Sodų tradicijos įtaka iracionaliosios architektūros raidai

LTStraipsnyje nagrinėjama Vakarų kultūros sodų ir parkų architektūros įtaka bendrai architektūros raidai bei sodų ir parkų architektūros bruožai iracionaliojoje architektūroje. Istorinių rezidencijų sodų architektūroje vyravo kaprizų (angl. folly) tradicija, kurią pradėjo Romos imperatoriaus Hadriano vila, buvusi pirmoji erdvės ir meninio laiko požiūriu visiškai fiktyvi pramogų erdvė. Vėliau meninė fikcija aktualizuota iracionaliosiose modernios architektūros kryptyse, kur išlaikyta orientacija į dirbtinį laiko (ateities) įvaizdį bei tie patys. [Iš leidinio]Reikšminiai žodžiai: Iracionalizmas; Sodų architektūra; Istorinė bei naujienybės (sensacijos) architektūra; Irrationalism; Garden architecture; Historicist and novelty (sensationalist) architecture.

ENThe article addresses the topic of the influence of garden (later, park) architecture on the development of irrational architecture. Irrationalism in architecture was not formed as a separate trend or movement, but served as a response to the attempt to universalize the main principles of artistic suggestion of architecture and to rationalize the construction process. Usually irrationalism is described by the categories of expressivity, decorativeness, sculptural character, unconventionality, intuition, individual approach, indefiniteness, randomness and synthesis of arts, and the emphasis on artistic fiction can be indicated as a common feature of irrational architecture. Gardens, in which the architectural expression of buildings was not limited by functional requirements, were a favourable medium for implementing this principle in the course of history. As a reactive trend, irrational architecture emerged already in early history. The villa of the Roman emperor Hadrian in Tivoli can be considered one of the first examples of irrational garden architecture. The villa conveyed the ruler’s individual approach: it can be seen as a prototype of an entertainment park, in which architecture was removed from reality both in its fictional space and fictional past-oriented artistic time. Despite all this, architecture that embodied the emperor’s ideas was innovative in terms of construction and engineering solutions. The ruins of this villa and the newly discovered Golden Palace of emperor Nero made a tremendous influence on late Renaissance artistic worldview. The image of architecture possessed by nature – grotesque – was expressed in garden pavilions as a symbol of the relation between random natural forms and creative human consciousness. As a manifestation of the synthesis of arts, not only architects, but also artists and sculptors were invited to create such buildings.The tradition of mannerist gardens was passed on to many parks of European rulers’ residences via the Versailles, but the source of architectural follies can be directly related to Hadrian’s villa. As the influence of monarchies subsided, the parks of nobles’ residences began to be transformed into public spaces. In these spaces, unconventional sensationalist or novelty architecture was created – the artistic time of architecture became future-oriented. Visionary architecture was presented in spaces for exhibitions and fairs. These spaces gradually became a substitute for public parks, and the buildings constructed there contributed to significant shifts in the development of architecture. Architectural parks remain an experimental space of artistically suggestive irrational architecture, in which the newest technologies that still cannot be applied in largescale buildings are implemented. However, at the same time, the principles of juxtaposing natural and manmade forms, interdisciplinarity or synthesis of arts, and the emphasis on artistic fiction, formed in the tradition of garden architecture in the course of centuries, are still actualized in contemporary irrational architecture. [From the publication]