Abstract:The article describes a little-known fact about the very well-known building that is the Paris Pompidou Centre. In an era of social revolution, the project was a kind of revolution in the world of architecture. Renzo Piano and Richard Rogers changed the story of architecture almost unwittingly by playing with it.
Abstract:The article is a contribution to the discussion on Polish postmodernism viewed against the background of changes in world architecture as well as the political transformations taking place in Poland. Postmodernism is regarded as a trend enriching architecture with elements of freedom, fun, joke – in other words, with the joy of designing as well as those of the use and visual perception – all absent in the modernist dogma. A brief history of the trend has been included along with the selection of literature and the outline of the early Polish postmodernism. Some selected examples of Polish postmodern accomplishments before and after 1989 have been evaluated. The article ends with some thoughts about the essence of postmodernism as expression of joy.
Abstract:The natural landscape provokes artists to revive one. Architects overcome technical, physiographic, and custom limitations and they picturesquely blend their works in with the richness of nature. Many benefits may accrue for the region and tourists from this bravura, but at the expense of losing some of the innate values. In this article, the problem is presented intentionally in an exaggerated manner, recalling extreme locations.
Abstract:Unique architectural details may sometimes act like a lens or hologram, allowing better understanding of the general principle ruling the entire architectural concept. It shows both the game of intrinsic geometric transformations, and the game as diversion or entertainment. This is illustrated with examples from Parc de la Villette (1982–1990) in Paris, designed by Bernard Tschumi.
Abstract:A game of the multistability of the solid and void based on turning an interior inside-out reveals the properties of a building or a room. The inside becomes an object, surfaces of walls that surround the internal void are revealed to the outside like the inner lining of a piece of clothing would be unveiled. A game that changes void into solid serves as a model of analysis of the architectural space, or as a method of immortalising nonexistent spaces.
Abstract:Architecture is a complex discipline, and works of architecture are diverse and constantly changing. Therefore, it is difficult to determine the range and essence of architecture and create a definition. This paper analyses the problem with definitions of architecture on the basis of semantics, aesthetics, and metaphysics. It considers the question of identity and essence, and the cause, purpose and consequence of defining.
Abstract:The game is a particular aspect of human activity, organized and limited by rules, with a result, though not a material outcome. In the process of creating architecture we undertake activities associated with the notions of fun and game. This also, or primarily, applies to architectural education, which, in short, free forms seeks experience and inspiration for further, serious design solutions.
Abstract:The beginning of the 20th century brought discourse on the issue of a new “culture of recreation” and the phenomenon of a relatively new invention – the playground. Play – caring for the body and the spirit – interacted in the work of all the great modernists, and the pope of modernism himself, Le Corbusier. Non-existent now, brutalist playgrounds have become a subject for exhibitions: the play of the new creators-artists, and their game with their antecedents and the contemporary audience.
Abstract:The paper elaborates on a certain way of describing an architectural space by means of a physical model, along with a project exercise realized as a part of the course in Descriptive Geometry which is an element of the program of the first year of studies in the Faculty of Architecture. The intent is to incorporate a component of entertainment to break out of the “rigid” and “dry” way of teaching this subject.
Abstract:The article discusses different ways of implementing architectural colour games in space. The author has selected examples of “colourful games” in which colour composition plays a key role. Colour is also presented as an element of the conscious, oftentimes dynamic game, played between architect and spectator. Finally, colour becomes the game itself, part of the experiment in space – architectural performance, as well as a representative of the “fun and game” aesthetic