DOI Heft:
Nr. 2
DOI Artikel:Bořutová, Dana: K otázkam začlenenia výtvarných diel do prostredia obytných súborov
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.51717#0118
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B33HMOCB5I3H, MO>KHO 3aM6THTb TeCHyiO CBiI3b K0MH03H-
UHOHHbix npHHiiHnoB ypóanHCTHqiecKaro, apxHTCKTypnoro
h xyAO?KecTBeHiio-H3oó|pa3HTeJibHoro TBopqecTBa. B nep-
Boď nojioBHHe nHTHAecHTbix toaob cHCTeMa pa3Memenníi
npoH3BeAeHHÍí HcityccTBa b KOMnjiexce noAHMHsuiacb yp6a-
HHCTHqeCKOMV pHTMV AOMHHAHT H CyÓAOMHHaHT B >KeCT-
Koň reoMeTpHqecKofl cxesre. BsaHMuyio cbíish apxnTeKTypw
H npOH3BeaeHHH HCKVCCTBa MOJKHO OpeHHTb KaK OTHOCH-
reJibHO craTHBecKyio h aAAHTUBHyio: apxnreKTypa hohh-
Majia npon3BejieHne HCKyccTBa KaK „AonojiHeime“, npHroA-
Hoe aaíi oóorameHHíi eě coócTBeHHbix KaqecTB. HaCTbiM
HeAOCTaTKOM pea.nn3anHÄ tofo nepnoAa óbijia ckjioh-
HOCTb K H.WOCTpaTHBIIOCTU Ha ypOBHC npOH3Be#eHHH HC-
KyCCTBa H K ACKOpaTHBHOCTH Ha ypOBHC OTHOmeHHH ap-
xiiTeKTypbi h KOHKpeTHOro xyaožKecTBenHoro npoH3Beae-
HH5I. ílepBbie ÄHjibie KBapTaJibi H3 naHeJibHbix sabhhh npn-
HeCJHi CVMMy AaHHblX, OnblTa, KOTOpblH CTaJl OCHOBOH žl.TH
AajibHeňinero pa.3BHTH5i. CTpeMJienne k orpaHnqeHHio OTpn-
paTejIbHblX CTOpOH MaCCOBOrO CTpOHTCAbCTBa BeJlO K TeH-
Achhhh „ryMaHH3HpoBaTb“ cpeay nyTeM AonoAHHTejibHoro
BKJIIOqeHHSI B KOMHO3HH.H1O npOH3BCAeHHH HCKyCCTBa H 3e-
jieHH. CKyjibirrypHbie npoH3BeAeHUíi qacTo necjin cboio
ypöauHCTHqecKyio c|)yiiKHHio — cjiyaíHJiH b npoeppaHCTBe
UeHTpajlbHOH TOqKOH, SJICMCHTOM OpHeHTapHH, AH(|)c[)epeH-
HHau.nn h CBoeo6pa3HH. B Teqene inecTHAecHTbix roAos no-
hbjmiotcíi h nocTeneHHO yKpenAíiioTCH TeHAeHpHH, HanpaB-
jieHHbie Ha KOMnneKCHoe notiHMaHne TBopqecTBa h Ha AHHa-
MHqecKoe nOHHMaHue npocTpaHCTBa (KOTopbie xapaKTepu-
3yior (jjqpMHpoBaHHe cpeAbi ao nacTOJimero BpeweHH). Yp-
öaHHCTHqecKaa KOHiienuHH pacnoAaraeT Bce 6onee 6ora-
TbiM peneiprvapoM cpeACTB. Oua co3AaeT cHCTeiny aomhh3ht
h cyÓAOMHHaHT na ocHOBe AHHaMHqecKoro npoHHKHOBeHHsi
H B3aHMOCB5I3aHHOCTH HpOCTpaHCTB, KOTOpbie OHa CTpeMHT-
C5i OAHO3Haqno opneHTHpoBaTb, AH4>c|)epeHu,HpoBaTb h cne-
AH<bHu,HpoBaTb. riapaajieAb'Ho pa3BHBaeTCH penepTyap <[>opM
CTpOHTejIbHbtX 3A6MCHTOB H OÖOTalHaeTCH apXHTeKTypHOe
BbipaJKCHne. IlpoH3BeAeHHíi HCKyCCTBa BCTynaioT b chctc-
My pacqjienenHíi, hah ;xe HepapxHsauHH OTAenbHbix npo-
CTpaHCTB b paMKax KOMnjieKca h yqacTByiOT b <j>opMnpo-
BaHHH hx cneu,H(|)HqecKoro xapaicrepa, npnqeM npHMeHHioT
cboh xyAO>KecTBeHHo-H3o6pa3HTeAbHbie KaqecTBa. IIpoH3-
BeAeHHe HCKyccTBa b kohkpcthom npocTpancTBe npeACTaB-
ASleT COÔOH B 3TOM CMMCJle AOTHHeCKOe 3aBeplJieHHe eAHHOH
TBopqecKofl Koiiu.enu.HH, Hcnojib3yiomeiicH na Bcex ypoBHnx
<j)opMHpOBaHHíi cpeubi, t. e. ua ypoBHe ypóaHHCTHqecKOM,
apxHTeKTypnoM h cneu,H(|)nqecKH xyAO>KecTBeHno-H3oópa-
3HTeAbHOM.
On Problems of Incorporation of Works of Fine Arts into the Environment
of Housing Estâtes
Fine arts také a significant place in the formation
of housing estâtes, they contribute to the humaniza-
tion of the environment. Theory examines principles
and possibilities to incorporate Works of fine arts into
the urbanized space, it examines principles of the in-
tégration of different components in the environment.
The question of spacial interrelations of the elements
of the resulting structure is of great importance.
A mural work of art links up with the layout sys-
tém of articulation of architectural object and it is in
this way that it subordinates to it, though by its own
character it exceeds architectural trame and becomes
a counter-point of the whole composition. In connection
with architecture mural works enter the real urban
space — they enrich and extend their own meaning
and become spécifie environmental elements.
The intégration of entirely voluminous environmen-
tal objects into architecture gives a broad scale of
possibilities to form mutual interconnections. A work
of art can be active together with architecture (hence
it resembles the case already mentioned), it can, how-
ever, keep up a higher degree of autonomy and act
as pendant to the architecture in its space-organizing
(urbanistic) function. In this case its relationship to
architecture is more dynamic.
Preconditions to reach balance in the resulting
structure are the unity of contents and conjunction
of its components, a conséquent unfolding of their
common ideal juncture.
Numerous housing estâtes with works of fine arts
incorporated were realized during the period of so-
cialist build-up. This sphere of Creative activity is
characterized by some basic facts. It is námely the de-
pendence of the character and quality of works on
conditions of social occurrences. Idéologie, functional,
économie as well as material-technological factors
reflected themselves not only in the architectural
expression of housing estâtes but also in the works of
art, thus influencing their content, form and tech-
nology.
We meet an intentional création of plain-air works of
visual arts for dwelling estâtes (in our country) as late
as in the first half of the fifties. The construction as
well as fine arts création are characterized by the use
of traditional compositional schemes, formes, and tech-
nologies. (Especially sgraffito is used to a great ex-
tent.) In the second half of the fifties and at the be-
ginning of the sixties a graduai change of views
works of fine art (that means architecture, too) takes
place. It goes hand in hand with technological chang-
B33HMOCB5I3H, MO>KHO 3aM6THTb TeCHyiO CBiI3b K0MH03H-
UHOHHbix npHHiiHnoB ypóanHCTHqiecKaro, apxHTCKTypnoro
h xyAO?KecTBeHiio-H3oó|pa3HTeJibHoro TBopqecTBa. B nep-
Boď nojioBHHe nHTHAecHTbix toaob cHCTeMa pa3Memenníi
npoH3BeAeHHÍí HcityccTBa b KOMnjiexce noAHMHsuiacb yp6a-
HHCTHqeCKOMV pHTMV AOMHHAHT H CyÓAOMHHaHT B >KeCT-
Koň reoMeTpHqecKofl cxesre. BsaHMuyio cbíish apxnTeKTypw
H npOH3BeaeHHH HCKVCCTBa MOJKHO OpeHHTb KaK OTHOCH-
reJibHO craTHBecKyio h aAAHTUBHyio: apxnreKTypa hohh-
Majia npon3BejieHne HCKyccTBa KaK „AonojiHeime“, npHroA-
Hoe aaíi oóorameHHíi eě coócTBeHHbix KaqecTB. HaCTbiM
HeAOCTaTKOM pea.nn3anHÄ tofo nepnoAa óbijia ckjioh-
HOCTb K H.WOCTpaTHBIIOCTU Ha ypOBHC npOH3Be#eHHH HC-
KyCCTBa H K ACKOpaTHBHOCTH Ha ypOBHC OTHOmeHHH ap-
xiiTeKTypbi h KOHKpeTHOro xyaožKecTBenHoro npoH3Beae-
HH5I. ílepBbie ÄHjibie KBapTaJibi H3 naHeJibHbix sabhhh npn-
HeCJHi CVMMy AaHHblX, OnblTa, KOTOpblH CTaJl OCHOBOH žl.TH
AajibHeňinero pa.3BHTH5i. CTpeMJienne k orpaHnqeHHio OTpn-
paTejIbHblX CTOpOH MaCCOBOrO CTpOHTCAbCTBa BeJlO K TeH-
Achhhh „ryMaHH3HpoBaTb“ cpeay nyTeM AonoAHHTejibHoro
BKJIIOqeHHSI B KOMHO3HH.H1O npOH3BCAeHHH HCKyCCTBa H 3e-
jieHH. CKyjibirrypHbie npoH3BeAeHUíi qacTo necjin cboio
ypöauHCTHqecKyio c|)yiiKHHio — cjiyaíHJiH b npoeppaHCTBe
UeHTpajlbHOH TOqKOH, SJICMCHTOM OpHeHTapHH, AH(|)c[)epeH-
HHau.nn h CBoeo6pa3HH. B Teqene inecTHAecHTbix roAos no-
hbjmiotcíi h nocTeneHHO yKpenAíiioTCH TeHAeHpHH, HanpaB-
jieHHbie Ha KOMnneKCHoe notiHMaHne TBopqecTBa h Ha AHHa-
MHqecKoe nOHHMaHue npocTpaHCTBa (KOTopbie xapaKTepu-
3yior (jjqpMHpoBaHHe cpeAbi ao nacTOJimero BpeweHH). Yp-
öaHHCTHqecKaa KOHiienuHH pacnoAaraeT Bce 6onee 6ora-
TbiM peneiprvapoM cpeACTB. Oua co3AaeT cHCTeiny aomhh3ht
h cyÓAOMHHaHT na ocHOBe AHHaMHqecKoro npoHHKHOBeHHsi
H B3aHMOCB5I3aHHOCTH HpOCTpaHCTB, KOTOpbie OHa CTpeMHT-
C5i OAHO3Haqno opneHTHpoBaTb, AH4>c|)epeHu,HpoBaTb h cne-
AH<bHu,HpoBaTb. riapaajieAb'Ho pa3BHBaeTCH penepTyap <[>opM
CTpOHTejIbHbtX 3A6MCHTOB H OÖOTalHaeTCH apXHTeKTypHOe
BbipaJKCHne. IlpoH3BeAeHHíi HCKyCCTBa BCTynaioT b chctc-
My pacqjienenHíi, hah ;xe HepapxHsauHH OTAenbHbix npo-
CTpaHCTB b paMKax KOMnjieKca h yqacTByiOT b <j>opMnpo-
BaHHH hx cneu,H(|)HqecKoro xapaicrepa, npnqeM npHMeHHioT
cboh xyAO>KecTBeHHo-H3o6pa3HTeAbHbie KaqecTBa. IIpoH3-
BeAeHHe HCKyccTBa b kohkpcthom npocTpancTBe npeACTaB-
ASleT COÔOH B 3TOM CMMCJle AOTHHeCKOe 3aBeplJieHHe eAHHOH
TBopqecKofl Koiiu.enu.HH, Hcnojib3yiomeiicH na Bcex ypoBHnx
<j)opMHpOBaHHíi cpeubi, t. e. ua ypoBHe ypóaHHCTHqecKOM,
apxHTeKTypnoM h cneu,H(|)nqecKH xyAO>KecTBeHno-H3oópa-
3HTeAbHOM.
On Problems of Incorporation of Works of Fine Arts into the Environment
of Housing Estâtes
Fine arts také a significant place in the formation
of housing estâtes, they contribute to the humaniza-
tion of the environment. Theory examines principles
and possibilities to incorporate Works of fine arts into
the urbanized space, it examines principles of the in-
tégration of different components in the environment.
The question of spacial interrelations of the elements
of the resulting structure is of great importance.
A mural work of art links up with the layout sys-
tém of articulation of architectural object and it is in
this way that it subordinates to it, though by its own
character it exceeds architectural trame and becomes
a counter-point of the whole composition. In connection
with architecture mural works enter the real urban
space — they enrich and extend their own meaning
and become spécifie environmental elements.
The intégration of entirely voluminous environmen-
tal objects into architecture gives a broad scale of
possibilities to form mutual interconnections. A work
of art can be active together with architecture (hence
it resembles the case already mentioned), it can, how-
ever, keep up a higher degree of autonomy and act
as pendant to the architecture in its space-organizing
(urbanistic) function. In this case its relationship to
architecture is more dynamic.
Preconditions to reach balance in the resulting
structure are the unity of contents and conjunction
of its components, a conséquent unfolding of their
common ideal juncture.
Numerous housing estâtes with works of fine arts
incorporated were realized during the period of so-
cialist build-up. This sphere of Creative activity is
characterized by some basic facts. It is námely the de-
pendence of the character and quality of works on
conditions of social occurrences. Idéologie, functional,
économie as well as material-technological factors
reflected themselves not only in the architectural
expression of housing estâtes but also in the works of
art, thus influencing their content, form and tech-
nology.
We meet an intentional création of plain-air works of
visual arts for dwelling estâtes (in our country) as late
as in the first half of the fifties. The construction as
well as fine arts création are characterized by the use
of traditional compositional schemes, formes, and tech-
nologies. (Especially sgraffito is used to a great ex-
tent.) In the second half of the fifties and at the be-
ginning of the sixties a graduai change of views
works of fine art (that means architecture, too) takes
place. It goes hand in hand with technological chang-