Beauty in Architecture WISŁAWA SZYMBORSKA · 2 nr 191 - CZERWIEC 2012 Published in Canada by THE...
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2 nr 191 - CZERWIEC 2012 Published in Canada by THE AHA! SOCIETY FOR CULTURAL DEVELOPMENT #316-3640 Victoria Drive Vancouver, BC, V5N 5P1 tel. 604-251-1485 e-mail: [email protected] Editor Andrzej Jar The Aha! accepts no responsibility for, and will not necessarily respond to, unsolicited manuscripts and art. Konsulat Generalny Rzeczpospolitej Polskiej Sprawy prawne: [email protected] Sprawy paszportowe i wizowe: [email protected] Tel: (604) 688-4730 Tel. alarmowy: 778-968-5187 Fax: (604) 688-3537 e-mail: [email protected] Godziny przyjêć interesantów: poniedziałki, wtorki, czwartki, piątki: 10.00 - 13.00 œrody: 13:00-16:00 KONSUL GENERALNY KRZYSZTOF CZAPLA 1177 West Hastings Street, Suite 1600 Vancouver, BC, V6E 2K3 www.vancouverkg.polemb.net An exclusive mouvement, the aca- demicism, reigned over a part of Eu- rope during the XIXth century. More authoritarian than the Renaissance, during this period no other set apart style the classic was not accepted. It was not only question of architecture but generally any shape of art. The beauty thus corresponded to this ideal of the Renaissance, itself drawn from the Antiquity, which reflected the per- fection or the sketch of an absolute beauty. The competition of Grand Prix of Rome of Architecture, during the same period, confirms the codes of this aesthetics and architecture cha- racterized of eclectic. The appearance of new techniques and technologies as well as the evolution of the move- ments, mark an explicit break with the style Fine arts (style Beaux-Arts) and the academicism. Nowadays, rules completely chan- ged, and the modernist design repla- ces in a way this question of the beau- tiful. “Even if it is not beautiful, it plea- ses me because it is design“. Further- more, the mastery of the architecture is much more accessible than previou- sly what favors numerous ways of see- ing and to conceive the architecture, not following any more one thought as in the past. The new technologies, the new materials, the new manners to make brought the architects to recon- sider their vision of the beauty. Adolf Loos, architect of the beginning of the XXth century, considered the orna- ment as a complete subtlety, which engenders the ugliness. The architec- tural ornamentation has to arise from the material and the not being “stuck” above according to him. He theorized about all his thoughts and group them in an entitled book “Ornament and crime“. He was the precursor of the modern architecture. A little later, an architect of the name of Mies van der Rohe, continued in the direction already initialized by Loos. So, his fa- mous sentence “Less is more“ takes a particular sense. Mies tried to create neutral, contemplative spaces thanks to architecture based on the honesty of materials and the structural integrity. Not need of superfluous, everything is already said with a minimum of architecture. This current named mi- nimalist interested many architects as Le Corbusier which spoke more about “purism”. There is multiple examples of the va- rious manners to qualify the beautiful through a vision and an architectural movement. In conclusion, the beautiful is above all a tasteful story. The architecture is a relatively subjective domain, even if it is established on good numbers of rules and justified and demonstrated principles. Nevertheless, there is a part of personal feeling towards the pro- ject. So our aesthetic judgment can influence our opinion of the project: in the right direction, if it is a good project and what in more we “like”, it is all the easier to express a positi- ve opinion; in the opposite direction, if the project convinced us neither architecturally nor aesthetically, it is simpler to emit a negative opinion in that case. On the other hand, it is very difficult to admit one of these two natures when the other one does not follow, because they are confidential- ly both bound, quite as the feature, the shape, the utility, who to them are all grouped by the vast domain that is the architecture. Tak, tak. Oddałem jedną kartkę „Aha!” potencjalnym czytelnikom niepolskojęzycznym. Zrobiłem to, ponieważ dosyć często stykam się z nieszczęśnikami, którzy z lenistwa albo z braku warunków umysłowych nie nauczyli się w Kanadzie polskie- go, patrzącymi bezradnie na strony tej gazety i kiwającymi głowami, że sądząc po obrazkach rzecz musi być ciekawa, i stąd szkoda, że nie znają polskiego. Pewnie że szkoda - gdyby znali, byłoby nam z nimi łatwiej. I im z nami też, chociaż nie na pewno. Ale niech tam - sobie pomyślałem - co mi tam, niech mają. Zdaję sobie rzecz jasna sprawę, iż zrobiłem to niejako bezprawnie, bo polska gazeta powinna być w całości dla Polaków, po polsku, i znów się przez to komuś narażę, jak kiedyś, bo raz już - dość dawno temu - coś takiego zrobiłem i szmer niezado- wolenia się rozległ, że to co polskie, powinno bezwzględnie być wyłącz- nie polskie. Jak polski kościół w Vancouver na przykład... To było dziesięć lub kilkanaście już może lat temu, kiedy w niedzielę pod kościołem św. Kazimierza usłysza- łem końcowy wniosek z narady pa- rafian, że trzeba będzie pójść do pro- boszcza i zapytać, dlaczego wpusz- cza na mszę Chińczyków? Przysię- gam na swoją głowę, że nie zmyślam. Zresztą w nawet najbardziej księży- cowych fantazjach nie byłbym zdol- ny czegoś takiego wymyślić. (A tak na marginesie to przychodzący do polskiego kościoła Chińczycy byli przeważnie Filipińczykami, którzy są bardzo katolickim narodem.) A ja tu sobie pośród tego niebywa- łego umiłowania polskości - kultury polskiej ukochanej - teksty w języku obcym zamieszczam. Na dodatek nie tylko po angielsku. Teksty jak najbardziej - tylko że bardziej - po polsku, zamieszczane w tej gazecie, to dla wielu rodaków także czarna magia. No to, w związku z tym, nic takiego chyba się nie stało, że odda- łem tę jedną kartkę, w dodatku nie- całą jak widać, żyjącym obok nas biedakom, którzy NIE UMIĄ po polsku. Może nawet nie każdy to za- uważy. Krzyżówka cały czas jest po polsku. „Nerwowy lub żołądka” na osiem liter... ROSTRUJ nie pasuje. Za mało liter. Pewnie „niepokój”. In Praise of Dreams In my dreams I paint like Vermeer van Delft. I speak fluent Greek and not only with the living. I drive a car which obeys me. I am talented, I write long, great poems. I hear voices no less than the major saints. You would be amazed at my virtuosity on the piano. I float through the air as is proper, that is, all by myself. Falling from the roof I can softly land on green grass. I don’t find it hard to breathe under water. I can’t complain: I’ve succeeded in discovering Atlantis. I’m delighted that just before dying I always manage to wake. Right after the outbreak of war I turn over on my favorite side. I am but I need not be a child of my time. A few years ago I saw two suns. And the day before yesterday a penguin. With the utmost clarity. Job, afflicted in body and possessions, curses his fate as a man. That is great poetry. His friends come to him and, rending their mantles, probe Job’s guiltiness before the Lord. Job cries out that he has been a righteous man. Job does not want to speak with them. Job wants to speak with the Lord. The Lord appears riding the chariot of a whirlwind. Unto that man, open to the very bone, He praises His own creation: the heavens, the seas, the earth and the beasts. And especially Behemoth, and in particular Leviathan, pride-inspiring monsters. This is great poetry. Job listens – the Lord does not speak to the point, for the Lord does not wish to speak to the point. Hence Job makes haste to abase himself before the Lord. Now events follow swiftly. Job regains his asses and his camels, his oxen and his sheep, all increased twofold. The grinning skull begins to take on flesh. And Job assents. Job resigns himself. Job does not want to spoil a masterwork. A Tale Retold WISŁAWA SZYMBORSKA Beauty in Architecture Some fishermen pulled a bottle from the deep. In it was a scrap of paper, on which were written words: “Someone, save me! Here I am. The ocean has cast me up on a desert island. I am standing on the shore waiting for help. Hurry. Here I am!” “There is no date. Surely it is too late by now. The bottle could have been floating in the sea a long time,” said the first fisherman. “And the place is not indicated. We do not even know which ocean,” said the second fisherman. “It is neither too late nor too far. The island called Here is everywhere,” said the third fisherman. They all felt uneasy. A silence fell. So it is with universal truths. Parable translated by Magnus J. Krynsky and Robert A. Maguire
Transcript of Beauty in Architecture WISŁAWA SZYMBORSKA · 2 nr 191 - CZERWIEC 2012 Published in Canada by THE...
2 nr 191 - CZERWIEC 2012
Published in Canada by
THE AHA! SOCIETYFOR CULTURAL DEVELOPMENT
#316-3640 Victoria DriveVancouver, BC, V5N 5P1
tel. 604-251-1485e-mail: [email protected]
Editor Andrzej Jar
The Aha! accepts
no responsibility for, and will not necessarily respond to,
unsolicited manuscripts and art.
Konsulat Generalny Rzeczpospolitej Polskiej
Sprawy prawne: [email protected] paszportowe i wizowe: [email protected]
Tel: (604) 688-4730Tel. alarmowy: 778-968-5187Fax: (604) 688-3537e-mail: [email protected]
Godziny przyjêć interesantów: poniedziałki, wtorki, czwartki, piątki: 10.00 - 13.00œrody: 13:00-16:00
KONSUL GENERALNY KRZYSZTOF CZAPLA
1177 West Hastings Street, Suite 1600Vancouver, BC, V6E 2K3
www.vancouverkg.polemb.net
An exclusive mouvement, the aca-demicism, reigned over a part of Eu-rope during the XIXth century. More authoritarian than the Renaissance, during this period no other set apart style the classic was not accepted. It was not only question of architecture but generally any shape of art. The beauty thus corresponded to this ideal of the Renaissance, itself drawn from the Antiquity, which reflected the per-fection or the sketch of an absolute beauty. The competition of Grand Prix of Rome of Architecture, during the same period, confirms the codes of this aesthetics and architecture cha-racterized of eclectic. The appearance of new techniques and technologies as well as the evolution of the move-ments, mark an explicit break with the style Fine arts (style Beaux-Arts) and the academicism. Nowadays, rules completely chan-ged, and the modernist design repla-ces in a way this question of the beau-tiful. “Even if it is not beautiful, it plea-ses me because it is design“. Further-more, the mastery of the architecture is much more accessible than previou-sly what favors numerous ways of see-ing and to conceive the architecture, not following any more one thought as in the past. The new technologies, the new materials, the new manners to make brought the architects to recon-sider their vision of the beauty. Adolf Loos, architect of the beginning of the XXth century, considered the orna-ment as a complete subtlety, which engenders the ugliness. The architec-tural ornamentation has to arise from the material and the not being “stuck” above according to him. He theorized about all his thoughts and group them in an entitled book “Ornament and crime“. He was the precursor of the modern architecture. A little later, an architect of the name of Mies van der Rohe, continued in the direction already initialized by Loos. So, his fa-mous sentence “Less is more“ takes a particular sense. Mies tried to create neutral, contemplative spaces thanks to architecture based on the honesty of materials and the structural integrity. Not need of superfluous, everything is already said with a minimum of architecture. This current named mi-nimalist interested many architects as Le Corbusier which spoke more about “purism”. There is multiple examples of the va-rious manners to qualify the beautiful through a vision and an architectural movement. In conclusion, the beautiful is above all a tasteful story. The architecture is a relatively subjective domain, even if it is established on good numbers of rules and justified and demonstrated principles. Nevertheless, there is a part of personal feeling towards the pro-ject. So our aesthetic judgment can influence our opinion of the project: in the right direction, if it is a good project and what in more we “like”, it is all the easier to express a positi-ve opinion; in the opposite direction, if the project convinced us neither architecturally nor aesthetically, it is simpler to emit a negative opinion in that case. On the other hand, it is very difficult to admit one of these two natures when the other one does not follow, because they are confidential-ly both bound, quite as the feature, the shape, the utility, who to them are all grouped by the vast domain that is the architecture.
Tak, tak. Oddałem jedną kartkę „Aha!” potencjalnym czytelnikom niepolskojęzycznym. Zrobiłem to, ponieważ dosyć często stykam się z nieszczęśnikami, którzy z lenistwaalbo z braku warunków umysłowych nie nauczyli się w Kanadzie polskie-go, patrzącymi bezradnie na strony tej gazety i kiwającymi głowami, że sądząc po obrazkach rzecz musi być ciekawa, i stąd szkoda, że nie znają polskiego. Pewnie że szkoda - gdyby znali, byłoby nam z nimi łatwiej. I im z nami też, chociaż nie na pewno. Ale niech tam - sobie pomyślałem -co mi tam, niech mają. Zdaję sobie rzecz jasna sprawę, iż zrobiłem to niejako bezprawnie, bo polska gazeta powinna być w całości dla Polaków, po polsku, i znów się przez to komuś narażę, jak kiedyś, bo raz już - dość dawno temu - coś takiego zrobiłem i szmer niezado-wolenia się rozległ, że to co polskie, powinno bezwzględnie być wyłącz-nie polskie. Jak polski kościół w Vancouver na przykład... To było dziesięć lub kilkanaście jużmoże lat temu, kiedy w niedzielę pod kościołem św. Kazimierza usłysza-łem końcowy wniosek z narady pa-rafian, że trzeba będzie pójść do pro-boszcza i zapytać, dlaczego wpusz-cza na mszę Chińczyków? Przysię-gam na swoją głowę, że nie zmyślam. Zresztą w nawet najbardziej księży-cowych fantazjach nie byłbym zdol-ny czegoś takiego wymyślić. (A takna marginesie to przychodzący do polskiego kościoła Chińczycy byli przeważnie Filipińczykami, którzy są bardzo katolickim narodem.) A ja tu sobie pośród tego niebywa-łego umiłowania polskości - kulturypolskiej ukochanej - teksty w języku obcym zamieszczam. Na dodatek nie tylko po angielsku. Teksty jak najbardziej - tylko że bardziej - po polsku, zamieszczane w tej gazecie, to dla wielu rodaków także czarna magia. No to, w związku z tym, nic takiego chyba się nie stało, że odda-łem tę jedną kartkę, w dodatku nie-całą jak widać, żyjącym obok nas biedakom, którzy NIE UMIĄ po polsku. Może nawet nie każdy to za-uważy. Krzyżówka cały czas jest popolsku. „Nerwowy lub żołądka” na osiem liter... ROSTRUJ nie pasuje. Za mało liter. Pewnie „niepokój”.
In Praise of Dreams
In my dreamsI paint like Vermeer van Delft.
I speak fluent Greekand not only with the living.
I drive a carwhich obeys me.
I am talented,I write long, great poems.
I hear voicesno less than the major saints.
You would be amazedat my virtuosity on the piano.
I float through the air as is proper,that is, all by myself.
Falling from the roofI can softly land on green grass.
I don’t find it hardto breathe under water.
I can’t complain:I’ve succeeded in discovering Atlantis.
I’m delighted that just before dyingI always manage to wake.
Right after the outbreak of warI turn over on my favorite side.
I am but I need notbe a child of my time.
A few years agoI saw two suns.
And the day before yesterday a penguin.
With the utmost clarity.
Job, afflicted in body and possessions, curses his fate as a man. That is great poetry. His friends come to him and, rending their mantles, probe Job’s guiltiness before the Lord. Job cries out that he has been a righteous man. Job does not want to speak with them. Job wants to speak with the Lord. The Lord appears riding the chariot of a whirlwind. Unto that man, open to the very bone, He praises His own creation: the heavens, the seas, the earth and the beasts. And especially Behemoth, and in particular Leviathan, pride-inspiring monsters. This is great poetry. Job listens – the Lord does not speak to the point, for the Lord does not wish to speak to the point. Hence Job makes haste to abase himself before the Lord. Now events follow swiftly. Job regains his asses and his camels, his oxen and his sheep, all increased twofold. The grinning skull begins to take on flesh. And Job assents. Job resigns himself. Job does not want to spoil a masterwork.
A Tale Retold
WISŁAWA SZYMBORSKABeauty in Architecture
Some fishermen pulled a bottle from the deep. In it was a scrap of paper, on which were written words: “Someone, save me! Here I am. The ocean has cast me up on a desert island. I am standing on the shore waiting for help. Hurry. Here I am!” “There is no date. Surely it is too late by now. The bottle could have been floating in the sea a long time,” said the first fisherman. “And the place is not indicated. We do not even know which ocean,” said the second fisherman. “It is neither too late nor too far. The island called Here is everywhere,” said the third fisherman. They all felt uneasy. A silence fell. So it is with universal truths.
Parable
translated by
Magnus J. Krynsky and Robert A. Maguire
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