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The structure of argumentation in early interpretations of the Chapel at Ronchamp (Part II)

100%
Wąs C.
Sacrum et Decorum. Materiały i studia z historii sztuki sakralnej
|
2012
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vol. 5
102-135
EN
Contemporary reflections on the chapel at Ronchamp designed by Le Corbusier to a greater degree than before lead to analyses of previous interpretations of this work, arousing much controversy ever since their appearance. Research on the sources of his inspiration led to important discoveries, but entanglements of all descriptions in value systems, hidden assumptions, the structures of language and thought turn out to be no less interesting. Analyses undertaken in the present study concern five texts (the first two had been discussed in the previous issue of the “Sacrum et Decorum”), which appeared in the first few years after the building of the chapel. Statements made by the five authors, although chosen at random and only on the basis of their distinctive spaciousness and wealth of argumentation, revealed deep differences during their careful reading. Le Corbusier spoke on his behalf the most boldly and directly, not hiding his specific views, especially on the feeling of sacredness separate from the world of religion. Anton Henze attempted to make the work familiar by blurring the contradictions between Christianity and para-religious inclinations of the architect, present in his work. John Alford sought to describe the chapel with purified senses and mind but he could not go beyond language and its rules. It is only literary metaphors that enabled him to create a beautiful interpretation. Alois Fuchs saw in the building above all some forms of heresy, against which he wanted to protect the world of his religious values. His interpretation of the work on the hill developed in the direction of an official report on the rules of church art. Richard Biedrzynski wanted to avoid being buried in insoluble matters but only created a story showing the efficiency of the system which situated aesthetic values alongside cognitive and moral ones. The problem was that also this system created insoluble tensions and brought a lack of consent to the full separation of art from cognition and ethical issues. The author’s narrative, however, did not develop into a possible attempt to breach the coherence of the Kantian doctrine and turned into simple procedures for validating the earlier assumptions. The conclusions of the discussion of selected interpretations lead to the reflection on the impossibility of capturing the decisive statements about the chapel. Contrasting views of different authors were, after all, supported by satisfactory arguments, and cannot be dismissed even when they are mutually exclusive. However, there is a growing concern that the adopted and in a sense external point of describing selected accounts of the work just contains subsequent illusions and hidden assumptions that in the course of further research should be characterized as equally uncertain, like all the previous ones.
2
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„Spór” o relację kultura–natura w dziełach architektury

89%
Dzwonkowska D.
Roczniki Kulturoznawcze
|
2023
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vol. 14
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issue 2
79-95
EN
Jan Gwalbert Pawlikowski and Le Corbusier attempted to define how works of architecture, and more specifically ideal houses, should look like. The former saw them as houses created in harmony with the natural surroundings of the buildings as an expression of the protection of local culture, the so-called “peculiar features of the native land”. This concept reflects a respect for nature and a view of culture as inspired by the natural world. Le Corbusier, on the other hand, perceives nature purely utilitarian, it can become an element of “machines for living”, i.e., ideal houses. Nevertheless, its function is purely utilitarian, it is nothing more than a pleasant background for a human relaxation zone. The house should first and foremost serve human being with its functionality and usefulness. Its decorative sphere is of no importance, what matters in architecture is to create the best place to live. The article presents the axiological background for the differences in the perception of architectural creations by the two thinkers.
PL
Jan Gwalbert Pawlikowski oraz Le Corbusier próbowali określić, jak powinny wyglądać wytwory architektury, a dokładniej idealne domy. Pierwszy z nich widział je w domach stworzonych w zgodzie z naturalnym otoczeniem, co było wyrazem ochrony kultury lokalnej, tzw. swoistych rysów ziemi ojczystej. Koncepcja ta odzwierciedla szacunek wobec przyrody oraz postrzeganie kultury jako czerpiącej inspirację ze świata naturalnego. Z kolei Le Corbusier postrzega przyrodę czysto użytkowo, może ona stać się elementem „maszyn do mieszkania”, tj. idealnych domów. Niemniej jej funkcja jest czysto użytkowa, nie jest ona niczym więcej jak przyjemnym dla człowieka tłem dla strefy relaksu. Dom powinien przede wszystkim służyć człowiekowi swoją funkcjonalnością i użytecznością. Jego dekoracyjna sfera nie ma żadnego znaczenia, w architekturze liczy się tylko to, aby stworzyć najlepsze miejsce do mieszkania. Artykuł przedstawia tło aksjologiczne dla różnic w postrzeganiu tworów architektury u obu myślicieli.
3
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Built Around a Tree: Odysseus’s Thalamos and Le Corbusier’s Pavillon de L’Esprit Nouveau

88%
Świtek G.
Ikonotheka
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2015
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vol. 25
87-110
EN
The paper presents some comments on Homer’s ekphrasis of Odysseus’s thalamos, as presented in Book 23 of the Odyssey, and Le Corbusier’s Pavillon de L’Esprit Nouveau which was built for the 1925 Exposition Internationale des Arts Décoratifs et Industriels Modernes and held in Paris. Both works imply a specifi c architectural situation of designing a domestic space around a growing tree. The architectural nature of Odysseus’s thalamos (his and Penelope’s nuptial bed and the bedchamber built around an olive tree in the palace of Ithaca) is revealed, for example, in the interpretation of the daidalon, i.e. the epithet that Homer uses in his ekphrasis which is associated with the name of Daedalus, the fi rst mythical architect. Le Corbusier’s pavilion, which included a tree in its garden terrace, is seen not only as a standardised unit of immeubles-villas, but also as a “paradigmatic” situation of designing a dwelling or a breathing space around a tree.
4
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From Bauhaus to Our House: Tom Wolfe contra modernist architecture

88%
Karczewska A. M.
Świat i Słowo
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2020
|
vol. 34(1)
211-230
EN
In his 1981 book-length essay From Bauhaus To Our House, Tom Wolfe not only presents a compact history of modernist architecture, devoting the pages to masters such as Le Corbusier, Walter Gropius or Ludwig Mies van der Rohe but also frontally attacks modern architecture and complains that a small group of architects took over control of people’s aesthetic choices. According to Wolfe, modern buildings wrought destruction on American cities, sweeping away their vitality and diversity in favour of the pure, abstract order of towers in a row. Modernist architects, on the other hand, saw the austere buildings of concrete, glass and steel as signposts of a new age, as the physical shelter for a new, utopian society. This article attempts to analyse Tom Wolfe’s selected criticisms of the modernist architecture presented in From Bauhaus to Our House. In order to understand Wolfe’s discontent with modernist architecture’s basic tenets of economic, social, and political conditions that prompted architects to pursue a modernist approach to design will be discussed.
5
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Poręczne obrazy, wymowne przedmioty. Retoryka rzeczowości w „L'Esprit Nouveau” Ozenfanta i Le Corbusiera

75%
Rejniak-Majewska A.
Artium Quaestiones
|
2018
|
issue 29
91-119
PL
The paper is an attempt to draw the reader’s attention to visual reproduction as an element of modern artistic discourses and a medium of the mediated reception of art. An instrumental approach to reproduction as a neutral and ancillary vehicle of meaning, prevalent in the age of modernism, corresponded to the belief in its information efficacy and ability to overcome material, physical limitations. What mattered most were not the material, physical aspects of the existence and circulation of images, even though the avant-garde artists of the 1920s, using contemporary technology, were aware how important the medium’s and its distribution range’s “impact” was. L’Esprit Nouveau, a periodical edited in 1920-1925 by Amédée Ozenfant and Le Corbusier, was an example of a successful avant-garde strategy which let both editors, marginal in the field of art, achieve the status of “leaders” of the modernist movement, recognized or at least carefully watched by artists and critics abroad. Next to other factors, important was the visual aspect of the magazine, praised for many impressive, modern illustrations, often reproduced in other avant-garde publications. The author analyzes visual resources used and reproduced in L’Esprit Nouveau, referring to the postulates of “objectivism” and “thingness”, endorsed by the periodical, and considering the part that “ready-made” images, found in the daily press and commercial catalogues as well as on postcards. played in Le Corbusier’s polemical and programmatic texts. Their strongly persuasive message was often rooted in montage and quotations which stressed its heterogeneity. In terms of composition and aesthetics, the reproduced images supported the aesthetics of transparency, order, and thingness, so characteristic of L’Esprit Nouveau. The emblems of modernity emerged from the movement of anonymous images which acquired the value of symbols.    Ozenfant’s and Le Corbusier’s use of images borrowed from popular culture, as well as from albums and art books, makes one consider not only their rhetorical effectiveness, but also their role in the creative process and thinking. In Le Corbusier’s artistic practice, those easily available, miniaturized images were a common instrument enhancing his visual, aesthetic approach. Such an approach, according to Georg Simmel, seems to be characteristic of the modernist attitude to the material world that consisted in subjective distance combined with the apparently opposite desire to “go back to things” by making them more concrete and closer to the senses.  
6
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From Bauhaus to Our House: Tom Wolfe contra modernist architecture

71%
Karczewska A. M.
Świat i Słowo
|
2020
|
vol. 34
|
issue 1
211-232
EN
In his 1981 book-length essay From Bauhaus To Our House, Tom Wolfe not only presents a compact history of modernist architecture, devoting the pages to masters such as Le Corbusier, Walter Gropius or Ludwig Mies van der Rohe but also frontally attacks modern architecture and complains that a small group of architects took over control of people’s aesthetic choices. According to Wolfe, modern buildings wrought destruction on American cities, sweeping away their vitality and diversity in favour of the pure, abstract order of towers in a row. Modernist architects, on the other hand, saw the austere buildings of concrete, glass and steel as signposts of a new age, as the physical shelter for a new, utopian society. This article attempts to analyse Tom Wolfe’s selected criticisms of the modernist architecture presented in From Bauhaus to Our House. In order to understand Wolfe’s discontent with modernist architecture’s basic tenets of economic, social, and political conditions that prompted architects to pursue a modernist approach to design will be discussed.
7
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Manhattan – niekończący się dialog. Przegląd wybranych wysokościowców na Manhattanie w kontekście wizji miasta idealnego Franka Lloyda Wrighta i Le Corbusiera

71%
Banasik-Petri K.
Państwo i Społeczeństwo
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2018
|
issue 2
137-145
EN
The ideological dialogue between the two crucial representatives of the world architecture: Frank Lloyd Wright and Le Corbusier, drawn on the basis of lectures they conducted in the 1930s in the United States on the specifics of the skyscraper and the vision of the city becomes an introduction to the presentation of selected realizations built in Manhattan throughout the last decade. The evolution and diversity of tower structures in Manhattan confirms that this type of building is currently the basic unit of highly urbanized urban development and sets trends for the development of highly developed cities. Disputes and discussions about its shape evoke similar emotions as in the case of the mentioned architects.
PL
Dialog ideowy kluczowych przedstawicieli światowej architektury: Franka Lloyda Wrighta i Le Corbusiera, nakreślony na podstawie wykładów, jakie przeprowadzili w latach 30. XX wieku w Stanach Zjednoczonych na temat specyfiki wieżowca i wizji miasta, jest pretekstem do prezentacji wybranych realizacji powstałych w ostatnim dziesięcioleciu na Manhattanie. Ewolucja i różnorodność form struktur wieżowych na Manhattanie potwierdza, że ten rodzaj budynku jest obecnie podstawową jednostką zabudowy miast wysoce zurbanizowanych oraz wyznacza tendencje do zabudowy wysokorozwiniętych miast. Spory i dyskusje na temat jego kształtu budzą podobne emocje, jak w przypadku wspominanych architektów.
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