Search results

1

Architektoniczny eksperyment u podnóża Chińskiego Muru

100%

Kucharzewska J.

Art of the Orient

|

2012

|

vol. 1

73-88

EN

At the foot of the Great Wall of China, near the town of Badaling, SOHO Small Office – Home Office in 2000 started constructing 59 detached guesthouses. Each of them was to be equipped with extensive cultural, entertainment, and business facilities. The creators of the project, the owner of the design office, Mr. Shiyi and his wife Mrs. Zhang Xin, invited 12 renowned architects to their endeavor, and gave them total freedom of creation. Although the project was charged with a high level of risk, and its final shape was difficult to predict, it became an unprecedented success, even though available only for a narrow group of affluent residents of the Middle Kingdom, as well as curious tourists from Western Europe and North America. The edifices, constructed over a period of 10 years, are probably more recognized in the western world than in China; it can be attributed to the exhibition of the design at the Venice Biennale in 2002, during which it was honored with a special prize. Additionally, the names of architects, brands in themselves, attracted the attention of critics and experts in architecture, who were particularly interested in the outcome of the encounter of great architectural individualities while creating Commune by the Great Wall. Three Japanese architects took part in the project. Kengo Kuma called his edifice Great Bamboo Wall (2000-2002), from the type of material employed for creating external-wall cladding as well as internal partitions; Shigeru Ban in his design, Bamboo Furniture House, used bamboo veneer lumber to create furniture to be prefabricated and used as the main component in addition to the exterior and interior walls. Finally, Nobuaki Furuya’s Forest House aimed at carrying out his own concept of architecture as a place of safety (asylum). Kanika R’kul, who carries out her designs mainly in Taiwan, presented Shared House that was its form similar to the practice of American modernism. A significant factor turned out to be the education in architecture that R’kul obtained at one of Californian universities, and her familiarity with American modernism as well as the activities of so-called “New York Five”. The motive behind the activities of another architect, Cui Kai, was primarily to obtain different views from inside the house, which was highlighted by the name of the project, See and Seen House. Antonio Ochoa Piccardo from Venezuela, the only author of non-Asian origin, though connected with Asian world for many years via designing edifices for SOHO office, also tried to provide variety of visual experience for the audiences of another guesthouse, Cantilever House. On the one hand, via employing raw concrete, Béton brut, it was homage to Le Corbusier, on the other hand, it expressed respect to the surrounding nature, articulated with using sienna pigment as wall dye. Rocco Yim from Hong Kong, the author of Distorted Courtyard, in a veiled mode drew from the traditions and practices of a typical house with a courtyard, and Kay Ngee Tan from Singapore subjected his design, The Twins, to surrounding nature, using local stone as his building material. The name of another guesthouse, Split House, contains the original design idea of a Chinese architect, Yung Ho Chang. The building was made with one piece that was cut and its parts were diagonally spaced. Two following projects were born from a desire to experiment in the field of mass solutions or the arrangement of the interior; they became an unique interjection of the local landscape and forced the audiences to change their habits. The first, Airport House by Chien Hsueh-Yi from Taiwan, resembled a section of an airport building. The second, the now famous Suitcase House by Gary Chang from Edge Design Institute, allowed for creating multiple spatial combinations with mobile walls and corners hidden under the floor. The crowning element of Commune by the Great Wall is a multi-functional clubhouse designed in 2001 by a world-renowned South Korean architect, Seung H-Sang of the Iroje Architects & Planners design office. As the concept of Commune by the Great Wall developed and new guesthouses were constructed, the clubrooms also enlarged. In 2005 Seung H-Sang returned to the project. The Commune by the Great Wall project supported by SOHO Studios combines pavilions that are extremely modern with more traditional ones; others constitute a subtle link between local color and a playful functionalism. The eleven edifices presented above constituted prototypical solutions, followed by numerous replicas across the land. Currently, Commune by the Great Wall is an exclusive leisure and entertainment area subject to the Kempinski hotel brand with appropriate promotion and an extensive marketing program, e.g. advertisements on websites and in prestigious journals, such as Business Week. A bold experiment from a Chinese developer has become an alternative for tourists from around the world, looking in China not only examples of centuries-old culture, but also the visual signs of a developing country that follows modern trends.

2

Icons of contemporary architecture in Beijing

100%

Kucharzewska J.

Art of the Orient

|

2014

|

vol. 3

123-140

3

Kościół katedralny pw. Wniebowzięcia Najświętszej Maryi Panny w Charkowie (1887-1891) w świetle wybranych źródeł archiwalnych

63%

Żwanko L., Kucharzewska J.

Archiwa, Biblioteki i Muzea Kościelne

|

2022

|

vol. 119

485-515

EN

In the centre of modern Kharkiv stands one of the most valuable monuments of ecclesiastical architecture in Left-bank Ukraine – the Cathedral of the Assumption of the Blessed Virgin Mary, built in neo-Gothic style in the late 19th century. The article presents the current state of research on this monument and presents new facts related to its creation. Unique manuscript sources on the initial stage of the church’s construction from the resources of the State Archives of Kharkiv Oblast are also presented. They illustrate the legislative process involved in obtaining a permit for the construction of the Roman Catholic church, including obtaining permission from the Archbishop of Mohilev Aleksander Kazimierz Gintowt-Dziewałtowski. The paper also includes a letter from the Catholic community to the architect, Bolesław Michałowski, asking him to design a new church and to supervise its construction. It is worth noting that the church was built with contributions from the faithful, and the architect waived a fee for his work, thus contributing on his part to the construction of the temple. The church was erected on the site of an earlier, modest parish building on Mała Sumska Street, which was in poor repair in the 1880s, in addition to being too small for the growing Catholic community. The temple building committee was headed by Rev. Piotr Kisarzewski, and attorney Aleksander Kwiatkowski, a leader of the Kharkiv Poles, also played an important role in the establishment of the church. The archival sources published in the article can become a contribution to further research, conducted in various scientific disciplines.

PL

W centrum współczesnego Charkowa znajduje się jeden z cenniejszych zabytków architektury sakralnej Ukrainy Lewobrzeżnej – kościół katedralny pw. Wniebowzięcia Najświętszej Maryi Panny, wybudowany w stylu neogotyckim w końcu XIX wieku. W artykule zaprezentowano dotychczasowy stan badań nad tym zabytkiem i przedstawiono nowe fakty związane z jego powstaniem. Przedstawiono też unikatowe źródła rękopiśmienne dotyczące początkowego etapu budowy kościoła, pochodzące z zasobu Archiwum Państwowego Obwodu Charkowskiego. Obrazują one proces legislacyjny związany z uzyskaniem pozwolenia na budowę kościoła rzymskokatolickiego, w tym uzyskanie zgody od arcybiskupa mohylewskiego Aleksandra Kazimierza Gintowt-Dziewałtowskiego. Zamieszczono również list wspólnoty katolickiej do architekta Bolesława Michałowskiego z prośbą o wykonanie projektu nowego kościoła oraz objęcie nadzorem jego budowy. Warto podkreślić, że kościół powstał ze składek wiernych, a architekt zrzekł się honorarium za swoją pracę, wnosząc tym samym wkład w budowę świątyni. Kościół stanął w miejscu wcześniejszego, skromnego budynku parafialnego przy ul. Małej Sumskiej, który w latach 80. XIX wieku był w złym stanie technicznym, a dodatkowo był za mały dla rozrastającej się wspólnoty katolickiej. Na czele komitetu budowy świątyni stanął ks. Piotr Kisarzewski, a istotną rolę w powstaniu kościoła odegrał adwokat Aleksander Kwiatkowski, lider charkowskich Polaków. Opublikowane w artykule źródła archiwalne mogą stać się przyczynkiem do dalszych badań, prowadzonych w ramach różnych dyscyplin naukowych.

Refine search results

2 Art of the Orient

1 Archiwa, Biblioteki i Muzea Kościelne

3 Kucharzewska J.

1 Żwanko L.

1 2022

1 2014

1 2012

Architektoniczny eksperyment u podnóża Chińskiego Muru

Icons of contemporary architecture in Beijing

Kościół katedralny pw. Wniebowzięcia Najświętszej Maryi Panny w Charkowie (1887-1891) w świetle wybranych źródeł archiwalnych