82

CtCKJIO B MOHyMCHTajlbHO-AeKOpaTHBHOM TBOpHeCTBe B CjlOBclKHH B nepHOA 1948 —
— 1973 rr.

UliipoKoe ncn-0Jib30BaHne CTeKJia b apxHTeKType 20 ßeiia
BWTeKa.no H3 Aßyx iiOTpeÓHOCTeň — npaKTimeCKOÄ, koto-
paa, OA'HaKO, HenocpeACTBenHO ßbuia cusiaaHa c scTern-
qeCKOfi, ii scTeTHiecKofi, KOTOpasi oßycjiOBHjia boshhkho-
BeiiHe MOHyMeHTajibHO-jieKopaTHBHbix npoH3BCAeHHH.
fljia oöjiacTH BMTpa>i<eft (kbk TpaAHUHOHiioro MOnyMen-
rajibHO-AeKopaTHBHoro npOHBJieHHH b creKJie) xapaKTepua
MOHO^ynKUHOHajibHOCTb npoH3ßeAeHnii — pa3AeJiiieT npo-
CTpancTBa, cjiyoKHT AOMHHaHToft rnrrepbepa, qacTO neceT
aa>KHOe coAep»caHne. Ochobhbim ouenoHHWM (])3KTOpoM
SToro Tuna xyAO>i<eCTBeHiioiro npoaBjreHM coiyoKHT cootb6t-
CTBiie AaHHOMy apxiiTeKTypHOMy npoCTpaHCTBy, KOTopoe
CBH33H0 C nepBHHHOCTblO HAH BTOpHHHOCTblO OTAeAbHblX
(|>yHKUHH. B HeKOTopwx c.nyaasix hcoAxoahmo noA'iepKHyTb
CHMBOJiHaecKyio (fiyHKUHio (nyßjiimiHwe coßpaHiui), b Apy-
FHX peMb MAST CKOpee O C03A3HIIH SCTeTHHeCKH B03AeÜCTBy-
lomero pa3AejiiiTe.ib'Horo ajieMCHTa b apxHTeKType.
nocjie 1948 roAa npiiMeiie'HHe CTeKJia b apxHTeKType b
CA0B3KHH paCILIHpMAOCb B CBH3H C HTCHCIIBHblMH HpOrpaM-
M3MH CTpOHTBAbCTBa H HOBbIMH COUIiajIbHblMII HyXAaMH.
npoH3BeAeHHH npnoópeJiH hobvio c|>ynKUHOHajibnyio Ha-
ppaBAeHHOCTb no cpaßHemno c npoiiuibiM. HapsiAy C Tpa-
AHUHOHHblM nOHHMa'HHeM BHTpa>Ka (K3K TpaHCH03HHHlI >KH-
BOnilCHOä KOMnO3HU.HH B HH0H MSTCpHaA — CTeKJIo), BO3-
HHKajin HOBbie. pemeHiiii.
O1IH ßbl.'IH BbI3BaHbi:
— CTipeM.neHHeM k rapMOHUH c Komieniinefi coßpeMeii-
H0H apXHTeKTypbl (cTeKjMHHble CTeHbl C OTKpblTOH BH-
TpajKHoä KOMnosHUHeft b CKejieTHO oßjierqeHH’oii KOHCTpyx-
U.HH C OAHOH CTOpOHbI II CTCHa H3 CTeKJia II ßeTOHa KaK
B03BpaT K MaCCHBy CTeHbl)
— CTpeMJieniieM k rapMOHHH c 3Kcii.nyaTau,iiOHiioü <|)yiiKU,n-

eü npocTpaHCTBa (oTicpwiaa, CTpyKTypHan KOHuenuna bh-
rpaaca, iicnOAb3OBaHne ahctoboto ßecu,ßeTnoro, AexopaTHß-
Ho oóJiaropo/KeHHoro CTeKJia)
— crpeMJieHHe k otacachhio BHTpaJKa ot CTeßw (npo-
CTpaHCTBeHHO-KVAHCHoe peiueHHe BHTpaxca, upexpasMep-
HblH oß-beKT K3K KpäHHee nOAO/KeHlie, B KOTOpOM BHTpajK
KacaeTca oßaacTH njiacTHKn)
— nocTeneHHbiM noHHMaHHeM ocoßeHHOCTeÄ komho3hu,hoh-
iioro iioc-rpoenHH BirrpajKa (HCKJHOHCHHe npocTpaHCTBemio
oßpasyiomnx a.neMenTOB h AeTajieň)
— CT>peMJieHHeM K He.SaBHCHMOCTH MOSailHHOH CTpyKTypbl
BHTpa>Ka OT TpaAHUHOHHbLX TeXHOJIOTHHeCKHX OrpaHHaeHHÜ
(KJieeHbiH BHTpaJK, BiiaiiBaHiie CTeKJia'HHbix nacTeň b jihc-
TOBOe CTeK.no)
— uejieHanpaBAeuHbiM ncnojib3OßaHHeM THnHaeCKHX cbohctb
MaTepna;ia Kaic acieTHMecKH (|,yHKA1I0Ha',ibHbix (njiaBJien-
HOe JIHCTOBOe CTCKJIO C MOAe.lMpOBa’HHOH HOBepXHOCTblo).
B npopecce nocaesoeniioro pa3BHraa MOHyMeHTajibno-Ae-
KopaTHBiioro TßopqecTBa na ocHOBe CTeKJia BbiAeJiHJiHCb
cjieAyiomiie oßjiacTis:
-- BHTpaiK (b K.iaCCHAeCKOM HOHHMaHHH H HeTpaAHllHOHHblX
K0Hiienu,Hsix)
— xyAOxecTßenHO TpaKTyeMoe jincTOBoe-nec|)au.eTHpoBaH-
HOC CTeKJIO
- K0Mn03HUHH 113 TeXHHHeCKOFO CTeKfla, HCn0Jlb30ßaHH0ro
b KanecTBe scTeTHHecKti ana'iiiMoro sjieMeHTa b HaMepc
npocTpaiicTBeiiHOH h.ih haockocthoh opranHßamiH.
Ctbkao, ßjiaroAapH cBocwy cßeTOßowy xapaxTepy h npo-
spamiocrn cra.no ßasKHbiM MaTepriaaoM cßeTO-KHHeTHHec-
khx peaAii3amiÄ, oij,eHHßaiomnx cßeTO-AiiHaMimecKoe Me-
raMopcf>o3w MaTcpHajia.

Glass in Monumental-decorative Creation

in Slovakia in the Years 1948—1973

The broad use of glass in architecture of the 20th
Century arose from a double need — the practical
one which, however, had a direct cohérence with the
esthetic one and the esthetic need that gave rise to
monumental-decorative works.
For the sphere of glass panels (as traditional monu-
mental-decorative présentation in glass) the multi-
function of the work is characteristic — it separates
rooms, is dominant to the inferior, and offen has
a serions contents. A basic evaluating factor of this
type of art présentation is its convenience in the rele-
vant architectural room that is connected with prima-
rity or secondarity of the individual functions. In

some cases it is suitable to emphasize the symbolic
fonction (social meeting-places), elsewhere rather to
create an esthetically effectuai separating element in
architecture.
After the year 1948 the use of glass in architecture
in Slovakia increased owing to an intense building-up
programme and new social needs. In comparison with
the past, works acquired a new functional mission.
Along with the traditional compréhension of glass pa-
nels (as transposition of a painter’s composition into
glass material) new forms arose.
These were called forth:
•— by the endeavour to reach harmony with the

oo