Dialektyka lokalności i globalności architektury współczesnej

Joanna Krajewska

doi:10.5277/arc120111

Streszczenie

Architektura współczesna oscyluje między tendencjami lokalnymi a globalistycznymi. Dynamika zmian w epoce ponowoczesnej sprawia, że trudno jednoznacznie ocenić to zjawisko, dlatego proponuje się rozpatrywać je w duchu dialektyki negatywnej. Wiek XX przyniósł nowe technologie, a świat zaczął się „kurczyć”. Istniejące sieci globalnych zależności nie pozwoliły żadnej z cywilizacji pozostać obojętną na podnoszący się poziom wiedzy i rozwój techniki. Modernizacja, począwszy od Zachodu, objęła cały świat. Kompresja czasu i przestrzeni oraz zaistnienie rzeczywistości wirtualnej zmieniły znaczenie realnego „miejsca”. Nowe materiały budowlane i wzrost możliwości konstrukcyjnych oraz nowa filozofia architektury – modernizm dały podstawy do wykształcenia się jednego języka architektury nowoczesnej, w ramach którego zaistniała duża swoboda projektowa. Tożsamość architektury rozumiana jako jeden z przejawów kultury, w niektórych rejonach świata zaczęła przechodzić kryzys. W obliczu niepewnej oceny swojej tożsamości w stosunku do otaczającej przestrzeni urbanistycznej stanął też współczesny człowiek. Tymczasem, jak dowodzą specjaliści, im bardziej ekspansywna globalizacja, tym silniejsza potrzeba podkreślania własnej kultury. Pozostaje zastanowić się zatem, jakimi językami przemówi architektura przyszłości.

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architektura
tożsamość
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Podgląd pełnego artykułu jest możliwy wyłącznie na większych ekranach.

Andrzej Wawrzynowicz from the Adam Mickiewicz Uni-

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dialectics as a rational necessity to break up with a positively

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DONegative dialectics aims at thinking about an object with-

out referring to any superior conceptual images. However,

this tendency is not marked with naïve faith in the possibility

of arriving at the absolute directness of a thing. Adorno knows

that cognition perceives objects always in their mediated sur-

roundings. As a result, what it deals with is also an exclusive

particular play on mediations. On the other hand, negative di-

alectics is not to allow assuming those conceptual mediations

as something permanent. Dialectic thinking should unceas-

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synthetic presentation of the problem seems impossible and

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Joanna Krajewska*

Dialectics of locality and globality of contemporary architecture

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DOI: 10.5277/arc120111

110 Joanna Krajewska

Identity and globalisation

Differences in the construction industry existing in

various regions of the world resulted from many factors

such as climate conditions in a given region, availability

of building materials, the level of knowledge, social sys-

tem, existing religious dictates, or simply varied needs of

the users. Moreover, each culture enriched its architecture

with another form of decorations. Different architectural

languages were created, which evolved and changed into

various styles along with the changes of their époque

within the range of cultures or even regions. A local archi-

tectural language – as one of the symptoms of culture – al-

lowed emphasising the identity of place and at the same

time it allowed the inhabitants to identify with it.

European architecture started to be transmitted to other

regions of the globe by means of colonisation and was

often included in local building traditions. This resulted

in the creation of colonial styles but it did not lead to the

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the turn of the 20

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ment. In the meantime, the global network of dependen-

cies among eight main civilisations was created [4] and it

did not allow any of them to remain totally closed to ex-

WHUQDOLQÀXHQFHV7KH

century brought a completely

new kind of architecture – formally economical, deprived

of detail, in accordance with new banners such as ‘orna-

ment is a crime’ (Adolf Loos) and ‘less is more’ (Mies

van der Rohe)

. In the modernism assumptions a building

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tors of the new trend, who did away with tradition and

popularised new construction ideas, laid the foundations

for the modern architecture – supra-regional and stand-

ardised. Minimalism of means of expression along with

popularisation of concrete and prefabricates resulted in

the appearance of the same simple residential architecture

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of the world. However, strict assumptions of modernism

could not be the only determinants for construction of

new times. The galloping technological development al-

lowed free form shaping, which – along with the break

up with traditions – gave designers real creative freedom.

Architecture, which was reduced to the cuboidal structure

by modernists, could be born again and become in fact

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Mies van der Rohe introduced a sentence from the poem Andrea

GHO6DUWR by Robert Browning into the world of architecture.

tual world. As every other product, which is in great de-

mand, ‘liberated’ modern architecture began to appear

in all parts of the world. As a matter of fact, the existing

rules regulate to some extent the fact of shaping the space;

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a possible variety of forms often make this space inco-

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a civilisation change and constitutes its result. A modern

urban space imitates today’s world which leaves tradition,

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goes continuous metamorphosis…

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tures for many places in the world are designed there;

however, worldwide design standards are dominating.

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3UL]H

in 2008, describes his work in the following way:

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the context often means a contrast […]DZLQGDFRORXURI

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PRVWEHDXWLIXO7KHVXUURXQGLQJVVKRXOGKDYHWKHDGYDQ-

WDJH7KLV LV DGLDORJXH [11]. Nouvel’s statement shows

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risk a comment that this kind of an attempt at searching

for the architecture identity constitutes at the same time

one of the symptoms of global tendencies.

In the époque of post-modernity the architectural ‘style’

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several parallel tendencies. Some architects are recognis-

able through individual methods of solving problems of

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kind) (Fig. 1). Does not the notion ‘style’ itself mean a hu-

man tendency to classify and simplify phenomena, which

is criticised by the above mentioned Professor Adorno?

The full architectural globalisation can be particularly

observed in big cities. Shopping centres, business districts

or big housing estates are deprived of cultural features (per-

haps apart from stylised details in some regions) and become

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network, international companies and corporations need the

same functional and standard visual solutions.

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Man and space

The notion of the identity of an individual can be con-

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identity on the basis of, among other things, his/her own

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region and state, culture, religion as well as to different

communities. An individual also builds it according to

the following rule: I know who I am because I know who

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ences his/her personality, health, neighbour relationships

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world mainly through visual impressions. Space in which

Dialectics of locality and globality of contemporary architecture 111

man exists constitutes the basis for gathering information

about the world in which he/she lives.

Television, next the Internet gave man the possibility ‘to

be’ in different places at the same time. Moreover, develop-

ment of transport made it possible to cover long distances

in much shorter time. Time and space compression is the

result of this [Harvey, acc. 2]. Giddens mentions separa-

tion of time and space which are already not connected with

a ‘place’ [5]. At the turn of the 21

century the reality has

been enlarged by a virtual world. Social contacts, discus-

sion forums, trade and bank transactions, ‘virtual travels’

and other activities which are possible thanks to the Inter-

net devaluated the meaning of a real ‘place’. Moreover,

a creation of the virtual world and television transmission

resulted in a new dimension of mediated experiences [5].

Without leaving our home we are able – using our sense

of sight and hearing – to achieve information about distant

regions of the Earth, i.e. their architecture, organisation of

space and history. In this context the world ‘outside the

window’ is only one of the two worlds in which we par-

ticipate gradually plunging in a global cyberspace.

Transformations of the urban space, which have taken

place for the last several years, make us consider the mean-

ing and essence of its identity as well as its connections

with a human being. Does the space identity change along

with social and cultural changes or is it always equally

strong? Can it be preserved in the modern and globalised

world? And who needs ‘a place’?

The new époque is characterised by local dependencies

which are transferred to global conditions [5]. In connection

with the notion of a ‘global village’ in the awareness of con-

temporary man, there has appeared a feeling of belonging to

one big human community. As Giddens writes: Late moder-

nity […] creates conditions, in which mankind means ‘we’

in many respects [5, p. 46], in particular for representatives

of the young generation. Some young people simply try to

cover up their identity. A man, who comes from India and has

been working in Poland for some time, said the following:

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place it will take me to.’ Such attitudes among young emi-

grants, who leave their countries in search of work or look for

life changes, are more common nowadays. Considering the

above we can have an impression that the notion of identity

becomes blurred at least in relation to a place – understood as

a certain architectural space. But simultaneously, the need of

emphasising a cultural identity revives, which will be men-

tioned later on in our considerations. According to Hunting-

ton, for most people identity has the most important meaning

[4] and Castells reminds us that globalisation brought back

the revival of nationalism [1].

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more expansive is globalisation, the greater the need to em-

phasise a local identity. Societies of our times do not live in

such a settled way as their ancestors; however, they are not

nomadic either. Even if young people change their place of

living while studying or looking for a job, the moment they

set up families they settle down somewhere. However, the

space we can identify with and the space with strong iden-

tity do not always mean the same space.

Growing global contacts and dependencies, confrontation

of different rights and values have generated world scale con-

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of a ‘global village’, groups are organised which are based on

common cultural identity – in spite of their physical disper-

sion. (In the case of emigrants, cultural identity is not always

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in its wider understanding (city); however, it is sometimes

connected with the space in a micro scale (ghetto, district)).

World metropolises are inhabited by many national minori-

ties which often live in their ‘own’ districts. The architecture

of these districts does not usually differ from the architecture

of other parts of the city; however, there are institutions which

are characteristic for a given culture (e.g. temples). Forms of

visual communication (e.g. advertisements of service shops)

and sometimes small architecture (e.g. gates in the Chinese

style in London district of Chinatown) prove the autonomy

of such a space in the most visible way.

Culture record

In the world of the West, we can have an impression that

tradition (in a general sense) is of secondary importance

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many levels tradition is obscured by a contemporary sup-

plementary form, market brand name, and kind of ‘logo’

which are supposed to give a vague idea about the original

IRUP&XVWRPVDUHJUDGXDOO\WUDQVIRUPHGVLPSOL¿HGRUIRU-

gotten… This phenomenon is also observed in the sphere of

architecture. Globalising tendencies replaced the building

tradition in many regions of the world.

Fig. 1. Structure London Metropolitan University Graduate Centre

designer’s individual style (photo: J. Krajewska)

,O%U\áD/RQGRQ0HWURSROLWDQ8QLYHUVLW\*UDGXDWH&HQWUHDXWRUVWZD

Daniela Libeskinda z 2004 roku to wyraz indywidualnego stylu

projektanta (fot. J. Krajewska)

112 Joanna Krajewska

The process of modernisation, which comprises the

ZKROH ZRUOG WUDQVPLWV WKH :HVWHUQ FRQVWUXFWLRQ PHWKRGV

to the ground of other civilisations. The heritage of modern-

ism – the form deprived of ornaments, new technologies and

EXLOGLQJPDWHULDOV±XQL¿HGWKHZRUOGDUFKLWHFWXUHRIELJFLW-

LHV¿UVWRIDOO7KHPXQLFLSDOWLVVXHZDV¿OOHGZLWKFXERLGDO

skyscrapers built of steel, glass and concrete (Fig. 2).

Revolution in China, in spite of the fact that it introduced

the state into the system of reforms, constitutes a cultural leap

and a Chinese civilisation, which was not prepared for moder-

nity, had to accept many ready solutions from the outside, in-

cluding modern architectural solutions; similarly to other civi-

OLVDWLRQVZKLFKGLGQRW¿QGWKHLURZQDQVZHUVWRWKHSUREOHPV

RIPRGHUQLW\+RZHYHUDIWHUWKHWLPHRIQRQUHÀHFWLYHDGRS-

tion of western patterns and fascination with new possibili-

ties, there will be a turn in the direction of one’s own identity.

+XQWLQJWRQSHUVXDGHVWKDW PRGHUQLVDWLRQ DQGWKHLQÀRZRI

foreign products will not lead to westernisation of non-west-

ern cultural circles; non-western civilisations discover again

the value of their cultures [4]. The architectural language – as

one of the ‘records’ of culture – will develop again.

7KH-X¶HU+XWRQJLQ%HLMLQJE\/LDQJ\RQJ:XFRPSOH[

(1992) inspired by a courtyard arrangement of residential

structures constitutes a good example of an attempt at the

building tradition continuation [12]. Two- and three-storey

building, cosy common spaces as well as the reminiscence

of old forms in a new edition allowed to compose modern

architecture into the old municipal tissue; a complex became

a model example for the further development of this type of

architecture in the capital city of China. At the same time,

a wrong direction in Beijing’s architecture – and not only in

WKLV±FDQEHH[HPSOL¿HGE\µVWLFNLQJ¶DVW\OLVHGRUQDPHQW

detail to culturally neutral forms (Fig. 3). In my opinion, this

is a dead end which leads designers to theatrical solutions

and makes a ‘trashy’ relic of the culture heritage, which does

not constitute an authentic continuation of the tradition.

In Japan necessary reforms were introduced from the

very beginning according to the banner: ‘Japanese spirit,

western technique’ by erecting ultra-modern buildings but

at he same time not allowing the state to undergo west-

ernisation in the process of modernisation [4].

'MHPLOL$EGHUH]DNDQG%HOODO7DKDUIURPWKH)DFXOW\RI

Architecture from the Algerian University Sétif in their work

concerning modern Arabian architecture Contemporary Ar-

FKLWHFWXUH LQGLIIHUHQWDUHDV RIWKH$UDEZRUOG5HGH¿QLQJ

LGHQWLW\WKURXJKDQHZEXLOGLQJHQYLURQPHQW wrote: ,QWKHHUD

RIJOREDOFLYLOLVDWLRQWKH$UDEZRUOGFDQQRWLJQRUHPRGHUQ

technology, but it has to rationalise it, readapt it and to make

DWRRORIWKHFXOWXUH7KDWPHDQVWHFKQRORJ\LVLQWKHVHUYLFH

RIWKHFXOWXUHDQGQRWWKHRWKHUZD\DURXQG [9]. An excel-

lent combination of Islam and Persian building tradition with

Fig. 2. Model of Beijing in The Beijing Planning Exhibition Hall

showing plans of the city development and illustrating the scale on

which the traditional architecture is replaced by modern buildings

(photo: J. Krajewska)

,O0DNLHWD3HNLQXZ+ROX:\VWDZLHQQLF]\P3ODQRZDQLD3HNLQX

XND]XMąFDSODQ\UR]ZRMXPLDVWDXQDRF]QLDMHGQRF]HĞQLHVNDOĊ

Z\SLHUDQLDDUFKLWHNWXU\WUDG\F\MQHMSU]H]]DEXGRZĊZVSyáF]HVQą

(fot. J. Krajewska)

)LJ7KH$]DGL7RZHUGHVLJQHGE\+RVVHLQ$PDQDW7HKUDQ±

symbolic gates of the capital city; example of symbiosis of tradition

and modern technology (by J. Krajewska)

,O7KH$]DGL7RZHUSURM+RVVHLQ$PDQDW7HKHUDQU±

V\PEROLF]QDEUDPDVWROLF\SU]\NáDGV\PELR]\WUDG\FMLLQRZRF]HVQHM

techniki (rys. J. Krajewska)

Fig. 3. Example of combining the modern architectural form with

stylised detail, Beijing (photo: J. Krajewska)

,O3U]\NáDGáąF]HQLDZVSyáF]HVQHMIRUP\DUFKLWHNWRQLF]QHM

]HVW\OL]RZDQ\PGHWDOHP3HNLQIRW-.UDMHZVND

Dialectics of locality and globality of contemporary architecture 113

a modern technology is 7KH$]DGL7RZHU by Hossein Amanat

in Teheran (1971) – a symbolic gate to the capital city of Iran

(Fig. 4). The most spectacular example of the new Arabian

architecture is the highest building in the world – %XUM.KD-

lifa GHVLJQHGE\WKH$PHULFDQ2I¿FH6NLGPRUH2ZLQJV

Merrill LLP, which was built in Dubai in 2009 (Fig. 5). The

SODQRIWKHVN\VFUDSHUUHIHUVWRWKHVKDSHRIDGHVHUWÀRZHU

so the designers derived inspirations from the building’s sur-

roundings. However, the scale of the building as well as the

uniqueness of the whole enterprise makes it a kind of a man-

ifest of possibilities of the modern technique and emirates

power. And in spite of its location and due to the international

character of works connected with its construction, it consti-

tutes a world scale civilisation achievement.

$OVRLQWKHUHJLRQDOVFDOHZHSD\DWWHQWLRQWRWKHEHQH¿WV

of preserving the identity of the urban space which is, among

other things, a quality of this space as well as the local cul-

ture recorded in it. In recent years in Poland there have been

three open architectural competitions which were supposed

to choose the best designs of typical detached houses for giv-

en regions: Opolski House (Opolski Silesia, 2007), Sudeten

+RXVH.áRG]ND/DQG+RXVHIRU:DUPLDDQG0D]XU\

region (2010)

. The aim of all competitions was to introduce

into the space of regions the architecture with high quality (in-

cluding aesthetic one), and a program dialogue with tradition

was supposed to preserve the models for rural constructions

in the regions and bring back the best features of local archi-

tecture which have been forgotten during recent decades

. It

is worth noting that the interest in this type of competition has

unusually increased during the last three years. Twelve works

entered the ‘Opolski House’ competition

and 184 works en-

WHUHGWKH+RXVHIRU:DUPLDDQG0D]XU\5HJLRQFRPSHWLWLRQ

The process of incorporating new architecture into the

old urban tissue in the spirit of cultivating tradition takes

place in London. Old fashioned functional models are not

copied there; however we can see a continuation of cer-

tain forms as well as material procedures as echoes of the

9LFWRULDQDUFKLWHFWXUHMXWWLHVDQGULVDOLWVRUDOLJKWVHUYLFH

basement with non-plastered bricks which were used in

higher storeys (Fig. 6). An industrial and austere character

of architecture is also preserved and thanks to the revalori-

sation of post-industrial buildings, the identity of the city

space is maintained.

See: www.a-ronet.pl [accessed: 30.01.2011].

In the period of the Polish People’s Republic the so called ‘dice’

constituted the model of detached houses – a standard, plastered build-

ing with a flat roof. After the change of the system, typical one-family

architecture was catalogue houses which were built according to ready

designs. This caused levelling of architectural differences between

regions and introduced urban chaos.

Information from the following website: polskalokalna.pl/news/

RSROVNLGRPQDJURG\ZUHF]RQH>DFFHVVHG@

Information from the following website: architektura.warmia.

PD]XU\SO>DFFHVVHG@

Fig. 6. Continuation of local tradition in modern architecture of

/RQGRQLVH[HPSOL¿HGE\LQWHUDOLDFRPELQLQJEULFNVLQKLJKHUVWRUH\V

with light service basement (stone, plaster) (photo: J. Krajewska)

,O.RQW\QXDFMDORNDOQHMWUDG\FMLZHZVSyáF]HVQHMDUFKLWHNWXU]H

/RQG\QXWRPLQSRáąF]HQLHFHJá\QDZ\ĪV]\FKNRQG\JQDFMDFK

]MDVQ\PSU]\]LHPLHPNDPLHĔW\QNIRW-.UDMHZVND

Fig. 5. Burj Khalifa, designed by Skidmore, Owings & Merrill LLP,

Dubai, 2009 – now the tallest building in the world (photo from

author’s archives)

Il. 5. Burj Khalifa, proj. Skidmore, Owings & Merrill LLP, Dubaj,

U±REHFQLHQDMZ\ĪV]\EXG\QHNĞZLDWDIRW]DUFKLZXPDXWRUNL

114 Joanna Krajewska

Identification

The architecture identity can be considered in two aspects:

the one which comes from the building tradition and the his-

WRU\RISODFHDVZHOODVWKHRWKHUZKLFKUHIHUVWRLGHQWL¿FDWLRQ

and recognisability. Modern designers, who, in their works,

take into consideration the issue of identity, use the means

which aim at exposing at least one of these aspects.

7KHQRWLRQRILGHQWL¿FDWLRQZKLFKLVVWURQJO\FRQQHFW-

ed with the notion of identity, in relation to the urban space

FDQEHFRQVLGHUHGDVWKHLGHQWL¿DEOHVSDFHDQGWKHRQHWKDW

FDQEHLGHQWL¿HGZLWK$GHPDQGIRUQHZIXQFWLRQVGH-

velopment of technology and in some cases a contracting

area of life of each inhabitant led to the situation in which

cities all over the world are overcrowded with skyscrapers

DQG EORFNV RI ÀDWV$ QHZ JHQHUDWLRQ FDQ LGHQWLI\ ZLWK

modern architecture (not connected with a local tradition)

in the same way as it imitates foreign trends or patterns of

behaviour. However, the new generation grows up in the

space deprived of cultural features and losses one of the

aspects of its identity. Thus, we can ask a question wheth-

er the coexistence in the global network of dependencies

sets us free from taking care of our own autonomy. How

to treat the situation in which the whole civilisation builds

its identity from scratch?

$)UHQFKSDLQWHU)DELHQQH9HUGLHULQKHUERRNA Pas-

VHQJHURI6LOHQFH7HQ\HDUVLQ&KLQD describes the life of

Beijing residents in the 1990s: 7KHUHZDVDELJJHUDQGELJ-

JHUGLVVRQDQFHEHWZHHQWKHVHGHSRVLWDULHVRI&KLQHVHFXO-

WXUHDQGWKH\RXQJSHRSOHZKR$PHULFDQLVHG7KHZHDOWK-

LHU YLVLWHG QHZ VKRSSLQJ FRPSOH[HV DQG GLVFRWKHTXHV LQ

WKH /DV 9HJDV VW\OH ZKLOH WKH SRRUHU EHFDPH DGGLFWHG

IUHTXHQWHUV RI .HQWXFN\ )ULHG &KLFNHQ EDUV WKHUH ZHUH

already several hundred bars of this kind opened in Bei-

MLQJ[…]$WWKDWWLPHDXQW;XKDGWRULGHDELF\FOHIRUWZR

KRXUVLQRUGHUWRJHWWRZRUN[…] “,PDJLQH±VKHVDLGWR

PH±WKDWZHZLOOOLYHLQDEORFNRIÀDWVQROLIHLQDGLV-

WULFWQRPDUNHWSODFH:HZLOOEHGHSULYHGRIODQGPDUNV

ZHZLOOEHLVRODWHGDQGHUDGLFDWHG´ […] End of the art of

OLIHRQWKHWKUHVKROGVZDONVZLWKDELUGPHHWLQJVLQWHD

KRXVHV0F'RQDOG¶VZDVEXLOWDWWKHSODFHRIDELJERRN-

VKRSDW:DQJIXMLQJ$OOHH [7, pp. 272±273]. Post-revolution

&KLQDZKLFKRSHQHGWRWKHLQÀXHQFHVRIWKH:HVWEXLOGV

a new image of the capital city – by metropolitan standards

of the 21

century – with the help of designers from all

over the world. The complex with the features of the old

architecture, which is mentioned in the previous chapter,

is now disappearing in the sea of scrapers built of concrete

DQGJODVV%HIRUHWKHVXPPHU2O\PSLF*DPHVZKLFKWRRN

place in Beijing in 2008, the metropolis was additionally

¿OOHG ZLWK VWUXFWXUHV RI KLJK DUFKLWHFWXUDO TXDOLW\ DQG LW

LVGLI¿FXOWWR¿QGDGLDORJXHZLWKWUDGLWLRQLQWKHP$SDUW

from a new stadium, a futuristic structure of &&79+HDG-

quartersE\D'XWFKGHVLJQRI¿FH20$ZDVVXSSRVHGWR

be a new icon of the city (Fig. 7).

Buildings-icons are in fact an architectural sign of our

times. Cities all over the world seem to compete to have

WKHPRVWXQXVXDOEXLOGLQJZKLFKWKH\FRXOGEHLGHQWL¿HG

with. There are already some of them in the capital city

RI&KLQD7KHRI¿FHEORFN6W0DU\$[H (the so called

London Gherkin) by Sir Norman Foster built in 2004 with

a characteristic shape of a cigar represents the newest ar-

chitecture of London. A skyscraper with a round structure

was opened a bit later in Barcelona – The Torre Agbar

derived inspirations from locations; some other buildings

could be built in any city. Undoubtedly, such structures

FRQWULEXWH WR WKH LGHQWL¿FDWLRQ RI WKH SODFH SURYLGLQJ

one has the knowledge to recognise them. The identity

of those buildings – as unique of a kind – also seems to

EHVWURQJ+RZHYHUORRNLQJDKHDGLWLVUHDOO\GLI¿FXOWWR

agree that creating the identity of the modern urban space

is to be based on buildings-icons surrounded by culturally

neutral architecture.

Brand quality

The icon of architecture may also serve the purpose of

promoting a city by becoming its recognisable sign. Prob-

ably the most known example is The Guggenheim Mu-

seum BilbaoE\)UDQN*HKU\ZKLFKZDVRSHQHGLQ

A characteristic form of the building, typical of this ar-

chitect’s style, as well as the function – a museum which

belongs to the international network – attracted plenty

of tourists to Bilbao. Hence, the term ‘the Bilbao Effect’

was created, which meant a situation in which one invest-

ment contributed to the development of the whole city.

The building itself balances between its own identity and

DJOREDOL]HGWUHQG

Also, cities with strong cultural identities constitute

a tourist attraction. A district of Hutongs in Beijing can

EHDQH[DPSOH±WKHDUHDRI=KRQJ*XORXWKHUHJLRQRI

Drum Tower and Bell Tower from the 13

century) locat-

ed in the northern part of the capital city on the axis of the

palace complex – the Forbidden City situated in the very

KHDUWRIWKHPHWURSROLV7KHPD]HRIVPDOOVWUHHWVEHWZHHQ

one-storey houses and service points is characteristic for

the capital city of China and attracts tourists who look for

the atmosphere of the old Beijing.

Until the beginnings of the 20

century the Beijing so-

FLHW\OLYHGDFFRUGLQJWRWKHVWULFWO\HVWDEOLVKHGUXOHV*HQ-

eral buildings principles (supported by feng shui rules) did

QRWFKDQJHIRUFHQWXULHV*XLGHOLQHVIRUKHLJKWVRIEXLOG-

ings, applied materials, forms and colours of buildings

had to be complied with. Families lived within the range

of a residential complex (6LKH\XDQ) and around the court-

yard, whereas the world of neighbour contacts and busi-

ness affairs was situated behind the wall [6]. A collapse

of feudalism in China and the revolution which started in

1966 and lasted ten years led to a breach of tradition on

many levels. Moreover, the Chinese buildings, which had

not changed for hundreds of years, did not meet contem-

porary functional and social requirements. Thus, the space

Dialectics of locality and globality of contemporary architecture 115

of Hutongs – in spite of its indisputable strong identity –

became a relic of the past époque (Fig. 8).

A luxurious complex Medinat Jumeirah in Dubai designed

by Mirage Mille in which there are, among other things, ho-

tels, SPA and a conference and banquet centre is on the other

pole of this phenomenon. This exclusive multi-functional

complex, which constitutes the whole district situated in

a new part of the capital city of the Emirates, reminds an an-

cient Arabian citadel

. Stylised details of the buildings, high

wind towers and wall facing are based on traditional local

structures built of mud and wood (Fig. 9). Apart from the obvi-

ous promotional action which is aimed at attracting customers,

these architectural quotations are supposed to express pride of

the regional culture. Unfortunately, literal transfer of traditional

forms and ‘wrapping’ the modern functions with them created

DQDUWL¿FLDOVSDFHZLWKµDPDVNRILGHQWLW\¶SXWRQ

In the post-modern époque in the times when more

and more spheres of human activities are perceived in the

trade categories and when a city itself becomes a brand

– a product whose image is shaped according to the pro-

motion needs, the identity – built from scratch and un-

derstood as cultural heritage starts to be (in a sense) an

HOHPHQWRIPDUNHWLQJ

See: www.jumeirah.com [accessed: 30.01.2011].

Fig. 7. Seat of CCTV in Beijing under construction (February 2008)

PRGHUQL]HGFDSLWDOFLW\RI&KLQDSKRWR-.UDMHZVND

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SURM20$)XWXU\VW\F]QDEU\áDWRMHGQD]ÄLNRQ´]PRGHUQL]RZDQHM

VWROLF\&KLQIRW-.UDMHZVND

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part: Sanlitun VILLAGE North Area EAST designed by Beijing

Matsubara and Architects, 2007; bottom part: old buildings in the area

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116 Joanna Krajewska

Heritage

The pace of changes in the modern world makes us think

about the future image of the urban space. Will new local

styles be created on the basis of the universal language of

post-modern architecture? Does the modern architecture

construct the space which has a strong identity on a dif-

ferent level of associations? Although centres of Tokyo or

New York full of skyscrapers are similar to each other at

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Chaos of the modern space is the chaos of our apparent-

ly ordered life. Multiplication of forms and overlapping of

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ous pulsing of the global network of invisible connections.

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Contemporary man is like a small cogwheel in the

rushing machine of civilisation. Man’s life was shred-

ded into small sections of time and assigned for particular

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information…

Paul Auster in his novel The New York Trylogy de-

scribes the main character’s walk along the streets of the

metropolis: Each time he took a walk, he felt as though he

were leaving himself behind, and by giving himself up to

the movement of the streets, by reducing himself to a see-

ing eye, he was able to escape the obligation to think, and

this, more than anything else, brought him a measure of

peace, a salutary emptiness within... By wandering aim-

lessly, all places became equal and it no longer mattered

where he was. On his best walks he was able to feel that

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things: to be nowhere [10].

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wa 2008.

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wa 1976.

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gy.html [accessed: 7.01.2011].

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6.01.2011].

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