Andrzej Wajda – reżyser przestrzeni

At the end of the 20th century in Kraków Andrzej Wajda began to implement his architectural vision. With the Manggha Museum of Japanese Art and Technology he created a counterpoint to the Wawel hill on the opposite bank of the Vistula. Another precedent was the intimate “Wyspiański 2000 Pavilion”, finally erected between 2005–2007 at plac Wszystkich Świętych. Through his architectural vision and creations he etched himself permanently in the identity of Kraków. Wajda proved that it is possible to understand the city as a creation, as a living work of art. His imagination and determination proved that this does not only need to be through the illusion of film.At the end of the 20th century in Kraków Andrzej Wajda began to implement his architectural vision. With the Manggha Museum of Japanese Art and Technology he created a counterpoint to the Wawel hill on the opposite bank of the Vistula. Another precedent was the intimate “Wyspiański 2000 Pavilion”, finally erected between 2005–2007 at plac Wszystkich Świętych. Through his architectural vision and creations he etched himself permanently in the identity of Kraków. Wajda proved that it is possible to understand the city as a creation, as a living work of art. His imagination and determination proved that this does not only need to be through the illusion of film

Myśl i polityka: księga pamiątkowa dedykowana profesorowi Jackowi Marii Majchrowskiemu T. 3

Publikacja jubileuszowa z okazji 40-lecia pracy naukowej profesora Jacka Majchrowskieg

The Central European city and its identity

The form and shape of the city are, in a way, the sum of the development of its civilisation, and this is why urbanisation is so often cited as a symbol of Europe's cultural advancement. A particular triumph of urbanisation is the concept known as "creative cities", that is, cities that contribute creatively to the universal values of our civilisation without losing any of their local flavour or compromising their unique identity. This paper claims that the best evidence of Central Europe’s achievements as a civilisation, and the essence of its iden-tity, are its cities. Indeed, an understanding of the phenomenon of these cit-ies, in particular their changing meanings and stories, and a broader historical perspective on the changing nature of their functions in relation to Europe’s settlement network, are crucial to comprehending the very essence of Central European identity