PACZKI DO POLSKI, na Ukrainê, Litwê, £otwê - pewnie ...Barbara i Stelian Kulig zapraszaj¹...
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Barbara i Stelian Kulig zapraszaj¹ polski sklep „ zofia” 3958 fraser street, vancouver, v5v 4e4 tel. 604-874-3338 fax 604-430-6849 PACZKI DO POLSKI, na Ukrainê, Litwê, £otwê - pewnie, szybko, tanio EKSPRESOWY PRZEKAZ PIENIÊDZY Godziny otwarcia: czwartek od 10.00 do 17.00, pi¹tek i sobota od 10.00 do 15.00 no. 191 - JUNE, 2012 F ilmy na kasetach wideo i DVD, CD, produkty spo¿ywcze, kosmetyki, zio³a, kawa, s³odycze, przek¹ski Wis³awa Szymborska A MEDIEVAL ILLUMINATION translated by Magnus J. Krynski and Robert A. Maguire O’er the greenest of hills, in the steediest of retinues, in the silkiest of mantles. Toward a castle of seven towers, each one of which is highest. At the forefront a duke most flatteringly flat-bellied, by him his lady the duchesse, wondrously young, in truth young. Following, several court-ladies, pretty as picture, forsooth, and the laddiest of page-boys, and on the page-boy’s shoulder something ineffably monkeyish with the funniest of faces and the tiniest of tails. www.magazynaha.wordpress.com Vancouver, British Columbia POLISH-CANADIAN LITERARY MAGAZINE If the architecture is a discipline including several domains of study, we do not know in which category to classify it. Among its domains of study, we find the art, the society, the construction. This diversity of domains allows a richer and inquiring glance on the world which surrounds us. By speaking about glance, it is by this ges- ture that we perceive our first vision of things. We distinguish then things of different natures and aspects, which we appreciate or not, but above all gets us feelings. This is the way we build up to ourselves our own idea of what awakens inside us an envy, a pleasure, collectively called the beauty. We can then wonder how do we de- fine the beauty in architecture? This question often includes nume- rous points concerning the history, the rules of plans and composition of the architecture, the thought and the philosophy and the society. To start, let us explain the “beauty” term which would correspond to this context: the “beautiful” fact referen- ces in the beauty and thus in what we define as such, a thing or a person who through a sensory experience gets us a feeling of pleasure or satisfaction. It is thus an abstracted notion depending on individuals and on periods. But it is above all a concept of aesthetics, domain of philosophy. We can use certain adjectives to describe it and the qualified as sophisticated, refined, elegant, proportioned, ordered, orna- mented, monumental or in human scale, nevertheless this question of the aestheticism often has for the end the search for the perfection. Personally, our taste of the beauty shapes by growing up. The teaching and the education which we receive are for a big responsible part there. How connected it in the domain of the architecture? And how do we ex- press the beauty? The notion of aesthetics in architec- ture is not simply a question of “does it please me or not? Does it please the others or not?“ This one is bound to very various aspects which gives an answer more complex and more interesting. If since the beginning of the human race, the Man is at the origin of the construction, the question of the beau- ty always settled. Whether it is at the time of the Antiquity, in the Middle Ages or in the Classicism, the answer to this question knew a sure evolution but was always a current events. When the architecture is thought, reflected, created, it is made so as to be the most aesthetic possible way resulting from an intense reflection and a creation according to the established rules. At the time of the Roman antiquity, in the treaty of Vitruve, the beauty was a part of the set of three: firmitas ( solidity, or robustness), utilitas ( con- venience, or utility ), venustas ( beauty, or sensual delight). This set of three condenses eloquently the treaty, and places the beauty as indispensable ele- ment for the harmony and the balance of the work. It is on this foundation that is going to build itself the next decades all the theory of the architecture. In the Renaissance, Alberti taking back the principles of Vitruve, adapts them to its own reasoning, and trans- forms the beauty into sensual delight, which he finds more just to name so. Afterward, it had almost become com- mon to reinterpret the major principles of the architecture. This set of three remained fundamental, although each of the terms expressing it varied to emphasize the other aspects: for Fran- çois Blondel (XVIIth century) it was translated by distribution, construction, decoration whereas Hector Guimard (XIXth and XXth centuries) saw more the harmony, the logic, the feeling there; for Pier Luigi Nervi (XXth cen- tury) it embodied function, structure, form then in these last years Christian de Portzamparc explains it rather by perception ( lived body, phenomenolo- gy), production ( technique, construc- tion), representation (aesthetic and ideological speeches, models, styles). Nevertheless, rules in architecture do not make everything, still it needs to be created. Every period was characterized by a style and sometimes even a speci- fic building which was declined ac- cording to all the characteristics cor- responding to the time. So we granted this notion of aesthe- tics that to certain types of buildings as the official buildings (temples, pa- laces, castles, churches,…) rarely the houses of the people were provided with a certain aestheticism. It is only when the nobility gave way in the society which the particular houses began to awaken an architectural interest. The ornamentation was the watchword, and the detail was the key. The architecture or the style was thus sold itself in this time. Very eli- tist and closed domain, only chosen or the best can give way. next page STEPHANIE SALACH (student of architecture at Gdansk University of Technology) Thereafter, stalwart knyghtes three, each prancing and dancing for three, and if one wears a jaunty mien. And if someone rides a bay steed, then, milords, it is sure to be the bayest, all those tiny hooves seeming to graze the roadsidiest of daisies. He who, contrarily, is downcast and fatigued, a hole in his elbow, a squint in his eye, he is most clearly missing. Not the leastest of problems, either burgherish or villeinish, under the azurest of skies. Not even the tiniest of gallows for the hawkiest of eyes, nothing to cast a shadow of a doubt. Thus they ride most charmingly in this feudalest of realisms. He however took care to strike a balance: the hell he prepared for them in the next picture. Oh, that goes without saying, for itself, self-evidentliest. BEAUTY IN ARCHITECTURE VANCOUVER PUBLIC LIBRARY Fot. Andrzej Jar
Transcript of PACZKI DO POLSKI, na Ukrainê, Litwê, £otwê - pewnie ...Barbara i Stelian Kulig zapraszaj¹...
Barbara i Stelian Kulig zapraszaj¹
polski sklep „zofia”3958 fraser street, vancouver, v5v 4e4 tel. 604-874-3338 fax 604-430-6849
PACZKI DO POLSKI, na Ukrainê, Litwê, £otwê - pewnie, szybko, tanio EKSPRESOWY PRZEKAZ PIENIÊDZY
Godziny otwarcia: czwartek od 10.00 do 17.00, pi¹tek i sobota od 10.00 do 15.00
no. 191 - JUNE, 2012
Filmy na kasetach wideo i DVD, CD, produkty spo¿ywcze, kosmetyki, zio³a,kawa, s³odycze, przek¹ski
Wis³awa Szymborska
A MEDIEVAL ILLUMINATION
translated by Magnus J. Krynski and Robert A. Maguire
O’er the greenest of hills,in the steediest of retinues,in the silkiest of mantles.
Toward a castle of seven towers,each one of which is highest.
At the forefront a dukemost flatteringly flat-bellied,by him his lady the duchesse,wondrously young, in truth young.
Following, several court-ladies,pretty as picture, forsooth,and the laddiest of page-boys,and on the page-boy’s shouldersomething ineffably monkeyishwith the funniest of facesand the tiniest of tails.
www.magazynaha.wordpress.com Vancouver, British Columbia
POLISH-CANADIAN LITERARY MAGAZINE
If the architecture is a discipline including several domains of study, we do not know in which category to classify it. Among its domains of study, we find the art, the society, the construction. This diversity of domains allows a richer and inquiring glance on the world which surrounds us. By speaking about glance, it is by this ges-ture that we perceive our first vision of things. We distinguish then things of different natures and aspects, which we appreciate or not, but above all gets us feelings. This is the way we build up to ourselves our own idea of what awakens inside us an envy, a pleasure, collectively called the beauty. We can then wonder how do we de-fine the beauty in architecture? This question often includes nume-rous points concerning the history, the rules of plans and composition of the architecture, the thought and the philosophy and the society. To start, let us explain the “beauty” term which would correspond to this context: the “beautiful” fact referen-ces in the beauty and thus in what we define as such, a thing or a person who through a sensory experience gets us a feeling of pleasure or satisfaction. It is thus an abstracted notion depending on individuals and on periods. But it is above all a concept of aesthetics, domain of philosophy. We can use certain adjectives to describe it and the qualified as sophisticated, refined, elegant, proportioned, ordered, orna-mented, monumental or in human scale, nevertheless this question of the aestheticism often has for the end the search for the perfection. Personally, our taste of the beauty shapes by growing up. The teaching and the education which we receive are for a big responsible part there. How connected it in the domain of the architecture? And how do we ex-press the beauty? The notion of aesthetics in architec-ture is not simply a question of “does
it please me or not? Does it please the others or not?“ This one is bound to very various aspects which gives an answer more complex and more interesting. If since the beginning of the human race, the Man is at the origin of the construction, the question of the beau-ty always settled. Whether it is at the time of the Antiquity, in the Middle Ages or in the Classicism, the answer to this question knew a sure evolution but was always a current events. When the architecture is thought, reflected, created, it is made so as to be the most aesthetic possible way resulting from an intense reflection and a creation according to the established rules. At the time of the Roman antiquity, in the treaty of Vitruve, the beauty was a part of the set of three: firmitas (solidity, or robustness), utilitas (con-venience, or utility), venustas (beauty, or sensual delight). This set of three condenses eloquently the treaty, and places the beauty as indispensable ele-ment for the harmony and the balance of the work. It is on this foundation that is going to build itself the next decades all the theory of the architecture. In the Renaissance, Alberti taking back the principles of Vitruve, adapts them to its own reasoning, and trans-forms the beauty into sensual delight, which he finds more just to name so. Afterward, it had almost become com-mon to reinterpret the major principles of the architecture. This set of three remained fundamental, although each of the terms expressing it varied to emphasize the other aspects: for Fran-çois Blondel (XVIIth century) it was translated by distribution, construction, decoration whereas Hector Guimard (XIXth and XXth centuries) saw more the harmony, the logic, the feeling there; for Pier Luigi Nervi (XXth cen-tury) it embodied function, structure, form then in these last years Christian de Portzamparc explains it rather by perception (lived body, phenomenolo-
gy), production (technique, construc-tion), representation (aesthetic and ideological speeches, models, styles). Nevertheless, rules in architecture do not make everything, still it needs to be created. Every period was characterized by a style and sometimes even a speci-fic building which was declined ac-cording to all the characteristics cor-responding to the time. So we granted this notion of aesthe-tics that to certain types of buildings as the official buildings (temples, pa-laces, castles, churches,…) rarely the houses of the people were provided with a certain aestheticism. It is only when the nobility gave way in the society which the particular houses began to awaken an architectural interest. The ornamentation was the watchword, and the detail was the key. The architecture or the style was thus sold itself in this time. Very eli-tist and closed domain, only chosen or the best can give way. next page
STEPHANIE SALACH(student of architecture at Gdansk University of Technology)
Thereafter, stalwart knyghtes three,each prancing and dancing for three,and if one wears a jaunty mien.And if someone rides a bay steed,then, milords, it is sure to be the bayest,all those tiny hooves seeming to grazethe roadsidiest of daisies.
He who, contrarily, is downcast and fatigued,a hole in his elbow, a squint in his eye,he is most clearly missing.
Not the leastest of problems,either burgherish or villeinish,under the azurest of skies.
Not even the tiniest of gallowsfor the hawkiest of eyes,nothing to cast a shadow of a doubt.
Thus they ride most charminglyin this feudalest of realisms.
He however took care to strike a balance:the hell he prepared for them in the next picture.Oh, that goes without saying,for itself, self-evidentliest.
BEAUTY IN ARCHITECTURE
VANCOUVER PUBLIC LIBRARY Fot. Andrzej Jar
