Search results - CEJSH

1

Wewnętrzne drogi przez budynek – architektura i sfera emocji

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Nyka L.

Estetyka i Krytyka

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2012

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issue 1(24)

113-133

XX

From the architectural tendencies and styles of the last decades new phenomena are emerging – buildings are not designed on a basis of formal transformations but rather as intricate arrangements of interior pathways. Simultaneously, there is a noticeable pursuit towards achieving specific quality of architecture – where it does not remain neutral, exerts an impact on the observer and evokes emotions. The article explores the two above mentioned tendencies as mutually interrelated. It discusses their origins and reveals that while outlining the important characteristics of the contemporary architecture they arise from early modern concepts. Today’s abysmal foyers where different species of ramps and trajectories let the observer go through space and experience various environments are the continuation of the aesthetic and architectural ideas that evolved in the beginning of twentieth century. The currently ongoing process in which buildings are trespassing the characteristics of stable structures and rather refer to imaginative geographies and landscapes is one of the immediate effects of that continuation. While deeply imbedded in history – it also opens architecture to new spheres of explorations.

2

Architektoniczna moda

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Mazur R.

MAZOWSZE Studia Regionalne

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2016

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issue 19

109-116

PL

Artykuł stanowi refleksję na temat mody w architekturze. Począwszy od jej zdefiniowania, przedstawiony został ambiwalentny charakter tego zjawiska, które towarzyszy procesowi projektowemu od początku cywilizacji. Na przykładach z ostatnich dziesięcioleci moda zostaje pokazana jako element wzbogacający rozwój architektury oraz jako element, który nierzadko przejmuje kontrolę nad wyobraźnią architektów.

EN

The article is a reflection on fashion in architecture. It is a presentation of an ambivalent nature of this phenomenon, which accompanies the design process since the beginning of the civilization. For examples of recent decades, the fashion is shown as an enrichment development of architecture and as an element that often takes control of imagination of the architects.

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Gmach Urzędu Wojewódzkiego i Sejmu Śląskiego w Katowicach. Architektura narodowa w formie i treści

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Syska A., Woźniakowska A.

Estetyka i Krytyka

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2012

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issue 2(25)

163-182

XX

The political consequences of the 2nd World War resulted in part of Upper Silesia being taken over by the Polish administration. It required a new building to house the provincial administration office and the Silesian Assembly. The architects from Cracov designed a building of monumental mass decorated with symbols of nationality and the power of state. The building of the Office was to become a landmark of the new Silesian province and a clear sign of its national status and historical background.

4

Considerations on the Origin of Monumental Architecture in Egypt

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Lipińska J.

Rocznik Orientalistyczny

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vol. Rocznik Orientalistyczny, T. 41, Z. 2 (1980)

5

Architect Marko Vidaković, the Zagreb exhibition of Contemporary Czechoslovakia architecture (1928)

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Damjanović D.

Umění (Art)

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2015

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vol. LXIII

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issue 1-2

79-91

EN

Czech modern architecture exerted a considerable influence on Croatia owing to the work that Czech architects did in Croatia (e.g. the construction of the Bata factory in Borovo), and more importantly to the many Croatian and Yugoslav architects who studied at the Technical University in Prague. Marko Vidaković (Golubinci, 18 July 1890 - Zagreb, 5 January 1976) was one of the most important such architects. After attending the Vienna University of Technology for a year (1909-10), Vidaković studied intermittently at the Czech Technical University (Česká vysoká škola technická) in Prague from 1910 to 1919. He played a key role in the emergence of modern architecture in Croatia by organising Czechoslovakian Contemporary Architecture exhibition in Zagreb (17 March - 1 April 1928), which he did with the help of Zdenĕk Wirth from the Czechoslovak Ministry of Schools and Public Education. Soon after the exhibition, Vidaković designed and built one of the first buildings designed in the international style in Zagreb, a villa owned by Ljudevit Pfeffermann and located at 27a Jurjevska Street (1928-1929). This and his later architectural designs (such as a never built design for the 1931 pavilion at the Zagreb Fair) show the influences of Czech architectural work. Although the Pfefferman Villa was his last built project, the unrealised designs he created for various buildings and structures in Zagreb (tram stop shelters, 1930; an art pavilion, 1930) provide clear evidence of the great talent of this architect, who adopted the vocabulary of modern architecture. He also played a major role in helping to spread the international style in Croatia and Yugoslavia through his many writings, which were published in the Ljubljana-based magazine Architecture and in daily newspapers in Zagreb and Belgrade. During the Second World War he actively participated in campaigns to save Serbian children in the pro-fascist Independent State of Croatia.

6

Architektura v regionech: metoda, hodnocení a topografický impuls

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Rampley M., Pastýříková L.

Umění (Art)

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2022

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vol. 70

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issue 1

92-105

EN

This article is a historiographical reflection on a tradition within Czech art and architectural history. Specifically, it is an analysis of the tradition of local architectural history. It argues that this tradition is without parallel in international scholarship, in terms of the volume of publications written by trained scholars about the architectural of regional towns, cities and regions. On the one hand, it argues that this is a highly welcome phenomenon, since it contradicts the focus on the metropolis that so often dominates scholarship on the history of architecture. At the same time, however, it argues that this large literature suffers a systemic weakness, in that little goes beyond topographic documentation of buildings and sites. This ‘topographic impulse,’ as the article terms it, is a product of nineteenth-century positivism, and suffers the same shortcomings, namely, the lack of a critical conceptual apparatus that can enable it to make judgements about architectural significance. The culmination of this can be seen in the production of vast scholarly works of architectural history that may seem out of proportion to the significance of their subject. Or, to put it in a different, vast scholarly works in which the significance of the subject is never spelled out. The article thus concludes by emphasising the hermeneutic inter-dependence of the individual building / structure and wider historical, social, cultural or political frameworks.

CS

Tento článek je historiografickou reflexí jisté tradice českých dějin umění a architektury. Zaměřuje se obzvláště na analýzu tradice lokálních dějin architektury, jež v mezinárodním měřítku nemá obdoby, pokud jde o množství publikací o dějinách architektury krajských měst, městeček a regionů napsaných kvalifikovanými badateli. Uznává, že jde o velmi vítaný jev, protože tvoří protiklad k převažující koncentraci vědeckého výzkumu dějin architektury na metropoli. Zároveň však tvrdí, že tato rozsáhlá literatura trpí systémovým nedostatkem, neboť jen málokdy přesahuje úroveň topografické dokumentace staveb a lokalit. Tento „topografický impuls“, jak jej článek pojmenovává, je produktem pozitivismu 19. století a má i stejné nedostatky. Postrádá především kritický pojmový aparát, který by umožnil posuzovat architektonický význam. Za vyvrcholení této tendence lze pokládat produkci rozsáhlých vědeckých prací z dějin architektury, které se jeví neúměrné k významu jejich předmětu. Anebo jinak řečeno, obsáhlé vědecké publikace, v nichž význam tohoto předmětu nikdy není objasněn. V závěru článku je pak zdůrazněna hermeneutická provázanost jednotlivých budov/staveb a širších historických, sociálních, kulturních nebo politických rámců.

7

Contemporary architect’s self-education on the issues concerning architecture history. Selected problems

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CHRZANOWSKA O.

Interdyscyplinarne Konteksty Pedagogiki Specjalnej

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2019

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issue 25

403-417

EN

Olga Chrzanowska, Contemporary architect’s self-education on the issues concerning architecture history. Selected problems. Interdisciplinary Contexts of Special Pedagogy, no. 25, Poznań 2019. Pp. 403-417. Adam Mickiewicz University Press. ISSN 2300-391X. DOI: https://doi.org/10.14746/ikps.2019.25.17 The aim of this text is to describe the risks faced by contemporary architects when undertaking to learn, either directly or indirectly, about architecture in the era of the Internet and mass consumption of culture. The role of architect’s self-education on the issues concerning architecture history and aesthetic empathy theory in the context of everyday architectural landscapes. As an example, the historical foundations for the thinking on modernity in designs of the three architects: Peter Zumthor, Christian de Portzamparc and David Chipperfield

8

„Święte życie” na Lizbońskiej. Architektura i sacrum w poezji Mirona Białoszewskiego

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Grądziel-Wójcik J.

Poznańskie Spotkania Językoznawcze

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2015

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issue 30

EN

The article presents the late authorship of Miron Białoszewski, especially his poems collected in the book Odczepić się (1978) and a diary Chamowo (2009) that are a document of the poet’s life in the block of flats after his removal to the flat in a tower block at the Lizbońska Street in Warsaw in 1975. In these texts we may notice the new way of writing that was formed by new accommodation and living arrangement that influenced the poets’ life. On the other hand the room on the ninth floor occurs the place that was marked with sacrum and it puts an impact on the poets’ metaphysical and supernatural experience. The flat in the tower block has also influenced the author’s perspective and the way of writing, so that Białoszewski has experienced terminal situation – being between the two forms of living, balancing between the earth and heaven, profanum and sacrum. The removal starts to resemble a ferry across Styx, and the ninth floor becomes an unwanted porch of eternity. The titled word odczepianie się (disconnecting, separating) from the past and being at the top of the tower block means the new beginning for the poet, and writing becomes an imitation of the God’s act of creation that helps Białoszewski to accommodate in the world after heart attack and removal.

9

Kościół p.w. św. Teresy od Dzieciątka Jezus w Białowieży - ideologiczne uzasadnienie budowy

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Łopatecki K.

Biuletyn Historii Sztuki

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2009

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vol. 71

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issue 3

369-387

EN

In 1888, possession of the Białowieża Forest passe into the hands of the tsarist rogal family. The Forest was frequently visited by the Romanovs and thus became an important place on the map of the Russian Empire, retaining at the same time it a specific quality as an wrea where two cultures and Christian denominations merge with each other. Raised from as early as 1889 onwards, the palace and Russian Orthodox church were to prove the exterior expressions of this human feature. This text concerns the history of the church of St. Teresa of Jesus the Christchild at Białowieża and the ideological reasoning behind its construction. The main building had gone up by 1931. Ceremonial consecration was carried out on 16th October 1935 by archbishop Romuald Jałbrzykowski.

10

„Flânerie”, cielesność i film W music-hallu. Georges Méliès w świecie modernistycznych przyjemności miejskich

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Tralongo S.

Kwartalnik Filmowy

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2017

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issue 99 Triki, numery specjalne, atrakcje

31-42

PL

Artykuł stanowi propozycję namysłu nad „rozbitą przestrzenią” music-hallu, rozpatrywaną jako przykład nowej przestrzeni miejskiej, w której na początku XX w. kino jest przedmiotem regularnej konsumpcji w warunkach podobnych do tych, w jakich zachodzi praktyka flânerie. Starając się przywrócić kino architekturze „przechodniej”, jaką kreuje music-hall, autor bada ideę mobilności widzów, wychodząc od tych sposobów zajmowania przestrzeni i korzystania z niej, które podkreślają rolę widzenia i patrzenia (la vision), przechadzania się bez celu i konsumpcji. Okazuje się, że analizowane pod tym kątem filmy Georges’a Mélièsa, jak i te z udziałem Harry’ego Houdiniego, zajmują centralne miejsce w układzie atrakcji zmierzających do ponownego rozbudzenia w widzach strachu przed wypadkiem, a w szczególności przed „kolizją” między tym, co żywe, a tym, co mechaniczne, w przestrzeni, która – jak się wydaje – chroni publiczność przed zagrożeniami bulwarów.

EN

The article deals with the notion of “broken space” in music-hall, analysed as an example of new urban space, in which, in the beginning of the 20th century, cinema is an object of regular consumption under conditions similar to these in which the practice of flânerie takes place. Trying to restore cinema to the “transient” architecture that music-hall creates, the author explores the idea of audience mobility, starting from the ways in which space is occupied and used, which emphasize the role of seeing and looking (la vision), and aimless wandering without consumption. It turns out that the films by George Méliès and those with the participation of Harry Houdini analysed from this angle, take central place in the constellation of attractions aiming at re-awakening the fear of an accident among the spectators, especially between that which is alive and the mechanical, in space, which it would appear, protects the public from the dangers of the boulevards.

11

Przestrzeń zurbanizowana jako miejsce architektonicznego dialogu

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Taraszkiewicz A.

Studia komitetu przestrzennego zagospodarowania kraju PAN

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2018

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vol. 192

396-406

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"Mosty do minulosti": specifika architektury českých Němců a její inspirační zdroje na příkladu severních Čech

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Zeman J.

Umění (Art)

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2021

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vol. 69

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issue 1

2-22

EN

In the mid-nineteenth century the north Bohemian industrial region, settled by a mainly German-speaking population, experienced exceptional urban and demographic growth. Its characteristic feature was rapid urban development which went hand in hand with an urge to build. In this way an impressive conglomeration of coexisting industrial areas emerged: stately villas, grandiose public buildings, delightful garden quarters and small town housing that created a distinctive genius loci for the place. The border region had long been a busy crossroads of culture, history and ideology, where Czechs, Germans and Jews mixed together and influenced each other. It thus reflected the complex ethnic relationships on the territory of what is today the Czech Republic. This wealthy, heavily populated region with a continuous belt of industrially developed agglomerations formed the economic backbone of Bohemia, Moravia and Silesia. Industry became an inseparable part of the identity of these towns, shaped not only by local architects but also by foreign studios and creators whose names were wellknown, operating in the adjacent German regions. A more or less independent north Bohemian architectural scene emerged with Ústí nad Labem and Liberec especially as its partial centres, a certain fragmentation given by the mixing of varied, often conflicting, tendencies being typical. This paper focuses on the architecture of the Bohemian Germans which created a natural counterpart to the architecture of the Czech majority. Its aim is to analyse in more detail the architectural product of northern Bohemia while laying emphasis on the stylistic starting points and theoretical background, including the concept of ‘style’ which did not lose its topicality even during the period between the wars which forms the focus of this study. Attention is similarly focused on the relationship between the clients and the architects and the financial and personal ties with another country which played a relatively significant role. The paper is a contribution to the revision of the still prevailing opinion that the buildings in the border areas are peripheral and not very inventive.

CS

Severočeská průmyslová oblast, osídlená především německým obyvatelstvem, prošla od poloviny 19. století nebývalým urbanistickým a demografickým růstem. Charakteristickým znakem je překotný urbanistický rozvoj, který šel ruku v ruce se stavebním kvasem. Tím vznikla působivá skrumáž koexistujících průmyslových areálů, honosných vil, pompézních veřejných budov, velkorysých zahradních čtvrtí a maloměstské zástavby, vytvářející zdejšího svérázného genia loci. Pohraniční oblasti byly již odedávna rušnou křižovatku kultur, dějin a ideologií, v níž se mísili a ovlivňovali Češi, Němci a Židé. Odráží tak složité etnické vztahy na území dnešní České republiky. Bohatý, hustě osídlený region se souvislým pásem průmyslově rozvinutých aglomerací tvořil hospodářskou páteř Čech, Moravy a Slezska. Průmysl se stal nedílnou součástí identity zdejších měst, jejichž podobu kromě místních architektů, formovaly zahraniční ateliéry a tvůrci zvučných jmen, působící v přilehlých německých oblastech. Vznikla tak víceméně samostatná severočeská architektonická scéna s dílčími centry zejména v Ústí nad Labem a Liberci, pro kterou je příznačná jistá roztříštěnost daná mísením různorodých, často protichůdných směrů. Text se zaměřuje na architekturu českých Němců, která tvořila přirozený protipól architektuře české majority. Cílem je detailnější rozbor architektonické produkce severních Čech, přitom důraz je kladen rovněž na stylová východiska a teoretické pozadí včetně pojmu „styl“, který neztratil na aktuálnosti ani v meziválečném období, jež tvoří těžiště této studie. Pozornost je věnována rovněž vztahu objednavatelů a architektů a jejich finančních a osobních vazeb k zahraničním oblastem, které hrály poměrně významnou roli. Příspěvek se pokouší přispět k revizi stále převládajícího názoru na stavební produkci v pohraničních oblastech jako na periferní a nepříliš invenční.

13

Turning “Polish Boxes into German Houses”: On the Transformations of Architecture in Poland during the Second World War as Exemplified by the Changing Design of the Zajdensznir Tenement in Radom

80%

Frejtag J.

Ikonotheka

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2018

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vol. 28

97-120

EN

The issue of construction projects conducted by the Germans in occupied Poland is researched with increasing frequency by both historians and historians of architecture. One of the reasons for this is certainly the exceptional role of the works of architecture as historical documents that constitute a tangible reflection of the historical moment in which they were constructed. When viewed from this perspective, the case of one of Radom tenements acquires an almost symbolic significance. The Functionalist building was designed by the Lvov engineer Artur Haskler for Mr Hersz Zajdensznir and his wife, Róża; its construction began shortly before the outbreak of the Second World War. It was intended to compete one quarter of the most prestigious sections of Radom’s city centre. The works were interrupted after the Nazi Germany invaded Poland. Both the architect and the owners of the tenement were Jews, which radically altered their position. The fate of Mr and Mrs Zajdensznir remains unknown. Haskler, who had been involved in the construction of the telecommunication network, which had begun in 1939 and was still unfinished, was allowed to stay outside the ghetto until the completion of the relevant works. In addition, he was ordered to alter the design of the Zajdensznir house, which was already under construction, so that it could be used as quarters for the staff of the German Postal Services East. The architect entirely changed the concept for his design. The original Functionalist form, representing a type of architecture not condoned by the Nazi authorities, was altered in keeping with the principles of Heimatschutzarchitektur; the building acquired a much more conservative form inspired by traditional architecture. The arrangement of the interiors was altered as well, attesting to the fact that Haskler had familiarised himself with the German norms regarding residential construction. The residence of the staff of the German Postal Services East, together with other edifices built in Radom by the Germans during the Second World War, as well as the very history of its construction, constitute a telling testimony to the history of the era. In the context of the urban design of Radom’s city centre, these edifices are valuable as historical monuments and they certainly enhance it as an original urban structure with successive morphogenetic units discernible with remarkable clarity.

14

Architektura a státní bytová politika v letech třetí Československé republiky (1945-1948):

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Dvořáková D.

Umění (Art)

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2019

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vol. 67

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issue 4

304-319

EN

The phase of the people s democratic republic (1945-1948) was a period during which representatives of the Czech architectural community filled important posts in state administration and со-determined the preparations and process of postwar redevelopment. Their long-term concept of social reformation based on the idea of surpassing liberal capitalism corresponded with the objectives of the postwar welfare state. Architects were chiefly active in the field of housing reconstruction that was among the social policy priorities of the first government of Klement Gottwald. The leading initiators of postwar renewal — the radically Leftist architects Jiří Štursa, Karel Janů, Jiří Voženílek and Oldřich Stibor — participated in the designing of the generously proportioned standard of the so-called Two-Year Plan Flat and contributed to formulating the principles of economization in the new construction programme via building standardization. During the preparations of the two-year economic plan, i.e. still before the February 1948 coup d etat, they reckoned with the industrialization of the construction process and with government-controlled construction performed through collective campaigns. The theoretical preparations were to materialize in the form of a new type of urban housing developments, so-called Two Year Plan Housing Estates. However, due to time pressure and the disparate economic system where architectural studios, building companies and building materials producers were still in private hands, this early plan of standardization and industrialization of architecture failed.

CS

Etapa lidově demokratické republiky (1945–1948) představuje období, během něhož se zástupcům české architektonické obce podařilo obsadit vlivné pozice ve státní správě a spoluurčit tak přípravy i průběh poválečné stavební obnovy. Jejich dlouhodobý společensko-reformní koncept, založený na představě překonání liberálního kapitalismu, korespondoval s cíli poválečného socializujícího státu. Architekti se uplatnili především v oblasti plánování bytové výstavby, jež patřila k prioritám sociální politiky první vlády Klementa Gottwalda. Hlavní iniciátoři poválečného stavebního vývoje, radikálně levicově orientovaní architekti Jiří Štursa, Karel Janů, Jiří Voženílek a Oldřich Stibor, participovali na tvorbě štědře dimenzovaného standardu dvouletkového bytu a podíleli se na formulaci zásad zhospodárnění nové výstavby prostřednictvím typizace staveb. Během přípravy dvouletého hospodářského plánu, tzn. ještě před únorem 1948, kalkulovali s industrializací stavebního procesu a státem kontrolovanou výstavbou prováděnou hromadnými akcemi. Zhmotněním teoretických příprav se měl stát nový typ městských obytných souborů, tzv. dvouletková sídliště. V časové tísni, kvůli smíšenému hospodářskému systému, kdy stále převládaly soukromé architektonické ateliéry, stavební firmy i výrobny stavebnin, však tento raný plán typizace a zprůmyslnění architektury ztroskotal.

15

Miasto w stanie płynnym. Filmowa analiza „papierowej architektury” na przykładzie „Instant City” (1968) Petera Cooka i Rona Herrona oraz „Teorii wszystkiego” (2013) Terry’ego Gilliama

80%

Stasiowski M.

Kwartalnik Filmowy

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2020

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issue 109 Przestrzeń architektoniczna w filmie

159-176

PL

Wprowadzenie mediów bazujących na przebiegu czasowym na etapie projektowym wiązało się z nowym rozumieniem przestrzeni reprezentowanej i architektonicznej jako tworu dynamicznego i poniekąd zdematerializowanego. Projekty architektoniczne nieprzeznaczone do wybudowania zawsze wiązały się ze specyfiką medium/nośnika. Nieraz ich radykalna estetyka łączyła tradycyjne metody notacji ze współczesnymi prądami w sztuce, jak pop-art w przypadku prac Archigramu. Kino jest kolejnym gruntem, na którym mogą być realizowane tego typu eksperymenty myślowe. Przypadek Instant City jest w historii „papierowej architektury” szczególny, gdyż antycypuje miejskie życie w czasach Web 2.0, z kolei Teoria wszystkiego Terry’ego Gilliama dobitniej uwypukla bezradność urbanistycznej armatury w nadążaniu za zmianami. W swym artykule autor koncentruje się na najbardziej medialnym aspekcie prowadzonej przez dekady polemiki, czyli fasadach medialnych, ikoniczności, immersji w środowiska wirtualne, responsywnych skórach budynków, spekulując na temat granicy między architekturą a wydarzeniem. [artykuł opublikowany w języku angielskim jako: Built as Rain. Film Analysis of Unbuildable Architectural Speculations – a Case Study of „Instant City” (dir. Peter Cook and Ron Herron, 1968) and „The Zero Theorem” (dir. Terry Gilliam, 2013)]

EN

The introduction of time-based media into the design stage opened up a new understanding of architectural and represented space as a dematerialized, dynamic, and user-dependent concept. Unbuildable architectural projects always relied on specific techniques and media. Their radical nature usually channelled innovative artistic currents and visualization tools, like collage and pop art aesthetics in the works of Archigram. Cinema is yet another ground for such deliberations. With Instant City (Archigram’s Peter Cook and Ron Herron) and The Zero Theorem (Terry Gilliam) the problem of dematerialization is being channelled by architectural/spatial proposals that involve a range of literary tropes, cultural texts, and filmic intertexts, in order to create a rich embroidery of references that forward a new look upon architectural production as a practice of creating protocols for dynamic and all the more elusive imagery. This article’s central objective lies in the task of reframing a discussion on iconicity, media facades, and mutative building skins, so as to include modes of cinematic portrayal that are not just contents of architectural “messages”, but also their “media”.

16

The architectural traces of christianisation on Silesia in IX-X c.

80%

Małachowicz E.

Nauka

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2008

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issue 3

EN

The discovery of older buildings relics under Wrocław Cathedral in 1997 and 1998, initiated investigations of early mediaeval architecture in Silesia, which took place until the year 2007. As a result not only the processes of development of main strongholds – Niemcza and Wrocław – were examined but also the remains of hitherto unknown sanctuaries were discovered – stone churches in Niemcza and Gilów (late 9th c.), in Wrocław (early 10th c.) and on the hill of Gromnik (c. mid. – 10th c.). Three of them are similar to Moravian churches, hall like with a choir annex, and the fourth is a gable roof rotunda. Most likely these were sanctuaries of oldest slavonic rites (of Cyrillic-Methodian type). One of them, in Wrocław was rebuilt and enlarged to the cross scheme like the church in Libica (Czech) about 965 and changed into the Latin one. In this church the mission bishopric for christianisation of Silesia and south part of Poland was organised. Later, in 1000 the church became the first cathedral of Wrocław bishopric, in the new created Polish Church – Metropolis. Many discoveries were made by use of georadar.

17

The Real Colegio de San Patricio de Nobles Irlandeses of Salamanca

80%

Rupérez Almajano N., Castro Santamaría A.

Acta Comeniana (International review of Comenius studies and early modern intellectual history)

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2007

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vol. 20-21

183-200

EN

Ianua Linguarum, which was to have great infl uence on Comenius and other authors, was published in Salamanca at the beginning of the 17th century. The attribution of this work to the Jesuit William Bathe has led us to undertake the study of the Colegio de los Irlandeses, where it could have been written. The point of view taken focuses on the material nature of the building and dispenses with the more specific institutional aspects, but this does not prevent us from offering a quite broad perspective – especially as regards its economy – on what the life of this College was like from its foundation in 1592 until its move to the Jesuits’ building around 1770.

18

Silent hero. The metaphorical role of the ruins of Warsaw in Polish fiction films from 1949 to 1960

80%

Giza B.

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

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2017

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vol. 22

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issue 31

55-64

EN

The article is an analysis of the image of ruins of Warsaw in Polish feature films after World War II. There is a strong tendency to connect this image with the current political (and psychological) situation, from the enthusiasm of rebuilding Warsaw just after the war to the depressive moods of the late fifties and sixties. The ruins of the city are depicted as a symbol of political and social changes in Poland in this article.

19

Styl alpejski w środkowej Europie i polska kontrakcja wobec niego – styl zakopiański

80%

Tarnawski J.

Estetyka i Krytyka

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2012

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issue 2(25)

232-246

XX

The Swiss Style, also called the Tyrol Style and the Alpine Style, which dominated the architecture of Central European tourist towns and health resorts at the end of the19th century and at the beginning of the 20th century, spread in Jelenia Gora valley in the form of vernacular architecture, brought to Prussia from Tyrol. Peasant houses in that style were erected first near the palace and gardens of Friedrich Wilhelm III, King of Prussia in Erdmannsdorf, at the feet of the Giant Mountains. After the boom of mass tourism, new hotels, guest houses, mountain shelters and sanatoriums were built in the forms inspired by Alpine vernacular buildings. The same trend emerged in the Tatra Mountains region, whose northern part was in the Austrian partition. However, Polish artists resented the foreign new vernacularism, and created their own new vernacular style based on the native architecture of that region, called by them Zakopane Style. The leader of the movement was Stanisław Witkiewicz – John Ruskin and William Morris in one person. Since it became popular at the end of the 19th century, the style has shaped the identity of the area.

20

Jan Baptysta Dessieur - inżynier, architekt czy plenipotent hetmana Adama Mikołaja Sieniawskiego?

80%

Nestorow R.

Biuletyn Historii Sztuki

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2009

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vol. 71

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issue 3

319-360

EN

This text concerns the activities of a military architect and engineer in the service of grand crown hetman Adam Mikołaj Sieniawski. Jean-Babtiste Dessieur was initially employed by Sieniawski in 1689 at the family residence at Brzeżany now in the Western Ukraine. The earliest works carried out by Dessieur at Międzybóż, the next were Zinków, Stara Sieniawa, Satanów, Szkłów and Sieniawski’s Warsaw residence.

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