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1-2/2006 - Dominanty w krajobrazie / Dominants in a Landscape

AK12 2006   Nr 1-2/2006, vol. 12

Dominanty w krajobrazie
Dominants in a Landscape



STRESZCZENIA
str. 55
POBIERZ CAŁY NUMER (47,8 MB)




PROBLEMY
Dominanty w krajobrazie
Dominants in a Landscape
Mirosław Przyłęcki

STRESZCZENIE

Landscape, its parts and individual fragments create a defined spatial composition. A very important element and a component in landscape compositions are dominants. Mountains, rocks hills, downcasts, mountain slopes and other natural creations as such are distinctive with their scale and situation in a landscape. Dominants are very often enriched by interesting historical buildings-today protected as relics of the past and objects of national heritage. Most architectonical landscape dominants apart from spatial, artistic and often historical values also have a rank and importance as a symbol. Spatial place "identificator". The carrier of identity and landscape discriminator, which sight (e.g. in a photograph, drawing or a film) without a doubt associates with a city, area, historical and geographical region or a country. It is most of all landscape dominants, terrain shape and vegetation which define the identity of a landscape and identify it on a geographical, historical and cultural account.


Dziwne losy dominant krajobrazowych
Strange Fortunes of Landscape Dominants
Krystyna Pawłowska

STRESZCZENIE

Dominant, as its encyclopedic definition says, is the major motive, fundamental characteristic, exceptional element or an element which outnumbers others in a given set. Higher, huger, brighter or more original objects exist in all types of landscapes from primal ones to cultural ones. The importance of a dominant is given to them in the perception process by the person viewing. The dominant - the object effect, which on purpose is to dominate the others and be a carrier of a substance worth stressing and remembering has been applied since the beginning of architecture history. One of such functions is marking the centre of a town or other settlement unit. That is why, looking on a panorama of a city we are looking for towers, and when we find them, we know where the centre lies, and sometimes we also know what city it is. For dominants stand to the function of a specific city logo, like for example the Eiffel Tower in Paris. Dominants regional effect can be noticed in a cultural landscape which most often evidence religious separation of defined regions. In the perception process we simultaneously recognize the object or phenomena (e.g. a dominant) and transform the gained information in a way conditioned by capability of our previous knowledge and the state of feelings and the actual situation: here and now. Perception effect can be, therefore, much varied. That is why it does not depend on creators but most of all on receivers to accept the dominant role of a specific object and a symbolic sense of consignment of which carrier it is to be. Dominant dependence on perception allows for successful, but sometimes not so successful dominants, sometimes strange, sometimes perfidious transformations, attempts to falsify symbols e.t.c. are possible. Strange fortunes of dominants in Siebenbürgen, Palace of Culture and Science in Warsaw, Hundertwasser Haus in Vienna and towers of the World Trade Centre in New York are presented in the text.


Dominanty dawnej i współczesnej wsi poludniowo-zachodniej Polski
Dominants of a Farmer and Modern Village in South-West Poland
Irena Niedźwiecka-Filipiak
Zuzanna Borcz

STRESZCZENIE

Dominants of a Former and Modern Village in South-West Poland Identification of the place in question is the most important issue for a village. There is nothing more confusing than an indistinction and chaotic pseudo-freedom which leads to the lack of orientation. One of the identifying elements both in the natural landscape and in their anthropogenic origin always were dominants. Their role in rural landscape is very important although not always appreciated, and in cases when it blemished the neighborhood, often underestimated. Traditional dominants in villages among others are: a church with a tower, often situated on a rise or in the highest place in a village, towers of distilleries, breweries or other production workshops in granges, water towers, towers of fire stations, windmills, former, brick tower transformer stations, chapels and side road crosses, single specimens of trees, whole farm sets, with remarkable, in comparison to the rest of the village, storage and farming buildings, mansions and palaces, former recreation halls distinguished by their size and arch castellated window openings, huge village ponds or empty squares in a village. The above mentioned not always are dominants. Everything depends on their surrounding which means that an element is receipted as a dominant and gives character both to the panorama and closed interiors. While situating objects where importance was to be stressed, terrain shape was used. Even a minor hill allowed a good exposition of a church, chapel or cross. Unfortunately, a new object with big cubature situated in a modern village most often takes into consideration only the functional needs of the users. Blocking vistas, dominants, gates or accents are the ideas which are avoided while designing, especially in rural areas. Impulsive actions can be noticed here, which answer only the needs of a moment. In fact it is difficult to find modern built objects in areas of a village which fulfill the expectations which were bestowed in dominants.


Kompozycja krajobrazu kulturowego
Composition of a Cultural Landscape
Jan Rylke

STRESZCZENIE

A landscape filled with fields, woods and factories; divided by roads and railway lines was so far perceived by the functions it fulfils rather than characterizing it composition. Composition was referred to in reference to parks, representative town planning solutions - about the beauty in reference to natural forms- mountains, lakes, waterfalls. Today when agricultural and industrial landscape is shrinking and many areas are not filled by productive functions, other than functional sources of the order are sought. This article is an attempt to view a landscape not from the side of its utility but from the cultural characteristics which are visible and their meaning. Because through culture, throughout centuries of the process of society living in a landscape, that society shaped its form which we can analyze now. The places which were used to describe the researched landscape in the south of Warmia, Warsaw and the set of former estates of Wilanów presently situated in the southern part of Warsaw.


PREZENTACJE

Znaczenie dominanty historycznej w krajobrazie kulturowym na przykładzie Cytadeli w Poznaniu

Meaning of Histarical Dominant in Cultural Landscape Based on the Example of Citadel Park in Poznań
Łukasz Pardela

STRESZCZENIE

Fortifications hide landscape interiors. They include a series of separate elements, captivated within limits of outline of a defensive work. Such interiors, in the way they were built, are seldom different from landscape interiors which can be seen in antique parks or gardens. Their uniqueness are most of all of historical and natural value. Therefore they create an ideal range for research on the importance of dominant in landscape. As terrain researches, supervised by eng. arch. Jerzy Potyrała in 2003-2006 and performed by students from Landscape Architecture, direction of Lower Silesia nature University, show that the key element of reception of landscape interiors, which are included in sightseeing routes, is the order of viewing. Citadel Park in Poznań, which is a dominant in Poznań landscape, has unique aesthetical and composition values because of its historical lineage and multiple relics of defense works. The correct exposition of those pearls of defense architecture, which most often are in ruin, and careful space management which will allow one to perceive the fortification as a whole.


Geneza krajobrazu miasta zdeterminowanego rzeką
Genesis of a Landscape Dominated by a River
Paweł Byrski

STRESZCZENIE

The location of Frankfurt(O) and Slubice are determined by geographical coordinates: Longtitude 14: 5 E and Latitude 52: 3 N. The commune Slubice is placed between Pradolina Warszawsko-Berlinska and Pradolina Torunsko-Eberswaldzka, in Pojezierze Lubuskie, by the central Odra. The relief is diversified. To the south of Slubice the valley has a width of 1.5 km. However, it widens from the north of the town to 6 km. It is a flat area with a height of about 20 m above sea level. The Odra at this place narrows giving only one good crossing point. The first settlements were already in existence here in the fifth or fourth millennium B.C. As a result of the First World War Germany lost areas in Eastern Europe. After that, Frankfurt(O) had to engage Germans displaced from the East. National socialism and the Second World War led the metropolis beside the Odra to serious crisis; in April 1945 the old town was burned, Frankfurt(O) became a frontier town and the part located on the east side of the Odra was given to Poland as Slubice town. In the new political and territorial situation residents started the reconstruction and adaptation of towns for new needs. The border checkpoint quickly became the most important on the western border of Poland, the bridge blown up in wartime was rebuilt. Frankfurt was developing dynamically, the big population was growing, large housing estates with blocks of flats and modern office buildings were built. The fall of the Berlin Wall and demographic changes at the end of the 20th century caused regression of Frankfurt into a provincial town near Berlin, emigration of population unsettled the social balance. Slubice, the old part of Frankfurt(O), has urban form as a result of trade routes running for the western border. Very few architectural monuments were scattered and the town hadn`t any prestigious places, a centre like Market Square didn`t exist. Right before the towns there is the Odra buffer area located to protect against floods which have often occurred in recent years When water is draining off, the landscape is very unpleasant. The bank of the river has been developed, especially on the German side. However it hasn`t resulted in a considerable inflow of residents into boulevards. The deficiency in recreational usage of water resources and rather difficult access to them mean that the towns are isolated from the river. Boulevards, the riverside area and the part of the floodplain could be the place, where integration of common space would happen. And then big urban areas be connected through activation of small but important fragments. To make it possible, it`s very important to create communication channels for public transport, foot and bicycle paths. The main channels should be designed as view axis ended with natural landscape.

Obrazy w pejzażu miasta - murale
Pictures in City Landscape - Murais
Małgorzata Bąkowska

STRESZCZENIE

Called "the cover of poverty" or "anti-decoration" by some and "artistic decoration" by others, murals have been inscribed in the landscape of almost all huge urban agglomerations of both Americas and Western Europe. The period of most dynamic development of various forms and techniques of murals occurred in the 1970s and 1980s. The fact that they can fulfill many substantial functions, such as informational, commercial, educational or become expressions of rebellion or identification of the inhabitants with the city, add to their impetuous development. Because of their scale, colour, symbolic and in many cases also artistic values, murals become distinctive landmarks in urban landscape. The article presents in an outline some aspects concerning context, form and function of modern murals.


Pieszy, kierowca, pasażer, flaneur. Percepcja dominant we współczesnej przestrzeni miejskiej
Pedestrian, Driver, Passenger, Flaneur. Perception of Dominants in the Modern Urban Space
Jarosław P. Szewczyk
Jadwiga C. Żarnowiecka

STRESZCZENIE

Global cities and mega-cities, virtual cities and post-situational cities of New Town development became abstract ideas, describing ideas impossible for individual perception, highly surpassing the perceptive abilities of man. Over-scaling urban environment over what one is able to perceive and connect into full, bears new aesthetical theories in which city tissue becomes a background, coulisse without hierarchy. Rules of aesthetic anarchy begin to rule the city perception and a system of accent, marks and dominants stops bonding urban space, because a compact picture of a city simply ceases to exist. Accents, marks and dominants become a set of non hierarchized sections of space with defined charm, climate, "city spirit", "flowers on a meadow of a city" - but do not direct, do not inform, stop being a reference system. A city dweller becomes a wanderer - flaneur, perceiving that what he wants to see, and a wander in the city becomes to be a form of not orientated meditation, devoid of direction and aim.








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