„Artium Quaestiones” jest jednym z najważniejszych w Polsce recenzowanych czasopism naukowych z dziedziny historii sztuki, rocznikiem Instytutu Historii Sztuki Uniwersytetu im. Adama Mickiewicza w Poznaniu. Ukazuje się od 1979 roku nakładem Wydawnictwa Naukowego UAM i od początku koncentrowało się na teoretycznych i metodologicznych zagadnieniach historii sztuki. Artykuły publikowane w czasopiśmie dotyczą zarówno sztuki nowoczesnej i współczesnej, jak i dawnej, w tym architektury, ze szczególnym uwzględnieniem problematyki sztuki w Europie Środkowo-Wschodniej. „Artium Quaestiones” publikuje oryginalne i pogłębione studia, które wyznaczają nowe perspektywy badawcze i/lub stanowią świadectwo recepcji i krytycznego przepracowania istniejących koncepcji metodologicznych oraz ich zastosowania w badaniach sztuki dawnej i współczesnej. Charakterystyczną cechą „Artium Quaestiones” są krytyczne omówienia najnowszej literatury dziedziny, a zwłaszcza przekłady ważnych, teoretycznych i analitycznych tekstów, artykułów i rozdziałów książek. Dotychczas ukazały się tłumaczenia publikacji takich autorów jak Rosalind Krauss, Hal Foster, Mieke Bal, William J. T. Mitchell, Nicholas Mirzoeff, Griselda Pollock, Georges Didi-Huberman, Louis Marin, Max Imdahl, Michael Brötje, Horst Bredekamp, Hans Belting, Bruno Latour czy Geoffrey Batchen. W wielu przypadkach są to pierwsze przekłady tekstów tych badaczy w Polsce. Redakcja „Artium Quaestiones” zaprasza do nadsyłania propozycji artykułów zarówno polskich i zagranicznych, uznanych naukowców, jak i młodych badaczy sztuki i kultury wizualnej. Publikujemy teksty w języku polskim, angielskim i niemieckim. Od XXVIII (2017) numeru czasopismo zawiera sekcję tematyczną, do której corocznie ogłaszany jest „call for papers”. Zgłaszane do „Artium Quaestiones” artykuły są recenzowane przez międzynarodowe, ciągle powiększające się grono starannie wybranych specjalistów w danej tematyce. Oprócz wersji papierowej, nowe numery „Artium Quaestiones” (od numeru XXVI, 2015) są możliwe do pobrania w postaci elektronicznej stronie czasopisma w ramach platformie wolnego dostępu Uniwersytetu im. Adama Mickiewicza – PRESSto (tam też znajdują się wszelkie niezbędne metadane, numery DOI etc.). Archiwalne numery czasopisma (z wyjątkiem najnowszego) są również dostępne w wersji cyfrowej na stronie biblioteki Uniwersytetu w Heidelbergu. Odpowiednie linki można znaleźć na stronie czasopisma. „Artium Quaestiones” jest indeksowane w European Index for the Humanities (ERIH) oraz Index Copernicus International (ICI) a także figuruje w bazie The Central European Journal of Social Sciences and Humanities (CEJSH) oraz jest dostępne w wolnym dostępie w bazie EBSCO. W 2023 roku ma być też dostępne w bazie Central and Eastern European Online Library (CEEOL). W 2019 roku czasopismo otrzymało dwuletni grant Ministerstwa Nauki i Szkolnictwa Wyższego Wsparcie dla Czasopism Naukowych a w 2022 roku grant Rozwój Czasopism Naukowych. Artykuły publikowane w czasopiśmie otrzymują 70 punktów (zgodnie z ministerialną listą czasopism naukowych). POLITYKA FUNKCJONOWANIA CZASOPISMA AKTUALNY NUMER ARCHIWUM INDEKSOWANE W: SCOPUS, ERIH PLUS, DOAJ, Index Copernicus Journals Masters List, CEJSH, CEEOL, EBSCO Art & Architecture Source Ultimate, ROAD, THE KEEPERS, CROSSREF ,WIKIDATA, SUDOC, SHERPA ROMEO, OPENALEX, EZB WSKAŹNIKI OCENY CZASOPISMA: Punktacja Ministerstwa Edukacji i Nauki (2024): 70 ICV: 82.48 DOI 10.14746/aq ISSN 0239-202X eISSN 2719-4558 PRACE PUBLIKOWANE W CZASOPIŚMIE DOSTĘPNE SĄ NA LICENCJI CREATIVE COMMONS: Uznanie autorstwa – Użycie niekomercyjne – Bez utworów zależnych 4.0 Międzynarodowe ARCHIWIZACJA Platforma PRESSto archiwizuje zawartość tego czasopisma w PKP Preservation Network (PKP PN), co zapewnia tworzenie elektronicznej kopii zapasowej i bezpieczeństwo dostępu do treści czasopisma. Czasopismo "Artium Qaestiones" jest zgodne ze standardami I40C dotyczącymi otwartych cytowań. WYDAWCA Uniwersytet im. Adama Mickiewicza w Poznaniu FINANSOWANIE Dofinansowanie czasopisma "Artium Quaestiones" zrealizowano w ramach umowy nr RCN/SP/0114/2021/1.
Prawo autorskie regulowane jest oświadczeniem autora przygotowanym przez Wydawnictwo Naukowe UAM a od nr XXVIII także umową licencyjną na publikację online zawartą pomiędzy Autorem i Uniwersytetem im. Adama Mickiewicza. Autorzy ponoszą odpowiedzialność za oryginalność zamieszczanego materiału tekstowego oraz regulację praw autorskich dotyczących materiałów ilustracyjnych. W przypadku, gdy materiały pochodzą od redakcji – odpowiedzialność ponosi redakcja czasopisma. Ten utwór dostepny jest na licencji Creative Commons Uznanie autorstwa - Użycie niekomercyjne - Bez utworów zależnych 4.0 Międzynarodowe.
Czasopismo „Artium Quaestiones” koncentruje się na teoretycznych i metodologicznych zagadnieniach historii sztuki, a te były na naszych łamach dyskutowane przede wszystkim w odniesieniu do wizualności, nauki o obrazach (Bildwissenschaft) czy problematyki mediów wizualnych. Tym razem, nie rezygnując z zainteresowania nowymi tendencjami badawczymi i studiami teoretycznymi, postanowiliśmy przyjrzeć się metodom i teoriom badań nad architekturą oraz ich historii. Zachęciliśmy do wspólnego namysłu nad tym w jakim stopniu zwroty badawcze w humanistyce, przyswajane przez historię sztuki od lat 70. XX wieku, znajdują odzwierciedlenie w badaniach nad architekturą. Chcieliśmy zobaczyć jak praktykowane od kilku dziesięcioleci perspektywy metodologiczne pozwalają na eksplorację dawnych problemów z dziejów architektury i na formułowanie nowych pytań i celów badawczych. Temat kolejnego rocznika nawiązuje do licznych już antologii poświęconych filozofii i historiografii architektury, np. Rethinking Architecture: A Reader in Cultural Theory (1997) czy Rethinking Architectural Historiography (2006). Mamy nadzieję, że współczesne „przemyślenie” pozwoliło ponownie określić miejsce architektury i potencjały jej studiowania w ramach historii sztuki.
Prawa autorskie (c) 2025 Piotr Korduba, Gabriela Świtek https://creativecommons.org/licenses/by-nc-nd/4.0
Recenzja książki: Städtebau im Nationalsozialismus. Angriff, Triumph, Terror im europäischen Kontext 1933–1945
Städtebau im Nationalsozialismus. Angriff, Triumph, Terror im europäischen Kontext 1933–1945 presents a comprehensive overview of the achievements of the Third Reich, primarily within Germany. In addition to the main themes, the authors address topics that are rarely discussed in general studies, such as camp layouts. They also describe the mechanisms of power in spatial design, from administrative organization to the propagandistic tasks assigned to architecture and urban planning. The book proposes a methodological expansion of the concept of Städtebau. In this review, written from the perspective of a Polish scholar, attention is drawn to issues that are often omitted or discussed in only a cursory manner, such as Nazi activities in occupied territories, for which numerous projects were developed and treated as models for the future.
Prawa autorskie (c) 2025 Hanna Grzeszczuk-Brendel https://creativecommons.org/licenses/by-nc-nd/4.0
Prawa autorskie (c) 2025 Artium Quaestiones 36(2025) https://creativecommons.org/licenses/by-nc-nd/4.0
Translokacja retabulum św. Katarzyny z Góry do katedry poznańskiej: nowe znaczenia średniowiecznego dzieła sztuki w powojennej Polsce
The main objective of this paper is to present the circumstances under which the late Gothic polyptych of St. Catherine from Góra (Guhrau), associated with the Jacob Beinhardt’s workshop, was translocated to the cathedral in Poznań in 1952. The paper discusses the institutional environment of the translocation, with the focus on the tension between institutions engaged in the process. It also covers the influence of the ideological significance given to the reconstruction by the representatives of the Church and the government. Prompted by the results of archaeological and architectural research conducted in the war-damaged building, restoration of the cathedral in the Gothic style was seen in 1940s and 1950s as an act imbued with symbolic meaning. However, it was interpreter differently by the clergy and by the ruling party. Thus the paper presents how the Retable of St. Catherine was inserted into two different systems of meaning constructed with regard to the rebuilding of the historic church, both of them referencing the resolution of World War II, the new role of the city of Poznań in the country in the context of the post-war border shift, as well as the upcoming Millenium of the Polish state and of Christianisation of Poland. In order to explain the role given to the Retable of St. Catherine in these visions, the author analyses press articles from the 1950s which discuss the polyptych. The post-war history of the altarpiece is juxtaposed against the fates of other retables translocated form the Recovered Territories to churches in other dioceses. Other attempts to acquire a Lower Silesian Gothic polyptychs as retables for the main altars of cathedral churches are also discussed. In doing so, the author highlights several circumstances which make the case of the Retable of St. Catherine being unique among post-war translocations of winged retables from Lower Silesia. The ideological use of the Retable in post-war Poland is compared to similar practices employed in regard to this polyptych by German art historians and art restorers in 1930s and 1940s. The text also attempts to answer the question of why the meanings associated with the Retable of St. Catherine in the post-war period are illegible to most contemporary viewers of the work, and why so many residents of Poznan are unaware of the Retable’s Silesian origins.
Prawa autorskie (c) 2025 Ksenia Frąszczak https://creativecommons.org/licenses/by-nc-nd/4.0
In the text Maria Bor’s Affective Sculpture of Destruction an attempt was made to present the issue of destruction in selected works of this artist as an expression of her affect and affective remembrance of war destruction, mainly universalized to the experiences of the general public. The artistic expression of affectivity in the material spatial medium and the author’s stylistics of existential figuration – residual and organic – was analysed. In addition to the affective perspective of art history, a detailed formal and partly contextual analysis was used, to finally prove the stylistic individualization of the affective sculpture expressing entropy and the strengthening of the creator’s subjectivity through its construction.
Prawa autorskie (c) 2025 Karolina Tomczak https://creativecommons.org/licenses/by-nc-nd/4.0
Kilka refleksji metodycznych o badaniach architektury w historii sztuki
The article reviews the current situation and trends in research in the field of the history of architecture. Various research methods are used, including traditional ones, which produce excellent results, and modern ones that have emerged relatively recently due to revolutionary technological progress. Among the latter, the use of modern measurement and analytical techniques that provide new data for interpretation is particularly fruitful. Based on examples of research from the last quarter of a century, excellent progress has been noted in research based on both the latest technologies and those based on the use of updated traditional tools. Modern techniques and methods do not render traditional methods (such as the comparative or genetic method) obsolete, but supplement them by providing substantial new data, which allows them to be used in a more precise way. A collection of many data (observation statements) alone is not an explanation. It should be organized in the form of a theory, statements that answer the basic question: Why is it like this and not different? In the case of art history, this is called interpretation.
Prawa autorskie (c) 2025 Jarosław Jarzewicz https://creativecommons.org/licenses/by-nc-nd/4.0
Teoria braku teorii. Jak można pisać o teorii w architekturze polskiej po 1945 roku?
This article grew out of the experience of working on the publication “Texts of Modernism. An Anthology of Polish Theory and Criticism of Architecture 1918-1981” (eds. D. Jędruch, M. Karpińska, D. Leśniak-Rychlak, Kraków 2018). The book was a pioneerTeoria braku teorii. Jak można pisać o teorii w architekturze polskiej po 1945 roku? 63 ing attempt in Polish historiography of architecture to compile a set of source texts on the theory and criticism of 20th-century architecture. The considerations primarily concerned sources created after 1945 and involved selecting those source materials in the book and analysing specific features of “text anthology” as a scientific genre, situating anthologies between the academic research and didactic or popularizing goals of the study. The essay proposes several analytical tropes in organising the source material: criteria and conditions for classifying a text as a “theory of art”, discourse analysis, media research methods and visual culture studies, which can be a useful tool for researching architectural publications. One of the main concerns of the text is the conviction about the “lack of theory” and “lack of theory of architecture” in Poland after 1945, which was expressed in many of the materials analysed, while texts taking up theoretical issues and discussing current trends in architecture were very numerous in this period in Poland. This article attempts to answer the question of where this conviction about the “lack of theory” stems from and how it relates to possible attempts to create a “canon” of source texts. The text also asks about the role of synthetic studies of anthologies of source texts for the historiography of architecture.
Prawa autorskie (c) 2025 Dorota Jędruch https://creativecommons.org/licenses/by-nc-nd/4.0
Co (jeszcze) wynika z „odkrycia” znaczenia Europy Środkowo-Wschodniej dla historii architektury nowoczesnej pierwszej połowy XX wieku?
The history of modern architecture was largely written in the mid-20th century from a Western perspective (i.e. Western Europe and North America), serving to construct the myth of the “International Style”. According to influential figures such as N. Pevsner and S. Giedion, the decisive role in its emergence was attributed to a group of French architects led by Le Corbusier, Dutch creators, and the Bauhaus. Of particular interest was the elevation of the latter to the foremost position in the avant-garde (ideologically “transposed” from central Germany to the West), carried out by W. Gropius in the 1930s and 1940s, beginning with the 1932 MoMA exhibition. Research on the “Bauhaus myth”, undertaken from the mid-20th century onward (e.g. by W. Nerdinger), challenged this image. Nevertheless, the image of modernist architecture continues to be shaped in a way that canonizes the Western European avant-garde together with the Bauhaus, a narrative reinforced by the widely celebrated centenary of the school’s founding in 2019. As a result, modern architecture from the first half of the 20th century is still discussed in terms derived from the paradigms of the Western European avant-garde, using the terminology created to describe it. The growth of research and publications after 1989 on the architecture and art. theory of Central and Eastern Europe in the first half of the 20th century has not fundamentally altered this view. This may have been partly the result of language barriers, though not in the case of the Wrocław scholarly milieu, for instance. This example suggests that the history of modern architecture is still perceived through a Cold War–era perspective that emphasizes Western dominance. It should therefore be reconceived in order to reveal its complexity and, at the same time, to abandon the evaluative terminology that relegates entire currents to a subordinate position (e.g. “conservative modernism”). Such a rethinking should be accompanied by reflections on the significance of Central and Northern Europe, both in the field of architectural theory and in practice. This would allow for a better understanding of trends and phenomena that, within the traditional model, were consigned to the margins of the “mainstream”, equated with the avant-garde of Neues Bauen.
Prawa autorskie (c) 2025 Rafał Makała https://creativecommons.org/licenses/by-nc-nd/4.0
A Tale of Three Cities: Deconstructing the Cross of Gastines in Paris, 1571
This article considers the erection and subsequent removal of the Parisian Cross of Gastines, a monument commemorating the execution of three Protestant men, between 1569 and 1571. It seeks to foreground the spatial qualities of this tumultuous episode, with riots breaking out in December 1571, using the writing of Jacques Derrida on Bernard Tschumi’s project for the Parc de la Villette. The monument is read in this light as an inherently unstable semantic object, as opposed to the fixed edifice it was claimed to be upon its construction in 1569. In this way, the case is made for interpreting the Cross and the surrounding upheaval as an independently rich moment in Paris’ urban history, and not simply as a forewarning of the much-discussed St. Bartholomew’s Day Massacre of 1572. The article emphasises that Paris, in the midst of the French Wars of Religion (1562–1598), was a contested city: its late medieval image as a well-ordered bonne ville was challenged by the spread of both the learned, Humanist culture of the late Renaissance, which sought to classicize the city, and the militiant Catholicism of the Counter Reformation, which sought to cleanse it of religious heterodoxy. All three of these categories were the product of urban performance, enacted via theatrical statements of identity in the public arena. Employing Derrida’s description of a deconstructed architecture as one whose meaning is predicated on immediate, embodied interaction, it is shown how the Cross’ meaning was tied up with this performative theme. With the conclusion of France’s third civil war in 1570, the peace edict subsequently drawn up decreed that all markers of past conflict were to be removed, including the Cross of Gastines, although it was perhaps the triumphal entry of Charles IX down the Rue Saint-Denis in 1571, past Classical arches, obelisks, and other decorations, as well as the Cross itself, that truly spelt the monument’s symbolic end. Further performances followed: when, after much back and forth, the city administration finally obeyed the king’s orders and initiated its removal to the Cemetery of the Innocents, the Catholic mob took to the streets to demonstrate that their faith was not so easily dismantled. Officials mobilised in response, enacting their own image of the city as one of control and order. As Derrida writes of the folies of La Villette, it was thus via that the many movements around the Cross that its various meanings were revealed.
Prawa autorskie (c) 2025 Tom Joashi, Maximilian Sternberg https://creativecommons.org/licenses/by-nc-nd/4.0
Prywatne publicznym. O praktyce badań nad architekturą mieszkalną i zamieszkiwaniem: dom – człowiek – rzecz
In this article, we present the research method we developed in two books devoted to the villa architecture of Poznań. The houses in which we are interested, built in the interwar period, are viewed in the context of their social functioning and the material culture associated with them. We reflect on the public-private dichotomy, while at the same time attempting to break the ‘silence of the house’ and reveal what is hidden inside it. For this purpose, we focus not only on the surviving buildings and construction documentation, but also on documents relating to the social dimension of the house: land registry data, registration books, address books, written memoirs, diaries, correspondence, family photographs, and eyewitness accounts. Our goal is to answer questions both about the past and about changes in architecture over the decades. We refer to various perspectives and methodological concepts. We start from a “spatial turn”, conceiving the house as a frame in which history takes place. Following Karl Schloegel’s research, we focus on the interior, which allows us to learn about the history of specific people and social groups on the one hand, and the objects that accompany them on the other. In the first of these areas, the spatial turn is combined in our research with oral history. Witness accounts that we incorporate cover a whole range of statements, spanning the territory straddling storytelling and life writing. In the second area, we trace the biography of various, broadly understood objects: architecture, everyday items and photographs, presenting them as active actors in history, directly linked to people’s lives. We present the method we use in one of the chapters of our book.
Prawa autorskie (c) 2025 Piotr Korduba, Aleksandra Paradowska https://creativecommons.org/licenses/by-nc-nd/4.0
Gdy piasek, kamień i beton stają się sprawcze. Nowy materializm i badanie architektury
The article analyses the agency of matter in the architectural design process, emphasizing that it does not merely serve as a passive background but plays an active role in shaping architectural form. Referring to the principles of new materialism, particularly the works of Jane Bennett and Karen Barad, the author highlights the agentic potential of matter, which influences the course of design processes and modifies the initial design intentions. The analysis of materials such as stone, concrete and sand demonstrates how matter actively participates in the creation of architecture, shaping the final form of structures. The aim of the article is to view buildings as dynamic structures emerging from the complex interaction between humans and materials.
Prawa autorskie (c) 2025 Mateusz Włodarek https://creativecommons.org/licenses/by-nc-nd/4.0
Ruinous Modernity. On the Aesthetics, Critique, and Mediality of Decay
Ruins are a distinct architectural state, marked by decay and temporal exposure, challenging traditional monumentality. They have long fascinated through their ambivalence—oscillating between dereliction and beauty. Recently, ruins have regained theoretical attention, reflecting both material transformations (ruins of modernity) and shifting perceptions of architecture. The paper links contemporary ruin discourse with historical perspectives, showing how cultural frameworks shape their interpretation. Ruins prove to be a central starting point for exploring the significance of time in architectural perception, while also accounting for the transmedial factors involved. Since the 18th century, ruins have been valued increasingly aesthetically rather than merely lamented as remnants of loss. The term ruin lust captures this shift, exemplified by Denis Diderot’s reflections on decay as a poetic force. While classical ruins were dignified by history, modern ruins—especially abandoned industrial sites—lack this aura. Originally simply discarded as quickly consumed utility objects, they have since entered heritage discourse, though their status remains contested. This engagement is reflected in Urban Exploration (Urbex), which transforms decaying spaces into sites of discovery and visual documentation. However, Urbex is often criticized as ruin porn, a voyeuristic staging of decay that ignores social and historical complexity. This ethical dilemma underscores a broader issue: the ruinous state often involves not only physical structures but also the communities displaced by decline. Beyond their social impact, ruins evoke a profound sense of the uncanny. Unlike Gothic ruins, often associated with aristocratic decline, modern ruins unsettle through emptiness and infrastructural decay. Many modernist buildings appear ruinous from the outset, revealing the latent melancholy of functionalist design. Postmodernism plays with artificial ruins and ironic nostalgia, further complicating the ruin discourse by blurring the line between authenticity and staged decay. Today, ruination extends beyond architecture to entire ecosystems. Industrial and nuclear wastelands serve as monuments to environmental collapse. Unlike classical ruins, which often harmonized with their surroundings, contemporary ruins resist integration into nature, exposing planetary instability. In this sense, ruination reflects not just the past but an uncertain future. Ruins have always been tied to media, particularly writing and photography, which preserve traces of history. Photography mirrors ruins in its fragmentary nature, capturing both historical monuments and modernity’s accelerating decay. The paper shows that ruins are not just remnants but dynamic spaces of interpretation, where destruction, memory, and aesthetics intersect.
Prawa autorskie (c) 2025 Markus Dauss https://creativecommons.org/licenses/by-nc-nd/4.0
Hybrydowa pamięć architektoniczna w grach wideo. Między doświadczeniem realnym a wirtualnym
This article examines the complex relationship between architecture in video games and memory, which shapes how it is experienced and interpreted. It begins from the premise that video games generate and employ a distinctive form of spatial memory, one that combines encounters with real architecture, media conventions, and cultural expectations tied to particular types of spaces. This hybrid form of memory functions as a kind of palimpsest, layering real and virtual experiences. Scholars have proposed various theoretical frameworks for understanding architecture in games: Espen Aarseth regarded it as an allegory of real space; Celia Pearce as the art of designing experiences; Christopher Totten as a functional analogue of actual architecture; Gabriele Aroni as a complex iconic sign or a “digital capriccio”; and Henry Jenkins, above all, as a narrative tool. Despite their differences, these perspectives converge on the assumption that a shared mechanism of memory underlies the operation of architecture in games. The analysis also draws on several key concepts of memory. Henri Bergson’s idea of the bodily rootedness of perception, developed further by Juhani Pallasmaa, explains the paradox of experiencing immaterial architecture as real. Kaja Silverman’s notion of the “remembering look” sheds light on how players reinterpret virtual spaces. Alison Landsberg’s concept of “prosthetic memory” clarifies how media produce memories of places and events never personally encountered, while Astrid Erll’s idea of “transcultural memory” illuminates the circulation of architectural memory across global cultural contexts. A central case study is the reconstruction of Notre-Dame Cathedral in Assassin’s Creed: Unity (Ubisoft Montréal, 2014). The virtual model of the monument, while distinguished by impressive attention to detail and extensive use of historical sources, also incorporates deliberate anachronisms. These design choices stemmed from a multilayered strategy in which the aim was less historical fidelity than the evocation of spatial sensations approximating the experience of the actual building, as well as an appeal to contemporary imaginings of the cathedral. Such anachronisms can be interpreter through Georges Didi-Huberman’s concept of anachronism, which holds that every act of memory is by definition anachronistic. This framework helps explain why the game’s version of Notre-Dame was perceived by players as so “authentic.” Following the fire at the actual cathedral in 2019, rumours circulated that the game’s model might be used in its reconstruction. Although repeatedly denied, these speculations were not entirely dispelled. Their persistence testifies to the success of the visual strategy employed by the game’s designers: despite numerous anachronisms and conscious deviations from historical accuracy, they created a virtual cathedra that for many audiences became as “real” as the original. This case of virtual spaces infiltrating collective memory and imagination represents, to date, perhaps the most striking consequence of the hybrid memory shaped by video games.
Prawa autorskie (c) 2025 Emilia Kiecko https://creativecommons.org/licenses/by-nc-nd/4.0
This text is a translation into Polish of an essay originally published as A. Vidler, “Architecture’s Expanded Field”, in: Architecture Between Spectacle and Use, ed. A. Vidler, Williamstown, MA/New Haven–London 2008, pp. 143–154. This theoretical study looks at the “expanded field” of contemporary architecture, its diverse modes, iterations and combinations with other domains such as sculpture or landscape using the diagrammatic model introduced by Rosalind E. Krauss for her consideration of 20th-century sculpture. Vidler discusses different types of architecture dominant in the last decades of the 20th and the beginning of the 21st century, pointing to the most recently dominant model called “diagram architecture”.
Prawa autorskie (c) 2025 Anthony Vidler; Filip Lipiński (Tłumacz) https://creativecommons.org/licenses/by-nc-nd/4.0
To nie jest muza. Rola klientki w domu Rietveld Schröder
This text is a translation into Polish of an essay that is a case study of Rietveld Schröder House, an important work of modern architecture in Utrecht, the Netherlands. The text was originally published as “Not a Muse: The Client’s Role at the Rietveld Schröder House”, in: The Sex of Architecture, eds. D. Agrest, P. Conway, L.K. Weisman, New York 1996, pp. 217–232 and its different version was republished as a chapter in Friedman’s book Women and the Making of the Modern House (Harry N. Abrams, 1998). The essay brings to the fore the active role of its female patron, Truus Schröder, in the designing the house, shifting the canonical narratives focusing on the celebrated male architect Gerrit Rietveld, and purely formal aspects of architectural design. While this is a study of an individual project, it can serve as a template for reconsidering other collaborations of this kind between female patrons and architects, as well as the gendered aspects of architectural design.
Prawa autorskie (c) 2025 Alice T. Friedman https://creativecommons.org/licenses/by-nc-nd/4.0