Wyniki wyszukiwania - Biblioteka Nauki

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Architekt Stanisław Zawadzki w Rzymie. Realia - fascynacje - profity

100%

Mączyński R.

Kwartalnik Architektury i Urbanistyki

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2012

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tom T. 57, z. 3

57-92

PL

Artykuł nawiązuje do mojej publikacji sprzed dziesięciolecia Rzymskie sukcesy architekta Stanisława Zawadzkiego ("Kwartalnik Architektury i Urbanistyki", 2002, z. 4), mówiącej o edukacji tegoż architekta w Akademii św. Łukasza w Rzymie, zdobyciu przezeń w 1771 roku drugiej nagrody (w drugiej klasie) na Konkursie Klementyńskim oraz o przyjęciu go w poczet akademików di merito w roku 1775. Udostępnione ostatnio zbiory archiwalne polskiego Hospicjum św. Stanisława w Rzymie pozwoliły dopełnić pierwsze lata pobytu Zawadzkiego w Rzymie o rozmaite szczegóły, dowodzące, że jego włoskim studiom towarzyszyły nieustanne kłopoty materialne, a sytuację tylko w pewnym stopniu polepszyło wsparcie finansowe udzielone przez odwiedzającego Italię Stanisława Mycielskiego, starostę lubiatowskiego. Wieczne Miasto stało się przedmiotem kontemplacji i fascynacji Zawadzkiego, stąd uchodził potem za wytrawnego znawcę jego architektury od starożytności po wiek XVIII. Został też - na miarę swych możliwości - kolekcjonerem dzieł włoskiego malarstwa i rzeźby. Udało się dopełnić znaną już wcześniej grupę dzieł pochodzących z jego zbiorów o nowo ujawnione - pięć niewielkich rzeźbionych popiersi cezarów i parę obelisków wykonanych w technice pietra dura. Pobyt w Rzymie przyniósł też Zawadzkiemu liczne kontakty, które zaowocowały późniejszymi przyjaźniami (Hugo Kołłątaj), artystyczną współpracą (Franciszek Smuglewicz), a przede wszystkim trwałymi związkami z mecenasami i zleceniodawcami (Stanisław Poniatowski). Szczególną uwagę zwrócono na osobę Ignacego Potockiego, pisarza litewskiego - od którego zaczęła się znajomość architekta z familią Potockich. To dla niego Zawadzki wykonywał projekty: gmachu mieszczącego Bibliotekę Załuskich w Warszawie, plebanii księdza Grzgorza Piramowicza w Kurowie czy masońskiej rezydencji nad rzeką Szeszupą. To od Zawadzkiego Potocki zaczerpnął w Rzymie sporo wiedzy architektonicznej, co wykorzystał w napisanym około 1770 roku traktacie Uwagi o architekturze. Hospicjum św. Stanisława - gdzie koncentrowały się sprawy polskie w Wiecznym Mieście - odegrało w tym wszystkim swój istotny udział.

EN

This article relates to one I wrote ten years ago entitled Rzymskie sukcesy architekta Stanisława Zawadzkiego [The Roman Successes of the Architect Stanisław Zawadzki] ("Kwartalnik Architektury i Urbanistyki" [Architectural and Town Planning Quarterly], 2002, fasc. 4) in which I discussed Zawadzki's education at the Accademia di San Luca in Rome, his winning second prize (in second class) in 1771 in an architectural competition established by Pope Clement XII, and his entering the ranks of academicians of merit (di merito) in 1775. The archives of St. Stanisław Hospice in Rome, which have recently been made accessible, enabled me to supplement the first years of Zawadzki's stay in Rome with a variety of details, which show he was beset with constant financial problems throughout his studies and how the situation was only partially improved thanks to the financial support he received from Stanisław Mycielski, the Starosta of Lubiatów, when he visited Italy. For Zawadzki, Rome was fascinating and a subject for contemplation. Later, he would be considered a consummate expert on Roman architecture from antiquity to the end of the 18th century. He also became - in so far as his finances permitted - a collector of Italian art and sculpture. It was possible to supplement a group of items which were already known to have been in his collection, with five small sculptured busts of Roman Emperors and a pair of obelisks made using the pietra dura technique. Zawadzki's stay in Rome brought him into contact with many people, which resulted in subsequent friendships (Hugo Kołłątaj), artistic collaboration (Franciszek Smuglewicz), and above all enduring connections with patrons and clients (Stanisław Poniatowski). Particular attention is paid to Ignacy Potocki, Grand Clerk of Lithuania, who first brought Zawadzki into contact with the Potocki family. It was for Potocki that Zawadzki drew up designs for the building housing the Zaluski Library in Warsaw, the presbytery for Grzgorz Piramowicz, the parish priest in Kurów, and the masonic lodge on the River Szeszupa [Šešupe.]. Potocki used a lot of the architectural knowledge he gained from Zawadzki in a treatise of ca. 1770 entitled Uwagi o architekturze [Comments about Architecture]. St. Stanisław's Hospice, which was the hub of all Polish life and matters connected with Poland in Rome, played an important part in all this.

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Rzymskie sukcesy architekta Stanisława Zawadzkiego

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Mączyński R.

Kwartalnik Architektury i Urbanistyki

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2002

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tom T. 47, z. 4

370-393

EN

Up to now note of the participation of Stanisław Zawadzki in the Clementine Competition and his title of academician di merito of the Academy of St. Luke, won in Rome, did not lead to attempts at placing those facts in a wider Italian or Polish context. An in-depth analysis and interpretation appear to be even more justified in view of the fact that it was precisely those facts which moulded not only the artistic stand but also the wider profile of the architect and, subsequently, left an imprint on his further fate. They could be considered in the categories of divergences between creative aspirations and the possibilities of their fulfilment, the subjective feeling of having attained a certain position and the actual status of an impoverished nobleman (who, in the opinion of many of his contemporaries, had dedicated himself to the crafts), in a word: between the reality of Italy - the native land of the Academy, which harboured high esteem for artists, and Poland, which never managed to create such an institution. In the Clementine Competition of 1771 first prize for architecture (second class) was awarded to the Italian Giovanni Cometti, and second - to the Pole Stanisław Zawadzki. The design task of both competitors consisted of designing a facade of the Dominican basilica of S. Maria sopra Minerva in Rome. The archive of the Academy of St. Luke preserved complete documentation prepared by both contenders. Zawadzki designed the facade as a monumental portico, crowned with a triangular fronton supported on six colossal columns. Cometti turned to the tradition of multi-storey facades, framed in a superposition of column orders. The former project represented a modern, Early Classicist solution, while the latter was conservative and typical for the Late Baroque. In other words, the highest award could probably have been received not by Cometti but by Zawadzki, especially considering that the winner did not meet all the conditions of the competition and his "outline" was less meticulous and had some formal errors. The boldness of Zawadzki's project appears to be even more conspicuous within the context of the achievements of contemporary architects-members of the competition jury: on the one hand, Giovanni Battista Piranesi, author of the antiquated church of S. Maria del Priorato (1764-1766) and, on the other, Clemente Orlandi, designer of the church of S. Paolo Primo Eremita (1767-1775), described as "ultima espressione del barocco romano". This background renders even more distinctive Zawadzki's Classicist taste, documented both by the prime architectural motif of the facade (the column portico) and the applied details (antiquated figures of the saints, arabesque-candelabra decorations). The presentation of the prize to the Pole was recorded not only in the Roman press but also in a special brochure which published a detailed account of the course of the Clementine Competition. At the lavish ceremony of reading the verdict, attended by numerous guests representing the secular and ecclesiastical elite of Rome, Zawadzki had an opportunity to become acquainted personally with the greatest celebrities of Classicist architecture, i.a. Ferdinando Fuga of Naples, Jacques Germain Soufflot from Paris or Robert Adam from Scotland. This was also an occasion for learning that artists comprising the Academy of St. Luke enjoyed paramount esteem, and included habitues of the social elite, to be entered thanks to academic honours, and whose foundation was composed of a spiritual community stemming from an analoguous intellectual formation. The competition was commemorated by a special-occasion engraving depicting the Fine Arts presenting the wreaths of glory to a young man in a stylised military uniform, placing his shield and spear at their feet. The "ideological" message of the engraving must have been particularly enjoyable to Zawadzki who, after all, had abandoned the knightly crafts ascribed to his gentry status and joined the ranks of those who wished to win fame via the fine arts. The architect was enthralled by the academic style based on a division and contrast of invention and execution, and must have been under its spell since, wishing to become a professional architect without losing his are noble man privileges, he could, in the conditions prevailing in eighteenth-century Poland, resort only to a military or academic career. Four years after having received the prize, Stanisław Zawadzki appeared at a session held by the Academy of St. Luke; in order to demonstrate his skills he presented "assorted architectural projects for a monastery in his native land" (possibly plans for reshaping the post-Jesuit monastic-church complex in Płock) and "expressed a wish to be admitted into "a circle" of academicians di merito". The drawings "were considered with particular attention by the Lords Academicians" who then "voted unanimously to admit him as an academician di merito". It is necessary to set right the heretofore cited date of 1776 in favour of 1775. The history of the Roman Academy proves that the approval did not have to be universal, and that the admission procedure was not automatic even in the case of renowned architects (vide the travails of Giuseppe Sacco, who did not become an academician despite his endeavours). The young architect, inscribed in the special Catalogo degli Accademici di merito di S. Luca, joined such celebrated artists as Gianlorenzo Bernini, Carlo Rainaldi or Carlo Fontana. This fact had to be a source of special pride, as confirmed by his later statement: "Having sacrificed my young years, despite my dire financial straits, to perfecting knowledge of architecture abroad, I attained the degree of professor at the Roman Academy". Upon his return to Warsaw in 1776 Zawadzki became the most titled Polish architect of the eighteenth century. Naturally, he was not the first Pole in that century to have won a Clementine Competition award in architecture, and had been preceded by Kasper Bażanka, Benedykt Renard, and Bonawentura Solari, and was to be followed by Jakub Hempel. He was also not the only artist in Poland to enjoy the honourable title of member of the Academy of St. Luke. This group included Tommaso Righi, Andre Lebrun and Marcello Bacciarelli, none of whom, however, had been granted the competition laurel wreath, and who, in comparison with the Polish contender, enjoyed the additional benefit of strong ties with Rome. The consistency demonstrated by Zawadzki in his striving towards the title of architect-academician shown a profound awareness of the chosen objective. Zawadzki was concerned not merely with winning the status of a professional architect-constructor (workshop training would have sufficed) but with achieving knowledge and adroitness in the art of design, indispensable for a creative architect. He must have, however, found this target unsatisfactory, as evidenced by his journey to Rome, undertaken (regardless of the costs) only for the sake of joining the academicians upon the basis of his first independent projects. It was Rome which moulded Zawadzki as an architect and was the reason why he became certain of his own value as an artist. And it was Rome which appreciated his talent and allowed him to win prestigious successes. Poland in XVIIc, in which Zawadzki was compelled to incessantly overcome estate, milieu and financial barriers in order to creatively pursue his chosen profession, was capable of exploiting the knowledge and skills of this "most titled architect" to a much lesser extent.

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Gmach Koszar Kadeckich w Warszawie - dzieło architekta Stanisława Zawadzkiego

100%

Mączyński R.

Kwartalnik Architektury i Urbanistyki

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2009

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tom T. 54, z. 2

3-16

PL

Artykuł prezentuje ustalenia badawcze na temat jednego z gmachów wchodzących w obręb zespołu Koszar Kadeckich, które stanowiły siedzibę Szkoły Rycerskiej, założonej przez króla Stanisława Augusta Poniatowskiego w 1765 roku. Budynek ów, założony na rzucie prostokąta, jednopiętrowy, jedenastoosiowy, nakryty wysokim dachem, utrwalił na widoku namalowanym około 1785 roku akwarelista Zygmunt Vogel. Dotychczas budowla ta - niezachowana do obecnych czasów - nie zwróciła uwagi badaczy i bywała jedynie wzmiankowana. Wydaje się natomiast ważna dla odtworzenia oblicza architektonicznego Warszawy drugiej połowy XVIII wieku i całokształtu dorobku jednego z najbardziej twórczych architektów tamtej epoki. Na podstawie bowiem odnalezionych przekazów archiwalnych udało się udowodnić, iż gmach ów powstał z monarszej fundacji, wzniesiony został w roku 1781, a jego projektantem był architekt Wojsk Koronnych - Stanisław Zawadzki, wychowanek i członek rzymskiej Akademii św. Łukasza. Budowla pełniła - jak wykazały przytoczone zapisy pamiętnikarskie naocznych świadków - dwojakie funkcje: w części była przeznaczona do edukacji kadetów (w przeważającej mierze funkcje te jednak spełniał pobliski a znacznie obszerniejszy pałac Kazimierzowski), w części zaś była rezydencją użytkowaną przez wicekomendanta Szkoły Rycerskiej - Fryderyka Józefa Moszyńskiego. Podwójne przeznaczenie gmachu znalazło swe odzwierciedlenie w układzie jego wnętrz, między innymi poprzez znamienne w tym przypadku zastosowanie dwóch osobnych klatek schodowych. Szlachetną surowością odznaczała się - utrwalona zachowanym pomiarem, wykonanym w 1827 roku przez Jana Tafiłowskiego - fasada gmachu. Wyraźnie pod tym względem korespondowała z innymi tworzonymi w tym czasie przez Zawadzkiego budowlami, które - niezależnie od ich charakteru i przeznaczenia - cechowały bardzo ascetyczne formy. Były to zarazem jedne z najbardziej awangardowych budowli, jakie powstały za sprawą polskiego architekta w epoce Oświecenia. Gmach Koszar Kadeckich w postaci uwiecznionej przez Vogla istniał do 1841 roku, kiedy został przebudowany przez architekta Antoniego Sulimowskiego, który nadał mu neorenesansowe formy. Taki też kształt zachował do czasu spalenia w trakcie niemieckiego bombardowania stolicy w 1939 roku. W okresie powojennym ruiny rozebrano, by w 1953 roku wystawić na tym miejscu pseudoklasycystyczny, nowo projektowany gmach uniwersytecki.

EN

The article presents research findings regarding one of the building forming the complex of Cadet Barracks, which were the headquarters of the Knightly School established by king Stanisław August Poniatowski in 1765. This building, erected at the rectangular projection, one-storey, eleven axis, covered with a high roof, was recorded in the picture painted circa 1785 by Zygmunt Vogel, aquarellist. Until that time, this building - which did not survive until today - did not attract the attention of researchers and was only mentioned. However, it seems important to restore the architectural image of Warsaw of the send half of 18th century and the entire output of one of the most creative architects of that époque. The archived sources discovered allowed it to be proven that the building was founded by the king, erected in 1781 and designed by the architect of the Polish army - Stanisław Zawadzki, alumnus and member of the Roman St. Lucas Academy. The building - as demonstrated by quoted memoirs of eyewitnesses - fulfilled two functions; it was partly dedicate for the education of cadets (however, this role was mostly performed by the nearby and much bigger Kazimierzowski Palace), and it was also a residence used by the deputy commandant of the Knightly School - Fryderyk Józef Moszyński. The dual purpose of the building is reflected in the layout of rooms, characteristic in this case by the application of two separate staircases. The building facade, recorded by the measurement conducted in 1827 by Jan Tafiłowski which has been kept, demonstrated refined austerity. It clearly corresponded in this aspect with other buildings created at this time by Zawadzki, which - regardless of their character and purpose - were characteristic for very ascetic forms. At the same time, they were one of the most avant-garde buildings erected by the Polish architect in the Enlightenment époque. The building of the Cadet Barracks in the form recorded by Vogel existed until 1841, when it was rebuilt by the architect Antoni Sulimowski, who gave it a Neo-renaissance form. This style was retained until it was burnt down during the German bombing of Warsaw in 1939. After the war the ruins were dismantled in order to erect in this place, in 1953, the newly designed, pseudo-classicism university building.

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Co do joty. Doświadczenia z eksploatacji pomiarów fizykochemicznych na blokach energetycznych w elektrowni w Kozienicach

63%

Lasota S. , Mączyński R.

Energetyka Cieplna i Zawodowa

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2017

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tom Nr 7

14--19

PL

W celu zagwarantowania precyzyjnych i dokładnych pomiarów fizykochemicznych, oprócz wysokiej klasy AKPiA, niezbędne jest posiadanie sond poborowych, gwarantujących reprezentatywny pobór układów przygotowania próbek oraz niezawodnego systemu chłodzenia. W artykule przedstawiono zmodernizowany na blokach klasy 200 MW system pomiarów fizykochemicznych oraz doświadczenia z jego ponadczteroletniej eksploatacji.