Temporary architecture is not a new phenomenon in architecture, but over the years, both the objects arising as part of this idea as well as the attitude of the designer, the investor and the recipient to them have evolved. Apart from fulfilling a replacement function with regard to an existing building, objects which are created in accordance with the idea are unique in the field of aesthetics, technology and construction. Some of them become the architectural manifestos of the artist, presenting new materials, possibilities and propagating ideas related to ecological thinking.
In the paper, which outlines realizations presented by the Assemble collective, the possibilities of taking advantage of temporary architecture along with its theatrical function in the field of social impact, as well as shaping pro-ecological awareness have been emphasized.

According to a common belief from ancient times, theatre is happening all around us while we, the actors, keep playing out our roles in the surrounding existential space. An analysis of the phenomenon of theatricalisation of public space must not disregard the role of art installations as performances which serve as the background and medial tool to evoke the interaction of the viewer and stir his/her imagination, fluctuating between the spatial form and the content – the “spirit of the place”; installations of art are symbols embedded into the contemporary cultural space of cities, which restore the memory of the past.

Values generated by art and culture usually almost automatically generate social values that appear around the source of the said art, and thus around theatre buildings or concert halls as well. They help to shape the sense of identity of a place, which is important both to local residents and to those from further afield who are interested in cultural events. The experience of social values created around a source of culture is, however, not always as obvious. Can social values be built in public spaces surrounding theatre or concert hall buildings independently of the cultural events that take place inside them?
Three Polish built projects featuring theatre and entertainment buildings built over the past five years in Gdańsk, Warsaw and Katowice were selected in order to analyse this problem. They have won numerous distinctions and awards, including for their innovative solutions in terms of the public spaces created in their immediate vicinity.

The response of art to the social needs of the environment requires a reference to the relevant public place. Theatre architecture can regain the power to create a proper place for the art of theatre by responding to the demand for public space in the city. The ancient Greek theatre did this by opening to the surrounding urban or natural landscape. Also the medieval theatre did this, when mobile wagons called mansions stood in city squares. It is the same as the phenomenon of street theatre, when the whole city becomes a theatre. Undoubtedly, since Teatro Oficina is based on the idea of street theatre, a place belonging to the city and its inhabitants should be mentioned. Centro Cultural de São  Paulo is still a current example of the architects’ striving to build a special relationship, based on the unity of the stage, the audience and the world. Teatro La Lira in Ripoll is a pure synthesis of urban public space sometimes becoming a theatre. It is a return to the very sources of European theatre.

The 16th century brought changes in the European theatre. The Teatro Olimpico which was erected in Vicenza continued in the formation of the seventeenth-century theatre built in Parma. It initiated the Italian Baroque Theatre, adopted throughout Europe and later throughout the world. The All’Antica arrangement of stage-auditorium that preceded Teatro Farnese was developed in Sabbioneta, and it was the first attempt to create a theatre of the viewer and the actor. A Baroque theatre hall in Mantua, with its functional capabilities, was ahead of its time. The artists of the Great Theatre Reform were looking for a space that would allow the viewer and the actor to be treated as the subject of performance. The beginning of this approach to theatre was demonstrated by Richard Wagner. Theatre became a place that saw a synthesis of all arts, and Peter Brook most clearly showed it in his performances, notably Mahabharata.

This article addresses the issue of the medieval spatial development of the town of Mielec, located in today’s Podkarpackie Voivodeship, and in the Middle Ages in the area of historic Lesser Poland. An important element of the presented research is a discussion of the issue of the typology of the urban models applied in the discussed period. One should pay attention to the fact that studying the origins of the founding and development of the town is important from the viewpoint of the current urban planning and conservation policy in this town. It also has an educational dimension and contributes to popularising knowledge about the town’s history and cultural heritage.

The conservation work performed on the city gates of some Silesian cities in recent years has offered the opportunity to undertake architectural research. The researchers’ interest was particularly aroused by towers which form the framing of entrances to old-town areas and which are also a reflection of the ambitious aspirations and changing tastes of townspeople and a result of the evolution of architectural forms. Some of the gate buildings were demolished in the 19th century as a result of city development. This article presents the results of research into selected city gates: Grobnicka Gate in Głubczyce, Górna Gate in Głuchołazy, Lewińska Gate in Grodków, Krakowska and Wrocławska Gates in Namysłów, and Dolna Gate in Prudnik. The obtained research material supported an attempt to verify the propositions published in literature concerning the evolution of military buildings in Silesia between the 14th century and the beginning of the 17th century. Relicts of objects that have not survived were identified in two cases.

Due to the development of air transport and urban expansion, the locations of pre-war airports were often changed. The question of the fate of the abandoned airports and their entire infrastructure arose. This article looks at the issue of derelict, pre-war airfields. Examples of airports which were successfully adapted as well as the ones which were abandoned and closed yet but equally important in historical context are shown. In this paper, alternative possibilities for using the former civil airports which allowed memory of important, historical events to be honoured are shown as well as benefits of their preservation are presented.

This article presents the results of numerical research on the dumping of oscillatory phenomena occurring in the continuous bioethanol production process. Proportional and proportional-integral types of controllers were tested for this purpose. Numerical analysis showed that the appropriate selection of the Kc value makes it possible to suppress the oscillations in the system. The introduction of the integral term  improves the performance of control system. Using numerical calculations, it was shown that the PI controller is effective at dumping the occurring oscillations. The presence of the integral term allows the reduction of the gain coefficient value. After the proper selection of parameters, the PI controller effectively supresses the oscillations present in the system.

The aim of this paper is to prove the theorem on the existence and uniqueness of the classical solution of the initial-boundary value problem for a nonlinear second-order delay differential equation. For this purpose, we apply the Banach contraction principle and the Bielecki norm. The paper is based on publications [1–7] and is a generalisation of publication [6]. 

This paper presents the results of research on the development of an exhaust gas aftertreatment system for a turbocharged five-stroke engine. This engine was designed and constructed at Cracow University of Technology. A characteristic feature of the five-stroke engine is the use of an additional expansion process to increase overall efficiency. A challenge for a catalytic converter is the fact that it has a low exhaust gas temperature. Two three-way catalytic converters were tested – one with a ceramic support and the second with a metal support. The results of the tests showed that the reactor with a ceramic support obtains an acceptable conversion efficiency starting with an exhaust gas temperature of 280°C. For the metal-support reactor, a few percent increase in torque and a  decrease in the brake-specific fuel consumption of the engine was obtained; however, the converter itself did not show signs of operation even with an exhaust gas temperature of over 380°C. The performed analyses highlighted directions of further development works in this area.