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Apartment 51 m² - street Lech and Maria Kaczynski, Batumi
Price:
$
101 300
ID 1186
Created: 01.02.2019
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About the apartment
Total area, m²: 50.65
Living area, m²: 37.10
Layout: open plan
Condition: after builders
Furnishings: unfurnished
Number of balconies: 1
Natural gas: no
Windows type: aluminum
Walls type: monolithic
Elevator: 2
Rooms: 1
Floor: 12
Stories: 15
Location
- City: Batumi
- Located on the intersection of: street Lech and Maria Kaczynski- street Sherif Khimshiashvili
- to the old city: 4 km
- to the airport: 2 km
- Distance to the sea: 0 - 200 m
Description
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Useful information about Batumi and Georgia
Analysis of the architectural concept of the Tbilisi Court of Celebrations
The most difficult and interesting, largely fundamental for national architecture, problem that arises in the process of analyzing the Tbilisi Palace of Celebrations is whether it is possible to recognize a modern programmed building practically without traditional details and shapes as national. In this case, I think, no doubt it is possible. The whole spirit of the building is organic, its emphasized parade, reaching the theatricality, openness to the incoming, laconicism of the color scheme. The author took into account and used deep national ideas about the rite, lifestyle and system of thoughts, about the connectedness, continuity and duality of all living things.
More direct, albeit also informal, associations are felt: sculpturalism going back to Jvari, vertical development of space, similar to the temple in Alaverdi, tectonic and figurative meaning of the wall, its material, overlapping, well in the main hall, graphic motif of the “tree of life”, painting in the main interior.
This building, like a number of works by major Georgian artists, reflects the specific feature of Georgian culture & mdash; its antiquity, fundamentality and, at the same time, traditional openness, susceptibility to everything new, advanced in technology and art. And, perhaps, it is precisely in this emphasized unconventional national character, in organic connection with the newest and traditional architecture of the West and the East, that the Palace of Celebrations in the modern architecture of Georgia is of particular importance.
At the same time, the Palace is by no means an exception; its appearance is characteristic and symptomatic of the current stage of development of architecture as a whole. He is among the interesting, exploratory, in the full sense of the innovative work of architects from different countries and peoples.
I would like to draw attention to one aspect of the consideration of this object, which is of no small importance in the evaluation of any new work of national architecture. This refers to the sore issue of regional and national identity.
The work under consideration is original, personal, one can say intellectually, but does it correspond to the fairly constant nature of the regional-ethnic form-formation, which is specifically manifested in the system of principles of architectural form-formation?
Discarding all the undoubted advantages of a city-planning location, multifunctional layout, masterfully conceived and executed designs, rich interior design and evaluating the building’s artistic image only as a manifestation of the spiritual culture of the Georgian people, can the Tbilisi Palace of Celebrations be called a modern model of architecture adequate to the local nature and emotional outlook of a local resident ?
My belief is & mdash; This cannot be done, since the general effectivity, the catchiness of forms can entail a misinterpretation of the nature of Georgian artistic thinking.
More direct, albeit also informal, associations are felt: sculpturalism going back to Jvari, vertical development of space, similar to the temple in Alaverdi, tectonic and figurative meaning of the wall, its material, overlapping, well in the main hall, graphic motif of the “tree of life”, painting in the main interior.
This building, like a number of works by major Georgian artists, reflects the specific feature of Georgian culture & mdash; its antiquity, fundamentality and, at the same time, traditional openness, susceptibility to everything new, advanced in technology and art. And, perhaps, it is precisely in this emphasized unconventional national character, in organic connection with the newest and traditional architecture of the West and the East, that the Palace of Celebrations in the modern architecture of Georgia is of particular importance.
At the same time, the Palace is by no means an exception; its appearance is characteristic and symptomatic of the current stage of development of architecture as a whole. He is among the interesting, exploratory, in the full sense of the innovative work of architects from different countries and peoples.
I would like to draw attention to one aspect of the consideration of this object, which is of no small importance in the evaluation of any new work of national architecture. This refers to the sore issue of regional and national identity.
The work under consideration is original, personal, one can say intellectually, but does it correspond to the fairly constant nature of the regional-ethnic form-formation, which is specifically manifested in the system of principles of architectural form-formation?
Discarding all the undoubted advantages of a city-planning location, multifunctional layout, masterfully conceived and executed designs, rich interior design and evaluating the building’s artistic image only as a manifestation of the spiritual culture of the Georgian people, can the Tbilisi Palace of Celebrations be called a modern model of architecture adequate to the local nature and emotional outlook of a local resident ?
My belief is & mdash; This cannot be done, since the general effectivity, the catchiness of forms can entail a misinterpretation of the nature of Georgian artistic thinking.