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1

HOW TO SEE ARCHITECTURE (IN GOMBROWICZ AND OTHER MODERNIST AUTHORS) WHEN IT IS BEING READ?

100%
Lesniakowska M.
Teksty Drugie (Second Texts)
|
2005
|
issue 3(93)
38-57
EN
This article is the first-ever analysis of Gombrowicz's (and other modernist authors') liaisons with architecture in the history of Witold Gombrowicz scholarship. The authoress inspects into these issues from the standpoint of so-called critical history of art, which positions her paper also within the area of methodological issues and new trends in studies of arts. In her opinion, absence of questions regarding Gombrowicz's connections with architecture, the topic being absent/precluded from literary scholars' papers, has to be deemed a 'significant omission'. The question about a 'presence' of architecture in Gombrowicz has been based on an assumption that any work of art offers a model for recognising something, an epistemology of some sort. Attempt has been made at replying to the question about the actual place of architecture in Gombrowicz's aesthetic and/or ethical system, and about the role he has programmed for it in his texts. Gombrowicz was namely positioning architecture in the 'zone of a subculture', of 'secondary forms'. In his concept of architecture as a secondary form, a structure of mythology and a repressive effect of the myth become revealed. Thus, architecture is perceived as a language, as a 'meaningful' fact, a narration that 'projects' the internal space, in line with the rules (cultural and iconographical) of permanence of pose and attribute. In Gombrowicz's discourse, architecture as a representation becomes one of his masks, a crypto-text. This is how it might be 'seen' whilst being 'read', the authoress concludes.
2

ADAM'S HOUSE, EVE'S HOUSE: DISCOURSE ON DIFFERENCE OF (SUB)TEXTS OF ARCHITECTURE HISTORY

100%
Lesniakowska M.
Rocznik Historii Sztuki
|
2005
|
vol. 30
31-45
EN
This is the first article in the Polish historiography dedicated to architectural issues analysed in the context of gender-studies. It also includes the elements of critical and literary ecphrasis, analysing the selected scientific texts and bell-letters (descriptions of house building). The authoress focused on two main issues: pre-modernist shaping of house space as a realisation of patriarchal scenario (so-called patriarchal principle) and a tradition relating to it, connecting the concept of architectural creativity (architectural profession) with male activity. Architecture and the texts on the subject as a realisation of culture codes had developed and reproduced the scenario in which the creator = 'father/author' of architecture is a man (a house of the first architect, Adam in Eden, or Odysseus house in Homer's poem as the canonical 'men's houses'). Women are subordinated to this space and passive (so-called 'hidden women'). Starting from Vitruvius, Alberti and Palladio, where the basic patterns of space genderisation (canon) were made as a function of power, the authoress traces this tradition in the Polish literature (theory of architecture), from the earliest texts (the 17th century) to the 20th century. At the same time she observes the systematically increasing interferences into a design process: activities of the female amateur architects and so-called female 'domestic engineers', which requires asking the question, whether and in which way their performances led to the destruction of traditional house space. From it follows a question of 'woman-author', i.e. the degree of women's participation in change of architectural/cultural paradigms, also in Poland. This problem - in authoress' opinion - requires thorough analysis. The issues outlined in the article pertain to the pre-modern period as preceding the development in the 20th century, along with modernism, a new in the history of architecture group of professionals: the first generation of women with professional architectural education -concludes the authoress.
3

ARCHITECTURE AND ITS IMAGES. PHOTOGRAPHS BY CZESLAW OLSZEWSKI

100%
Lesniakowska M.
Rocznik Historii Sztuki
|
2006
|
vol. 31
187-198
EN
The article pertains to the relationship between photography, modernism and historiography. It's a proposal of a different reading of architecture photography which is treated as a posed 'portrait' of modernism with the purpose of realisation an adequately designed representation of modernist architecture. The stimulus was provided by the photographs by Czeslaw Olszewski (1894-1969) from the 1930s taken for the leading Polish periodicals of the interwar period: 'Architektura i Budownictwo' (Architecture and Building Trade), 'Arkady' (Arcades). In their 'foreground' these photographs documented an international style present in Poland, the realisations of young Warsaw architects from among 'the generation of ca. 1900' and the peers of the photographer, so it is a sort of a generation's manifesto. The authoress, however, points out the problematics of the broad term of a 'documentation photography', the apparent neutrality and false 'objectivity' of camera (photography); she refers to the model of the Allan Sekula's archives as a 'territory of images' which reveals a new sense of a 'document' as a memory relic. Black-and-white photograms are the 'images' of architecture that imitate the ways of representation known from the paintings of the 1930s, and as representations they derivatively aestheticize this architecture. The fact that this is monochromatic photography allows to inscribe it into the project of creation of the image of modernism seen as the culture of 'white walls'. Ideologists of modernism made use of the 'lack of colour' of photography to create an image (definition) of modernist architecture as an abstract 'play of white forms in the light'. In this way one of the modernist dogmas was realised pertaining to: 1) the question of space, and 2) the colour and/or lack of it as a sign and reference. Thus, modernism identified with the culture of 'white architecture' situated thereby on the plane of designed by modernism historiographic tradition that reveals here its feature: as an aesthetic construct. The authoress recalls the new analyses which criticise modernism as the 'culture of white wall' and disclose the relationship between the 'white wall' and patriarchal scenario with the purpose to create the avant-garde art as a 'male' area (gender theories, psychosexual basis of architecture, postcolonial theory interpreting a 'culture of whiteness' as domination of the white race etc.). At the end of the text there is presented the relationship between the 'beautiful portraits' of avant-garde architecture and 'rhetoric of wandering' and narration: the buildings in the photographs taken by Olszewski had been build before 1939 and were either destroyed during the WWII or devastated in the communist times. For this reason the authoress interprets them like the pictures with typical utopian scheme: a convention of journey and reference to nostalgia, which inscribes them into the discourse upon memory and history.
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