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Press Release Centre for Contemporary Art Ujazdowski Castle UJAZDOWSKI CASTLE

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Press Release Centre for Contemporary Art Ujazdowski Castle UJAZDOWSKI CASTLE Press release Centre for Contemporary Art Ujazdowski Castle UJAZDOWSKI CASTLE - A HISTORY The origins of the Jazdów settlement on the high left bank of the Vistula river precede the history of Warsaw and date back to a 12th century ford, connecting Kamień and Solec, which was a river crossing approached by a deep gulch in the escarpment (today Agrykola Street). The hamlet’s name, Jazdów or Ujazdów, is therefore derived from the root “jazd”, meaning “to ride, to ford”. The stronghold overlooking the ford from the south (the present site of Botanical Gardens) was a frequent stooping place of the Mazovian princes. During the 13th century Jazdów was destroyed twice; finally, prince Conrad of Mazovia decided to move his residence to the newly founded the township of Warsaw. Jazdów remained a prince’ castle but was used mainly as a hunting lodge. The second period of the hamlet’s history begins in the 16th century, when at the decline of the Mazovian dynasty their lands were taken over by the Crown. In 1548, after the death of king Zygmunt Stary, the Queen Dowager Bona chose Jazdów for her residence. The spacious wooden court, surrounded by magnificent gardens, was located at the site of today’s Finnish cottage colony. Sometime later, in the 70’s or 80’s, a new royal country residence was erected on the approximate site of today’s Ujazdowski Castle; the moving spirit behind this project was probably Anna Jagiellonka, the wife of king Stefan Batory. According to some records it was here that the great Renaissance drama Odprawa Posłów Greckich (The Dismissal of the Greek Envoys) by Jan Kochanowski was enacted for the royal coupe. The reign of Zygmunt III Vasa was crucial for the Ujazdowski Castle. When the capital of Poland was transferred from Cracow to Warsaw, the monarch initiated a complete reconstruction of the Royal Castle and for his temporary habitation selected Anna Jagiellonka’s wooden home, modernized in the early 17th century. The building was reminiscent of Italian Renaissance architecture, and in its plan and composition constituted a pleasing example of a villa suburbana. In the years following 1606 (according to some scholars, 1624) when the king was finally able to take up residence in the Royal Castle, the wooden Ujazdów manor became a construction site of a magnificent edifice, worthy of the king of Poland and Sweden. The so-called Saxon survey, the first complete architectural measurement of the Ujazdowski Castle commissioned in the 1720’s by king August II, gives us some idea of the building, which survived unchanged to the Saxon times. It was a single storey (piano nobile) residence built on a square plan, possessing hexagonal corner turrets and internal courtyard with galleries running along the south and west sides; the directive tendency characteristic for early Baroque was emphasized by a projection on the eastern façade which opened its arcaded viewing loggia towards the Vistula river. Although the composition of the building itself remained rooted in the Polish 1 Renaissance tradition (Krasiczyn, Baranów), the accentuated entrance axis, huge sloping planes of the roofs and decorative turret helmets belonged to the new aesthetics, making the Castle a prime example of the Polish Baroque, called also the Vasa style. There is no certainty which of the architects attached to the court of Zygmunt III is the author of the project; the names of Giovanni Battista Trevano, Constantino Tencalla and Matteo Castelli have been mentioned. The construction of the Castle lasted until the 1730’s, well into the reign of Władysław IV, However, its times of splendour were interrupted by the Swedish invasion, commonly called “the overflow”; in 1655 the Swedish king Carolus Gustavus stayed at Ujazdów while stationing in Warsaw and on leaving stripped this residence of the Polish kings of all portable goods and fixtures. The Castle came to life again in 1674, when Ujazdów together with the village Zwierzyniec (Menagerie), lying at the foot of the escarpment, passed into the hands of Stanisław Herakliusz Lubomirski, writer and connoisseur and patron of the arts. Accordingly, during the years 1674-94 the castle underwent a major modernization under the supervision of Tylman of Gameren, a distinguished architect from the Netherlands, who also designed the new interiors, soon making the Ujazdowski Castle a splendid example of magnate’s residence. Following the death of Lubomirski in 1702 the Castle was leased to the king August II, who desired to make it his suburban dwelling. The king planned a total reconstruction of the building and its environment in the fashionable style of the late Baroque palace and garden ensembles, engaging for the task eminent architects of the Saxon period, like Matthäus Daniel Pöppelmann and Jan Zygmunt Deybel, who prepared expansive and imposing projects. Of these only a small part was implemented, including, however, major interior reconstruction and the digging in 1717 of the Piaseczyński Canal, situated on the entrance axis of the residence – a Baroque water project, unequalled in Poland and second in Europe only to Versailles residence. The next historical chance for the castle appeared during the reign of the king Stanisław August Poniatowski, who bought Ujazdów in 1764 from the of Lubomirski with the intention of making it a private residence, different in character from his official seat at the Royal Castle. In consequence, another effort was undertaken to transform this area into a spacious palatial project. The architects and artists who worked on the reconstruction of the Ujazdowski Castle and supervised the erecrion of the two Western wings probably belonged to the group earlier employed at the Royal Castle and including Domenico Merlini as the main architect, as well as Jakub Fontana, Efraim Schroeger, Bernardo Bellotto - Canaletto, Marcello Bacciarelli, Jan Jerzy Plersch, Antoni Smuglewicz, August Fryderyk Moszyński and others. This assembly of excellent artists worked under the direction of the king himself, attempting to gratify his tastes which oscillated between the Baroque and the Classical styles; a state of things resulting in a conspicuous lack of architectural coherence both in the building exterior (late Baroque castle and Classical wings) and its interior (late Baroque and Rococo). In the years 1768-73, also by royal decree, the area in front of the Castle became the site of an immense spatial project, similar in scale to the Saxon axis determined by the Piaseczyński Canal and the approach to the Castle (now Nowowiejska Street) was the starting point of radially diverging avenues, 2 converging again at several round plazas: Na Rozdrożu, Unii Lubelskiej, Trzech Krzyży. The focal point of this Baroque urban composition made to the Łazienki pavilions; around 1772 the monarch, now completely engrossed in the letter project, ordered the reconstruction of the Castle to be halted, designating the residence to house the Lithuanian Foot Guard barracks. The adaptation was supervised by architect Stanisław Zawadzki who endowed the building with monumental characteristics: the turrets were stripped of their helmets, the decorations removed and the west and east facades became dominated by four-column porticoes reaching as high as the roof. Other additions included extension of the wings, which now became pavilions with internal courtyards, as well as stables (now the Laboratory building), a coach house, and an infirmary. By the king’s wish a Mars Field was laid out to the north of the Castle, reaching as far as today’s Piękna Street; the project by Jan Chrystian Kamsetzer separated the Field from the neighbouring areas by four rows of trees, and its traces are still to be found in the castle’s vicinity. During the Kościuszko Insurrection the commander intended to convert the barracks into a field clinic, an idea finally accomplished in 1809, when the Castle became a permanent military hospital. The hospital building remained unchanged until 1852, when it was again rebuilt according to a project by Jerzy Karol Völck. Deprived of all the architectural details the castle gained a severe appearance; further disfigured by later reconstructions and unattractive additions, it no longer resembled the magnificent royal residence it once was. Only the monumental proportions of the building mass retained a distant echo of pas glory. After 1922 the Ujazdowski Castle housed the Military Sanitary School, later, during the Warsaw Uprising, it was a field hospital for the insurgents. Althought the war strife caused the interiors to be totally burned, the walls were left substantially untouched. In spite of this they were blown up in 1954 - a result of a rash decision by the authorities. In the 1970s, with the initiative of professors Aleksander Gieysztor, Stanisław Lorentz, and Jan Zachwatowicz, it was decided to re-build the Castle according to the design of Professor Piotr Biegański, who proposed the realisation of its original, early Baroque version - first with the aim of making it a Government Reception House and, later, the site of the COMECON. As a result of the political changes of 1981 this ruling was reversed and the Castle was ultimately given over to the art community. Since 1985 it is the home of the Centre for Contemporary Art. Text: Ewa Gorządek 3 .
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