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Architecture As an Art of Understanding Author(S): Małgorzata Mizia Source: the Polish Review, Vol Architecture as an Art of Understanding Author(s): Małgorzata Mizia Source: The Polish Review, Vol. 59, No. 4 (2014), pp. 81-92 Published by: University of Illinois Press on behalf of the Polish Institute of Arts & Sciences of America Stable URL: http://www.jstor.org/stable/10.5406/polishreview.59.4.0081 Accessed: 05-06-2015 15:02 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/ info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. University of Illinois Press and Polish Institute of Arts & Sciences of America are collaborating with JSTOR to digitize, preserve and extend access to The Polish Review. http://www.jstor.org This content downloaded from 141.211.4.224 on Fri, 05 Jun 2015 15:02:36 UTC All use subject to JSTOR Terms and Conditions The Polish Review, Vol. 59, No. 4, 2014 © The Board of Trustees of the University of Illinois Małgorzata Mizia Architecture as an Art of Understanding The article offers a reflection on architecture, noting its combination of aspects of pure art with those of craft and technology. This relationship and tension between beauty and aesthetics, on the one hand, and utilitar- ian requirements and hazards of wear and tear, on the other, are explored, primarily with reference to Polish examples. The author concludes that ar- chitecture is the “art of understanding” of the title because the architect is required to “translate” and reconcile the various factors of place, culture, aesthetics, technique, and material. Artists are precursors of progress—visionaries who use intuition and senses, recognizing the directions of progress and our needs earlier than others—earlier than we are able to express and name it. Contrary to the widespread opinion con- cerning the scientists’ rational process of analysis and synthesis, they often resort to disputes with philosophers or theologians, making use of artistic solutions. We believe in science and we laugh at intuition, and it is precisely the latter that is the driving force of discovery. Science merely records the truth concealed in the uni- verse. Architecture that combines the elements of art and technology is subject to the same rules of creation as “pure” arts; architects are artists who merely use a different medium. In the general view of contemporary society, architecture—particularly monu- mental architecture—is undoubtedly one of the arts.1 It is one of the fine arts—that is, those with the characteristics of “pure” arts, which are not subject to any dictates, market, or stylistic concessions (periodic or 1. M. Mizia, Architektura w przestrzeni sztuk [Architecture in the arts] (Rzeszów: OWPRz, 2013). This content downloaded from 141.211.4.224 on Fri, 05 Jun 2015 15:02:36 UTC All use subject to JSTOR Terms and Conditions TPR 59_4 text.indd 81 3/12/15 11:37 AM 82 The Polish Review otherwise dependent on local fashions); they arise out of an artist’s inner needs, quite independently of the existing realities; they conform to the principles of iden- tification of works of art and are subject to compositional efforts that constitute the fundamental prerequisite of every type of art. Yet, at the same time, as a profession, architecture is subject to continual efforts to subordinate it to certain requirements of craft—which are characteristic of technical disciplines and applied sciences. These sinusoidal, recurrent “chastisements” of architecture, whose aim is to “call it to order,” are also reflected in the syllabuses and programs of architectural schools. The continually fluctuating teaching profiles, which are successively being adjusted to the current technological achievements, reflect the needs of contemporary in- vestors for a particular type of architectural order. Sometimes, they are relaxed in favor of a more artistic approach, and, at other times, they are restrained by tech- nological rigors. Yet the importance of both approaches should not be understated. Compared to Western institutions, Polish schools of architecture attach a great deal of importance to the artistic dimension of architectural training. Except for the high school achievement record, which is measured in grade points, the only exam that employers demand is one in freehand drawing, which is treated as a test of the candidate’s spatial imagination as well as ability to communicate. The study syllabus then ensures two to three years of practical classes in drawing, painting, and sculpting, which are conducted by professionals. Every faculty of architecture has an independent unit that teaches fine arts techniques, so as to make the stu- dents better acquainted with the world of art and raise the level of esthetics among them. Yet the emphasis on construction in contemporary architecture tends, to an increasing degree, to subordinate these faculties to the rigors of technical schools. However, one cannot decrease or eliminate the importance of both the form and artistic values as well as of functionality, which testifies to the humanistic values of utilitarian comfort. Architecture that lacks these elements is exclusively construction that is the outcome of a better or worse craft of building, whose values are measured exclusively in terms of utility or technical efficiency. Duality of Architecture Technological progress—which is so visible and tangible nowadays and which, ever since the Industrial Revolution, has tended to speed up the pace of change by introducing ever newer rationalizations, not limited to building materials but also extending to new ways of construction, new techniques of assembly, the use of disparate ideas and empirical discoveries—leads to rapid changes. On the one hand, we are dealing with the shifting of the operational sphere of architecture from construction to strictly technical issues, which allow one to implement new tech- niques and technologies, which give the design process an exceptionally technical character, requiring specialist technical knowledge. On the other hand, a parallel and equally consistent transformation of architecture can be seen toward more and more utopian and philosophical, more metaphorical, even metaphysical solutions This content downloaded from 141.211.4.224 on Fri, 05 Jun 2015 15:02:36 UTC All use subject to JSTOR Terms and Conditions TPR 59_4 text.indd 82 3/12/15 11:37 AM architecture as an art of understanding 83 that are characteristic of art and humanistic knowledge as well as phenomena that elude objective description. The origin and operation of creative stimuli is multipolar in precisely the same way: scientific discoveries serving as a real design inspiration, professional intuition—that is, the superconsciousness, which ensures the correct- ness of choices, as well as pure imagination, are combined in equal degrees in the process of creating innovative concepts for artistic solutions, created so as to delight, make more effective, change one’s habits, or even the very way of thinking. That is what the creative process looks like in the creative sphere whereas the latter is also the domain of architecture. It is a purely artistic sphere that endows the professional activity of an architect with a parallel dimension of artistic creativity. It is parallel—as the activity of an architect cannot be deprived of technical and functional correctness or of technical and technological innovativeness. The latter is necessitated by another characteristic feature of the profession of architectural designer, which makes one think of every designer task with a visionary-type of anticipation that has the potential to adjust to the changes brought about by the development of the particular sphere of life that placed an order. Otherwise, every realization would become slightly obsolete the moment it was completed. This anticipatory and visionary quality of design as well as the exploratory anticipation of function and form places architecture as a profession on the same level as other disciplines of creation that are recognized as fine arts. Uniqueness of Architecture Utilitarian anticipation as well as the process of wear and tear and the process of aging, as well as the simple lapse of time, are more often the greatest enemies of contemporary architecture. A monument acquires the value of an untouchable, historical artifact only in time. In sum, contemporary architecture in principle does not survive long enough to be granted the status of a monument. It is subjected to planned demolition, exchange, or modernization, as a consequence of a simple economic calculation. Thus, for instance, the monuments of Polish architecture dating back to the era of socialist realism, and the Polish People’s Republic (Warsaw city center, the Nowa Huta quarter in Kraków, the zones around the city centers of Kraków, Katowice, etc.), though quite significant architecturally, are being de- stroyed right before our eyes; the reason for this is that these monuments are not old enough to have gained the status of protected monuments with the right to protection, conservation, or appropriate conservation. It is a similar story as regards privately owned architectural monuments, particularly wooden villas (e.g., the spas in Szcza wnica in the Pieniny mountains),
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