Wieczny i niezmienny trój dźwięk idei w sztuce: o kształtowaniu się teorii architektury modernistycznej

Abstract

Everlasting and constant triad of ideas in art. On forming of modernistic theory

The aim of the paper is to define the architectural paradigm from the realistic point of view, which was developed in the Polish architectural thought between 1900 and 1907, in the period named by S. Fayans as “the primeval form of style” (pierwokształt stylu). The “shell and core” metaphor worked out by W. Oechslin helped to locate thus defined architecture in the line of evolution from the idealistic paradigm, typical of the 19th c. historicism, to the functionalist one.The idealistic paradigm seen from that angle establishes identity of the work of architectural art with its outward decorative form. This is not very useful. The realistic paradigm, unified in O. Wagner’s theory, which can be found in Polish articles on this issue dated about 1907, implies the logical following of the artistic form from the tectonic and constructive core: Kernform => Kunstform (Wagner: “Every architectural form has arisen in construction and has successively become an art-form”).The coherent functionalist paradigm when defining the notion of architecture identifies the artistic form with the core of functionalist and technical conditions: Kernform => Kunstform. The reformers’ modification of the definition of the work of architectural art and categories used to its description can be translated into Alberti’s categories, which shows the continuity of the theoretical thinking on the essence of the work of architectural art that was disrupted by the 19th c. historicism. Translated by Tomasz Kuniński