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Discussinghismostrecognizableprojectsoftrade-fair
pavilionsandmuseumspaces,Scottshowstheir
interactivityandrelationtocybernetics.Thisissue
isextendedintwoaccompanyingtexts,onhisdesignfor
thePolishRadioExperimentalStudioandtheredesignfor
theStudioTheater,bothinWarsaw.Hansen’sactivity
asacurator—orratherasacreatorofexperimental
displaydesigns—isdiscussedbyTomaszFudalainhis
essayontheinvolvementofarchitectsintheactivity
ofartinstitutionsinpostwarPoland.
Thefollowingparts,
Counter-Memorial
and
House
asOpenForm,
focusontwoexceptionalHansen’s
projectsthatservedasspatialmanifestosforthetheory
ofOpenForm.Renownedthoughitonlyremained
onpaper,histeam’sprojectforthememorial
atAuschwitz-BirkenauispresentedbyKatarzyna
Murawska-MuthesiusinrelationtoHansen’sconcept
ofsculptureandhisencounterswithHenryMoore’s
oeuvre.ThesummerhousethathecreatedinSzuminwith
hiswife,Zofia,andsonIgorisdescribedindetail
byAleksandraKędziorek.
Thelastpart,
ArtandOpenForm,
focusesonthe
didacticsofOpenForm,whichHansenintroducedinhis
teachingattheFacultyofSculptureoftheWarsaw
AcademyofFineArts.ThecurriculumofthePlanesand
FiguresCompositionStudioispresentedbyJolaGola,and
broadenedinashortessaydedicatedtoHansen’s
intentiontoadapttheseatoftheFacultyofSculpture
toOpenFormdidactics.Anotherbriefessayintroduces
visualgamesthatplayedacrucialroleinhisteaching
inthe1970s.Thesegames,proposedfirstbyhisstudents
thenintroducedtothePlanesandFiguresComposition
Studio’sregularcurriculum,arediscussedfurtherbyKarol
Sienkiewicz,whoposesthequestionoftheexistence
ofa“Hanseniantradition,”tracingreferencestoOpen
ForminPolishneo-avant-gardeart.Furtherassociations
areproposedbyDavidCrowleyinhisessaydedicated
totheideaofwalking,wherehetriestosituateOpen
Forminabroadercontextofprocessualandactionart
