu poddają analizie twórczość dwóch wybitnych architektów i dwóch znakomitych konstruktorów z początku XX wieku, projektujących swe dzieła z wykorzystaniem żelbetu. Auguste Perret, Tony Garnier oraz Robert Maillart i Eugene Freyssinet, wykorzystując specyficzne właściwości betonu zbrojonego oraz odrzucając zasady kształ-towania form architektonicznych z poprzednich epok, stali się prekursorami modernizmu.
EN
In the beginning of the 20-th century reinforced concrete constructions had great weight on range to create brand new architectural forms and to originate modern movement in architecture. To uphold this thesis, authors of dissertation analyse works of two famous architects (Auguste Perret, Tony Garnier) and two great engineers (Robert Maillart, Eugene Freyssinet), who used reinforced concrete in theirs buildings.
2
Content available remote Architektura sztuka współczesna - kontynuacja wizji
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Kozłowski T.
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2004
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tom R. 101, z. 10-A
241-243
EN
How very wrong was Adolf Loos in 1908, when he wrote about the ornament in architecture. Today, when it seems that the ornament has been rejected the architectural form has become the ornament.
3
Content available remote About beauty in contemporary architecture
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Fein R.
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2007
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tom R. 104, z. 6-A
46-48
PL
"Piękno" nie jest kryterium dla "ważenia" jakości architektury, ponieważ nie jest obiektywną wartością. Piękno jest dostrzegalne wtedy, gdy spełnione zostają oczekiwania obserwatora. Zależą one od indywidualnych doświadczeń, z których jednym jest edukacja. "Piękno" trudno zdefiniować. Jego postrzeganie jest subiektywne. Nie zamierzam wypowiadać się na temat mojego własnego pojęcia piękna w architekturze współczesnej. Mogłoby ono nie być przekonujące dla nikogo poza mną. Podobnie w dydaktyce, wypowiadanie się na temat gustów nie powinno mieć miejsca. Tak czy inaczej: architekci ciągle próbują tworzyć rzeczy piękne i takie przykłady pojawiają się w architekturze, także współczesnej. Jednak piękno wydaje się być coraz płytsze, nastawione na chwilowy efekt. "Ciche" piękno nie jest zauważane - doceniają je ludzie kultury i edukacji.
4
Content available remote Architektura - sen o miejscu dla pięknych zdarzeń
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Nawrot G.
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2007
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tom R. 104, z. 6-A
353-357
EN
Are beautiful places beautiful per se or by beautiful events occurring there? Beauty is our reminiscence about beauty, stored in memory. These are connotations of situations, experience and places where events occurred. Beauty demands a binding and frame. Architecture can be this frame with beautiful events becoming its essence and part.
5
Content available remote Contemporary architecture in its historical context and on the water
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Kuhn R.
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2007
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tom R. 104, z. 6-A
87-91
PL
Miasto Gubin i główny kościół - co jest wartością przy przekształceniach oraz, związana z tym kwestia, jaki rodzaj architektonicznego podejścia jest stosowny w przypadku kościołów, które zagubiły swoją pierwotną funkcję lub formę? Może odpowiedzią jest pływająca architektura - taki rodzaj architektury mógłby się w przyszłości stać symbolem Łużyckich jezior.
6
Content available remote Dyskretny urok architektury współczesnej
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Ciżewska-Czarnecka A.
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2007
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tom R. 104, z. 6-A
202-203
EN
Using contemporary digital tools it is possible to create every kind of spatial form. Contemporary architects prepare researches and design experiments based on data written by digits. They develop theirs' design workshop and imagination but the result are buildings not related to the history, cultural context, tradition of the place, strange, complicated, aliened. Under such conditions lonelyness and social barriers become deeper. Architectural space which should create positive social, emotional connections doesn't appear by creating digital data. It isn't possible to solve estetics and ethics problems by mathematical formulas.
7
Content available remote Piękno nie jedyne
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Zuziak Z.
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2007
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tom R. 104, z. 6-A
162-164
EN
The concepts of beauty in contemporary architecture should be redefined and "tuned" to our today "modes of rationality". Defending rational currents of architectural theory and rational concepts of architectural aesthetic the author argues that different cultural patterns of experiencing architectural form do not exclude the existence of universal and ideal values associated with classical notion of beauty. Their form of existence, however, is changed dramatically according to new "modes of rationality".
8
Content available remote Piękno, to więcej niż użyteczność
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Chmielewski W. , Chmielewski F.
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2007
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tom R. 104, z. 6-A
193-196
EN
Beauty of modern architecture can not be considered without reminding - even superficial - about criteria of beauty which were compulsory up to 20 Century. Beauty of architecture since the beginning used definitions announced by Wirtuwiusz: utilitas, firmitas, venustas. Wirtuwiusz wrote in his "De architectura libri decem" - "It is obligation of architect to design buildings both: stable, useful and beautiful". Beauty of the building base on harmony, because "architecture can not exist without understanding of music, architecture is like music, it is harmony which you can see". Architecture should provide then an esthetical experiences on similarity of music. More than fifty years of modern architecture taught us to look at the work of architecture like on composition of forms and blocks. Architecture up to beginning of 20 Century carried many different meanings. Symbolic was one of most important component of architecture and predominated over other component like beauty, poetics or mood. As it wrote Sas-Zubrzycki - "Construction is a base of architecture and architecture is embellishing the construction". Noticing fact that architecture plays more remarkable role in public life, designers wanted to express more ideological, religious or "outlook on life" contents and connected with them feelings of monumentality, gravity and esteem.
9
Content available remote O pięknie architektury (współczesnej) - uwagi o ułomności rzeczy użytecznych
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Kozłowski D.
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2007
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tom R. 104, z. 6-A
74-77
EN
Architecture is distinguished from among arts with its usefulness. Remaining in the circle of functionalistic doctrines is the reason of its imperfection. Today architecture exists beyond streams of art's development. Maybe another reason of such condition is the need of social acceptance of architectural work. And maybe such acceptance is linked to the need of beauty, which in the remaining arts has been replaced by the other aesthetic categories: decomposition of form and decomposition of meanings.
10
Content available remote Nie ma piękna w architekturze współczesnej?
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Kozłowski T.
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2007
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tom R. 104, z. 6-A
306-309
EN
The myths of civilization like: vanguard, modernism, beauty have lost strength of conviction. Art gathered mercantile denotation aiming at the best commercial effect. Original should be not only works of one artist. Each work should be the next novelty. Novelty and uniqueness of the artist have become more important than the notion of beauty in his work.
11
Content available remote Piękno subiektywne zglobalizowanej architektury
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Frysztak A.
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2007
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tom R. 104, z. 6-A
240-245
EN
Beauty attributes are not constant value. Historically - in the sphere of western culture, in its main current, they have change successively. Cotemporary, global architecture is characterized by different beauty canons, existing simultaneously. And democratisation brings them about to subjective perception. Is it possible to put them into hierarchy? Doubtless, the main challenge is to determine structural canons for new, progressive architecture.
12
Content available remote Poszukiwanie piękna w architekturze współczesnej
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Wrana J.
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2007
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tom R. 104, z. 6-A
477-481
EN
What is Art? According to Greek aesthetics "The prevailing view is that Art is beauty perceived by an artist. This view is supported by yet another widespread idea that beauty is what we like and what we are fond of. An artist's task is to summon and show that very idea of beauty." While searching for a modern definition of beauty, one can recall the ideas that a) "Art is the summoning of beauty, the creation of a vision, a reflection of life and an expression of form and matter. It is a mental state, sometimes even pathological, an expression of faith, a medium of mind as writing, a medium of harmony as a sound", b) "Art connects people with similar reactions. It is indispensable for civilised life and for progress by means of: summoning, creating and shaping a form, which is materializing a vision". Modern architecture in its large-scale character rises the level of aestheticization of surroundings, yet the philosophical beauty can be traced in pursuing: sense, concept, synchronous emotional states of a creator and a recipient, and deep emotional connections between shaping space and human life. It can be found if we are able to run a dialogue and, at the same time, respect local culture".
13
Content available remote Odkryte piękno
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Galas M.
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2007
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tom R. 104, z. 6-A
246-248
EN
In the Thesis for the Conference Defining the Architectural Space - What about the Beauty of Contemporary Architecture? - Time has always endowed them with the status of an aesthetic object, architects has done it sometimes only. New architecture raises indecision: beautiful? - original? Le Corbusier's searching for beauty was inspired by logic of machine. How this kind of beauty can be seen today?
14
Content available remote O pięknie ale i o tożsamości naszej współczesnej architektury
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Barucki T.
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2007
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tom R. 104, z. 6-A
9-14
EN
The beauty of architecture is probably first of all unconscious feeling of proportions, colors and unchanged human scale. The fascination with new, unknown forms can produce it too. May be because of this the contemporary Polish architecture is mostly eclectic and needs its own identity. This one connected with serious respect of natural environment and national culture will open the right way to the future.
15
Content available remote Nigredo - czyli kolor w odwrocie
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Setkowicz P.
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2007
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tom R. 104, z. 6-A
392-396
EN
On Polish architecture of today, one continues to observe an invasion of expressive colour which was initiated in the 90's of the twentieth century as a natural reaction to the literary and metaphoric "greyness" of the architectural milieu which arose in the former epoch. Side by side with it, there exist an ever more popular trend of architectural realizations which on principle resort exclusively to the use of the black and a range of greys. The above colours are perceived by some architects and investors as universal hues which guarantee a certain elegance and beauty - regardless of the urban context and the unfavourable social reception.
16
Content available remote Kolor i ślepcy
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Włodarczyk J.
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2007
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tom R. 104, z. 6-A
158-161
EN
Reaction against the greyness of architecture of late modernism and as the consequence its dullness in 70. and 80. provoked the explosion of uncontrolled colouring of our surroundings in two last decades. There are several reasons of the phenomenon, yet the most important is the acceptation by the common run of creators and consumers the post-modern tendency to extreme free choice.
17
Content available remote Kryterium piękna w architekturze
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Barnaś J.
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2007
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tom R. 104, z. 6-A
173-176
EN
The category and criteria of beauty in architecture accompany it from the very start. The ways of finding it were different in theory and in practice. "Beauty is truth, and truth is beauty" - only this needs be known here on Earth. John Keats.
18
Content available remote Uroda względności
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Mizia M.
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2007
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tom R. 104, z. 6-A
348-352
EN
Like every novelty throughout centuries, modern architecture invariably arouses doubts among the contemporaries. It is like that particularly because the scale of the architectural image does not allow one to leave it unnoticed, whereas its function forces one to come into contact with it. The incomprehensibility of the art of architecture is the price which an architect has to pay for innovativeness, technological advancement, inter.disciplinary cooperation and ultimately for the transformation of the new values into everyday reality. Whereas the understanding of the beauty of the new architecture depends exclusively on one's will to enter into a dialogue.
19
Content available remote Refleksje o pięknie i architekturze
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Żychowska M.
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2007
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tom R. 104, z. 6-A
165-170
EN
The term beauty now a day has very subjective signification. In the XX century modern movement used to appreciate only new ideas, new function, new forms. The avant-garde activities were leading in art and in architecture too. Only the primary done performances were valued nevertheless their genuine aesthetic quality. In our postmodern time, when so many achievement exist as parallel activities.
20
Content available remote Racjonalne piękno architektury w epoce informacji
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Marciniak P.
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2007
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tom R. 104, z. 6-A
332-334
EN
The beauty of architecture of the new times is not meant to be an experience. The material of the new architecture comprises, more and more often, forms that are enclosed in bits of information. The concept of beauty today is rather a form of self-aware cognition and the reading of the continuously changing principles and attributes of architecture. Modern architecture introduces a set of completely new conceptions and definitions. The reading of the language that describes spatial events happening both in real and virtual space, and the language of the definitions which are used, revalue the perception of beauty in architecture.
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