Faces and determinants of contemporary architectural spacetime

The topic of this article is concerned with contempo-

rary architectural space understood in its physical as well

as psychological sense. A special emphasis is placed on

analyzing a number of phenomena shaping this space,

which are connected with the fourth dimension of this

space, namely, time.

The choice of the subject was inspired by the study

entitled Order of SpaceE\3URIHVVRU%ROHVáDZ6]PLGW>@

which also contains the source of the accepted term archi-

tectural space. Architectural space VLJQL¿HVDVSDFHPRGL-

¿HGE\PDQLQRUGHUWRDGDSWLWWRKXPDQQHHGV$IWHUWDN-

ing into account the dimension of time this term acquired

new wording as architectural spacetime. The aforemen-

WLRQHGERRNZKLFKFRQVWLWXWHGRQHRIWKHPRVWLPSRUWDQW

native studies in the domain of theory of architecture, was

published thirty years ago. Those thirty years was a pe-

riod of dynamic general civilization changes which also

occurred in Poland. They have had a great impact on the

architectural space and everything connected with it. The

other source of my inspiration is contained in the studies

RIWKHSV\FKRORJLVW3URIHVVRU$XJXVW\Q%DĔNDHVSHFLDOO\

in one of his latest publications entitled Architecture of

psychological life space: behavioural bases of designing

>@7KLV ZRUN LV D VRXUFH RI WHUPV ZKLFKVKDOOEH XVHG

further in our considerations. One of the most important

names which will be used is the notion of psychological

space of life

The spacetime of our life is the spacetime of the earth

which refers to the limited space of the ecosystem of our

planet and the relatively short time of existence of our civi-

OLVDWLRQZLWKLQLWVIUDPHZRUN,WKDVDGXDOFKDUDFWHU2QWKH

one hand, it has a physical dimension and on the other hand

DSV\FKRORJLFDORQHEHLQJDUHÀHFWLRQRIWKHIRUPHULQRXU

PLQGV,WVFKDUDFWHUWKHUHIRUHLVDQWKURSRJHQLFDQGDQWKUR-

pocentric – thus, in its essence it is a psychological (men-

tal) spacetime of life. A physical and psychological space

RIOLIHFRQVLVWVRIWZRPDMRUQRWLRQVZLWKLQWKHIUDPHZRUN

RIZKLFKWKHDUFKLWHFWXUDOVSDFHWLPHLVGH¿QHG

 )DFXOW\RI$UFKLWHFWXUH%LDO\VWRN8QLYHUVLW\RI7HFKQRORJ\

=G]LVáDZ3HOF]DUVNL

Faces and determinants of contemporary architectural spacetime

Introduction

Physical and psychological architectural spacetime

6SDFHWLPHLVRQHRIWKHEDVLFFRQFHSWVLQFRQWHPSRUDU\

SK\VLFV,WZDVLQWURGXFHGLQE\+HUPDQQ0LQNRZVNL

in connection with the research on the theory of relativ-

ity. The four dimensions of this space correspond to time

and the three dimensions of physical space. One year later

+RZDUG+LQWRQLQKLVVWXG\The Fourth Dimension wrote

>@³>@ELUWKGHYHORSPHQWOLIHDQGGHDWKRIRUJDQLVPV

of living creatures are phases in which four-dimensional

bodies go through our space”. Relations between time and

space are also the subject of interest of philosophy of an-

thropology and psychology.

³0LQGLVQRWKLQJEXWDQLPDJHRIWKHZRUOGLQZKLFK

time and space fuse together, emotion is mixed with cogni-

WLRQDQGIUHHGRPZLWKGHWHUPLQDWLRQ>@6SDFHLVDEDVLF

 ,QWKLVDUWLFOHDSDUWIURPWKLVWHUPDOVRRWKHUQRWLRQVDUHXVHGWDNHQ

IURPWKLVVRXUFH>@VXFKDVmental order, mental space as well as physi-

cal and psychological architectural space.

2012

No. 2(32)

DOI: 10.5277/arc120206

36 =G]LVáDZ3HOF]DUVNL

SV\FKRORJLFDODQGDUFKLWHFWXUDOFDWHJRU\>@$UFKLWHFWXUH

as a consequence, exists both in the form of physical space

and in the non-material form of human behaviours in the

psychological space of life”

>SS@

Architecture co-creates a spatial-temporal environment

of life. As such, it constitutes a physical and psychological

IUDPHRIUHIHUHQFHIRUOLYLQJSURFHVVHVRIHDFKRIXV,WKDV

DGXDOQDWXUH7KH¿UVWRQHLVGHWHUPLQHGE\³>@SK\VLFDO

and spatial order transformed from mental order, while the

VHFRQGRQH>@E\PHQWDORUGHUHPDQDWLQJIURPWKHUHDO-

ised physical architectural form”

>S@

7KH WKLUG HOHPHQW WKDW FRGH¿QHV WKH DUFKLWHFWXUDO

VSDFHLVVRFLDODQGFXOWXUDOVSDFHWLPHRIOLIH,WLVDQHQYL-

ronment in which social relations are formed and culture

is created as a result of creative and cognitive activity of

a human community the members of which hand down

WKHLUH[SHULHQFHVVNLOOVDQGNQRZOHGJHWRWKHQH[WJHQHUD-

WLRQV,WLVDVSDFHRIWKHPRVWG\QDPLFFXUUHQWFKDQJHV

which are referred to as civilisation acceleration.

,Q HDFK RI WKHVH WKUHH VSDFHWLPHV RI OLIH ± SK\VLFDO

socio-cultural and psychological, there is a certain state

of order that can be determined as physical-spatial order,

socio-cultural order and psychological order respectively

(Fig. 1). Between each type of spacetime of life we can

REVHUYH SHUPDQHQW PXWXDO LPSLQJHPHQWV RI D IHHGEDFN

character. As a consequence, at each stage of the civilisa-

tion development, the system of these three domains tends

to achieve a state of balance, i.e. a state of harmonic rela-

tions between the order of each system. Changes occurring

within the range of one spacetime lead, sooner or later,

to changes in the remaining ones. A growing speed of the

civilisation development forces adequate transformations

in mental structures of people who are its passive or active

participants.

,QP\RSLQLRQWKHPRVWLPSRUWDQWFRPSRQHQWVRIPHQ-

WDORUGHURIDUFKLWHFWXUDOVSDFHRIOLIHDUH

– DUFKHW\SH PRGHOV which are common for most

people, inherited after our ancestors notions, symbols and

models of architectural space, its constituents and details

along with the meanings and values ascribed to them,

– QHHGIRUGXUDELOLW\ RI IUDPHRI UHIHUHQFH which

is an architectural environment, our place in spacetime in

ZKLFKDFFRUGLQJWR%ROHVáDZ6]PLGWRXUSV\FKH¿QGVLWV

home >S@:HQHHGDVHQVHRIVWDELOLW\DQGFHUWDLQW\

that our world shall not disappear or change diametrically

forcing us to have to learn it anew,

–QHHGIRUFXOWXUDOLGHQWLW\, consisting in indispensa-

ELOLW\RISHUPDQHQWLGHQWL¿FDWLRQZLWKDSDUWLFXODUFXOWXUDO

system, mostly a cultural environment in which we were

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of inheriting genes as well as a cultural law of continuity

of inheriting achievements of previous generations.

)LJ3K\VLFDODQGSV\FKRORJLFDODUFKLWHFWXUDOVSDFHWLPH±FRPSRQHQWVDQGUHODWLRQVHGE\=3HOF]DUVNL

,O)L]\F]QDLSV\FKRORJLF]QDF]DVRSU]HVWU]HĔDUFKLWHNWRQLF]QD±NRPSRQHQW\LUHODFMHRSUDF=3HOF]DUVNL

Theses

There is a lot of evidence, however, that a human abili-

ty to reconstruct one’s own internal mental order is limited

and does not follow faster and faster civilisation transfor-

PDWLRQV:HFDQUHYHUVHWKLVWKHVLVDQGVD\WKDWG\QDPLF

changes that occur currently in socio-cultural space of

life, especially in the sphere of producing and distributing

JRRGVZLWKLQWKHIUDPHZRUNRIWKHPDUNHWHFRQRP\DUH

characterised by partial or complete arrogance in relation

to status quo of mental order of an individual human being

or in relation to limited possibilities of transforming this

order.

7KLVVWDWHRIDIIDLUVOHDGVWRGLVKDUPRQ\DQGFRQÀLFWV

between mental order in psychological spacetime of life

and physical and spatial order that creates the architectural

Faces and determinants of contemporary architectural spacetime 

VSDFHWLPHDVZHOODVVRFLRFXOWXUDORUGHUUHÀHFWLQJPHQ-

tality and values on which this order is based.

*HQLXVVDHFXOLRIWKHWXUQRIWKH

century – civilisa-

tion determinants

6LJIULHG *LHGLRQ LQ KLV ERRN Space, time, architec-

ture. Birth of new tradition concludes that each historical

pSRTXH KDG LWV RZQ FRQFHSW RI VSDFH >@7KLV FRQFHSW

was derived from the spirit of a given époque – genius

saeculi, which is manifested in the way of understand-

ing the world and laws governing its activity, in science,

philosophy, art, in economic and social systems as well

as in the way of perceiving and feeling the space. Genius

saeculi RI WKH WXUQ RI WKH 

century is manifested in

PDQ\ VR IDUXQNQRZQ FRPSOLFDWHGSKHQRPHQDDQG G\-

namic civilisation changes which constitute a complex

of determinants of the contemporary architectural space-

WLPH7KH\ LQÀXHQFHWKHIRUPDWLRQRIDQHZDZDUHQHVV

and mentality of contemporary man who more and more

frequently uses the notion of spacetime, thus joining into

one concept the two notions that used to be separate, i.e.

time and space. The most important determinants are the

IROORZLQJ

– developed ecological awareness, which results in the

acceptance of the sustainable development paradigm,

creation of ecological economy and universal aware-

ness of the image of Earth as a living micro-system in

WKHLPPHQVLW\RIWKH8QLYHUVH

– achievements in exploration and exploitation of the

RXWHU VSDFH ± VLQFH WKH WLPH WKH ¿UVW VDWHOOLWH ZDV

ODXQFKHGPRUHWKDQ¿YHWKRXVDQGYDULRXVDU-

WL¿FLDO VDWHOOLWHV ZHUH SRVLWLRQHG RQ FLUFXPWHUUHVWULDO

orbits in total,

– demographic explosion; its dynamic character can be

seen in the fact that during the time from the beginning

RIWKHLQGXVWULDOUHYROXWLRQRIWKH

century until to-

day the global population grew by 6 billion people and

DWWKHHQGRIWKHJOREDOSRSXODWLRQUHDFKHGELO-

lion people,

– post-industrial society model, in which information

producing and processing became the main domain of

activity; it is accompanied by a well-developed service

sector, great cities agglomeration growth, transnational

corporations, highly developed global land, water and

air systems of passenger and goods transport,

– dominance of an economic system based on private

ownership of means of production, which is accompa-

nied by phenomena such as privatisation, globalisation

and ignoring of cultural and social differences; the sys-

tem is economically effective, but it generates social

problems,

– consumerism, connected with such phenomena as cul-

WXUH RI FRQVXPSWLRQ FRPPHUFLDOLVDWLRQ PDUNHWLQJ

and advertising; it is a rule of the contemporary goods

DQGVHUYLFHVPDUNHWWKDWXVDEOHGHYLFHVDUHSURGXFHG

with an exactly determined durability, while the used

thing is not to be repaired but requires purchasing its

more modern equivalent,

– media civilisation and the accompanying phenomena

such as information society, mass media, mass culture,

change of perception of space and time,

– great acceleration of the speed of development of new

technologies, which according to some analysts and re-

VHDUFKHUVLQWKH

FHQWXU\VKDOOEHWLPHVJUHDWHU

than in the past age.

Preindustrial architectural spacetime – development as a continuum

Dimension of time is particularly interesting in rela-

tion to durability of the architectural space in both of

its aspects – physical and mental one. Contemporary

man appreciates highly the historical spatial structures

ZKLFK DUH SUHVHUYHG XQWLO WRGD\ 0DQ SHUFHLYHV WKHP

as adjusted to his psyche because he is aware of dif-

ferences between the contemporary architectural space

and the one that existed before the steam engine was

invented.

Preindustrial architectural spacetime was formed for

thousands of years in an evolutionary stable way, within

WKH IUDPHZRUN RI WKH GHYHORSPHQW WKDW ODVWHG WKURXJK-

RXWJHQHUDWLRQVDQGRFFXUUHGE\FXOWXUDOVWUDWL¿FDWLRQ,W

was characterised by harmony between the physical and

PHQWDO VSDFH RI OLIH WKXV HQVXULQJ PHQWDO RUGHU 6RPH

LQGLVSHQVLEOHDWWULEXWHVRIDUFKLWHFWXUHZHUHUHVSHFWIRU

our ancestors’ achievements, admiration for construc-

WRUV GXUDELOLW\ DQG WLPHOHVVQHVV 8UEDQ VWUXFWXUHV XVHG

to have a determined, completed spatial form and size

GH¿QHGE\WKHUDQJHRIVLJKWEHOOVDQGSHGHVWULDQDFFHVV

while social relations were limited to a countable group

of people.

Throughout centuries there were changes in relations

between the duration of a prestigious architectural form

DQGWKHOHQJWKRIDKXPDQOLIH,QWKHROGWLPHVWKHSUR-

FHVV RI FRQVWUXFWLQJ PRQXPHQWDO VWUXFWXUHV WRRN PDQ\

decades and often exceeded the life of one generation,

ZKHUHDVWKH H[LVWHQFHRIDQDUFKLWHFWXUDOZRUN ZDVH[-

tended for many centuries. A building became part of

architectural spacetime as its permanent, almost eternal

component.

The value of an object was determined by traces of

another human being inscribed in it and there was of-

ten an emotional relation between an object and its user

UHVXOWLQJ IURP WKH UHVSHFW WRZDUGV LWV PDNHU RU SUHYL-

ous owner. Objects of everyday use, for example, tools

were passed from father to son and were used until they

were completely worn out. They constituted permanent

elements of physical and mental space of life of a given

person or family.

6WDQLVáDZ1LHPF]\NRQHRIWKRVHIHZFRQWHPSRUDU\

architects whose attitude towards the past is character-

LVHG E\ DFFHSWLQJ FUHDWLYHFRQWLQXDWLRQRQFH VDLG Ob-

jects, particularly those favourite ones, are often marked

with feelings of their users. I know that there is a history

behind each of them. They prolong the existence of their

owners >@

 =G]LVáDZ3HOF]DUVNL

The contemporary post-industrial architectural space-

time is characterized by revolutionary numerous chang-

HV RI SDUDGLJPV WDNLQJ SODFH GXULQJ WKH OLIHWLPH RI RQH

generation. Their speed and range lead to disharmony be-

tween physical and mental space of life, thus causing dis-

turbances of mental order. They are facilitated by explicit

tendencies to ignore the achievements of the previous gen-

erations, the tradition and cultural identity of local com-

PXQLWLHVDVZHOODVXQOLPLWHGVSDWLDOIUDPHZRUNVGH¿QHG

by the global range of telematic systems and transportation

systems enabling unlimited social relations within the en-

tire global population.

Today, architectural objects have a much shorter life

than the generation of their builders. The same man during

his lifetime may commune with two or even more build-

ings that exist in the same place. This gives rise to a num-

ber of psychological implications regarding, for instance,

DQHHGIRUVWDEOHLGHQWL¿FDWLRQZLWKDSODFH7KHFRQVWUXF-

tion time of even the biggest and most complicated archi-

WHFWXUDOVWUXFWXUHVLVPHUHO\WZRWR¿YH\HDUV,WLVPDGH

SRVVLEOH WKDQNV WR DGYDQFHG EXLOGLQJ WHFKQRORJLHV DQG

material-construction solutions as well as a new philoso-

phy of building consisting in designing buildings which

have a precisely determined time of functioning. This

philosophy is based on assuming that after thirty or forty

years of using a building, it is more sensible to pull it

down and erect a new building in its place than subjecting

it to an overhaul. These assumptions are commonly used

nowadays when designing and producing objects and us-

able devices. A characteristic example here is the strategy

used by the car industry or electronic industry. Techno-

logical progress is so fast that these industries are capable

of offering, every few months, more and more improved

DQGHI¿FLHQWSURGXFWVZKLFKDUHRIWHQEDVHGRQFRPSOHWH-

ly different principles of functioning. A synonym of the

contemporary philosophy of the goods and services mar-

NHWLVDFDQPDGHRIDOXPLQLXP±DGLVSRVDEOHFRQWDLQHU

which after its content is consumed becomes a waste that

is processed to be a new container. Objects of use are de-

signed so that they perform their functions during a pre-

cisely limited time on expiry of which they are not to be

repaired but treated as a used thing requiring the purchase

RI D QHZ RQH$Q DUFKLWHFW 6WDQLVáDZ 1LHPF]\N QDPHV

such objects as slapdash. For him being slapdash means

WKDWDQREMHFWTXLFNO\EHFRPHVXQZDQWHG+HDOVRFODLPV

that a low quality of these objects corresponds to a me-

chanical and hasty speed of production and the materials

XVHGZKRVHGXUDELOLW\RIWHQUHPDLQVXQNQRZQ3HRSOHGR

not get used to such objects and they do not respect them

>@

Attitude to the past

,Q WKH SUHDPEOH RI RXU QHZ &RQVWLWXWLRQ >@ ZKLFK

ZDVSDVVHGE\WKH1DWLRQDO$VVHPEO\RIWKH5HSXEOLFRI

3RODQG LQ  WKHUH DUH LPSRUWDQW SURYLVLRQV FRQ¿UP-

ing our respect for the past and historical continuity of the

cultural development. They are expressed in the following

ZRUGV³>«@JUDWHIXOWRRXUDQFHVWRUVIRUWKHLUZRUN>«@

obliged to transfer to future generations all that is valuable

from our millennium heritage”. $OVR LQ WKH ¿UVW FKDSWHU

RIWKH&RQVWLWXWLRQZKHQZHUHDGWKHZRUGV³WKH5HSXE-

OLFRI3RODQG>«@JXDUGVWKHQDWLRQDOOHJDF\DQGHQVXUHV

environment protection according to the principle of sus-

WDLQDEOHGHYHORSPHQW´$UWDVZHOODV³WKH5HSXEOLFRI

Poland provides conditions for popularisation and equal

access to goods of culture, which is a source of identity

and the Polish nation existence and development” (Art. 6),

ZHFDQ¿QGH[SOLFLWFRQ¿UPDWLRQRIWKLVDWWLWXGH

$QGU]HM 1LH]DELWRZVNL ZKHQ DQDO\VLQJ WKH SUHVHQFH

of historical context in the process of constructing a new

building noticed that the old architecture can be perceived

as a source of inspiration in the contemporary creative

SURFHVVHV > SS  @ +H VSHFL¿HG IRXU SRVVLEOH

methods of approaching historical heritage by distinguish-

LQJWKHIROORZLQJDWWLWXGHV

– DUURJDQFH, consisting in negation, liquidation, de-

struction, extermination and erasing elements of his-

tory from memory;

– SDVVLYH WROHUDQFH, namely, indifference towards the

heritage of past centuries, acceptance of its existence

with neglecting any protection, ignorance, condemn-

ing a building to a slow technical death;

– DFFHSWDQFH,understood as recognising the value of an

architectural structure in the cultural environment, le-

gal protection, modernisation, preservation, maintain-

ing its appropriate technical condition;

– FRQWLQXDWLRQ ZKLFK PHDQV UHFRJQLVLQJ UHPDUNDEOH

values of an old structure in the architectural and urban

environment combined with creative cultivation of its

components, character and syntax in new structures.

Analysing the Polish contemporary architectural space,

we can observe the occurrence of all of the aforementioned

DWWLWXGHV8QIRUWXQDWHO\GHVSLWHWKHORIW\SURYLVLRQVRIWKH

Constitution with regard to our cultural heritage, attitudes

of arrogance and passive tolerance seem to be predomi-

QDQW:LWKWDFLW DSSURYDO RI WKHPDVVPHGLD DFFHSWDQFH

of magistrates and a poor defensive attitude of the archi-

tectural and restoration environment, panoramas of our

FLWLHVDUHPDVVLYHO\GHSULYHGRI UHPDUNDEOHEXLOGLQJV RI

post-war modernism. They are replaced by new imported,

directly or indirectly, from distant cultural circles architec-

tural implants with glass façades and aluminium panels in

5$/FRORXUPHWDOOLFJUH\7KH\DUHSHUIHFWO\PDGH

ZLWKWKHLUDHVWKHWLFVHTXDOWR/(*2EORFNVDHVWKHWLFV$V

such they are buildings without souls, far from the arche-

types that are encoded in the human psyche.

An example of the attitude of hyper-arrogance, which

must be mentioned, is a big scale uncontrolled business of

Post-industrial architectural spacetime – broken continuity

Faces and determinants of contemporary architectural spacetime 

the so called large-format visual advertisement. This for-

HLJQHOHPHQWZKLFKZDVWDNHQRYHUDORQJZLWKHFRQRPL-

cal transformations from the developed capitalist coun-

WULHVWDNHVSODFHLQRXUFRXQWU\PXFKPRUHLPSHWXRXVO\

WKDQDQ\ZKHUHHOVH,WFRQVLVWVLQXVLQJWKHZKROHIDoDGHV

of buildings, especially those which are the most visible

in the city public space, as carriers for enormous advertis-

ing banners. The essence of this phenomenon is best ex-

plained by the quotation from the website of one of the

FRPSDQLHVRIWKLVPDUNHWEUDQFKGHDOLQJZLWKWKHVRFDOOHG

³ODUJHVL]HLPDJHFDPSDLJQV>«@WKDQNVWRWKHZRUNRI

our team, the architecture of our roads, towns and villages

LVVXFFHVVLYHO\HQULFKHGZLWKDOOVRUWVRI$'9(57,6,1*

685)$&(6,WLVWKDQNVWRXVWKDWPRUHDQGPRUHVRSKLV-

WLFDWHGJUDSKLFSURMHFWVRIDGYHUWLVHPHQWV¿QGWKHLUSODFH

in specially determined spots and then they are enjoyed by

drivers and passers-by who are potential future consumers

of what they have seen”.

Our towns are turned into such advertising surfaces.

:KDW¶VZRUVHYLFWLPVRIWKLVEXVLQHVVDUHEXLOGLQJVRINH\

importance for the urban arrangement, situated at closures

of viewing axes and in other strongly exposed points of

the city public space. This constitutes a brutal violation

of order and ideological fundamentals, principles, rules,

customs, as well as the understanding and experiencing of

DQXUEDQDUUDQJHPHQW,WLVDOVRDWRWDOODFNRIUHVSHFWIRU

the building architecture and urban space values as well as

the common good which is the public space. The common

good – the public space is devastated as a result of para-

VLWLFDQGDUURJDQWDFWLYLW\RIWKLVVSHFL¿FPDUNHWDGYHUWLV-

ing branch towards our common architecture. Advertisers

with the use of specialist large-format advertising compa-

nies and with the consent of the building owners (who are

VXUHWRUHFHLYHVRPHEHQH¿WVLQH[FKDQJHDSSURSULDWHWKH

public space which belongs to all of us.

The scale of this phenomenon, which has features of

DQ HSLGHPLF MXVWL¿HV WKH FRQFOXVLRQ WKDW DUFKLWHFWV DQG

town planners have lost control of the city. The number

RIELOOERDUGVLQVWDOOHGRQWKHWHUULWRU\RI:DUVDZDPRXQWV

WR DERXW WZHQW\ WKRXVDQG ,W LV WHQ WLPHV PRUH WKDQ LQ

3DULV6LPLODUG\QDPLFVZLWKIHZH[FHSWLRQVFDQDOVREH

REVHUYHG LQ RWKHU FRXQWULHV RI WKH IRUPHU 6RYLHW EORF

A particularly interesting exception is Lithuania, espe-

cially its capital city Vilnius – a clean city, a city free of

advertisements.

,Q3RODQGWKHUHDUHQROHJDOUXOHVZKLFKZRXOGUHJX-

late functioning of exterior advertisements. The degree to

which the public space in our towns is devastated requires

immediate legal regulations. They ought to be based on

SUHFLVH GH¿QLWLRQV ZKLFK GHWHUPLQH WKH HVVHQFH RI SXE-

lic space and what an advertisement is. Appropriation of

public space by advertisers who create advertising screens

which cover façades of prestigious buildings in this way

destroying aesthetic, cultural and symbolic values of this

space, is a blatant violation of the constitutional right of

citizens to enjoy an adequate level of life as well as the

ULJKW WR IUHHGRP RI WDNLQJ DGYDQWDJH RI FXOWXUDO JRRGV

which are the source of their identity.

)LJ+\SRWKHWLFDOJUDSKRIWKHFRXUVHRIPHQWDODFFHSWDQFH

RIDUFKLWHFWXUDOLQQRYDWLRQHGE\=3HOF]DUVNL

,O+LSRWHW\F]Q\Z\NUHVSU]HELHJXPHQWDOQHMDNFHSWDFMLLQQRZDFML

DUFKLWHNWRQLF]QHMRSUDF=3HOF]DUVNL

Psychological and physical architectural spacetime – problems of disharmony

Acceptance of new architectural models replacing the

old ones which are strongly preserved in the awareness

usually requires a long time. A good example illustrating

WKLVSUREOHPLVDZRUNHUV¶HVWDWHLQ3HVVDFQHDU%RUGHDX[

GHVLJQHG LQ WKH V E\ /H &RUEXVLHU >@ 7KH DYDQW

JDUGHUHVLGHQWLDODUFKLWHFWXUHDÀDJVKLSH[DPSOHRIHDUO\

modernism was not appreciated by the original tenants and

as a result they did not want to live in the houses erected

especially for them. As a consequence, they were inhab-

ited by other poorer residents who immediately started

LQWURGXFLQJWKHLURZQPRGL¿FDWLRQVWRWKHRULJLQDOKRXVHV

DFFRUGLQJWRWKHLULQGLYLGXDOOLNHV,WWRRNDERXW\HDUV

for the town authorities of Pessac to include a complex of

KRXVHVGHVLJQHGE\/H&RUEXVLHULQWKHUHVWRUHU¶VSUR-

tection and recognise them as the cultural heritage good.

The process of general acceptance of this architectural

ZRUN DOVR ODVWHG DERXW VL[W\ \HDUV 7RGD\ WKH QHZ UHVL-

dents are proud of living there and they restore the houses

to their original form at their own expense.

Changes of relations occurring in the social aware-

ness between the mental architectural order based on the

archetypes existing before an innovation and the order that

was created as a result of accepting this innovation can

be illustrated by means of the following hypothetical dia-

JUDP)LJ,WSUHVHQWVWKHWKHVLVWKDWGXULQJWKHSHULRG

between the introduction of an innovation and its full ac-

ceptance by all members of a given population it is divided

into two fractions – avant-garde and conservative. Quan-

titative relations between these two communities change

with time. For example, the avant-garde fraction after T

 =G]LVáDZ3HOF]DUVNL

WLPHPD\FRQVWLWXWHZKLOHWKHFRQVHUYDWLYHRQH

of the population. An image of these variables in the rela-

tion time is line of innovation acceptance,WLVDULVLQJOLQH

which probably has the shape of half a graph of a func-

tion of normal probability distribution, the so called bell-

shaped curve or Gaussian curve. This function plays an

important role in a statistical description of natural phe-

QRPHQD,WUHÀHFWVFHQWLOHGLVWULEXWLRQ RIDQWKURSRPHWULF

parameters values in the scope of the particular population

such as, for instance, growth. This curve is characterized

by a slow increment of a value (small slope) at the initial

SKDVHWKHQDJHQWOHDUFKOLNHWUDQVLWLRQWRDVKDUSHUVORSH

TXLFNYDOXHLQFUHPHQW,QWKH¿QDOSKDVHEHIRUHUHDFK-

LQJ D SHDN WKH FXUYH JUDGXDOO\ DFTXLUHV D VORZHU YDOXH

LQFUHPHQW,QWKHFDVHRIWKLVSDUWLFXODUJUDSKWKHVHYDOXHV

are the size of the population comprising the avant-garde

IUDFWLRQLQDVSHFL¿HGSRLQWLQWLPH7KH¿HOGEHWZHHQWKH

horizontal time axis and the described curve can be called

DQDFFHSWDQFH¿HOG,WVVKDSHUHÀHFWVDVWDWHRIUHDGLQHVV

(changing with time) of the recipients as a whole to accept

an architectural innovation.

Equally complicated, as in modernism, problems of

dissonances between the society mental structure and the

technical and technological development occurred in the

HUDRIWKHLQGXVWULDOEUHDNWKURXJK7KLVLVSHUIHFWO\LOOXV-

WUDWHGE\WKHKLVWRU\RIHUHFWLQJWKHHGL¿FHRIWKH&DSLWRO

LQWKH8QLWHG6WDWHV±

>@7KHPDLQIHDWXUHRI

the architectural character of the building is undoubtedly

LWV FHQWUDO GRPH ,W ZDV HUHFWHG LQ WKH \HDUV ±

DFFRUGLQJWRWKHGHVLJQE\7KRPDV8:DOWHUDQG$XJXVW

6KRHQERUQXQGHUWKHVXSHUYLVLRQRI(GZDUG&ODUNZKHUH

DVLJQL¿FDQWUROHSOD\HGWKHFRQVWUXFWRU±PLOLWDU\HQJLQHHU

FDSWDLQ0RQWJRPHU\&0HLJV,WZDVVXSSRVHGWRUHSODFH

WKHRULJLQDOZRRGHQGRPHZKLFKZDVGHVWUR\HGLQD¿UH

The realised dome design, with regard to its architec-

WXUDOIRUPDQGGHWDLOEHORQJVWRQHRFODVVLFLVP+RZHYHU

as regards engineering, the employed precursor construc-

WLRQDOVROXWLRQVPXVWXQGRXEWHGO\EHFODVVL¿HGDVEHORQJ-

ing to a new building era and consequently a new era of

architecture. Between the external and internal shell of the

GRPHWKHUHLVDVNHOHWRQFRQVWUXFWLRQPDGHRIFDVWLURQLQ

the form of meridional system latticed ribs. The cast iron

rib supporting structure has the form of a slender spindle

whose basis is made as low as possible because of the

accepted constructional assumptions consisting in trans-

IHUULQJORDGVWRWKHWKLFNHVWZDOOVWKDWUHPDLQHGIURPWKH

original wooden dome. This is a rational form resulting

IURPVWDWLFFRQGLWLRQVUHÀHFWLQJWKHHFRQRP\RIWKHIRUFH

ÀRZDVZHOO DVFRQFHUQDERXWWKH VDIHW\RIWKHEXLOGLQJ

The described supporting structure was capped by an ex-

WHUQDOIRUPLQVSLUHGE\H[DPSOHVRIUHPDUNDEOH(XURSHDQ

domes. The basic iron cast dome is completely invisible

IURPWKHRXWVLGHDQGLQVLGHRIWKHEXLOGLQJ,WRQO\VHUYHG

as a support frame for the secondary construction, also iron

cast, allowing for obtaining the shapes required by the ar-

chitect, such as a more convex form of the dome in its top

SDUW,QDVLPLODUZD\DOVRRWKHUHOHPHQWVZHUHDGGHGLH

cornices, colonnades, pedestals and other details that build

UK\WKPVDQGGLYLVLRQVGH¿QLQJWKHIDoDGHWHFWRQLFV,QWKLV

way, the architect created a form for which there was a

social and political demand at that time because that form

corresponded to the archetype model of a public utility

PRQXPHQWDOEXLOGLQJRIWKHKLJKHVWUDQN7KHDUFKLWHFW¶V

actions contradicted the logic resulting from using the new

constructional materials when he based his decisions on

the imitation of the historical forms which were the effect

of totally different building techniques. This ideological

FRQÀLFWLQKHUHQWLQWKHSK\VLFDOGLPHQVLRQRIWKHEXLOGLQJ

was manifested in the mutual relations of the architect and

WKHFRQVWUXFWRU)RUPDQ\\HDUVWKH\DUJXHG¿HUFHO\DQG

they publicly in the press defended their opposing views

on architecture and construction as well as their individual

contribution into the erected structure.

The aforementioned case of the explicit inertia in the

acceptance of new solutions can also be observed in the

contemporary architecture. Disharmony between the ar-

chitectural order in psychological and physical space of

life is manifested in many aspects. One of them is a com-

mon practice employed in technologically advanced build-

ings, namely, usage of imitations of material solutions that

DUHW\SLFDORIWKHSDVWWLPHVVXFKDVVWRQHEULFNFHUDPLF

URR¿QJWLOHRUZRRG:HFDQH[SODLQWKLVSKHQRPHQRQE\

saying that these materials were predominant throughout

the entire pre-industrial history for the character of archi-

tectural space and they were permanently encoded as ar-

chetypical elements.

The archetype of natural building materials and forms

resulting from their usage is so strong that users, faced

with economic limitations connected with building costs,

consciously agree on substitutes of these materials while

architects and producers of building materials conscious-

ly introduce them. This category comprises widely used

nowadays technologies of facings made of thin stone pan-

HOV±PPWKLFNZKLFKDUHKXQJRQIDoDGHVZLWKWKH

help of metal anchors. The most advanced technologies

of such stone facings use perpendicular and horizontal

PHWDO VXSSRUW IUDPHV ¿[HG WR WKH PDLQ VWUXFWXUH RI WKH

building. The new façades made in this way, usually on

prestigious buildings are supposed to emphasise the high

VWDWXVRIWKHLURZQHUV+RZHYHULQUHDOLW\WKH\DUHQRWK-

LQJ PRUH WKDQ IDFLQJWLOHV LPSUHVVLYH SDFNDJLQJ RIXQ-

NQRZQGXUDELOLW\GXHWRLPSHUIHFW¿[LQJV\VWHPV7KH\

DUH DLPHGDW PDNLQJDQLPSUHVVLRQRIVROLGLW\ E\UHIHU-

ence to the deeply preserved archetype of a stone building

NQRZQIURPWKHKLVWRU\RIFRQVWUXFWLRQLQGXVWU\DQGDU-

FKLWHFWXUH6LPLODUUHIHUHQFHVWRWKHSDVWDQGZD\VRIVDW-

isfying psychological needs of direct and indirect users of

the architectural space are employed by producers of met-

al pressed roof tiles, colloquially called metal sheet roof

tiles. These tiles, with regard to their form, texture and

FRORXULPLWDWHYDULRXVW\SHVRIFHUDPLFURR¿QJWLOHVXVHG

for centuries as roof surface coverings. Another example

of the type of phenomena described above is a strong at-

WDFKPHQWWRWKHWUDGLWLRQDOIRUPRIDGHWDFKHGKRXVH,Q

WKH 8QLWHG 6WDWHV WKLV IRUP RI UHVLGHQFH LV ZLGHVSUHDG

even in the conditions of maximum crowding together in

WKHIUDPHZRUNRIWKHVRFDOOHGGHYHORSHUHVWDWHV,QFOXG-

ed in this category of sociological phenomena is also the

Faces and determinants of contemporary architectural spacetime 

popularity of houses adapted to styles of distant epochs

ZKLFKDUHDFFHSWHGE\WKHLUUHVLGHQWVZLWKIXOONQRZOHGJH

that the effect of their external architectural expression

LVREWDLQHGLQDFRPSOHWHO\DUWL¿FLDOZD\ZLWKWKHXVHRI

methods and principles similar to a theatrical set-design

performance.

Summary

3URIHVVRU%ROHVáDZ6]PLGWDWWKHHQGRIKLVHVVD\HQWL-

tled Order of Space includes a characteristic summarising

VHQWHQFHA great composition the crown of which is men-

tal order requires a great creative potential, great love for

land and man, and it is guaranteed not by our possessions

but by what we are > S@7KLVLVRQHRIWKHPRVW

LPSRUWDQWPHVVDJHVZKLFKWKHDXWKRULQFOXGHGLQKLVERRN

DQGLWFRQVWLWXWHVQRWKLQJEXWSXWLQRWKHUZRUGVWKHGH¿-

nition of the commonly accepted nowadays sustainable

development paradigm. On the whole, great composition

is a result of the entirety of human actions in one man’s

life space, in the space of the immediate surroundings as

ZHOO DV LQWKH VSDFH RI WKHZKROH (DUWK+RZHYHUPDQ

is only one of the elements of this ecosystem and his ac-

WLRQV RXJKW WR WDNH LQWR DFFRXQW QDWXUDO ODZV JRYHUQLQJ

this system.

Genius saeculi RIWKHWXUQRIWKH

century is mani-

IHVWHG LQ PDQ\VRIDUXQNQRZQ FRPSOLFDWHG SKHQRPHQD

and dynamic civilisation changes which constitute a com-

plex of determinants of the contemporary architectural

VSDFHWLPH7KH\LQÀXHQFHWKHIRUPDWLRQRIDQHZDZDUH-

ness and mentality of contemporary man who more and

more frequently uses the notion of spacetime, thus joining

into one concept the two notions that used to be separate,

i.e. time and space.

,Q HDFK RI WKHVH WKUHH VSDFHWLPHV RI OLIH ± SK\VLFDO

socio-cultural and psychological, there is a certain state

of order that can be determined as physical-spatial order,

socio-cultural order and psychological order respectively.

Between each type of spacetime of life we can observe

SHUPDQHQW PXWXDO LPSLQJHPHQWV RI D IHHGEDFN FKDUDF-

ter. As a consequence, at each stage of the civilisation

development, the system of these three domains tends to

achieve a state of balance, i.e. a state of harmonic rela-

tions between the order of each system. Changes occurring

within the range of one spacetime lead, sooner or later,

to changes in the remaining ones. A growing speed of the

civilisation development forces adequate transformations

in mental structures of people who are its passive or active

participants.

There is a lot of evidence, however, that a human

ability to reconstruct one’s own internal mental order is

limited and does not follow faster and faster civilisation

transformations. Particularly dynamic changes that oc-

cur currently in socio-cultural space of life, especially in

the sphere of producing and distributing goods within the

IUDPHZRUN RI WKH PDUNHW HFRQRP\ DUH FKDUDFWHULVHG E\

partial or complete arrogance in relation to status quo of

mental order of an individual human being. This state of

DIIDLUVOHDGVWRGLVKDUPRQ\DQGFRQÀLFWVEHWZHHQPHQWDO

order in psychological spacetime of life and physical and

spatial order that creates the architectural spacetime as

ZHOODVVRFLRFXOWXUDORUGHUUHÀHFWLQJPHQWDOLW\DQGYDOXHV

on which this order is based.

Translated by

%RJXVáDZ6HWNRZLF]

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.H\ZRUGV architectural spacetime, psychological space of life, mental

order

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SU]HVWU]HĔĪ\FLDáDGSV\FKLF]Q\

Faces and determinants of contemporary architectural spacetime

Zdzisław Pelczarski

doi:10.5277/arc120206

Abstract