Search results

1

Ogólnopolskie Sympozjum Skansenowskie w Sanoku

100%

Jankowski W.

Ochrona Zabytków

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1976

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issue 4

345-346

2

Dziedzictwo drewnianej architektury w Polsce

100%

Szałygin J.

Ochrona Zabytków

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2013

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issue 1-4

281-298

EN

Temples occupy a special place in the history of wooden architecture in Poland. Wooden manor houses are an inherent feature of our landscape, too. Wood was also used in the construction of public utility buildings, mostly taverns and village inns, often featuring interregional style characteristics. There is also a great variety of wooden structures used for industrial and craft purposes in rural areas. Other examples of wooden architecture can be found in built-up areas of small towns, typologically corresponding to the requirements of the historical delineation of land parcels, as well as in summer resorts and spas dating back from the turn of the 19th century. Wooden buildings and structures are of course the most abundant in the country. Buildings made of timber were prevalent in rural areas until the late fifties of the 20th century. Since early sixties, however, the number of wooden buildings has been decreasing steadily, which is mostly attributable to devastation and to a lesser extent to modernization trends. As a result, the traditional timber construction industry has completely disappeared in many regions of Poland. The small percentage that has survived serves as a proof of its architectural value, constituting a one-of-a-kind wooden architecture heritage on a European and even on a global scale. In fact, the most important Polish contribution to the history and evolution of global architecture is associated with wooden architecture. Preservation of historical monuments and sites in Poland has been approached with concern for centuries and has a long history and tradition. Since the second half of the 19th century, preservation of memorabilia and objects from the past, which provide historical insights into the previous epochs and events, has been regarded as a moral obligation, in accordance with the principle that the most important values should be passed down not only within the family, but also as items of national heritage. The preservation and care of historical monuments was regulated by legislative means soon after Poland regained its independence in order to ensure legal protection for specific objects of national heritage. Public administration bodies were also established to perform tasks associated with the preservation of historical sites and buildings. Due to the huge scale of destruction after the Second World War, preservation of historical monuments was practically reduced to conservation (reconstruction) activities in several chosen urban centres. The interest of the then decision makers did not extent to historical buildings and sites in most cities and villages – especially those in the so-called recovered territories or those representing manor architecture formerly belonging to “class enemies”, industrial architecture, parks, gardens and cemeteries. Wooden buildings and structures were at the highest risk of being destroyed. The transition from conservation interventions to conservation planning is said to have taken place in the mid-fifties of the 20th century. Unfortunately, preservation of historical monuments, including wooden buildings of historical value, was underfunded. Most appropriations were allocated for the most precious and unique buildings and structures. The number of wooden buildings of historical value which have been destroyed or fallen into disrepair since the war is very large. The two existing pieces of legislation: the Act on the protection of cultural heritage assets and the Act on the protection and care of historical monuments and sites have not been effective in preventing their disappearance from our landscape. The protection of the remnants of wooden architecture in our cultural landscape should be given more focus in today’s conservation activities (mostly in situ measures) to preserve the largest possible number of wooden structures in their original state, because it is this authenticity that makes them so precious. To this end, the local carpentry culture and the local wooden construction traditions must be revived if wooden structures of historical value are to be restored in a professional way by properly qualified carpenters and contractors. Conservation plans should take advantage of the revival of interest in wood as a construction material in the last two decades. More and more houses are being designed with wood as the principal construction material or one of construction materials, drawing on the tradition of century-old regional forms and restoring harmony and visual balance of our landscape. This means that the heritage of Polish wooden architecture will be continued in a new dimension and in a new space, revealing the beauty and plasticity of this material and its technical potential, often not fully appreciated or known.

3

Problemy badawcze i konserwatorskie budownictwa drewnianego - sympozjum naukowe PKZ, Jarosław 7-8 czerwca 1972

100%

Brykowski R.

Ochrona Zabytków

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1972

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issue 4

298-301

4

Metody zabezpieczania drewna budowlanego i konstrukcyjnego

100%

Mączyński D.

Ochrona Zabytków

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1997

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issue 4

372-379

EN

Remedial timber treatment leading to the prolongation of wood durability has been known from ancient times. Rapid development of chemical treatment in wood preservation occurred in the eighteenth and nineteenth century. The introduction onto the market of certain chemicals was accompanied by the replacement of others by new offers. These changes were caused by scientific progress aiming at the introduction of better, more efficient products and the exclusion of those dangerous for man. The primary task of the treatment and repair of buildings is the discovery and elimination of causes for moisture. The next step is finding modern and effective products used against biological decay.

5

Badania warunków otoczenia, stanu technicznego, polichromii oraz możliwości zachowania drewnianego kościoła w Dębnie Podhalańskim

100%

Pieńkowska H.

Ochrona Zabytków

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1962

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issue 2

11-13

EN

The 15th century church at Debno in the Podhale region is a valuable example of the woodwork architecture. It has very interesting and original, painting decorations of the interior and of the chureh- -plate in the Gothic-Renaissance style. These ornamentations made in the pattern technique, the black, green, blue and red colours prevailing seem to be connected with the Austro-Alpine art; some analogies point to connections with the interior decorations of some more ancient palaces e.g. the Claramonte palace at Palermo. There are similar fragments of the Gothic-Renaissance pattern decorations in other churches in Lesser Poland, Silesia and Slovakia. This points out to the existence of some original decorations characteristic of these regions only. Complex research work has been carried out in order to conservation on the Debno church endangered by the mushroom Merculius lacrymans and insects. The degree of wood deterioration was examined as well as the condition of the church from the technical point of view, and the ground system which could affect the wall with moisture; finally the artistic value of the architecture and polychrome was established. The results of the above research permitted to establish the proper methods for safeguarding the valuable monument against wear and tear.

RU

Костёл в дембне (у подножия Татр) происходящий из XV века, является великим ценным памятником деревянной архитектуры. Интересный и оригинальный готически-ренессансный стиль художественного внутренного убранства костёла и его оборудований, в состав которого входят орнаментные мотивы, исполненные патронной художественной техникой с преимуществом красок: чёрной, зелёной, голубой и красной, — по всей вероятности, всё это имеет связь с австрийско-альпийским искусством. Некоторые сходства указывают, кроме того, на аналогическую связь с художественным внутренним убранством ещё более древних дворцов, как например с дворцом Кляра- монте в Палермо. Похожие фрагменты декораций в готически — ренессансном стиле, исполненные патронной техникой, находятся ещё и в инных костёлах: в Малой Польше, в Силезии и в Словакии. Принимая это во внимание, можно сказать, что существование подлинного комплекса оригинальных декораций является характерной чертой исключительно этих территорий. К установлению метода консервации костёла в Дембне, которому угрожает поражение „Merulius lacrymans” и насекомыми, проведено комплексное исследование объекта. Исследовано степень разрушения и поражения древесины, техническое состояние объекта, водное расположение территория, которое могло бы быть причиной увлажнения стен и определено артистическую стоимость в пределе архитектуры и полихромии. Полученные результаты проведенных опытов и исследований, в последствии дали возможность на установление соответственных форм по работам, обеспечивающим ценный объект от повреждений.

6

Budownictwo drewniane w Szadku

100%

Kowara S.

Biuletyn Szadkowski

|

2009

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issue 09

135-153

EN

Szadek had been built up with timber houses and wooden buildings across the ages, before the first brick constructions appeared two hundred years ago, and have become the dominant type of building. Unfortunately, the remaining wooden construction that have not vanished and are the main existing evidence of former wood-based spatial development, are often considered to be an unimportant leftover. As a result, very few timber constructions retained their original shape and character. Today, timber buildings constitute 17 percent of Szadek’s present area of the 1378 buildings in Szadek, 240 are made of wood, including 61 used for permanent accommodation. Bad technical conditions and poor engineering quality are the main problem. In most cases it is described as bad or very bad. The lack of appropriate preservation procedures results in different types of erosion. Poor fire protection exposes the wooden objects to high risk of catching fire. Timber construction have always been connected with cultural identity of regions and their unique features and attributes. Today, they are formally governed by local authorities and should be protected as they are an important element of Poland’s tradition.

7

Polskie kościoły drewniane : straty wojenne - straty pokojowe : Wołyń i wieluńskie

88%

Brykowski R.

Ochrona Zabytków

|

1994

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issue 2

158-167

EN

Vohynia and the Wieluń region were two parts of the former Commonwealth. The Wieluń region „always” constituted the western borderland and Volhynia was situated in the center of the Commonwealth — the Crown and the Grand Duchy of Lithuania — and only in 1920 did it become the eastern borderland. During the Russian partition, Volhynia witnessed a particulaly harsh restriction of the organization of the Catholic Church and the destruction of its sacral buildings. On 1 September 1939 armoured Wehrmacht divisions made their way towards Warsaw across the Wieluń region and the Soviet army appeared in Volhynia on 17 September of that year. The Yalta agreement decided that this seized land should be never returned to Poland. The different fate of the two regions was reflected in the size and state of the preserved historical monuments including wooden church architecture, especially closely connected with Polish culture. In September 1939 there were 25 wooden churches in the Wieluń region. None of them were damaged during the war campaign and the five years of the German occupation. The most valuable of these wooden objects comes from the sixteenth century. Unfortunately, today only a single such edifice stands unchanged while the rest have been either rebuilt or subjected to transformations which obliterated their original character and stylistic features. The most difficult period for the survival of those monuments in an unaltered form were the years of the post-war consolidation of the Polish state (1921-1925 and 1948-1949) and, predominantly, periods of great socio-political upheavals and tension: the taking over of power by Edward Gierek (1970), the emergence of „Solidarity” and the years of martial law (1978-1984). Successive rulers of the „people’s democracy” required domestic order and, at the very least, the neutrality of the clergy; for this reason, activity contrary to the law about the protection of cultural property was simply „unnoticed”. In September 1939 there were 39 wooden churches in Volhynia. Here also none was destroyed during direct wartime hostilities. Subsequently, however, the German- Soviet front moved twice across the area, and Volhynia was the site of warring Polish, Ukrainian and Soviet partisan movements. Only as regards some of the churches do we have information about the time and manner of their destruction and about the perpetrators of arson. The church in Tomaszgrod was burnt down by Soviet partisans in 1943. In the same year, the Germans and the Ukrainian police killed the population of the Polish village of Myszkowka, setting fire to all the buildings. The Germans or members of the Ukrainian Insurgent Army burnt down the church in Wojkiewicze, together with the residents of the village who were trapped inside the building. The same crime was committed by the Ukrainian Insurgent Army in Choloniewicze; in the village of Dermanka it killed all the Poles and set fire to the buildings. When on 18 July 1943 the Polish self-defense managed to flee Huta Stepańska, surrounded by the Ukrainian Insurgent Army, the village and the church were burnt and razed to the ground. Only a single ruin of a wooden church (from 1771) has been preserved in Wiszenki. In Volhynia the war against Polishness — Poles and Polish culture — lasted from September 1939 for the next 52 years, up to the collapse of the Soviet Union. After 1947 and the resettlement of Poles from annexed Volhynia to the new Polish state, surviving churches were pulled down and used for construction material or fuel; others became kollhoz storehouses or, totally ruined, they were abandoned as was the case in Wiszenki. It would be extremely difficult to estimate the losses and we can only cite the number of the damaged churches in Volhynia; in seven instances we have at our disposal modest iconographie material. Losses which Polish culture suffered in Volhynia are even more painful considering that for all practical purposes we know nothing about the outfitting of these examples of wooden sacral architecture.

8

Drewniana architektura sakralna w Polsce : zagadnienie typów i form regionalnych w rozwoju historycznym

75%

Kornecki M.

Ochrona Zabytków

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1992

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issue 1-2

7-31

EN

Wooden constructions belonged to the inseparable elements of the historical landscape of Poland. Its universal nature, form and development were connected with ethnic-cultural traditions, the extensive supplies of building material and ease of its tooling, as well as the prevalent social and economic conditions. In the process of historical transformations, they always reflected two, apparently contradictory tendencies; on the one hand, tradition, particularly constant in isolated peripherial environments, and, on the other hand, currents from the outside, whose influence varied as regards its degree and range. Within this panorama a special place was assigned to churches, the foremost achievements of carpentry and dominating architectonic elements of settlement structures, which played essential socio-ideological role. Their variety was affected by the location of the country on the European crossroads, and by the cultural contacts between the West and the East. Polish wooden churches have been the subject of extensive research and publications. This article, based on a synthetically outlined background of their development, pays special attention to the variety of regional types and forms, observed in an historical perspective. Churches. It is well know that the form and nature of Polish wooden churches were influenced by principles which originated in Western culture, although local conditions were important, at least as regards material culture. This fact was the reason for the domination of frame construction. Unfortunately, extant objects do not date from a period earlier than the fifteenth century, and an attempt at filling this gap has so far been unsuccessful. The oldest surviving edifices present an already high technical level and at times even complicated solutions which were proposed by professional guild workshops, and the reason for the typicality of the buildings. At the end of the Middle Ages, the original regions of Poland (Little Poland - the Cracow archdiocese, and Greater Poland - the Gniezno archdiocese) witnessed a domination of two consistently realised types which differed as regards the conceptions for covering the two main fragments - the nave and the presbytery. The churches were single-nave and originally without towers, decorated with modest Late Gothic ornaments of a universal typological range. In the sixteenth and even in the seventeenth century this „Gothic" architectonic programme was continued since the Renaissance and Mannerism were not adopted by wooden architecture. Nonetheless, the typicality of the edifices was no longer closely observed, and the technical quality deteriorated due to the regress of the guilds as well as the exhaustion of the supplies of good building material. In certain regions a turret built in the post-frame construction and added to the main part of the building became a universal feature. The Baroque made its imprint as late as the end of the seventeenth century, and initially affected only details (the illusory vault). At that time it was already possible to distinguish many regional groups which reflected either common sources of their realization or local variants. In the eighteenth century there appeared a new factor: the participation of professional architects (sometimes educated dilletantes) who, often contrary to the properties of the building material, undertook attempts at a realization of concrete fashionable architectonic types in wood. This is a unique phenomenon of Polish wooden architecture, unknown elsewhere. Attempts were made at „imitating" a number of purely Baroque solutions disseminated in Poland during the Counter-Reformation. One can encounter copies of the Jesuit transept-dome basilica (the Roman II Gesu model), basilicas with blocked tower facades, unturreted basilicas, with a pair of chapels as a transept, and, finally, hall, tower and unturreted projects. Churches with such greatly differentiated programmes and often with rich architectonic embellishments (not to mention painted and statuary decorations) occur either as isolated examples or constitute related groups which sometimes are the outcome of copying patterns from nearby. The article cites instances of such affiliations. Nonetheless, those foremost creations constitute a minority since alongside there survived a modest traditional type of building, enrooted in medieval patterns, and only superficially modelled on the Baroque - such accents as tower helmets can be grouped according to regions. This current is accompanied by primitive folk examples connected with an increasingly stronger initiative upon the part of wider social groups. Sporadically, it is also possible to encounter objects realized by sui generis peasant „entrepreneurs" who were commissioned to erect various constructions and primarily employed local or wandering artisans. The nineteenth century - the era of the decline of Polish statehood - was a period of regression caused by numerous factors, including the impoverishment of the country, longterm wars and foreign rule, all of which influenced also the Polish Church. The wooden sacral architecture of the time reflects Classicism, neo-Gothic and eclectic styles to a lesser degree although one comes across more interesting solutions. At the turn of the century, a search, stimulated by patriotic moods, was made for national forms in architecture which reached assumed cultural roots. Against this background there emerged a wave of neo-regionalism which produced interesting effects based originally on observations of the folk architecture of the Podhale region. The same trends enlivened wooden church architecture which preferred patterns from Piła, mainly applied in the southern parts of the country. The neo-regional current was continued, although to a smaller extent, in the interwar period. Later on, wooden churches appeared more as temporary constructions, bringing to an end a magnificent chapter in the history of Polish architecture, so characteristic for the identity of the local cultural landscape. Russian Orthodox and Uniate churches. The origin, development and changes of wooden Russian Orthodox churches are not easily determined. A significant role was played not by the sources themselves but rather by the paths of various inspirations, the divergent and variable Church organization, the history of Polish expansion in areas of cultural contacts, the history of the union with the Eastern Church as well as ethnic relations: migrations, assimilation and war cataclysms. The absence of many links in the development process, the insufficient archive source material and, until recently, unsatisfactory scientific publications constituted a serious obstacle. At present, it is possible to distinguish several regional groups of this architecture and to capture their transformations in longer spaces of time. A distinct group is composed of churches in the Carpathian and sub-Carpathian regions, particularly the Lemko edifices found in the most westerly enclave. They were built as a result of the late colonization of this mountaineous region by the Walachian- Ruthenian shpeherds, intermixed with the Polish population. The result was the emergence of a tripartite building corresponding to the requirements of lithurgy, with elements borrowed from church architecture; an essential element is a post-frame tower with an overhanging bell storey, built to the west from the women's section. Another distinct accent are onion domes which top the towers and other parts of the edifice. Further to the East the buildings combined various features. The oldest were single dome (with the copula over the nave) or triple-dome churches. The outer solid revealed domes which often assumed the forms of geometrical, tiered roofs. From the eighteenth century this was also the region of Uniate churches, outwardly similar to Roman Catholic buildings, with modest solids, in which the divisions required by lithurgy were as if introduced into the interiors. Another group includes churches in the eastern parts of the Lublin region (Tomaszow, Zamość and Hrubieszow), an enclave where the Uniate Church, abolished by the Russians, survived in the Austrian partition area. The extant buildings, predominantly single-or triple-dome, can be distinguished from their Carpathian counterparts. Here too, Uniate edifices were similar to modest rural churches. A special group is represented by Orthodox churches along the Lithuanian-Byelorussian frontier. The older, post-Uniate constructions are relatively unadorned and include edifices built on a ground plan of an elongated polygon with a geometrical quasi-dome, or, as in the above mentioned regions, they outwardly resemble village churches. On the other hand, buildings dating from the nineteenth and twentieth centuries, which survived in large numbers, reveal elements of Russian or Byelorussian architecture. They are of a tri-partite configuration, with a dominating central part and with walls covered by horizontal planking. A characteristic feature is a vertical tower, sometimes an octagon, with a pillar helmet. Just as frequent are walls painted blue, a colour not used in Polish sacral architecture in other regions. The article does not fully discuss the extensively formulated topic. Its general intention, presented against a background of an abbreviated outline, was to emphasize problems of the regionalism of wooden church architecture which call for further detailed investigations.

9

Zagroda w Samlinie

75%

Stankiewicz J.

Ochrona Zabytków

|

1959

|

issue 3-4

232-248

10

Patronat Zespołu Chemii ZZG INCO nad skansenami w 1970 roku : sprawozdanie z konferencji

75%

Brykowski R., Czajnik M.

Ochrona Zabytków

|

1971

|

issue 2

148-154

11

Podziwiać i chronić. Wysiłki konserwatorów, publicystów i artystów na rzecz zachowania architektury wernakularnej Krzemieńca

63%

Cyniak P.

Ochrona Zabytków

|

2019

|

issue 1

9-34

PL

W okresie dwudziestolecia międzywojennego można zaobserwować wzrost zainteresowania architekturą drewnianą Krzemieńca. Stanowiła ona wówczas nie tylko istotny temat poruszany w tekstach wspomnie¬niowych i publicystycznych, ale równocześnie jeden z kluczowych mo¬tywów pojawiających się w malarskich i graficznych przedstawieniach wołyńskiego miasteczka. Zachwytom literatów, publicystów i plastyków towarzyszyła także coraz bardziej pogłębiona refleksja nad kierunkami ochrony drewnianego dziedzictwa. Historyczne centrum Krzemieńca uznano za rezerwat konserwatorski. Na łamach „Życia Krzemienieckie¬go” rozgorzała dyskusja nad postulowanymi metodami i skalą profesjo¬nalnej ochrony konserwatorskiej zabytkowego centrum miejscowości, czego wyrazem są teksty publicystyczne analizowane w niniejszym arty¬kule. Lokalni społecznicy, dostrzegając świadectwa degradacji krzemie¬nieckiego pejzażu architektonicznego, podejmowali próby uwrażliwienia mieszkańców na estetyczne walory tradycyjnej zabudowy. W 1937 r. Krzemieniec odwiedził Generalny Konserwator Zabytków – Wilhelm Ka¬rol Henneberg. Wizyta ta zaowocowała podpisaniem czteropunktowego programu konserwatorskiego zabytkowej dzielnicy miasteczka. Nie po¬przestano jedynie na sformułowaniu urzędowych wytycznych. W okresie międzywojennym – dzięki funduszom publicznym – w miasteczku pro¬wadzono prace konserwatorskie, obejmujące zarówno zabytki architek¬tury monumentalnej, jak i wybrane domy mieszczańskie. Krzemieniecka akcja konserwatorska została w brutalny sposób przerwana we wrześniu 1939 r. W czasie II wojny światowej omawiany zespół architektury drew¬nianej zniknął z powierzchni ziemi. Świadectwem jego istnienia są już tylko międzywojenne fotografie, teksty publicystyczne i prace plastyczne.

EN

During the interwar period there was a growing interest in the wooden architecture of Krzemieniec. At that time, it was not only an important issue discussed in memoirs and journalistic texts, but also one of the key motifs appearing in the paintings and graphic representations of the Volhynia town. The admiration of writers, publicists and artists was also accompanied by a deeper reflection on the directions of protec¬tion of the wooden heritage. The historical centre of Krzemieniec was declared a conservation reserve. In “Życie Krzemienieckie” magazine there was a discussion on the postulated methods and scale of profes¬sional conservation protection of the historic centre of the town, which is reflected in the journalistic texts analysed in this article. Recogniz¬ing the evidence of the degradation of the architectural landscape of Krzemieniec, local community activists made attempts to sensitize the residents to the aesthetic values of traditional architecture. In 1937 Krzemieniec was visited by Wilhelm Karol Henneberg, the General Monuments Inspector. This visit resulted in the signing of a four-point conservation programme for the historic district of the town. It was not confined to the formulation of official guidelines. In the interwar period, on the basis of public funds, monument protection works were carried out in the town, including both monumental architecture and selected burgher houses. The monument protection action in Krzemieniec was brutally interrupted in September 1939. During World War II, the dis¬cussed wooden architecture complex disappeared from the surface of the earth. The only evidence of its existence are interwar photographs, journalistic texts and art works.

12

Wpływ konserwacji zabytków na historię sztuki

63%

Dobrowolski T.

Ochrona Zabytków

|

1949

|

issue 1

1-14, 67-68

FR

L’une des bases de l’histoire de l’art, considérée comme discipline scientifique à part, est la conservation des monuments. Celle-ci est en fait un travail de découverte: elle parvient souvent à mettre à jour le véritable caractère du monument caché sous de nombreuses couches. Voici pourquoi la conservation des monuments n’est point seulement une discipline technique, mais bien une science appartenant aux humanités. Le conservateur n’est point qu’un fonctionnaire administratif, mais un homme de science en premier lieu. D ’ordinaire, le public n’a p précie point à sa juste valeur le travail du conservateur et pourtant, sans lui, l’histoire de l’art ne saurait exister. La conservation conditionne l’enseignement de l ’histoire de l’art en assurant l’e x i stence des monuments attaqués par le temps et d ’autres facteurs de destruction, en fournissant constamment de nouveaux matériaux, eu renforçant la science et é tendant les limites de ses é tude s et de ses recherches. Les travaux des conservateurs obligent la science à opérer la révision de ses opinions, à les approfondir et les étendre et, bien des fois, à les mo difier totalement. L’histoire générale de l’art nous fournit quantité d ’exemples à l’appui de cette thèse, comme par ex. la découverte de l’antiquité par lu renaissance (Raphaël conservateur), la dé couverte de Pompé i et d’Ilerculanum au XVl I l -e s., les mérites de Violletle- Duc, la découverte de l’art asiatique, arabe et grec (monuments transportés aux musées d’Europe). Les mérites des conservateurs polonais, infatigables dans leur tâche, ne sont pas moindres à l’égard de l’histoire de l’art en Pologne, ( l ’est d’après leur travail et leurs découvertes ((ne prenaient forme et se modifiaient nos connaissances sur les arts plastiques en Pologne. L’auteur cite de nombreux exemples de l ’histoire de l’art chez nous. Dans le domaine de l’archéologie préhistorique et des débuts de l’histoire, les résultats scientifiques de la conservation ont anéanti les suggestions toutes partiales de la science allemande; ils ont prouvé que notre culture ethnique propre était d’un niveau élevé. (Fouilles de Biskupin, d ’Opole, de Gniezno, de Poznań, de Kleck, de Santok, de Volhynie, de Rügen). Notre „urbanisme" promitif témoigne de formes déjà mûres incontestablement, notamment pour les fortifications (par. ex. les constructions puissantes et originales, en bois, des fortifications de Gniezno). Les découvertes des premiers temps de l’histoire, préromanes et romanes (YVuwel, rotonde des saints Fé l ix et Adauct, c a thédrale de Boleslas Chrobry, premier château en maçonnerie) ont modi f ié les anciennes opinions sur l’art de la construction dans notre pays, elles ont fait ressortir les relations avec les Tchèques ainsi que les traditions du pays des Vislaniens. Ont témoigné du niveau élevé de nos constructions et de notre sculpture de l’époque du roman, les dé couvertes des conservateurs à Cieszyn (rotonde), à l’église de st. André à Cracovie, les extraordinaires résultats des recherches opérées à l’église de Strzelno, au couvent de Tvniec et à l’église de Miechów. L’étude des parties gothiques du Wawel, la mise à nu de la plus riche construction gothique dans la cathédrale de Poznań, les travaux entrepris à Szydłów et à Wrocław ont grandement élargi nos jugements sur l’art gothique. Pour ce qui est de la peinture, les découvertes faites lors de la conservation du maître-autel de Wit Stwosz ont enrichi nos connaissances dans ce domaine de l’art gothique en Pologne. La découverte des peintures des églises ruthenes de Sandomir, Lublin et Wiślica, sont d’une importance fort grande pour la peinture (lu XV-e s. Les problèmes de la renaissance ont été traités sur un plan beaucoup plus étendu à la suite des découvertes opérées au Wawel, à Zamość et, dernièrement, au château de Pieskowa Skala. Grâce à la d é couverte (les fresques de Mogila (Stanislas Samostrzelnik) l ’individualisme émi nent de la peinture polonaise au temps de la renaissance a été mis en évidence. Bien d ’autres découvertes du domaine de la polychromie des XVII-e et XVII I-e s. ont enrichi la science; les collections privées ayant été rendues accessibles, grâce au travail des conservateurs, on a ainsi acquis les bases d’une étude poussée du portrait en Pologne au XVI l -e s. Le vif intérêt apporté par les conservateurs au problème de la construction en bois, a permis d’établir la genèse et le déve loppement du type polonais d’églises en bois. A la lumière de ces faits, il semble que les thèses énoncées au début de cet article soient 'suffissamment appuyées . Il faut donc réserver au x travaux des conservateurs lu place qui leur convient, car ils exercent une grande influence sur la culture, portent un caractère d ’actualité et les traits d’une activité pratique.

13

Between tradition and modernity – a study of contemporary architecture in the Austrian alpine region on the example of the W2 Manufaktur studio

63%

Krynicka B.

Architectus

|

2021

|

issue 3 (67)

127-138

PL

Tematem artykułu jest ukazanie wpływu tradycyjnego, historycznego budownictwa wiejskiego na współczesną architekturę regionu alpejskiego w Austrii. Przedmiotem rozważań są najnowsze projekty i realizacje pracowni projektowo-wykonawczej W2 Manufaktur z siedzibą w Leogang – miejscowości będącej jednym z najbardziej znanych kurortów narciarskich rejonu salzburskiego. W2 Manufaktur została założona przez doświadczonego projektanta Alfreda Waltla, a autorka artykułu jest jedną z architektek prowadzących projekty dotyczące głównie budowy/przebudowy/rozbudowy kompleksów hotelowych. W artykule zostały przedstawione paradygmaty projektowania przyjęte przez architektów biura, wśród których należy wymienić szacunek dla krajobrazu i lokalnej tradycji budowania oraz swoistą „syntezę sztuk” łącząca architekturę, sztukę (design), zaawansowane technologie, a niekiedy też – kształtowanie zieleni. Tekst oparto w głównej mierze na doświadczeniach projektowych autorki i studiach dawnej architektury alpejskiej.

EN

This paper aims to show the influence of traditional, historical rural architecture on the contemporary architecture of the Alpine region in Austria. The subject of consideration are the latest projects and realisations of theW2 Manufaktur design and construction studio based in Leogang – one of the most famous ski resorts of the Salzburg region. W2 Manufaktur was founded by Alfred Waltl, an experienced designer, whereas this paper has been authored by one of the architects who lead projects in the construction/reconstruction/extension of hotel complexes. The article presents the design paradigms adopted by the studio's architects such as respect for the landscape and the local tradition in construction, a kind of "synthesis of arts" combining architecture, art (design), advanced technologies, and sometimes greenery shaping. The text mainly relies on my design experience and studies of old Alpine architecture.

14

ZNACZENIE OZDOBNEGO DESKOWANIA W PERIODYZACJI DREWNIANEJ ARCHITEKTURY W PAŚMIE OTWOCKIM PROBLEMATYKA BADAWCZA I KONSERWATORSKA0

51%

Cichy A.

Ochrona Zabytków

|

2007

|

issue 3

35-58

EN

The article presents the outcome of an analysis of decorative boarding in buildings originating from 1881-1939, with special attention paid to the applied composition solutions, board patterns and the basic sizes of the boards' cross-section - width and thickness. The author also determined the period of the occurrence of particular solutions and the degree of their popularity. Decorative boarding in architecture from the region on the Swider featured vertical, horizontal and diagonal patterns, as well as mixed arrangements with the boards following assorted directions. The vertical pattern was used rarely, mainly in the nineteenth century. Horizontal and mixed (basic) patterns were encountered in all periods, but a variant of the mixed arrangement with a herringbone or rhomboidal pattern took place only in the 1920s and 1930s. The examined technique resorted to more than ten variants of moulded and moulded-canted boards as well as canted boards. The edges were decorated with simple or halfround moulding, with the former appearing up to about 1910, parallel with the half-round moulding solutions. Subsequently, they were used only sporadically, and were replaced by half-round moulding. Canted boards occurred only in the nineteenth century. Studies of the width and thickness of both types of boards indicate that in the nineteenth century and the early twentieth century their characteristic features included larger cross-sections than in the 1920s and 1930s. The obtained results also demonstrate the usefulness of an analysis of decorative boarding for the process of dating. Owing to the considerable historical and aesthetic assets of the boarding (elevation boarding, the board patterns and widths) this element of wooden architecture certainly deserves to be protected.

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Between tradition and modernity – a study of contemporary architecture in the Austrian alpine region on the example of the W2 Manufaktur studio

ZNACZENIE OZDOBNEGO DESKOWANIA W PERIODYZACJI DREWNIANEJ ARCHITEKTURY W PAŚMIE OTWOCKIM PROBLEMATYKA BADAWCZA I KONSERWATORSKA0