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Journal articles on the topic 'Avant-garde concept of architecture'
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1
SLASTENIN, P. V. "THE CONCEPT OF SIMPLICITY IN CONTEMPORARY ARCHITECTURE." Urban construction and architecture 1, no. 3 (September 15, 2011): 6–8. http://dx.doi.org/10.17673/vestnik.2011.03.1.
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This article is an attempt to crystallize some thoughts about the place of simplicity in contemporary architecture. The article briefly describes the viewpoint of the avant-garde artist K. Malevich and modern architects J. Pawson, K. Sejima and R. Nishizawa with regard to concept of simplicity and its origin. Some possible ways to achieve simplicity in art and architecture, such as economy and minimum, are considered in this article.
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Lohtaja, Aleksi, and Taneli Viitahuhta. "Walter Benjamin, taiteen toinen tekniikka ja avantgarden kulttuuripolitiikka." Kulttuuripolitiikan tutkimuksen vuosikirja 3, no. 1 (May 2, 2018): 38–50. http://dx.doi.org/10.17409/kpt.63289.
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This article provides a fresh look into Walter Benjamin’s famous essay, “Artwork in the Age of Mechanical Reproduction” (1936). Following Benjamin scholar Esther Leslie, we claim that Benjamin’s lesser-known concept of “second technique” is integral for understanding both the meaning of essay as well as mapping the political and artistic aims of the 1920’s avant-garde movements in general. The article is structured around two cases of avant-garde, both of which are central already for Benjamin, but remain somewhat under-theorized in connection to Benjamin. These are the Soviet constructivist film and the idea of glass construction in Weimar-era German architecture.
Keywords: Walter Benjamin, second technique of art, avantgarde, film, architecture
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Moravčíková, Henrieta. "An Intriguing Work of Engineering and Architecture: The Collonnade Bridge in Piešt’any." Bridges and Infrastructures, no. 45 (2011): 90–93. http://dx.doi.org/10.52200/45.a.sp7eqbzt.
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The period around the year 1930 could be termed the culminating point with respect to the Modern architectural avant-garde in Slovakia. It was then that the concepts emerged from the most important works, the first Slovak architectural journals began to be published, the School of Applied Arts opened, as a Slovak variant of the German Bauhaus, and an entire range of other artistic and social initiatives indicated that Slovakia’s cultural environment could not only absorb avant-garde impulses, but develop them in a unique way. It was precisely at this moment that the history of one of the most famed bridges in Slovakia, the Colonnade Bridge in Piešt’any, began to be written.
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Kursova, Marina, and Evgeniya Repina. "CATEGORY OF EMPTINESS IN THE WORLD ARCHITECTURE: JAPAN, WEST, RUSSIA." INNOVATIVE PROJECT 4, no. 10 (December 2019): 20–25. http://dx.doi.org/10.17673/ip.2019.4.10.2.
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The article analyzes the philosophical and psychological meaning of the category of emptiness and its reflection in art and architecture. The sacred meaning of emptiness in Zen Buddhism and its influence on Japanese architecture are considered. Differences in interpretations of the concept of “emptiness” in Eastern, Western and Russian philosophy and architecture are analyzed, it is highlighted how echoes of Zen teachings and the category of emptiness contributed to the emergence of the empty canon in the avant-garde. The devaluation of “emptiness” in the aesthetics of modernity and its transformation under the conditions of postmodernism are considered. In the course of analyzing the attitude of the modern generation to the categories of emptiness and space, the preconditions for the return of the attitude to emptiness and space as sacred categories of architectural culture are revealed.
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Nekrošius, Liutauras. "PARALLELS OF EUROPEAN STRUCTURALISM IDEAS IN LITHUANIAN ARCHITECTURE." JOURNAL OF ARCHITECTURE AND URBANISM 30, no. 3 (June 30, 2006): 111–24. http://dx.doi.org/10.3846/13921630.2006.10697072.
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One of the most controversial periods of architectural history, which has been identified with avant-garde of philosophy, art, music and science, in Lithuania is laconically described as soviet modernism. One of contemporary architectural phenomena, which is characterized as a part of soviet modernism, is structuralism. In Lithuania it developed as a reaction to creative results of a modernistic style. The text concentrates on one segment of a wider research of structuralism ideas in contemporary Lithuanian architecture. The paper discusses the basic concepts of structuralistic architecture and their genesis, reviews the manifestation of these ideas in Lithuania and other European countries. Attention is paid to ideas which determined changes in townscape. Supposedly, such a review will help to define peculiarities in the genesis and development of structuralistic tendencies in Lithuania and understand their influence on architectural development in the country.
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Adamov, Oleg. "Anticipations of the Ideas of Contemporary Architecture in the Russian Avant-Garde." E3S Web of Conferences 263 (2021): 05027. http://dx.doi.org/10.1051/e3sconf/202126305027.
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Leading contemporary architects stated their adherence to the ideas of the Russian Avant-garde that could be “injected” into the Western cultural background and might regenerate or revitalize it. Their approach could be accounted as “superficial sliding”, but quite deep interpenetration to the ideas and images of this culture is also revealed. So the point is, in what ways the inheritance occurs and cross-temporal interaction works in a design culture? The purpose of this paper is to clarify a nature of the multiple links between the working concepts of the masters of the Russian Avant-garde and contemporary Western architects emerging while their creative activity in relation to spatial constructions and affecting the meanings of architectural forms and images. The essay tried to apply the process approach to study the architectural phenomena, treated as a development of structuralism and post-structuralism methods, involving the construction of both synchronic and diachronic models. Comparative analysis of individual ways of designing and creating forms specific to the architects is also used. As a result the individual semantic structures are identified and their interconnections are found out at the different levels of conceptualizing: “picture” imitation and transfiguration; fragmentation; reticulated constructions; cosmos generating; spatial primary units; animated stain; bionic movement; autopoiesis. Tracing the links and transferring the ideas is possible at the meta-level by comparison the whole semantic structures specific for the different times architects, identified by means of reconstruction of their individual creative processes and representation of the broad figurative-semantic fields, referring to the various cultural contexts.
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Didenko, К. "INVOLVEMENT OF THE THEORY OF SOCIAL CONSTRUCTION FOR CONSIDERATION OF ARCHITECTURAL AND CITY BUILDING PRACTICE." Municipal economy of cities 1, no. 154 (April 3, 2020): 185–91. http://dx.doi.org/10.33042/2522-1809-2020-1-154-185-191.
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Social aspects of the formation of architectural complexes in metropolian Kharkov have not yet been analyzed in homeland architectural theory. The study into "Kharkov constructivism", due to unfortunate historical ocurrence, is still in fact at the initial stage. Thesises of Kharkov authors illuminate this phenomenon in general or analyze some of the most significant sights. Approaches to the study of social aspects of architecture and urban development went through several stages. Architectural theory of the late 1940s- the beginning of 1950s was sharply critical of the architectural and urban planning experiments in the 1920s. The XXth century Soviet history of architecture in the 1960s and 1970s was marked by ideological rehabilitation of constructivism, including social experiments of the 1920s - early 1930s. A turn from apologetics of the 1960s - 1980s to critical analysis of the architecture and urban development of the avant-garde was indicated at the beginning of 2000s by the studies considering Soviet architectural and urban planning practice in the context of public behavior management as a tool for structuring general population to achieve political goals. Foreign studies into the Soviet avant-garde sprang up in the 1970s - early 1980s affected by Western sociology where architecture began to be viewed as a tool for managing social processes and new types of structures and models of urban planning organization- as “a transition from social to material”. Many studies highlighted the influence of Soviet architectural and urban planning programs of the 1920s and 1930s on the system and structure of public consciousness. There was established that large-scale housing, cultural and domestic construction was carried out as part of the capital's administrative and government center creation programs and the formation of an industrial complex. There were identified four conceptual approaches for housing construction, they were consistently implemented during the realization of the two above-mentioned programs: garden city, communal house, housing complex and social city. In these programs, the concepts of "garden city" and "communal houses" were practically tested and reasonably rejected, and the most productive models were residential complexes and social city. Keywords: social construction, architectural and urban concepts, soviet human, metropolian Kharkov.
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Hall, Michael. "What Do Victorian Churches Mean? Symbolism and Sacramentalism in Anglican Church Architecture, 1850-1870." Journal of the Society of Architectural Historians 59, no. 1 (March 1, 2000): 78–95. http://dx.doi.org/10.2307/991563.
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In a challenging but little-studied article published in Architectura in 1985, David B. Brownlee argued that the religious concept of the development of doctrine influenced the belief of architects in the Anglican Church in the 1840s that they should attempt to "develop" architecture in a radical new direction. The result was the style we now call "High Victorian." This article takes up Professor Brownlee's argument in two ways. First, it looks at how architects in the 1850s sought to create a progressive style by drawing on ideas and images from contemporary science, specifically geology, for which development was also a key word. Second, it addresses the question of why the idea of development fell so suddenly from favor in avant-garde architectural circles in the 1860s. It argues that as science and religion withdrew into their separate spheres, architects turned instead to an ideal based not on historical development but on the imitation of a stylistic paradigm. This approach was influenced by High Church belief that the sacraments, most importantly the Eucharist, were the material realization of a timeless supernatural reality. Changing attitudes to time and precedent had important consequences for the way architects viewed restoration, archaeology, and the use of historical models.
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Saglam, Hakan. "The reciprocity between art and architecture." New Trends and Issues Proceedings on Humanities and Social Sciences 6, no. 4 (September 24, 2019): 112–16. http://dx.doi.org/10.18844/prosoc.v6i4.4413.
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The concept of ‘Art’ in the modern meaning, evaluates within the Enlightenment’s seminal World of philosophy. Before the Enlightenment architecture and craft were instinctively united fields of creating, almost impossible to detach one from the other. From the beginning of twentieth century the avant-garde of modern architecture were aware of the growing schism between art and architecture and vice versa. The pioneers were writing manifestos, stating that art and architecture should form a new unity, a holistic entity, which would include all types of creativity and put an end to the severance between “arts and crafts”, “art and architecture”. Approaching the end, of the first decade of the twenty first century, as communicative interests in all fields are becoming very important, we should once more discuss the relation/ interaction / cross over of art and architecture; where the boundaries of the two fields become blurred since both sides, art and architecture, are intervening the gap between. The aim of this paper is to discuss the examples of both contemporary art and architecture, which challenge this “in between gap.”
Key words: Architecture, art, interaction, in between.
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Srećković, Biljana. "Architecture and music/sound: Points of meeting, networking, interactions." SAJ - Serbian Architectural Journal 6, no. 1 (2014): 75–88. http://dx.doi.org/10.5937/saj1401075s.
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This paper is devoted to perceiving the relationship between music and architecture, namely, the discourses which interpret, research, value these two practices in the context of their mutual networking. In that respect it is possible to set aside several problem strongholds which will make the focus of this paper, and which concern: the history of forming and evolution of discourse on the inter-relationship of these two practices; modernist, avant-garde and postmodernist problematization of music and architecture; theories of the artists as a field of music and architecture networking; the interaction of music and architecture on the technical and formal level; spatiality of sound, i.e., sound/music propagation in space and the emergence of the new art concepts based on this principle (sound architecture, aural architecture, sound art).
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Ferrari, Rossella. "Architecture and/in Theatre from the Bauhaus to Hong Kong: Mathias Woo's Looking for Mies." New Theatre Quarterly 28, no. 1 (January 31, 2012): 3–19. http://dx.doi.org/10.1017/s0266464x12000012.
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In 2001 Mathias Woo, a trained architect and co-artistic director of Hong Kong's foremost performing arts group, Zuni Icosahedron, proposed the concept of ‘multimedia architectural music theatre’ (MAMT), which he later investigated through a series of performances focusing on three masters of modern architecture – Louis I. Kahn, Ludwig Mies van der Rohe, and Le Corbusier. This article traces the development of Woo's architectural theatre aesthetics by examining the most ambitious work in the series, Looking for Mies, premiered in 2002 and revived in 2009 and 2011. This links Hong Kong's twenty-first-century postmodernist theatre to early twentieth-century European modernism, particularly the Bauhaus, and international examples of architecture-centred performance. Looking for Mies unearths connections between theatre and architecture, and explores the relations between tradition and technology, man and machine, live performance and digitally mediated experience on the modern stage. Rossella Ferrari is a Lecturer in Modern Chinese Culture and Language at the School of Oriental and African Studies (SOAS), University of London. She has published articles in TDR: The Drama Review, Postcolonial Studies, Journal of Contemporary China, Modern Chinese Literature and Culture, and other journals. Her monograph Pop Goes the Avant-garde: Experimental Theatre in Contemporary China is forthcoming from Seagull Books, and her current research focuses on inter-Asian collaboration and performance networks in the Chinese-speaking world.
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Paz-Agras, Luz. "Las exposiciones de El Lissitzky a través del Cine-ojo." VLC arquitectura. Research Journal 4, no. 1 (April 26, 2017): 151. http://dx.doi.org/10.4995/vlc.2017.6987.
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The Avant-Garde movements of the twentieth century explored the creative possibilities of new types of media in architecture, such as the photographic camera or cinema. In a series of experimental projects, authors such as El Lissitzky based their work on assimilating the human eye with a mechanical lens, making it possible to create new concepts of space. A simultaneous consideration of the resources of Vertov’s Cine-Eye in relation to the exhibition projects of El Lissitzky reveals some of his proposals as paradigmatic examples of the perceptive experimentation of the viewer in relation to art, and in a wider sense, to architecture. By analysing the cinematic resources of the film <em>Man with a Movie Camera</em> (1929), architectural aspects are analysed in the exhibition spaces of the Abstract Cabinet and PRESSA, identifying connections that break down the boundaries between the different disciplines.
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Zarecor, Kimberly E. "The pre-history of the communist future in Czechoslovakia: Case studies in architecture and revolutionary socialism before 1948." Journal of Modern European History 18, no. 4 (August 10, 2020): 451–73. http://dx.doi.org/10.1177/1611894420943798.
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Scholars have recently written about the importance of Marxism and political agitation within architectural discourses of post-war East Central Europe. Less attention has been paid to the period before World War II and the ways in which Marxist language and concepts were already infused into interwar avant-garde practices and debates. This essay argues that a necessary corrective to this gap in the historiography is to write new histories of interwar revolutionary socialist architecture that do not presuppose the failures of the socialist project itself. These histories emerge from a time in Europe when Marxism offered an enticing alternative vision of the future in a region where economic and social deprivation was real and urgent. Three case studies in Czechoslovakia will be discussed: Karel Teige’s engagement with Hannes Meyer, the discourse of the Architectural Working Group, and early experimentation with the collective housing typology in Litvínov, Prague, and Zlín.
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Tkachev, Valentin N., and Tatiana O. Sarvut. "REJECTION OF HARMONY." Architecton: Proceedings of Higher Education, no. 3(71) (September 29, 2020): 1. http://dx.doi.org/10.47055/1990-4126-2020-3(71)-1.
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The title of the article is inspired by the critical state of modern architecture, in particular its top (outside utilitarian architecture) echelon carrying an ideological load in accordance with the general cultural paradigm of society. The latter has reached a level of paradoxical "harmony" between high rates of technological and electronic advancement and comparable rates of social degradation in Homo sapiens. The indicator of positivity in the development of civilization has turned on the red light of alarm. The response has been an unprecedented surge of scientific publications devoted to the ongoing social crisis and search for ways to prevent the catastrophe, which the humankind gravitates to "collectively unconsciously" being perfectly aware of its possible consequences.
Visual evidence of the threat and its sign is a booming architectural activity, creating an illusion of progress and flourishing.
The article reviews concepts and publications polarized in their assessment of the so-called avant-garde phenomena of modern world architecture and predicts the immediate and long-term prospects of the profession for staying mainstream.
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Spens, Michael. "In the presence of absence: Cambridge's forgotten masterpiece. The Cornford house by Colin St. John Wilson (1967)." Architectural Research Quarterly 2, no. 1 (1996): 26–37. http://dx.doi.org/10.1017/s135913550000107x.
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The house is not widely known but has been praised by a distinguished circle since its completion, including Aldo Van Eyck and Christian Norberg-Schulz. It represents a fusion of European revision of modernism as a model of the continuity of ‘The Other Tradition’ with avant-garde American design concepts of the late 1960s. Quite distinct from the work of the New York Five, for example, it is, the author claims, nonetheless related to it through the architect's teaching involvement with the Yale and MIT schools from 1960. Today it remains a significant architectural icon, and following the death of its owners is in need of formal listing and statutory protection.
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Makała, Rafał. "Dwa kościoły. Budownictwo kultowe w międzywojennych Niemczech jako przestrzeń modernistycznych eksperymentów." Porta Aurea, no. 19 (December 22, 2020): 325–46. http://dx.doi.org/10.26881/porta.2020.19.17.
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The time between WW I and II was a period of intensive development of church architecture in Germany. In the new situation after the defeat in WW I on the wave of Christian renewal movements, the concept of the church as a building corresponding to its functions, as an object expressing the character of religion and the vision of a congregation as a community in modern society was re -formulated. The dynamically developing church architecture was an area of intense experiments (especially in the 1920s.), creating new forms, as well as devising new iconography by Rudolf Schwartz, Otto Bartning, or Dominikus Böhm. The paper draws attention to a certain community of the main antagonized Christian and Protestant denominations on the example of two buildings erected on the eastern periphery of the then Germany (from 1945 constituting the western part of Poland): the Catholic Church of St Anthony in Schneidemühl (now: Piła, Hans Herkommer, 1928–1930) and the Protestant Cross-Church in Stettin (now: Szczecin, Adolf Thesmacher, 1929–1931). The first was built in a small town as a representative seat of the Prelature, a branch of the Catholic Church in the Protestant region, near the then border with (revived again) Poland. The building is a continuation of an innovative and conservative concept realized by Herkommer at the Frauenfriedenskirche in Frankfurt am Main (1927–1929), and is a testimony to the search for forms expressing the rationalist aspirations for the renewal of the Catholic Church, however without abandoning the main principles of the Tradition. For this purpose, Herkommer applies ‘industrial’ forms used in the Bauhaus circle, creating a clearly avant-garde building: not only in the local context of a small border town of eastern Germany, but also in the Catholic tradition of sacred architecture. Hiring an avant-garde architect and using modernist forms was the decision of one man: Monsignor Maximilian Kaller, the leader of the Prelature. The Church of the Cross in Szczecin was raised in a luxurious district of a great Protestant city, so it was the parish church of the Protestant elite. Although built of brick and clearly referring to the tradition of the Gothic architecture of this region, the Church of the Cross also reveals its striving for the maximum reduction of forms and the use of the language of abstraction. When building a Protestant church, Thesmacher resorted to forms applied primarily in Catholic architecture, especially to the forms used by Herkommer. Thesmacher created a facility expressing attachment to the local tradition and manifesting the modernity of the Evangelical church in Pomerania. As a result, both churches are a testimony to functionalist aspirations, although, of course, the functions differed from those on which, for example, the founders of the Bauhaus were focused.
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Markovskyi, Andrii. "LOCAL IDENTITY AND FEATURES OF THE ARCHITECTURE OF KYIV IN THE FIRST HALF OF THE TWENTIETH CENTURY." Urban development and spatial planning, no. 76 (March 1, 2021): 150–59. http://dx.doi.org/10.32347/2076-815x.2021.76.150-159.
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The article presents an analysis of the compilation of local and regional features of the development of Kyiv at the beginning of the last century, which arose as a reflection on global socio-political, economic and cultural transformations. In particular, successive iterations of the main city-forming function, "invented traditions" in their local manifestation, local decorative techniques ("brick style") and terrain subordination are studied. Mentioned as domestic (J. Yu. Karakis, P. F. Alyoshin, V. G. Krychevsky, V. G. Zabolotny, D. M. Dyachenko, and others) as all- Soviet architects (J. G. Langbard, I. O. Fomin and others).
The concept of invented traditions according to E. Hobsbawm is extrapolated to the field of architecture through the prism of artistic and cultural context. The localization of traditions and the corresponding separation are presented in the concept of T. Eriksen: as a means of self-identification and response to the need to create an internal coordinate system for representatives of individual groups.
The article summarizes a series of author's researches devoted to a detailed analysis of each of the mentioned artistic transitions in Kyiv architecture (from eclecticism and historical reminiscences to modernism, from Art Nouveau to avant-garde, from constructivism to Soviet neoclassicism and, finally, from Stalinist empire to modernism), being part of a global analysis of the genesis of city architecture in a global context. A detailed analysis of the objects identified in the article is presented in other works of the author.
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Cho, Hyunjung. "Arata Isozaki: the architect as artist." Architectural Research Quarterly 24, no. 3 (September 2020): 239–50. http://dx.doi.org/10.1017/s1359135520000329.
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This paper is not a comprehensive survey of the architectural career of Arata Isozaki, one of the most distinguished practicing architects in the world today and the 2019 winner of the Pritzker Prize, but a specific look at his formative years of the 1960s when he began to build his own design methodology. It delineates Isozaki’s encounter with the avant-garde art movement of the 1960s, collectively called “Anti-Art, ” against the backdrop of the “anti-spirit” of Japanese society. Although Isozaki’s artistic side has been overstated at times, previous studies rarely addressed how his intensive interactions with art circles played a role in shaping his design methodology. I would like to examine the convergence of creative individuals and cross-disciplinary connections to understand Isozaki’s architectural thinking.This study examines how Isozaki’s collaborations with his artist contemporaries enabled him to formulate the notion of the “invisible city, ” a radically new design concept characterised by the expansion of the nature of architecture from producing isolated built-forms to all-encompassing natural and manmade environments. However, after drawing on communications and information theory, which prevailed in 60s architectural circles, Isozaki’s destructive and anarchistic connotation of “invisible city” was channeled into a systematic cybernetic model and eventually transformed into a constructive planning method. I will discuss the realisation of a cybernetic environment at the Festival Plaza of Expo’ 70 and trace the legacy of “invisible city” in his later postmodern work.
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Orelskaya, Olga V. "The 1930-s Unrealized Projects on Development of Gorky City (Nizhny Novgorod)." Scientific journal “ACADEMIA. ARCHITECTURE AND CONSTRUCTION”, no. 3 (September 27, 2018): 29–36. http://dx.doi.org/10.22337/2077-9038-2018-3-29-36.
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The article deals with little-known unrealized projects shaping the image of the socialist Gorky city, its river panoramas, squares and highways in accordance with the first Soviet master plan of 1935-1937, made by the creative collective of Leningrad Giprogor, under theleadership of N.A. Solofnenko. The development of the master plan of alarge city was based on the principles of reconstruction of the General plan of Moscow in 1935. The architecture of a post-avant-garde epoch allowed to clearly demonstrate the architectural searches of the period, identify their characteristics, their mistakes and achievements.
A radical reconstruction of an ancient city assumed a demolition of historic buildings. Instead of the lost townplanning dominants - churches that adorned the river facades of the city for many centuries, architects offered new high-rise accents in the form of monumental public buildings. Projects with classical compositions of central squares contributed to the formation of a fundamentally new image of the city. The tendencies of monumentalism appeared under the influence of well-known projects of accomplishment and organization of urban spaces in the capital cities - Moscow and Leningrad. This was an important phase of the new appeal to historicism, namely the development of the classics, which began in the mid 1930-ies and ended in the mid-1950s Archival photographs of 1930-ies complement the history of Russian Soviet architecture and urban planning and disclose the concept of the planned ambitious reforms.
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Lagunes, Silvia Segarra. "Casa Albero: an architecture experiment." Modern Houses, no. 64 (2021): 74–79. http://dx.doi.org/10.52200/64.a.5twr82ij.
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Designed in 1968, the Casa Albero [Tree house], in Fregene near Rome, by Giuseppe Perugini (1914-1995), Uga de Plaisant (1917-2004) and their son Raynaldo Perugini (1950-), constitutes an exceptional case of architectural experimentation. With multiple references to the aesthetic avant-gardes of the 20th century. It is presented as an example of modular, systematic and prefabricated architecture, in which the architects are, simultaneously, authors and part of the experiment themselves. The project functions as an architectural model in 1:1 scale. The concept embodied in this work offers the possibility of studying different ways of interpreting the living space within the same architectural composition.
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Griffin, Roger. "Building the Visible Immortality of the Nation: The Centrality of ‘Rooted Modernism’ to the Third Reich’s Architectural New Order." Fascism 7, no. 1 (May 5, 2018): 9–44. http://dx.doi.org/10.1163/22116257-00701002.
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This article sets out to contribute conceptual clarity to the growing recognition of the modern and futural dynamic behind fascist cultural projects by focusing on projects for architectural renewal under the Third Reich. It starts by reviewing the gradual recognition of the futural temporality of the regime’s culture. It then introduces the concept ‘rooted modernism’ and argues for its application not only to the vernacular idioms of some of the Reich’s new buildings, but also to the International Style and machine aesthetic deployed in many Nazi technological and industrial buildings. The article’s main focus is on the extensive use made in the new civic and public architecture under Nazism (and Fascism) of ‘stripped classicism’. This was a form of neo-classicism widely encountered in both democratic and authoritarian states throughout the inter-war period, and which can be understood as an alternative strand of architectural modernism co-existing with more overtly avant-garde experiments in reshaping the built environment. The case is then made for applying a new conceptual framework for evaluating the relationship to modernity and modernism of architectural projects, not just in fascist cultural production, but that of the many authoritarian right-wing regimes of the period which claimed to embrace the national past while striving for a dynamic, heroic future. This opens up the possibility for historians to engage with the complex cultural entanglements and histoires croisées of revolutionary with modernizing conservative states in the ‘fascist era’.
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Bonar, Jolanta, and Aleksandra Maj. "Przedszkola Reggio Emilia we Włoszech miejscem rozkwitu dziecięcego potencjału." Problemy Wczesnej Edukacji 31, no. 4 (December 31, 2015): 42–57. http://dx.doi.org/10.5604/01.3001.0008.5646.
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The article presents one of the most avant-garde educational experiences for young children in the world. The first preschools in Reggio Emilia (Italy) were established after the Second World War and they have been under the supervision of the municipality for over 45 years. The main initiator and educator of this early childhood practice was Loris Malaguzzi (1920–1994). One of the reasons for this long-lasting project is the readiness of Reggio Emilia educators to cross boundaries, and another is their openness to new ideas and perspectives. They take their inspiration not only from pedagogy, but from philosophy, the exact sciences, architecture, literature, and visual communication as well. Inspired by different ideas and theories, being reflective and inquiring, they interpret and construct their own concepts and theories instead of reproducing them.
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Didenko, K. "GLOBAL ARCHITECTURAL AND URBAN PLANNING TRENDS 1900s and 1930s AND THEIR INFLUENCE ON THE ARCHITECTURE AND URBAN PLANNING OF METROPOLITAN KHARKOV." Municipal economy of cities 3, no. 156 (July 1, 2020): 126–34. http://dx.doi.org/10.33042/2522-1809-2020-3-156-126-134.
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Organizational changes in project activity and the stages of its formation in the Ukrainian SSR as a tool for constructing a new social reality have been traced. The first stage was the approval of the altered role of architecture and the architect in socialist model, the second - the inclusion of social relations and lifestyle in the subject of architectural creativity, the third - conceptual approaches / models and the fourth - the creation of new samples of architecture. Global trends in urban planning and housing construction in the 1920s - 1930s essential for understanding the processes taking place in the construction of the capital Kharkov have been established. Namely: – the formation of urban planning schools at the turn of the XIXth and XXth centuries. (England, France, Germany, Austria (Vienna), as well as in Moscow, St. Petersburg, Kharkov and Kiev; – outsourcing knowledge from other sciences (statistics, economics, law, sociology, etc.); – aspiration to construct cheap housing, industrialization and standardization; – attraction of private capital to the construction of residential complexes. A similarity pointed out between architectural and urban planning concepts is composed of the attraction to conceptual solutions alike to the "garden city" in early 1920s, the search for a new housing typology (sometimes small) with facilities; creation of the concepts of a house-commune and a housing complex. Implementation of avant-garde concepts in the development of social and housing infrastructure of the metropolitan Kharkov is considered. In the 1920s the formation of architectural and urban planning concepts in the USSR took place in correlation with the basic social ideas of architectural and urban planning practices of the West in the following sequence: noncritical borrowing of Western bourgeois models ("garden city"), attempts at social innovation inspired by the classics of utopian socialism (house-commune as phalanx reincarnation), constructing new functional-spatial models as means of implementing social doctrine (residential complexes); socio-economic invention in the context of industry planning (Sotsgorod). Practical verification of the models created at each stage became an incentive for new searches. Keywords: architectural and town-planning tendencies, socialization of town-planning, socialization of residential architecture complexes, metropolitan Kharkov.
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Ovadija, Mladen. "Artaud’s Hyeroglyphic Sign and Böhme’s Aesthetics of Atmosphere: The Semiotic Legacy of the Avant-Garde’s Recognition of the Materiality of Sound." Recherches sémiotiques 35, no. 2-3 (August 31, 2018): 97–113. http://dx.doi.org/10.7202/1051070ar.
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Materiality of the sign/sound in theatre appears when various sensory materials remain on the side of the signifier, not trying to reach the signified but energetically pulsating from the stage instead. The semiotics of sound would benefit from exploring the process where the theatrical sign or sound is caught naked in its flight between deliverance and reception, not yet clothed in its signifying dress. Such a semiotics follows oral/aural signs becoming other signs in the area where the senses signify. I suggest that voice and stage sound/noise figure as catalysts of an intermedial flux between sensual, visual, kinetic, and architectural elements of performance, marking a legacy of the avant-garde recognition of the materiality of sound. I demonstrate this using Artaud’s concept of a hieroglyphic idiom as the “expression in space [in which] objects themselves begin to speak through the collusion of objects, silences, shouts and rhythms,” and through Boehme's aesthetics of atmospheres as the art of the set that creates a poetics/technèof postdramatic theatre focused on orality/aurality.
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Januszewski, Wojciech Stanisław. "The Colors of the Ineffable—Jerzy Nowosielski’s Monumental Works as a Contemporary Search for Sacred Space." Arts 10, no. 4 (September 26, 2021): 68. http://dx.doi.org/10.3390/arts10040068.
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The subject of this work is the monumental art of Jerzy Nowosielski (1923–2011), one of the most outstanding contemporary Polish painters, who combined modernity with the orthodox icon aesthetics. This work discusses the monumental realizations of Nowosielski, especially the architectural polychromes made by the artist in Catholic and Orthodox churches in Poland in the years 1950–1999. The aim of the inquiry is to present his work theoretically and place it in a broader artistic context. The research shows that Nowosielski’s monumental works results from a strongly defined artistic concept aimed at ‘mystagogy of space’. Nowosielski’s work is an original synthesis of the modernist avant-garde and traditional canons of religious art. The analysis of the problem was carried out in two areas: (1) analysis of the artist’s theoretical statements; (2) analysis of the artistic form with particular emphasis on the color aspect, based on the example of selected churches in Wesoła, Tychy, and Biały Bór. The work uses comparative references to the ideas of Wassily Kandinsky, Kazimir Malevich, Piet Mondrian, and Le Corbusier.
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Almarza, Anwandter. "Between being and becoming: The language of metaphysics in architecture." SAJ - Serbian Architectural Journal 10, no. 1 (2018): 71–80. http://dx.doi.org/10.5937/saj1801071a.
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The use of platonic solids like cubes, spheres and pyramids, and a certain sense of "timelessness" are some of the most recognisable ways in which metaphysics has been interpreted as a formal language within the domain of architecture, particularly since the emergence of the avant-gardes at the beginning of the twentieth century. Starting by critically confronting different ways of interpreting this relationship, this paper proposes a specific phenomenological approach on the subject, focused on the analysis of the concept of timelessness and the possible theoretical foundations of its distinctive role in articulating the metaphysical expression in architecture.
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Bozhenko, Anastasiia. "KHARKIV AS CAPITAL: UTOPIA, CONSTRUCTIVISM, MEMORY (1919-1934)." City History, Culture, Society, no. 8 (June 17, 2020): 36–44. http://dx.doi.org/10.15407/mics2020.08.036.
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The discourse of «First capital» is one of the main in the identity of contemporary Kharkivites and its appearance in memory politics is systematic. The short period in city history, when it had official status of capital, left an unproportionally big mark in the collective memory. We would like to study how the capital status was «built» in Kharkiv architecture. Kharkiv, which during the imperial period was a huge regional centre for so-called «Russian South» or «Slobids’ka Ukraine region», was growing rapidly at the beginning of the Soviet era. Its territory was increased in 5,7 times from 1910 till 1930. The city was changed not only in sizes but by its planning structure. The «old» city was criticized for its chaotic structure and architectural styles. Thus new one was imagined as a proletarian utopia with planned quarters and residential complexes. KhTZ was visioned in the crossing of several urban concepts: city garden, desurbanisation and linear city. Industrial objects such as Serp i Molot, KhTZ, Kharkiv Locomotive Factory marked the urban space and created industrial cityscape. Among the main architectural markers of new capital were Derzhprom, Building of Cooperation and Projects and Theater of mass action. The competition for Theater of Mass Action attracted more than 145 architects, among them 100 foreign ones. The image of Kharkiv as capital was avantgarde, utopian, industrial and proletarian one. Contemporary urban palimpsest is cleared most of avant-garde buildings and visitor imagines Kharkiv as the city of Stalin ampir, not the constructivist one. Mentioning «First capital» is not necessary reference to the period of 1920s-1930s, mostly it is about nostalgia for Soviet past at all.
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Kozłowski, Tomasz. "AVANT-GARDE AND CONTEMPORARY ARCHITECTURE." space&FORM 2020, no. 43 (September 21, 2020): 55–70. http://dx.doi.org/10.21005/pif.2020.43.b-03.
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Kulić, Vladimir. "An Avant-Garde Architecture for an Avant-Garde Socialism: Yugoslavia at EXPO ’58." Journal of Contemporary History 47, no. 1 (January 2012): 161–84. http://dx.doi.org/10.1177/0022009411422367.
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The Pavilion of Yugoslavia at EXPO ’58 in Brussels was an attempt to internationally showcase the specific brand of socialism developed in that country since its break from the Soviet bloc ten years prior. That goal was best achieved through the pavilion building, an inspired piece of modern architecture designed by the Croatian architect Vjenceslav Richter, which attracted much positive attention. In most other respects, the presentation was a relative disappointment, failing to engage the visitors in an attractive and well-rounded experience. This article provides an analysis of the conceptualization, development, and reception of the pavilion based on the abundant material from the Archive of Yugoslavia in Belgrade. It argues that Richter’s avant-garde design resonated with the self-proclaimed avant-garde status of Yugoslav socialism, but that its complex connotations, when seen through the lens of the Cold War, were reduced to a mere index of Yugoslavia’s break from the Soviet bloc.
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Rybachok, Volodymyr. "“NEW KHARKIV” AND “GREAT ZAPORIZHZHIA” PROJECTS AS REPRESENTATION OF THE URBAN PLANNING SEARCHES DURING THE PERIOD OF INDUSTRIALIZATION." Intermarum history policy culture, no. 7 (January 28, 2020): 65–81. http://dx.doi.org/10.33287/112004.
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In 1929 there was launched an all-Union public campaign to discuss the prospects for the development of Soviet urban planning, known as the Socialist Settlement Discussion, in the USSR. Its main participants were not only the leading architects and urban planners of the time, but also the highest party and state figures. Under the influence of the urban development ideas arose during the discussion on the problems of socialist displacement, Ukrainian constructive architects have developed master plans for the reconstruction and expansion of residential infrastructure of two industrial centers – Kharkiv and Zaporizhzhia. However, the construction projects of “Great Zaporizhzhia” and “New Kharkiv” by I. Malozemov, P. Khaustov and P. Aloshyn were not fully realised as their planning decisions undercut the basic provisions of the existing urban planning policy of the Stalinist leadership.
There appeared the idea that the plans of “New Kharkiv” and “Great Zaporizhzhia” by Ukrainian architects were the implementation of author’s view of the ideal model of a socialist town. Based on the leading ideas of the Soviet avant-garde, the project authors proposed an original architectural and planning concept of development that had nothing to do with the urban planning experience of previous times. However, these architectural proposals were irrelevant in the USSR in the late 1920’s. In the context of Stalin's industrialization, the party apparatus attached secondary importance to housing. As a result, large-scale projects of "New Kharkiv" and "Great Zaporizhzhia" were declared "false".
Methodology. In the article we have used the historical and genetic method to determine the genesis of the concept of linear development, to find out the origin of the idea of a housing estate and to reveal the circumstances of the idea of unification of urban infrastructure, embodied by Ukrainian avant-gardists in architectural and planning decisions of “New Kharkiv” and “Great Zaporizhzhia” projects. The comparative method made it possible to determine the inconsistency of the content of the idealistic views of the Soviet constructors with the real essence of Stalin's urban policy. Thanks to the historical and systematic method, we have understood that the objects of urban infrastructure planned in the “New Kharkiv” and “Great Zaporizhzhia” projects had to enter into functional interaction, forming a single urban mechanism.
Summary. The beginning of the 20s of the XX century was marked by the emergence of interesting scientific, artistic, architectural projects both in the history of Ukraine and in the history of the whole Soviet Union. The euphoria of belief in creating a “new” world, building a “just” society for the representatives of all social strata characterized the general sentiment and inspired intellectuals and artists to seek creative work. However, the period of “flirting” of Soviet authorities with the elites was short. Its authoritarian nature, with its actualization to the militarization of the country, left no room for creative initiative and development of individuality. At the beginning of the first five-year schedule, the government decided to abandon the massive construction of comfortable housing for workers. All resources were planned to focus on the construction of heavy industry facilities. Therefore, futuristic projects of “New Kharkiv” and “Great Zaporizhzhia” were rejected because of their inconsistency with the true state urbanistic doctrine of the industrialization period.
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Lubiak, Jarosław. "CANONIZATION OF THE AVANT-GARDE: ON THE PUBLICATION AVANT-GARDE MUSEUM." Muzealnictwo 62 (June 23, 2021): 128–31. http://dx.doi.org/10.5604/01.3001.0014.9723.
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The monumental publication Avant-garde Museum (ed. Agnieszka Pindera, Jarosław Suchan, Muzeum Sztuki w Łodzi, Łódź 2020) juxtaposes and analyses four museum projects: Museums of Artistic Culture in Soviet Russia, the activity of the Société Anonyme in the USA, Poland’s ‘a.r.’ Group, and the Kabinett der Abstrakten, the selection criterion being that each was conceived by Avantgarde artists; additionally, in the projects’ assumptions the artists were to run the implementation of the projects. The publication has been divided into three sections: research papers, source texts, and the catalogue of documents and works. The study of the Avant-garde museum projects spans over four areas: the concept, collection, organization, and display. However, these issues are not isolated in the research, but more purposefully integrated. The main goal of the study is to show how the Avant-garde institutionalized itself. This very thesis is reflected upon in the present paper. Just like the consequences of this publication: e.g., entering the Avant-garde into the canon of art history and sanctifying its output as an unquestionable value.
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Cohen, Jean-Louis. "Review: Moscow Avant-Garde Architecture: 1955-1991." Journal of the Society of Architectural Historians 52, no. 4 (December 1, 1993): 487. http://dx.doi.org/10.2307/990871.
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Redhead, Lauren. "THE AVANT GARDE AS EXFORM." Tempo 72, no. 286 (September 6, 2018): 7–16. http://dx.doi.org/10.1017/s0040298218000311.
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AbstractPeter Bürger's critique of the historical avant garde (in Theory of the Avant Garde) accounts for its ineffectual nature as a political movement because of its relationship with institutions. He argues for hermeneutics to be employed as a critique of ideology, and as a facet of the understanding of the ‘historicity of aesthetic categories’. The influence of institutions on music since 1968 has served as a central part of its critique: the work concept itself seems to enshrine political ineffectiveness and the bourgeois nature of art practice that ought to be critiqued by an avant garde. In contrast, Nicolas Bourriaud's concept of the ‘exform’ re-conceives the avant garde as outside of institutions and an idea of ‘progress’ that is aligned with a dominant capitalist ideology. He frames the task of the avant-garde artist as giving energy to ‘waste’, outside of political and ideological institutions. This type of avant-garde practice functions to ‘bring precarity to mind: to keep the notion alive that intervention in the world is possible’. This article explores the exform with respect to the work of the British composer Chris Newman and the Swiss composer Annette Schmucki, and considers how Bourriaud's approach to re-thinking the avant garde might apply specifically to contemporary and experimental music in the present.
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Włodarczyk, Wojciech. "1989. On the Concept of Modernism." Artium Quaestiones, no. 30 (December 20, 2019): 257–70. http://dx.doi.org/10.14746/aq.2019.30.14.
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The author argues that the significance of the year 1989 for Polish art was not determined by political changes, but by the rise of postmodernism. Until that moment, the term “modernism” usually referred in academic art history to Polish art at the turn of the 20th century. The concept of postmodernism brought to the Polish language a new meaning of modernism as simply modern art, and more precisely, as modern art defined by Clement Greenberg. That change made it necessary to draw a new map of concepts referring to modern Polish art, most often defined before by the concept of the avant-garde. In Mieczysław Porębski’s essay “Two Programs” [Dwa programy] (1949), and then, since the late 1960s, in Andrzej Turowski’s publications, the concept of the avant-garde was acknowledged as basic for understanding twentieth-century Polish art. The significance of the concept of the avant-garde in reference to the art of the past century in Poland changed after the publication of Piotr Piotrowski’s book of 1999, Meanings of Modernism [Znaczenia modernizmu]. Piotrowski challenged in it the key role of that concept – e.g., Władysław Strzemiński and Henryk Stażewski, usually called avant-gardists before, were considered by him modernists – in favor of a new term, “critical art,” referring to the developments in the 1990. In fact, critical art continued the political heritage of the avant-garde as the radical art of resistance. The author believes that such a set of terms and their meanings imposes on the concept of the avant-garde some limits, as well as suggests that scholars and critics use them rather inconsistently. He argues that concepts should not be treated as just label terms, but they must refer to deeper significance of tendencies in art. He mentions Elżbieta Grabska’s term “realism,” also present in the tradition of studies on modern Polish art, and concludes with a postulate of urgent revision of the relevant vocabulary of Polish art history.
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Bogdanović, Jelena. "Evocations of Byzantium in Zenitist Avant-Garde Architecture." Journal of the Society of Architectural Historians 75, no. 3 (September 1, 2016): 299–317. http://dx.doi.org/10.1525/jsah.2016.75.3.299.
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Evocations of Byzantium in Zenitist Avant-Garde Architecture considers references to Byzantium in the architecture and philosophy of Zenitism, an Eastern European avant-garde movement founded by Ljubomir Micić in 1921. In this article, Jelena Bogdanović analyzes the visionary projects for the Zeniteum, designed by the only architect member of the Zenitist group, Jo Klek (Josip Seissel), as a singular example of Byzantine-modernist architecture, which incorporated aspects of Byzantine total design, spirituality, and aesthetics of dematerialization. She outlines the ways Zenitist theories and visionary drawings privileged the “Byzantine” dichotomy of a dome and a wall over Western European trabeated architecture while also deviating from the historicist, neo-Byzantine architectural style popular in Eastern Europe. Zenitism used indirect evocations of the Byzantine to create a dynamic Byzantine-modernist architecture, the study of which enriches discourse on tradition and the avant-garde in architecture.
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Niebrzydowski, Wojciech. "The Impact of Avant-Garde Art on Brutalist Architecture." Buildings 11, no. 7 (July 4, 2021): 290. http://dx.doi.org/10.3390/buildings11070290.
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Brutalism was an architectural trend that emerged after World War II, and in the 1960s and 1970s, it spread throughout the world. The development of brutalist architecture was greatly influenced by post-war avant-garde art. The greatest impact on brutalism was exerted by such avant-garde trends as art autre, art brut, and musique concrète. Architects were most inspired by the works of such artists as Jackson Pollock, Jean Dubuffet, Pierre Schaeffer, Eduardo Paolozzi, and Nigel Henderson. The main aim of the research was to identify and characterize the most important ideas and principles common to avant-garde art and brutalist architecture. Due to the nature of the research problem and its complexity, the method of historical interpretative studies was used. The following research techniques were employed: analysis of the literature, comparative analysis, multiple case studies, descriptive analysis, and studies of buildings in situ. The research found the most important common ideas guiding brutalist architects and avant-garde artists: rejection of previous principles and doctrines; searching for the rudiments; mirroring the realities of everyday life; glorification of ordinariness; sincerity of the material, structure, and function; use of raw materials and rough textures.
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Zagorski, Marcus. "Making the postwar avant-garde more German." Studia Musicologica 56, no. 4 (December 2015): 459–66. http://dx.doi.org/10.1556/6.2015.56.4.12.
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At the heart of Carl Dahlhaus’s historiographic interests, according to James Hepokoski, was an “effort to keep the Austro-German canon from Beethoven to Schoenberg free from aggressively sociopolitical interpretations.” But Dahlhaus did not stop at Schoenberg: he also wrote about postwar music, and one might therefore wonder whether his “Austro-German canon” of autonomous music extended past 1945. In his essays on this period, Dahlhaus claimed that the postwar musical avant-garde was defined by the concept of the experiment, a concept that was, he believed, “nothing less than the fundamental aesthetic paradigm of serial and post-serial music.” He maintained this view from the 1960s through the 1980s, and thereby placed the concept of the experiment at the center of his historiography of postwar music. My paper shows that the concept of the experiment, as defined by Dahlhaus, has a uniquely German pedigree, one that is not at odds with his wider historiographic interests. By making the concept of the experiment central to his account of postwar music, Dahlhaus was thereby able to extend his historiography beyond the canon that ran from Beethoven to Schoenberg and include also later composers. In so doing, he lent the supposedly “international” postwar avant-garde a character that seems specifically German.
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Belov, A. Yu. "Openness as a feature of the cultural code of Russian architecture: from ancient Russia to the Russian avant-garde." Bulletin of Kazakh Leading Academy of Architecture and Construction 80, no. 2 (June 29, 2021): 57–67. http://dx.doi.org/10.51488/1680-080x/2021.2-05.
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The article describes the cultural feature of the national character of the Russian people - openness. The manifestation of this feature in Russian medieval architecture is considered, and the influence and development of this feature in the architecture of the Russian avant-garde is traced. The author reached conclusion about the continuity and development of openness in Russian medieval architecture and the architecture of the Russian avant-garde.
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Chapman, Michael. "Bloody fingerprints: Tschumi and the avant-garde." Architectural Research Quarterly 17, no. 3-4 (December 2013): 293–302. http://dx.doi.org/10.1017/s1359135514000116.
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This paper investigates the radical approach to architectural representation of Bernard Tschumi in the late 1970s and its relationship to the literary and visual practices of Dada and Surrealism. Focussing on Tschumi's Advertisements for Architecture and Manhattan Transcripts, the paper demonstrates how the critique of avant-garde tactics in Peter Bürger and Walter Benjamin applies to a broader understanding of politics in architecture and its efficacy.
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Czerni, Krystyna. "Malarska „dwujęzyczność” Jerzego Nowosielskiego. Związki między abstrakcją a ikoną w monumentalnych projektach sakralnych." Sacrum et Decorum 13 (2020): 48–80. http://dx.doi.org/10.15584/setde.2020.13.4.
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The sacred art of Jerzy Nowosielski, an outstanding Polish painter of the second half of the 20th century, is an example of the creative continuation of the Byzantine tradition in Poland, but also an embodiment of the debate with the painting tradition of the East and with the experience of the Church. Both in theory and in painting practice, the artist redefined the concept of the icon, attempting to expand its formula so that it not only spoke of the Kingdom, but also included the image of the earthly, imperfect reality of the pilgrim Church. In his designs of sacred interiors for churches of various Christian denominations, Nowosielski wanted to combine three theological disciplines and their respective ways of representation: Christology, sophiology and angelology. Beside a classical icon, called by the painter a “Christological- Chalcedonian” icon, Nowosielski demanded a “sophiological” icon, bringing into the space of a church an earthly, painful reality, traces of inner struggle and doubt – hence the presence of doloristic motifs in his icons. The “inspired geometry” also became a complement to the holy images; the artist noticed a huge spiritual potential in abstract painting, to which he eventually assigned the role of icon painting. The poetic concept of “subtle bodies” – abstract angels testifying to the reality of the spiritual world – drew from the early Christian theological thought, which argued about the corporeality of spiritual entities, from Byzantine angelology, the tradition of theosophy and occultism, but also from the art of the first avant-garde, especially that from Eastern Europe, which inherited the Orthodox cult of the image. Nowosielski’s bilingualism as a painter – practicing abstraction and figuration in tandem, including within the church – paralleled the liturgical practice of many religious communities using different languages to express different levels of reality: human affairs and divine affairs. The tradition of apophatic theology, proclaiming the truth about the “unrepresentability” of God, was also important in shaping Nowosielski’s ideas. For Nowosielski’s monumental art, the problem of the mutual relationship between painting and architecture proved crucial. The artist based his concept on the decisive domination of painting over architecture and the independence of monumental painting. His goal was the principle of creating a sacred interior as a holistic, comprehensive vision of space which leads the participants of liturgy “out of everyday life” and into a different, transcendent dimension, in which the painter saw the main purpose of sacred art. From his first projects from the 1950s till the end of his artistic practice Nowosielski tried to realize his own dream version of the “ideal church”. In many of his projects he introduced abstraction into the temple, covering the walls, vaults, presbyteries, sometimes even the floors with a network of triangular “subtle bodies”. Forced to compromise, he introduced sacred abstraction into murals, as accompanying geometries, or into stained glass windows. The interiors, comprehensively and meticulously planned, were supposed to create the effect of “passing through”, “rending the veil” – from behind which a new, heavenly reality dawned. In practice, it was not always possible to achieve this intention, but the artist’s aim was to create an impression of visual unity, a sense of “entering the painting”, of being immersed in the element of painting. Painting in space was supposed to unite a broken world, to combine physical and spiritual reality into an integral whole. When designing sacred interiors, Nowosielski used the sanctity of the icon, but also the pure qualities of painting which were to cause a “mystical feeling of God’s reality”. The aim of sacred art understood in such a way turned out to be initiation rather than teaching. In this shift of emphasis Nowosielski saw the only chance for the revival of sacred art, postulating even a shift of the burden of evangelization from verbal teaching to the work of charismatic art.
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Bizio, Krzysztof. "Inspiracje kulturami lokalnymi w awangardowej architekturze początków XXI w." Środowisko Mieszkaniowe, no. 31 (2020): 4–17. http://dx.doi.org/10.4467/25438700sm.20.011.12684.
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Local cultural inspirations in avant-garde architecture in the wake of the twenty-first century This paper attempts to systematise the manner in which avant-garde architecture employed regional motifs during the first two decades of the twenty-first century. Architecture has used local patterns since its beginnings. However, as soon as the models of architectural orders had become widespread in the modern era, folk architecture and inspirations drawn from regional traditions were marginalised. Post-modern architecture questioned the ideas of universal practices, giving prominence to regional architecture. At the beginning of the twenty-first century, avant-garde architecture once more redefined the employment of local traditions as inspirations. The paper seeks to systematise the modern references to local traditions, distinguishing three basic categories: a) inspirations by architectural form, b) inspirations by construction materials and craft, c) inspirations by the ’idea of community‘. The selected examples are representative of these modern architectural solutions, and are discussed in connection to earlier projects.
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Kulper, Perry. "Avant‐Garde Legacies: A Spirited Flâneur." Architectural Design 89, no. 4 (July 2019): 62–69. http://dx.doi.org/10.1002/ad.2458.
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Macarthur, John, and Andrew Leach. "Mannerism, Baroque, Modern, Avant-garde Introduction." Journal of Architecture 15, no. 3 (June 2010): 239–42. http://dx.doi.org/10.1080/13602365.2010.486560.
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Sorkin, Michael. "What Comes After the Avant‐ Garde?" Architectural Design 89, no. 4 (July 2019): 128–33. http://dx.doi.org/10.1002/ad.2467.
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Paz-Agras, Luz. "Creative processes in the Avant-Garde Movements." Estoa, no. 15 (2019): 21–30. http://dx.doi.org/10.18537/est.v008.n015.a02.
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The 20th Century Avant-Garde Movements broke with the traditional distinction of artistic disciplines in favour to an ambiguous space where limits are diffuse. Exhibition space played a relevant role in this sense as a laboratory where art object and spectator are together in interaction, getting to experiences that, in many cases, transcend from the exhibition to disciplinary Architecture. Through the analysis of the Proun Space of El Lissitzky, constructed in 1923, and some of the most relevant proposals of Neplasticist authors, focusing on the creative and experimental process, contributions from Painting to Architecture are established. Some of them, partially shaded by the hegemony of Modern Movement, have been incorporated to 20th Century architectural projects and they are a significant chapter about interdisciplinary creative processes.
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Prole, Dragan. "Collective ethos. Phenomenology, early avant-garde and new anthropology." Zbornik Matice srpske za drustvene nauke, no. 163 (2017): 459–69. http://dx.doi.org/10.2298/zmsdn1763459p.
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In the first part of the article, the author discusses the basic outlines of romantic and avant-garde anthropology. The crucial concept is related to the motives that drove the romantics in their journey toward individuation, whereas the members of avant-garde movement brought new visions of community into being. Unlike the romantics, early avant-garde movements advocated for ideals of general, globalized man mediated by technology and media. In the second part of the paper, the author analyses Husserl?s concept of all-community (Allgemeinschaft) bearing in mind the attempts of his phenomenology to extend our idea of community as much as it is possible by means of including everything that discloses the very foundations of our lifeworld into the concept of community. By doing so, Husserl encompassed not only the real and the past, but the possible intersubjectivity as well.
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Bagina, Elena. "The binary star." проект байкал 18, no. 68 (August 8, 2021): 50–55. http://dx.doi.org/10.51461/projectbaikal.68.1802.
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Baroque and classicism were called a binary star. In the national architecture, the avant-garde and neoclassicism can be also called a binary star. The model of succession of styles in architecture does not reflect the real situation in the 1920-1950s. Neoclassicism and different movements of “contemporary architecture” run parallel to each other both in the West and in the USSR. In the 1920s, the avant-garde was brighter, while In the 1930-1950s in the USSR – neoclassicism. “The new world of socialism” was observed in the patterns of “contemporary architecture” by party ideologists headed by Lev Trotsky. In the 1930s, the political situation changed, and the patterns of the “new world” came down to earth and acquired historical roots. The interaction of the avant-garde and neoclassicism produced a unique style of the epoch. Unfortunately, the monuments of that epoch decay very quickly.
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Włodarczyk, Wojciech. "Rok 1989 – wokół pojęcia modernizmu." Artium Quaestiones, no. 30 (December 20, 2019): 415–28. http://dx.doi.org/10.14746/aq.2019.30.25.
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The author argues that the significance of the year 1989 for Polish art was not determined by political changes, but by the rise of postmodernism. Until that moment, the term “modernism” usually referred in academic art history to Polish art at the turn of the 20th century. The concept of postmodernism brought to the Polish language a new meaning of modernism as simply modern art, and more precisely, as modern art defined by Clement Greenberg. That change made it necessary to draw a new map of concepts referring to modern Polish art, most often defined before by the concept of the avant-garde. In Mieczysław Porębski’s essay “Two Programs” [Dwa programy] (1949), and then, since the late 1960s, in Andrzej Turowski’s publications, the concept of the avant-garde was acknowledged as basic for understanding twentieth-century Polish art. The significance of the concept of the avant-garde in reference to the art of the past century in Poland changed after the publication of Piotr Piotrowski’s book of 1999, Meanings of Modernism [Znaczenia modernizmu]. Piotrowski challenged in it the key role of that concept – e.g., Władysław Strzemiński and Henryk Stażewski, usually called avant-gardists before, were considered by him modernists – in favor of a new term, “critical art,” referring to the developments in the 1990. In fact, critical art continued the political heritage of the avant-garde as the radical art of resistance. The author believes that such a set of terms and their meanings imposes on the concept of the avant-garde some limits, as well as suggests that scholars and critics use them rather inconsistently. He argues that concepts should not be treated as just label terms, but they must refer to deeper significance of tendencies in art. He mentions Elżbieta Grabska’s term “realism,” also present in the tradition of studies on modern Polish art, and concludes with a postulate of urgent revision of the relevant vocabulary of Polish art history.
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Cunningham, David. "Architecture, Utopia and the futures of the avant-garde." Journal of Architecture 6, no. 2 (January 2001): 169–82. http://dx.doi.org/10.1080/13602360110048195.
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Filmer, Andrew. "Event-space: theatre architecture and the historical avant-garde." Theatre and Performance Design 4, no. 3 (July 3, 2018): 284–86. http://dx.doi.org/10.1080/23322551.2018.1536438.
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