Defining the architectural space : rationalistic or intuitive way to architecture : monograph. Vol. 1 = Definiowanie przestrzeni architektonicznej : racjonalistyczna czy intuicyjna droga do architektury : monografia. Vol. 1

Type: Collection of book fragments
Title

Collection items (9)


Between rationalism in architecture and poetry

Żychowska, Maria Jolanta
Fragment of a book
2018
Recent years have seen a fashion for reminiscing about the architecture of the second half of the 20th century. It brings back from oblivion all the architectural accomplishments, including the less interesting, but some myths are also created about the past times and opinions about them are often controversial. Reminiscing about the architecture of People’s Poland brings to mind a certain regularity that the present epoch fails to appreciate the relics of its predecessor. We seem to have reached the moment when the architectural achievements of People’s Poland have got appreciation and their relics that survived demolitions and radical transformations will receive due conservator’s protection provided they deserve it, of course.

"Feelings and reasons" in the architecture of the city. A lesson from two inner cities

Zuziak, Zbigniew K.
Fragment of a book
2018
It is assumed that the approach presented in this paper could be applicable for comparative studies on the role of the architecture of nodal places centres in the development of the polycentric construction of the city. Following the concepts of rationality in urbanism, outlined by the author in his earlier papers, he focuses is on the connections between the historic centre and other articulations in polycentric urban form. In the model of the urbanistic construction of the city of Krakow, the interpretation of the logic of urban form includes structural and emotional factors affecting the architecture of the city.

The irrational life of architecture

Segal, Rafi
Fragment of a book
2018
While architects seek to create new forms for their designs, the reception of architecture by its users remains largely reliant on identifying the familiar. The essay examines the ways in which familiarity establishes formal preferences and the metaphors used to mediate and ‘access’ the less familiar architectural form.

Rationalism or intuition in the age of algorithmic methods of searching for structural forms

Rokicki, Wiesław
Fragment of a book
2018
In designing, it is important to systematize the needs – many of them can be defined and described, but there are also those that are difficult to clearly define. Given the possible diverse views of the same object, it should be objectively recognized that the search for spatial forms, that would suit the user in his physical and metaphysical needs, is a creative process. In striving for the perfect form, architects rely on intuition by referring to known canons of beauty and mathematical rules, and technology and art interrelate interdependently. Modern digital design tools provide new possibilities which enable the use of bionic patterns and help us improve our knowledge about the constructions designed by Nature. Therefore, the question should be asked whether the process of algorithmization of space modelling is cold rationalism or some intuitive way towards architecture.

Plus ratio quam… intuitio

Podhalański, Bogusław
Fragment of a book
2018
The creation of surprising, unobvious architectural forms – is in principle a matter of intuition and talent; it is wonderful, insofar as we understand architecture as something that is drawn. However, when we look at architecture through the prism of the structure of the architectural form, in order to transform this form from drawn architecture into actual architecture: one that is physically tangible, instead of a virtual illusion, an architecture on whose wall we can lean on when we are tired or rest within its shadow, the matter becomes much more complicated. It is serious enough that it requires the involvement of something more than intuition – that which we call reason and experience. For is it not creative when an intuitive sketch turns into a three-dimensional and sometimes timeless form, to which we can sometimes travel great distances in order to verify its obvious non-obviousness in person?

Rationalistic art framework

Pabich, Marek
Fragment of a book
2018
The architecture of an art museum constitutes the framework for the presentation of art. Although the relation between the exposition and the architectural form has been evolving for the last two centuries, the rationalism of the Age of Enlightenment also had a great impact on the successive architects designing museums. Art, created mostly thanks to the artist’s intuition, can later be unravelled in the realm of a rationally shaped space. The architect designing museums relies not only on the experience of their predecessors but also on the assistance of art curators, who care for the best possible ways of displaying art objects. The discussion on the form of a museum is also joined by artists, who more often than not, unequivocally define their expectations about the display environment surrounding the exhibits.

The exalted rationalism of Aldo Rossi

Monestiroli, Antonio
Fragment of a book
2018
Aldo Rossi always thought, wrote and worked inside two antithetical terms: rationality and exaltation. Two terms that seem to refer to two incompatible ways of knowing reality. Instead, A. R. conducted his research by comprising, in a single thought, rationality and exaltation.

Pragmatism or emotion? The sources of architectural form

Juzwa, Nina
Fragment of a book
2018
1. The question about the sources of architectural form has been asked for decades and the answer differed depending on the period of time. Nowadays the subject seems to be equally important; however, the answer is still vague.2. In 1997 Charles Jencks held a debate on contemporary architecture. The term ‘ecstatic’ architecture reflecting expressions and emotions was the result of this debate. The symbol of this architectural sensitivity was the 17th century sculpture The Ecstasy of St. Theresa by Lorenco Bernini and the essence of such architecture is the impression of movement and dematerialisation of form. After 20 years, The Manifest is still up-to-date. Let us then imagine two icons of architecture: Dream by Norman Foster as the pragmatic one and the sculpture of Bernini as the emotional one. Both groups of examples would be equally numerous and technically perfect. This distinguished dematerialisation of from is currently a frequent autonomic element in a very pragmatically shaped structure of the object.3. In the process of designing the ability of intuitive transfer of form becomes especially important in the first stage of creating the project – the stage when the idea is born. The picture presenting the creative idea of an architect shows the main idea leading to the implementation of the work. This ability is not given equally to everyone. It is usually called a talent.

Draw because I have to think

Zvi, Hecker
Fragment of a book
2018
The text refers to decoding the meaning of a germinating concept.