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Kościół w Różance. Historia - architektura – wystrój

100%
Uchowicz K.
Biuletyn Historii Sztuki
|
2012
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vol. 74
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issue 3-4
621-639
EN
Tracing the history of the Parish Church of SS. Apostles Peter and Paul in Różanka (Belarus) resulted in discovering and clarifying a number of previously unknown facts shedding new light on the magnate patronage in the Grand Duchy of Lithuania. The relations of the described building with the Pac family are quite obvious, noticeable at first glance as confirmed by the Gozdawa coat-of-arms impressed like a stamp under the count’s crown in the façade gable. The design to alter the Baroque church in the Neo-Gothic style by the architect Henryk Marconi, commissioned by the last heir of the locality General Ludwik Pac served as a departure point for the analysis of the architectural form of the church and its history. In the architecture of the Różanka Church inspiration in late-mediaeval Italian architecture composed on the grounds of the local building tradition with the application of innovatory materials such as Portland cement, were clearly visible. The artistic prestige of the church is additionally enhanced by furnishing elements created with the contribution of sculptors from Antonio Canova’s circle. The painterly decoration of the interior was executed in the inter-war period by the artists associated with the Wilno Society of Fine Arts.
2

Projektanci czasoprzestrzeni. Modernistyczna architektura w kadrze filmowym

100%
Uchowicz K.
Kwartalnik Filmowy
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2020
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issue 109 Przestrzeń architektoniczna w filmie
138-158
PL
Autorka omawia wybrane przykłady przenikania się architektury i filmu w dwudziestoleciu międzywojennym. Punkt wyjścia artykułu stanowi działalność grupy modernistów Praesens, zaś jego celem jest ukazanie modernizmu jako syntezy sztuk oraz interdyscyplinarnych dialogów artystycznych. Filmowo-architektoniczne związki zostały zaprezentowane z różnych perspektyw, począwszy od zaangażowania architektów w projekty scenograficzne (Szymon Syrkus, Andrzej Pronaszko), przez współpracę projektantów z reżyserami (Robert Mallet-Stevens, Marcel L’Herbier), komponowanie fotomontaży, po kształtowanie dekoracji na wzór nowoczesnych miast – i odwrotnie – projektowanie architektury na podstawie wizji scenicznych (Barbara i Stanisław Brukalscy). Relacje architektury i filmu objęły także nowy język architektoniczny, czego przykładem są stosowane przez architektów terminy zaczerpnięte z nomenklatury filmowej, takie jak „reżyseria ruchu” czy „czasoprzestrzeń”, komentowane równocześnie przez włoskiego teoretyka kina Ricciotta Canudo. Ponadto w tekście przypomniano biografie architektów, którzy po uzyskaniu dyplomu poświęcili się wyłącznie scenografii, otwierając tym samym nowe pole działalności zawodowej (Jacek Rotmil).
EN
The article discusses selected inter-war artistic projects in which architecture and film intersect. The activity of the group of modernist artists called Praesens serves as a starting point for a presentation of modernism as both a synthesis of the arts and as a space of interdisciplinary artistic dialogues. Several issues are addressed here to capture the relations between film and architecture, namely: the involvement of architects in stage design (as exemplified by Szymon Syrkus and Andrzej Pronaszko), collaboration between architects and film directors (Robert Mallet-Stevens, Marcel L’Herbier), the production of photomontages, the practice of modelling stage designs on architecture as well as designing architectural structures inspired by stage designs. Another question discussed is the new language of architecture exemplified by such terms as the design of movement or ‘spacetime’. These terms drawn from the language of the film were both commonly used by architects and widely commented on by Ricciotto Canudo, an Italian theoretician of cinema. Moreover, this paper recalls the biographies of architects who, after having graduated in architecture, devoted their lives and careers to stage design, entering a new field of artistic activity.
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