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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
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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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Funkcjonalizm w architekturze: od neolitu do wczesnego modernizmu

100%
Tarnowski J.
Estetyka i Krytyka
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2009
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issue 15-16
190-213
EN
In line with modernist historiography, functionalism was construed as the foundation of modern architecture. The exact meaning of the concept in the modernist theory of architecture, however, is unclear. If functionalism is to be understood, after Adler, Mies and Sullivan’s dictum that „form follows function,” as the outward expression of function in form and/or mere functionality, functionalism no longer appears to be restricted to modernism: functionalist buildings can be shown to have been erected in all ages from as far back as the Neolithic beginnings of architecture. The actual difference between modern and traditional architecture, therefore, is to be found not in the greater functionality of the former or in its clearer manifestation of function, but rather in form itself. Modern architecture is a radical move away from the formal tradition of classical architecture. (To be continued in Volume 18)
3
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Modernist Architecture in Illustrative Art for Children and Teenagers in the People’s Republic of Poland

88%
Friedrich J.
Ikonotheka
|
2018
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vol. 28
199-231
EN
Books and periodicals for children and teenagers constituted an important instrument of education and also social persuasion in the People’s Republic of Poland. In such publications, illustrations played a crucial role. Printed in several dozen or even several hundred thousand copies, such publications circulated among great numbers of young readers, therefore becoming a very effective medium for disseminating certain desired views. There can be no doubt that the messages directed at the youth largely reflected the opinions held by the adult section of the society: the authors and the people ordering and authorising the publication. The numerous topics presented in a form suitable for young readers included architecture. The nature of architecture-related themes was varied indeed; at times architecture (historical or contemporary) appeared in the foreground, but most often depictions of buildings served only as a visual backdrop for the narrated story. However, even presented in the background, the forms of architecture chosen by illustrators were not received indifferently by the readers, since they conveyed a certain model imagery of houses, flats, housing estates, or entire cities. Since such images were published by the thousand, a thorough analysis of the issue would not fit the spatial constraints of a single article. The aim of the text is, therefore, restricted to identifying the possibility for expanding the source material for studies on architectural culture; it focuses on a single theme, namely the methods in which publications for children and young readers issued in communist Poland presented, and often even propagated, modernist architecture. Due to the choice of the subject matter, the article mainly concentrates on the period of the post-Stalinist Thaw when modern forms gained a true monopoly in Polish architecture. The tendencies observable in architectural theory and practice at the time were reflected with considerable fidelity in publications for young audiences. Popular images included the vision of a modern metropolis with heavy pedestrian and automobile traffic, full of high-rise buildings, lit by lamps and neon lights after dark. Depictions of modernist housing estates with blocks of flats, as well as modern schools or playgrounds were equally common. The message conveyed by such imagery may easily be summarised by the title of one of the children’s rhymes analysed above, namely Nasz dom [Our home]. Both the texts and the visual depictions of the day constructed a vision in which modernist architecture became the natural habitat of contemporary people. The present article describes numerous depictions which corroborate such an interpretation of the phenomenon under analysis.
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Architektura kontrastu w historycznych miastach europejskich na przykładzie obiektów użyteczności publicznej z przełomu XX i XXI w.

75%
Malinowska A.
Studia komitetu przestrzennego zagospodarowania kraju PAN
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2018
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vol. 192
419-434
5
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Miejsca kultu z betonu i szkła. Geneza i przegląd najważniejszych tendencji w nowoczesnej architekturze sakralnej po II wojnie światowej

75%
Wiśnicka A.
Archiwa, Biblioteki i Muzea Kościelne
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2012
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vol. 98
419-426
EN
The modern church architecture appeared together with modernist trends, which were initiated by the two artistic groups- de Stijl and Bauhaus. The art of building they created was very different from what was developed by the previous epochs in the history of art. An early example of modernist church architecture was Robert F. Carr Memorial Chapel of Saint Savior designed in 1952 by Mies van der Rohe. Its simple design was the inspiration for many later buildings, such as the Church of Light designed by Tadao Ando in1988, whose striking formal asceticism set a new quality in the church architecture. Apart from the minimalist trends in church buildings, the artists are inspired by sculpture, which is indicated by such works as the Chapel Ronchamp by Le Corbusiera designed in 1954 or Wotrubakirche from 1976. The architecture current based on natural materials is represented by Alvar Aalto’s works –Santa Maria Assunta Church from 1978 and the Church of Christ the Light designed by C.W. Hartman in 2008, whereas Oscar Niemeyer’s Brazilian Cathedral from 1970 is an example of the latest technologies in the buildings of glass. The presented examples of church buildings from the 20th and 21st centuries testify to the great change which took place in the church architecture. These churches show a whole new perspective on the tradition of Christian architecture.
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Relief perspektywiczny jako technika projektowa elewacji nowożytnych. Czas baroku

63%
Ludwig B.
Architectus
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2018
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issue 3(55)
27-40
PL
Artykuł prezentuje wykorzystanie technik zapożyczonych z rzeźby – reliefu niskiego do wysokiej płaskorzeźby – w projektach architektonicznych czasu baroku. Technika reliefu perspektywicznego była wynalazkiem renesansu. Jednak wszystkie jej możliwości wyzyskali dopiero projektanci barokowi. Barokowi artyści operowali szeroką gamą nasileń cienia nadających różne wartości plam światłocieniowych i wszelkich efektów modelowania rysunku na elewacji. Śmiało łączyli techniki iluzyjne, poczynając od zastępowania architektury malarstwem, przez stosowanie iluzji optycznej, anamorfoz aż do rodzaju stałych dekoracji.
EN
The article presents the use of techniques borrowed from sculpture – bas- to high-reliefs in architectural projects in the time of Baroque. The technique of illusionistic relief was the invention of the Renaissance. However, all its possibilities were not exploited sooner than by the Baroque designers. The Baroque artists operated with a range of all intensity of shadow, creating the different values of the chiaroscuro spots and any effects of modelling drawing on the facade. They connected the illusionistic techniques, starting with replacing the architecture by painting, by use of the optical illusion, anamorphoses up to making a kind of scenographic models.
7
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Relief perspektywiczny w technice projektowej elewacji nowożytnych. Czas renesansu

63%
Ludwig B.
Architectus
|
2018
|
issue 1(53)
61-76
PL
Artykuł prezentuje wykorzystanie w projektach architektonicznych czasu renesansu technik zapożyczonych z rzeźby – od reliefu niskiego do wysokiej płaskorzeźby. Pojęcie reliefu architektonicznego (rilievo architettonico) jako metody artykulacji elewacji wprowadził do krytyki architektury Giulio Carlo Argan. Rozważając genezę terminu relief, sposób stosowania tej techniki w płaskorzeźbie renesansowej i barokowej oraz zestawiając z przemianami form architektonicznych na elewacjach budynków w czasach nowożytnych, można pokusić się o stwierdzenie, że właśnie ewolucję swoistej techniki reliefu w komponowaniu detalu architektonicznego na ścianach budynków trzeba uznać za podstawę wielu przemian architektury w tym okresie. Analizując dzieła architektury renesansowej pod kątem tej metody, można wskazać podstawowe momenty zmian, które są w większości przypadków zbieżne z przełomowymi okresami w historii architektury. W tekście starano się wykazać adekwatność takiej formy krytyki architektonicznej do opisu osiągnięć architektury nowożytnej.
EN
The article presents the use of techniques borrowed from sculpture of the Renaissance time – bas- to high-relief in architectural projects. The concept of the “architectural relief” (rilievo architettonico) as a method of articulating the facade was introduced by Giulio Carlo Argan to the critique of architecture. Considering the origins of the term relief, the use of this technique in the Renaissance and Baroque and comparing it to the changes in architectural forms in the facades of buildings in the modern ages, we may conclude, that the evolution of specific relief techniques in composing the architectural detail on the walls of the buildings can be considered as the basis for many of the changes in the architecture of that time. By analyzing the works of the Renaissance which used this method for architecture we can indicate the basic moments of changes, which in most cases coincide with the crucial periods in the history of architecture. In the text it was endeavoured to demonstrate the adequacy of such a form of architectural criticism to describe the achievements of the modern architecture.
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Traktat architektoniczny Bohdana Lacherta: summa mitów awangardy czy zapis doświadczeń?

51%
Wąs C.
Acta Universitatis Lodziensis. Folia Philosophica. Ethica – Aesthetica – Practica
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2020
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issue 35
97-112
EN
Bohdan Lachert’s architectural treatise is a summary of the attitudes manifested in the environment of architects of the avant-garde modernist trend in Poland. In the pre-war period, Lachert  belonged to the group of the most outstanding initiators of modern architecture and experts in the theory of modern art. He cultivated his creativity by displaying strong emotional commitment, which he considered a decisive factor in architectural work. In the post-war period, he encountered restrictions in his activities resulting from the doctrine of socialist realism. At the end of the 1950s, he decided to write down his beliefs taking into account contemporary historiography and philosophy. The prepared treatise did not play a major role in the history of Polish architecture due to the small role of independent architectural attitudes in the political system of real socialism. The current publication of the treatise makes it possible to see in it not only a document of two past eras, but also a work that contains elements coinciding with contemporary intellectual trends.
PL
Traktat architektoniczny Bohdana Lacherta jest podsumowaniem postaw przejawianych w środowisku architektów nurtu awangardowego modernizmu w Polsce. Architekt należał w okresie przedwojennym do grupy najwybitniejszych inicjatorów nowoczesnej architektury i znawców teorii sztuki nowoczesnej. Swoją twórczość uprawiał, przejawiając silne zaangażowanie emocjonalne, które uważał za decydujący czynnik dzieła architektonicznego. W okresie powojennym napotkał ograniczenia w swej działalności wynikające z doktryny socrealizmu. W końcu lat pięćdziesiątych XX wieku postanowił spisać swoje przekonania, uwzględniając ówczesną historiografię i filozofię. Sporządzony traktat nie odegrał dużej roli w dziejach polskiej architektury ze względu na małą rolę niezależnych postaw architektonicznych w systemie politycznym realnego socjalizmu. Obecna publikacja traktatu pozwala dostrzec w nim nie tylko dokument dwóch minionych epok, lecz także dzieło, które zawiera elementy zbieżne ze współczesnymi trendami intelektualnymi.
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Kaplica św. Małgorzaty w Krakowie- stan badań

45%
Jasińska D.
Nasza Przeszłość. Studia z dziejów Kościoła i kultury katolickiej w Polsce
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2017
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vol. 128
155-185
PL
Kaplica św. Małgorzaty na Zwierzyńcu jest jedną z nielicznych świątyń drewnianych zachowanych na terenie Krakowa, a ponadto wyróżnia się oktogonalnym kształtem, rzadko spotykanym w budowlach drewnianych. Mimo tego nie doczekała się dotąd wnikliwej monografii historycznej, uwzględniającej okoliczności jej budowy, późniejsze losy, a także wyjaśnienie kwestii jej funkcji i powiązanej z nią wymowy ideowej. Przynajmniej od końca XVI wieku była miejscem silnego kultu św. Małgorzaty, żyjącej na przełomie III i IV wieku w Antiochii Pizydyjskiej. Wierni nawiedzający ją w dniu patronalnym św. Małgorzaty mogli uzyskać odpust zupełny (nadany przez papieża Innocentego XIII, Benedykta XIV, Piusa VI). Kaplica jest jedynym przykładem świątyni pod tym wezwaniem, na terenie Małopolski, nawiązującej swym kształtem do katedry w Montefiascone, będącej już od wczesnego średniowiecza głównym miejscem kultu świętej Małgorzaty. Montefiascone była znana polskim pielgrzymom gdyż położona jest przy głównym szlaku podróżnym prowadzącym z Polski do Rzymu, ponadto w bliskim sąsiedztwie miejscowości Bolsena, powszechnie znanej i nawiedzanej przez pielgrzymów od XII wieku ze względu na cud Eucharystyczny który miał miejsce w 1263 roku, oraz przy Via Francigena, jednym z najdłuższych europejskich szlaków pielgrzymkowych prowadzącym z Canterbury w Anglii do grobu św. Piotra w Rzymie. Dodatkowo tradycja klasztorna wiąże kaplicę z pochówkami epidemicznymi. Z zachowanych zapisków wizytacyjnych biskupów krakowskich wynika, że już pod koniec XVI wieku stała pośrodku cmentarza. Odwołując się do Instructiones fabricae et supellectilos ecclesiasticae Karola Boromeusza oraz przedsięwzięć budowlanych tego hierarchy, jak i innych przykładów świątyń centralnych wznoszonych na cmentarzach Europy Środkowej w XVII, tak jak kaplica p.w. św. Archanioła Gabriela na cmentarzu św. Sebastiana w Salzburgu wzniesiona z fundacji tamtejszego arcybiskupa Wolfa Dietricha von Raitenaua, można również powiązać ją z pełnioną przez nią funkcją kaplicy cmentarnej. Usytuowanie na wzgórzu nad miastem a także na trasie procesji pasyjnych organi-zowanych przez Bractwo Męki Pańskiej czyni z niej swoisty odpowiednik Świątyni Grobu Bożego wznoszącej się nad Jerozolimą. Obecność w takiej przestrzeni sakralnej budowli przypominjącej Grób Boży była by wręcz naturalna a naśladowanie w kaplicy cmentarnej budynku oznaczającego miejsca zmartwychwstania Chrystusa niesie oczywiste i ważkie przesłanie.
EN
St. Margaret’s Chapel in Zwierzyniec is one of the few wooden churches remaining in Cracow. It is characterised by an octagonal shape, rarely seen in church buildings. In spite of these facts there is no detailed historical monograph taking into consideration the circumstances of the chapel’s construction, its further history and the explanation of its function and ideological significance connected with it. At least since the end of the 16th century the chapel was a place of an active cult of St. Margaret, who lived at the turn of the 3rd and 4th century in Pisidian Antioch. Worshippers visiting on patron day of St. Margaret could obtain full pardon (granted by pope Innocent XIII, Benedict XIV, Pius VI). The chapel is the only example of a church under this patronage in the Little Poland region architecturally based upon the Montefiascone Cathedral, which had been the central place of St. Margaret’s cult since early Middle Ages. Montefiascone was known to Polish pilgrims as it lies next to the main traveling route from Poland to Rome and neighbours Bolsena, a town commonly known and visited by pilgrims since the 13th century, because of an Eucharistic miracle, which had taken place in 1263. It also lies by Via Francigena, one of the longest European pilgrim routes from Canterbury in England to the grave of St. Peter in Rome. Additionally, the monastic tradition connects the chapel with epidemic burials. The remaining visitation records of Cracow bishops prove that already at the end of the 16th century, the chapel stood in the centre of a cemetery. Its function of a cemetery chapel can be determined by reference to Instructiones fabricae et supellectilos ecclesiasticae of Charles Borromeo and his building initiatives, as well as other examples of central churches built at the cemeteries of Middle Europe in the 17th century, such as St. Archangel Gabriel’s Chapel at St. Sebastian’s Cemetery in Salzburg, founded by Archbishop Wolf Dietrich von Raitenau. The chapel’s location on a hill above the town and on the route of Passion processions organised by The Brotherhood of the Passion makes it a counterpart of the Basilica of the Holy Sepulcher above Jerusalem. Presence of a building resembling the Holy Sepul-cher in sacral space would be natural and the cemetery chapel’s resemblance to the place of Christ’s Resurrection carries a self-evident and important message.
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