Defining the architectural space : rationalistic or intuitive way to architecture : monograph. Vol. 2 = Definiowanie przestrzeni architektonicznej : racjonalistyczna czy intuicyjna droga do architektury : monografia. Vol. 2
Defining the architectural space : rationalistic or intuitive way to architecture : monograph. Vol. 2 = Definiowanie przestrzeni architektonicznej : racjonalistyczna czy intuicyjna droga do architektury : monografia. Vol. 2
Defining the architectural space : rationalistic or intuitive way to architecture : monograph. Vol. 2 = Definiowanie przestrzeni architektonicznej : racjonalistyczna czy intuicyjna droga do architektury : monografia. Vol. 2
Abstract:This article is an attempt to show the unique role of “symbolic intuition” in the process of designing meaningful places (holy structures, commemorative places).Originally, architectural creativity was associated with sheltering humans, namely with the sacred – holiness, the sense of safety. Desacralization of space through the rational lead of modernism redefined such values as: truth, good and beauty. The split between the pursuit of modernity and adhering to traditional ideas influenced the form, matter and semantics of meaningful structures. Many contemporary architects rather develop the awareness of the “self” rather than reaching for the source of sacral architecture, namely the “semantic intuition”. The author’s presentation becomes the primary goal. However, “intuition” still remains the primary tool for creating sacred art. This fact is proven by excellent works of contemporary meaningful architecture. The article describes the creative processes accompanying the design work of five prominent creators of sacred space: Le Corbusier, Tadao Ando, Olafur Eliasson, Stanisław Niemczyk, Michele De Lucchi. The creativity of these representatives proves that sacred architecture, in spite of the crisis in art, is still unique. It is an activity without the supreme role of utilitarianism, holding deeper content.
Abstract:In my opinion, intuition is not in opposition to rationality. “Rational and irrational tendencies do not stand in contradiction to each other”, as the thesis of this XVII International Scientific Conference of Kraków states, although I don’t believe that we should associate intuition with irrationality.I have always believed that even in the most miserable and obscure place we live in, where shadow or darkness have permanent shelter, a tiny light beam will enable us to connect with reality, with the immensity of the universe of the stars and the planets through the natural light. Enclosing the light, capturing it in an interior space has become at all times a difficult architectonic aim to achieve. It is like trying to hold water in your hands.Some pedagogical exercises and our last projects can serve as an illustration, especially the “patio” of our studio that we have turned into a laboratory with the intention to examine and observe natural light closely.
Abstract:The creative intention is firstly realized in a model that reflects the intentional, formal and technical features of the work. In pursuit of beauty and order, the author may release emotions or, on the contrary, impose stiff order. There have been situations in history when the formal approach prevailed over the intuitive. Works based on system of rules arose not only in the sphere of the natural sciences. The sensual, contemplative message of music disciplined the creators and catalyzed the rational interpretations of the medieval motet, polyphony and twentieth-century dodecaphony. The utilitarian technical genes of architecture did not determine its rationalistic orientation. Despite physical limitations, shaping of space was often based on intuitive operation or on the formulation of principles that, like the five Le Corbusier postulates, cannot be strictly interpreted. The article analyzes the limitations and opportunities created by the formalization of creative activities. Models of architectural and musical works became the basis for determining the impact of rules on the artistic effect, among others – for the intuitive or rational mode of perception of the work.
Abstract:In the last two centuries, “rational thinking” has been continuously alive in architecture, even if in different forms; it has been recalled for architectures that are also very different from each other.Intuition-related values, on the other hand, have rarely been mentioned. But intuition is not in contrast to reason. Intuition comes first, reason represents “how”. The result is something else. Intuition can provide ideas, reason can provide explanations. The explanations can be a priori, if they serve to make decisions, or a posteriori if they serve to give meaning to the whole. Both indicate the method, not the result. They have no real opposite. Lack of intuition is not necessarily void of ideas; and lack of reason is different from against reason… I don’t think there are any intuitional or even rational architectures, and we can see a number of examples in recent centuries. Perhaps it is better to avoid the madness of reason, but reasonable folly is sometimes the best we can hope for.
Abstract:In the 18th century Boullée provided a new foundation for architecture: he began at the root of the matter, aiming to hold everything together, as a true man of reason, to unite the necessity of reason with the power of emotion. Enlightenment is not Positivism, after all. In enlightened thought reason “illuminates” things in the world, allowing us to deeply understand and produce all that concern humanity: emotions and feelings primarily. For Boullée, too, as for Le Corbusier, architecture was emotion, astonishment, surprise, recognition: phenomena that did not occur rationally, but instinctively and emotionally. They did not took place through deductive, logical or “positive” thinking, but were based rather on analogical thought; whereby reason was the tool that induced emotions evoked by architectural phenomena.
Abstract:The essays focuses on how, between the end of the Twenties and the end of the Forties, in Italy there has been a deep reflection and investigation about the interior space of the house, and its qualities. Through exhibitions, publications, and some realizations, the Italian architects dealt with the issue of the domestic space and its different aspects: compositional, technical, economic, social. That happened thanks to a vision related to the international scenario, but also, thanks to architects and scholars such as Gio Ponti, Franco Albini, BBPR, Diotallevi and Marescotti, with a peculiar Italian interpretation of the “house of man”/”house for people” topic.
Abstract:According to the classical theory of architecture, form is an expression of visual, mathematical and social values, being the canonical criteria of evaluation of the aesthetics, logic and ethics. Digital technologies have revolutionized the creation of architectural forms, thanks to the introducing of time and information factors to the design process. The present forms of digital architecture are presented in the aspect of structural stability of the creation’s language – from the indistinctness of intuitive-colloquial thinking (imperfect structural stability) to the precision of rational thinking (perfect structural instability). Digital forms partly derive from the classical criteria of the spatial structures’ interpretation. Do such notions as beauty or ugliness, truth or falseness, good or bad, used in the description of the architectural form in the creative process, mean something today?
Abstract:Contemporary architecture is a mixture of intuition, unlimited imagination and rationalism implemented in the particular stages of the design. Sometimes it impresses with its uniqueness manifested in a complicated form, sometimes in a simplicity. Digital design, eliminated all restrictions of the architecture. As a result of the creative idea, it has a direct impact on the process of implementation. Integrated systems such as CAD / CAM / CAE allow to create bold and complex designs so that the ideas of architecture are transformed into the architecture of the ideas. Despite the available possibilities, architecture simple in its form is still appreciated as it determines the high visual values of the place and the architectural form itself in a clear way and without unnecessary means of expression. It is difficult to indicate the direction of the development of the architecture. However, a skilful combination of unlimited possibilities of intuition and rationality seems to be the most accurate.
Abstract:A work of architectural art is both a manifestation of the individuality of its author, who operates in a given cultural landscape, and an initiation and enactment of a new life that completes and enriches the environment from which that work originated. In the case of architecture based solely on rational criteria, or solely on intuition, there is no chance of extending a thought into reality. Such architecture can result from a design process that has been correctly (meaning: rationally) carried out, but that methodology fails to guarantee a ‘living architectural organism’ stemming from the ‘archaeological ecosystem’. The completion of an architectural object marks just the beginning of existence of living architecture in the material world. Its ‘viability’, entailing such qualities as adjustment to the widely understood context, changeability, multilayerness, etc. is the basic medium serving the purpose of communicating with viewers within the context of various cultural, social, psychological and physical values.
Abstract:The architectural idea of The Temple of Two Visions contained in the gloss, poem, drawings and a painting by Dariusz Kozłowski, was an inspiration for reflection on the Rationalistic or Intuitive Way to Architecture. The architectural design of The Temple of Two Visions – the parish church devoted to Our Lady of La Salette, together with the pastoral centre, by Dariusz Kozłowski and Wacław Stefański, was created between 1983 and 1985. The building process was initiated in 1985 in the Cegielniana Estate in Krakow. Unfortunately the construction of this extraordinary architectural work was stopped… The moving record of the architectural idea of The Temple of Two Visions, together with the preserved photos of models provoke reflection on the rational and poetic pretexts of sacral architecture of the post-functionalist era.
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