The article presents the first pioneering attempt to shape the architectural form in the mountains on the basis of traditional architecture and its further evolution to neoregional modern form. Important here is capitalizing on the tradition and the search for new meeting methods of mountain architecture. This evolution should take place at different levels of development - from research on the forms of the original, by drawing on traditional solutions and prospecting for new solutions. In this methodology became famous Cracow design school in the landscape under the direction of Prof. Włodzimierz Gruszczyński and generations of his students, who in later years, despite the difficulties emphasized the seriousness of the debate on items subject.
The article presents the project and realization of Ivigna (in Merano, Italy) aerial cable car project designed by architect Roland Baldi. The boxed form has been boldly and confidently introduced into the surrounding mountains, despite distancing itself from standard references to genius loci of the natural landscape. This project presents an avant-garde, innovative and reliable approach to the composition of architecture in the context of a mountain landscape. Despite the severity of forms, a kind of architectural rhythm and lightness of shaping the object introduced in the context of an open space can be sense here. It is essential to seek new forms and technologies for communing with nature and culture, in order to shape interesting modernist architecture, entering the twenty-first century.
The essay presents an original application of using the coolhunting method to discover new trends in architecture and design. The ability to identify trends is tied in with the possibility of attaining an advantage over the competition with the use of new designs that can become hits on the market, gaining the favor of customers. The term coolhunting can be broadly defined as the pursuit of inspiration and the forecasting of the directions of development. Initially, the term was applied to fashion, but quickly spread to other spheres of activity, like music, the arts, lifestyle and finally, to architecture and design. The essay is a slightly altered and improved rendition of the author's article published in Zastosowania ergonomii. Wybrane kierunki badań ergonomicznych w roku 2014 . (ed. Charytonowicz J.), Publ. Polskie Towarzystwo Ergonomiczne PTErg, o/Wrocław, 2014, p. 289-304. The method outlined therein is the result of research conducted under the author's supervision at the Institute of Architecture and Spatial Planning of the Poznań University of Technology between the years 2012 and 2014.
Kabbalah and architecture, dealing with quite different domains, seem to have nothing in common. And yet they often intertwine, interact, and complement one another, sometimes leading to unexpected conclusions.
Hamburg with the quantity of about 18 mlns m2 is, alongside with Berlin and Munich, the biggest office centre in Germany. The large-scale planning and urban operations with the aim of location this function in the centre have been carried out since the beginning of the '60s. The policy of deployment the ofiice sites has beez modified since then, from isolating the monofunctional area of the Modernism's spirit, to multifunctional structures interplaying with the other sites when it comes to activities' potentiality with the expansion of the large-scale urban structures. Many recent realisations abound with significant buildings that bring the avant-garde approach to the idea of an office building. The high level of building technology and the importance of ecological aspects are the important distinction. The mentioned realizations has been noticed by the architectural critics and mentioned in professional press. The pride of place belongs to the works of BRT (Bothe-Richter-Teherani), that has created many innovatory office buildings.
The article is an attempt to form the architectural and urbanistic analyze of the specific Baroque design technique, used for the façades of monumental buildings. For the first time this method was used in its Roman creations by Francesco Borromini. Hence, most often in the literature appears under the Italian designation parete ondulata. It was a difficult concept in both terms – architectural and aesthetic values. It required design skills and construction experience. Prediction of the ultimate effect of the impact inside the urban interior had to be based on an extensive knowledge of perspective or design experience. The spectators probably often did not understood the essence of the solution. This explains relatively small spread of the method in full its extent. Imitation was mostly limited to application of wavy line of cornices or whole façade, which currently in circulation awareness connects with the architecture of the Baroque. Such reception sometimes overrides all huge intellectual contribution of this era in the field of design. Relatively quickly this technique became widespread in other European countries, in which aclasical forms were adopted. The method of concave-convex elevation gave great opportunities not only in creating attractive architecture, but mainly to design urban interiors with a very sophisticated measures impact on the recipient.
The Parish Church of St Nicolaus at Byczyna in Silesia (German Pitschen) presents a most interesting, yet till now unknown example of a hall church from around 1300. It proves that the Silesian founders, as well as builders themselves, sought at the end of the 13th century for an suitable, attractive form of a representative town church. All up-to-date researchers treated the Byczyna church as an integral structure dating back to the end of the 14th century. It is most surprising, as it is more than evi- dent that we deal here with a much older building, which was only much rebuilt to the present shape at the end of the 14 th century. With no doubt, the church in question forms one of the most interesting architectural creations of around 1300 in Silesia. Its builder proved their knowledge of many important buildings in Austria and Moravia, especially of the Cathedral al Olomouc/Olmütz, which was near completion at that time. The short hall nave of the Byczyna church counts to the main trend of the parish churches in Silesia from the 2nd half of the 13th century. In turn, the single west tower was erected prob- ably according to the wish of its alleged founder, Henry the Third, duke of Głogów/Glogau. It reminded of the west tower of the Collegiate Church at Głogów, while the unique mason decoration in the Byczyna choir, which encompassed sculpted baldachins and vaulting shafts, was an allusion to the chancel of the aforementioned church at Głogów. The size and opulent articulation of the eastern part of the analysed building stressed the function of the church as a seat of an archpriest. Unfortu- nately the Byczyna choir, which was a unique structure in the Silesian architecture of around 1300, was later strongly rebuilt and lost its previous shape.
The article describes the idea of a compact city, due to the needs and capabilities of contemporary Polish cities, with an emphasis on the Silesia region. Special attention has been paid to the possibility of increasing the cities’ density and several examples have been shown to present the possibilities of densifying the cities with new housing investments. Also, the article presents the studies that indicate the capacity for the internal development of selected Silesian cities: Katowice and Gliwice. The article ends with the recommendations for cities to become more compact.
The article presents the architectural heritage created as a part of the Central Industrial District in the context of the need for its preservation and protection. Presented are selected topics and problems associated with the current technical condition of both industrial and residential buildings. The analysis contain also the impact of modern conservation doctrines and their ability to preserve works of COP’s architecture with the specific conditions of ownership, poor awareness of users and owners, and a large shortage of historical planning sources.
Architecture is a discipline combining aesthetics with technology. This paper is focusing on the relationship between aesthetics and energy efficiency in architecture with special interest in solar collectors and photovoltaic panels as technological equipment of the buildings. The paper takes into consideration the present situation and architectural development in northern Poland, with some input basing on European experiences. The paper defi nes aesthetics and effi ciency in the field of architectural design as well as the use of public and urban spaces. Authors present also some case studies regarding the use of solar panels in selected architectural examples. The paper ends with summary and some conclusions including the need for further research in the field of architectural design, technology and product design, as well as the perception of urbanised spaces and the important field of economic and financial factors connected to the topic.
The paper gives an evidence that construction of contemporary objects at the interface with the historic urban space, may be a way to renew and revitalize areas which require it. Such action may be a strong and valuable catalyst for the functional and visual transformation of a given fragment of urban space. It can also contribute to the increase of social activity within it. Research shows that public facilities from the turn of the 20th and 21st century, which were built using innovative architectural technologies and constructional solutions, are the buildings which provide great opportunities to contrast with historical architecture. This can be achieved due to their significant scale and rank in the urban space. The analyzes show that design based on the principle of contrast is the right solution for the degraded historic urban space. The replenishment of the old tissue should be carried out with the emphasis on the identity of the times in which we live, without creating architecture which could literally imitate historical objects or compete with them. Because of this contrast and diversity, new fragments of the city can become a counterweight or a valuable background to the existing historical tissue. Contemporary buildings located in a historical context are not only enhancing the values of cultural heritage but can also become a grateful element of the urban space and a strong accent of modernity and innovation in the city.
The purpose of his paper is to present the modern or the artillery fortification as a special group of historical constructions with their determinants, as possible subjects of revitalization. The fortifications constitute a large group of architectural monuments in Poland. Because of their structural characteristics, they are objects diffi cult to maintain and manage, so they have remained in state of irreversible degradation for many decades. Due to the political and economic transformation in Poland, over recent decades the problem of chaotic and aggressive investment has arisen, which the fortifi cations are falling victims to. The text discusses the fortification as a part of the cultural heritage, the dichotomy between notions of “revitalization” and “revalorization”, and shows prospects of contemporary civil functioning and revitalization of the artillery fortifications.
In the article the question about the issue of beauty and energy in Polish architecture is considered in the context of experience in the design of buildings and housing estates collected in the last twenty years by the Warsaw studio Grupa 5 Architekci. The conceptual, urban and architectural assumptions are illustrated by three examples representative of different, key problem issues.
During the first fourteen years of transformation, 1989-2003, according to surveys by the author of the paper hereby, there have been erected in Kraków the twelve new churches. Author already published the result of survey depending the first six of therm. So herewith there are last six shrines described. The way of creating them is significant and characteristic for contemporary Polish architecture in general, and particular typical for the trend of a new ecclesiastic architecture. Itr is a special mixture of the tradition, hence completed with aesthetic of Late Modernism, Post-Modernism, and the newest incorporation of Modernism – of the XXI C.
An attempt has been made to present “continuity” which, despite artists’ denials, is a prerequisite for the creation of novelty. Subsequent movements and styles (trends today) in architecture have tried to deny the ideas and forms of their predecessors. Avant-garde art distances itself from any continuation. The original does not exist even in the modern world, let alone in post-modernity. The world is filled with shapes, colours and images of the past, unable to liberate itself from it. The artists are left with a false impression of their genius and originality. Looking at the buildings built today, one can discern the unbuilt architecture of the early twentieth century. This is by no means the accusation of lack of originality, but rather the realisation of a harsh fact that it is impossible to create complete novelty. It might have been easier for our predecessors without access to the Internet and the World Library of Imagination.
The concept of civil society does not cease to attract the attention of the media and that of politicians. It is being discussed over and over and viewed from every angle: political, national, social. We can ask ourselves the important question the, what is its influence on architecture and the aesthetics of our immediate surroundings? How can converting the homo sapiens into a citizens change our landscape? If it can, what is so special about architectural and urban design in a civil society which makes it different from those that we have now? Can we describe the aesthetics of a civil society? And finally, what are the relations between being a citizen and architecture, aesthetics and the landscape?
In the paper author discusses problems related to the leading role of architectural structures, as a part of the creating process within contemporary urban space. Architectural objects establish a continuous dialogue not only with their surrounding space, but also between each other. In this relation, the first plan comes with two factors, determining all spatial and functional solutions: the place in which a given project is localized and the time in which the urban designer came to the architect to create his plan. Based on the analysis of own projects and urban and architectural realizations, the author proves that the architectural dialogue in urban space must be respected in the context of the place and the time, but also in the creators moral responsibility. This responsibility is defined by consequences of design decisions not only for the urban space itself, but above all, for people and their coexistence with the space. For designers it reveals a necessity to comply principles of ethics and professing the value system in order to taking care of the urban space not only three-dimensional, but also “existential”.
Identity in a housing environment is one of its resources as valuable as its water, air, flora and fauna. The readability of identity should be the basic factor of the quality of architecture and landscape architecture recognizable as a significant resource. It is an important factor which influences the living standard of people who inhabit a given space from a psychological, social and cultural point of view. In order to care for identity, we must be aware of it, of its role and significance in our lives and residence in a given environment. Man must understand the phenomenon of the meaning of life with respect to its space as his place in the world. When we understand the all-embracing rhythm and taste of the life of a place of residence, we will comprehend life itself.
Conservation of the Old Town Zamość began to realize almost a hundred years ago. Then the eminent preachers of culture in the early period. 20.year inter-made idea of restoring the prestige of the works of Polish culture. The idea of protecting national cultural heritage grew gradually until such time as the first scientific research, development of standards and principles of care and maintenance. Today Zamość was inscribed on the UNESCO World Cultural Heritage. Many things made, much remains to be done.
Active acoustics offers potential benefits in music halls having acoustical short-comings and is a relatively inexpensive alternative to physical modifications of the enclosures. One critical benefit of active architecture is the controlled variability of acoustics. Although many improvements have been made over the last 60 years in the quality and usability of active acoustics, some problems still persist and the acceptance of this technology is advancing cautiously. McGill's Virtual Acoustic Technology (VAT) offers new solutions in the key areas of performance by focusing on the electroacoustic coupling between the existing room acoustics and the simulation acoustics. All control parameters of the active acoustics are implemented in the Space Builder engine by employing multichannel parallel mixing, routing, and processing. The virtual acoustic response is created using low-latency convolution and a three-way temporal segmentation of the measured impulse responses. This method facilitates a sooner release of the virtual room response and its radiation into the surrounding space. Field tests are currently underway at McGill University involving performing musicians and the audience in order to fully assess and quantify the benefits of this new approach in active acoustics.
The paper presents the meaning of complexity as a notion in psychology, and its influence on architectural theory in the 1960s, focusing on the notion of optimal complexity. A commentary is presented on the two texts („Network of straight lines” and „Limited complexity”) by professor architect Juliusz Żórawski from 1967, where he has introduced the term of limited complexity in relation to architecture, and where he criticizes excessively far reaching forecasts of future development. Żórawski’s concepts are parallel to those of R. Venturi at that time.
The avant-garde is synonymous with the concept of New Art, the breakthrough in art which took place in the visual arts during the first decades of the 20th century in Russia and then in the USSR. Its representatives, determined by the changes brought about by new technical inventions, especially in the sphere of urbanization, were convinced, like the Italian futurists, that they would be at the foreground of social change, new perceptions and shaping of culture. They believed in the new society which would rend apart the class structure of previous ages when its place would be taken by dynamism and creativity in the service of utilitarian and egalitarian solutions. They believed in their mission, the Promethean idea of a new better world, when man- kind would be liberated from all subjection. This social mood was developing in the whole of Europe, but was particularly strong in Russian society in the last twenty years before World War I. In fact, one could say it was a prelude to the war. From this sequence of events came the conviction held by represen- tatives of New Art about their prophetic message of freedom. The actual reality, the advance of totalitarianism, was a bitter epilogue for the whole formation, for almost all the great artists of the avant-garde. Nevertheless, though rejected and often dying before their time, their works remained, suffused with enthusiasm for the new gravitation – belief in the greatness of mankind – in the new, universal idea.
Shaping a space shouldn’t be an endless expansion of the built environemnt. New districts and new cities should be more than collections of houses, quickly produced and placed without any overarching concept. They should present streets, squares, axes, directions, as features of the area's composition. An ordered space is a sign of true modernity.
The paper discusses acoustic problems in the contemporary Catholic church, and presents a study of the influence of the ceiling structure on acoustics in the interior for two types of ceiling structures, i.e. the truss type and the reinforced concrete one. The investigations involved six contemporary churches: three buildings with a truss type ceiling and three buildings with a reinforced concrete ceiling. The results reveal that in churches with a truss type ceiling, acoustic parameters reach values close to recommendations. In contrast, churches with a concrete ceiling create very unfavourable acoustic conditions. The investigations rendered it possible to calculate the sound absorption coefficient α for the truss type cover.