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1

Ekstatyczna pustka we współczesnej architekturze kultowej.

100%

Wąs C.

Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego

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2007

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issue 2(4)

92-106

2

Practicing Theory. Concepts of early works of Daniel Libeskind as references for real architecture

100%

Wąs C.

Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego

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2015

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issue 2(36)

98-121

PL

Treści wczesnych prac Libeskinda, w tym zwłaszcza idee zawarte w cyklach rysunków pod nazwą Micromegas: The Architecture of End Space (1979) i Chamber Works: Architectural Meditations on the Themes from Heraclitus (1983) oraz trzy maszyny określone jako Three Lessons in Architecture (1985) w decydujący sposób wpłynęły na wszystkie późniejsze realizacje architekta. Prace te w dużym zakresie zmieniły zasady oddzielania teorii od praktyki budowlanej, w tym także odgraniczania architektury od literatury czy filozofii. Już Micromegas były polemiką z traktowaniem rysunku architektonicznego wyłącznie jako utylitarnego narzędzia w procesie stwarzania budowli i postawiły na uczynienie z tej techniki pełnoprawnej postaci realnej architektury. Chamber Works w jeszcze większym stopniu niż prace z serii Micromegas akcentowały samodzielność rysunku i jego odrębność od wszelkiej rzeczywistości czy zewnętrznych źródeł treści. Maszyny połączone w Three Lessons in Architecture streszczały dokonania dawnych epok historii sztuki budowania. Reading Machine opowiadała o rzemieślniczych początkach, Memory Machine o intelektualizmie okresu nowożytnego, Writing Machine zaś o współczesnym okresie mechanizacji pamięci i kreacji. Zadaniem maszyn była metafizyczna refleksja nad głównymi założeniami i mitami architektury, a zarazem przeniesienie tej refleksji na poziom doświadczenia zmysłowego. W berlińskim Jüdisches Museum wymyślone liternictwo architektoniczne połączyło się z narracją na temat zagłady żydowskich mieszkańców miasta. Libeskind wykreował nie tyle budowlę, ile literacką relację o zbrodni przełamującej historię ludzkości.

3

Bunt kwiatu przeciw korzeniom. Polska architektura sakralna lat 1980-2005 wobec modernizmu.

100%

Wąs C.

Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego

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2006

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issue 1(1)

74-87

4

Znikająca wyspa modernizmu w architekturze. Panayotisa Tournikiotisa Historiography of Modern Architecture.

100%

Wąs C.

Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego

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2006

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issue 2(2)

95-107

5

Od perwersji do dekonstrukcji. Architektura Bernarda Tschumiego Część I

100%

Wąs C.

Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego

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2013

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issue 1(27)

70-95

EN

In Bernard Tschumi’s writings from the 1970s and 1980s we can find a transposition of important threads of post-structuralist ideas deriving from Georges Bataille, Roland Barthes and Jacques Derrida’s works. The analysis of the architect’s writings also shows roots in Phillippe Sollers, Michel Foucault and Denis Hollier’s works. The analysis of borrowed elements from the beginnings of Tschumi’s theoretical activity may be helpful in explaining the contents of his later writings, more inspired by philosophy of deconstruction. The set of his earliest views was inspired by Marxism, Neo-Marxism and French Structuralism, mainly by the writings of Henri Lefebvre and Guy Debord. From the thought of Lefebvre Tschumi took interest for city as not only a question of urbani- stics but also as a political issue. From Debord’s concepts he borrowed a conviction about the role of situational violation for changes in the society structure. Some of these beliefs were preserved in his own concepts of architecture as an event. From this period derived also his will to change conservative elements of social structure not by means of political revolution but of theoretical and creative activity. Tschu- mi acknowledged that the effective way of the proceedings towards achieving his aims would be accepting the role of both a critical intellectualist and architecture expert who would not hide away his left-wing orientation. The speculations defined by the architect as “revolting analyses”, were about to characterise contradictions which tear the society apart, penetrate architecture and constitute the basis of culture. Spreading away of the conscience of false assumptions hidden away in various disciplines could have weakened cohesion of a conservative society and influence the will to change among the elites. This way the beginnings of political revolution were rooted in philosophy of architecture. In 1977 Tschumi published his text entitled The Pleasure of Architecture inspired by Roland Barthes’s The Pleasure of the Text, it also included some concepts derived from Georges Bataille and Jacques Derrida. First of all the author used Barthes’s concept which made an assumption that literary activity is pervaded by the spirit of resistance towards social rules, and Tschumi transferred this remark onto architecture. From the ideas of Bataille, acquainted via Holier’s work, he derived his belief that two concepts of space, a conceptual one (defined as Pyramid) and a sensual one (defined as Labirynth), not loosing their distinct features, they join in the concept of experienced space which exceeds contradictions. The exceeding itself was defined as the basic rule of architecture and it was referred to situations in which architecture not only negates social needs, but also disavows its own tradition, crossing the borders applies not only to political issues or permanent rules of the very discipline but also interfering with other fields (especially literature and film). The fact that architecture is associated with organising events turned Tschumi’s attention to questions of violence that results from upsetting architectural order of a given building by its users on the one hand, and on the other from forcing the users on specific acts imposed by this very order. The analysis of the concepts used by Tschumi in his early writings indicates that they are close to definitions that would occur in his reflection in the following years influenced by philosophy of deconstruction.

6

Muzeum czy sklep? Uwagi na temat wystawy „Mendini. Maestro del Design” w Muzeum Architektury we Wrocławiu

100%

Wąs C.

Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego

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2015

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issue 1(35)

83-89

XX

Alessandro Mendini’s exhibition was a review of his artistic output in the areas of design and architecture. The Italian artist’s works ranging from redesigned furniture to the newest versions of the Proust armchair were introduced. The part of the exposition were also models and photograms of the executed architectural works, including the Groningen Museum. The exhibition showed also a model of a sculpture representing a harlequin, which is going to be executed on one of the squares in Wrocław. On 1st December 2014 Mendini was awarded the title of doctor honoris causa of The Eugeniusz Geppert Academy of Art and Design in Wrocław.

7

GRANICE PYTAŃ Poezja nie bez związku z wystawą sztuki

100%

Wąs C.

DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu

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2016

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vol. 22

240-251

8

Architektura, która naśladuje niemą filozofię. Peter Eisenman a dekonstrukcja. Część III

100%

Wąs C.

Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego

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2012

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issue 3(25)

68-86

EN

The series of Jacques Derrida and Peter Eisenman meetings, which took place in the period of 1985–1987, induced many authors to make comments. Some of them (Jeffrey Kipnis, Ann Bergren, Maria Theodorou) developed the subject of chôra which was introduced to the discussion by Derrida. The problem that was about to be solved was the question of tying up the concept of chôra with architecture, including Eisenman’s architecture and the series of meetings within frames of Chora L Works project. Kipnis on this occasion paid attention to chôra and its character of anachronia which infects any being created within chôra. In other words, any event has its counterpart (analogon) in another, earlier event. He demonstrated the similarity of structure of many events and statements from the times of Derrida and Eisenman’s meetings to the almost identical behaviour of figures in Plato’s dialogue Timaios. The loss of beginning present in this phenomenon was appropriate to both features of chôra and the effects of typical analyses of philosophy of deconstruction. Bergren’s analyses focused on accentuating gender of chôra, which, according to this author, had been neglected hitherto in discussions. She collated chôra descriptions with characteristics of women in myths, early Greek epic and philosophy and she arrived at a conclusion that chôra has features of a single woman and a married one at the same time. And yet Theodorou’s studies showed that in the Homeric epics chôra is not treated as an idea but it is related with single things and events. The other part of the comments (represented by Andrew Benjamin and K. Michael Hays’ utterances) concerns Eisenman’s attitude to tradition which was treated as a variety of iteration understood philosophically. Benjamin commenced his considerations at the point of closeness between a definition of tradition and a concept of chôra understood as perpetuation (placement). A problematic issue was for him Eisenman’s complex relation to tradition based on its contest and affirmation at the same time. Overcoming the simple subordination to tradition – according to Benjamin – was based on awareness of the role of repetition in culture not known before. Hays made an attempt to explain the pleasure and torment of repetition with the support of Sigmund Freud and Roland Barthes’ concepts. According to Hays the repetitions are the attempts of a single being to return to a certain primal state perceived as free of any tension. In a similar way Rosalind Krauss explained a motif of a grate present in Modernistic art and also exceptionally frequent in Eisenman’s work.

9

CAŁKOWICIE INNA SZTUKA

44%

Wąs C.

DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu

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2017

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vol. 24

204-207

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Ekstatyczna pustka we współczesnej architekturze kultowej.

Practicing Theory. Concepts of early works of Daniel Libeskind as references for real architecture

Bunt kwiatu przeciw korzeniom. Polska architektura sakralna lat 1980-2005 wobec modernizmu.

Znikająca wyspa modernizmu w architekturze. Panayotisa Tournikiotisa Historiography of Modern Architecture.

Od perwersji do dekonstrukcji. Architektura Bernarda Tschumiego Część I

Muzeum czy sklep? Uwagi na temat wystawy „Mendini. Maestro del Design” w Muzeum Architektury we Wrocławiu

GRANICE PYTAŃ Poezja nie bez związku z wystawą sztuki

Architektura, która naśladuje niemą filozofię. Peter Eisenman a dekonstrukcja. Część III

CAŁKOWICIE INNA SZTUKA