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Selected Problems of Contemporary Polish Sacral Architecture

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Selected Problems of Contemporary Polish Sacral Architecture EWA WĘCŁAWOWICZ-GYURKOVICH* SELECTED PROBLEMS OF CONTEMPORARY POLISH SACRAL ARCHITECTURE Abstract There is no other country in the World that manages to complete 2000 churches in the past 30 years. They were constructed in new housing estates – where the communist authorities had thought that they were not needed. The following eruption of such constructions resulted from the need of the Catholic society – one that was unsatisfied for many years. On the other hand, the haste in construction was explained by the fear that “the thaw” as it was called, in the decisions of the communist regime, may be short and that the day must be seized. The highest intensity of construction of new temples occurred in the Eighties. Many Polish churches built during this time show Post-modern solutions, which appeared in Poland quite late, just in the 1980s, after the political changes. Post-modernism hinted at history, it quoted details, interpreted them freely, and transformed them. In Poland, this sentimentalism and nostalgia, turning towards the broadly understood tradition, lasted slightly longer than elsewhere. In the churches that were built in the 1980s, there prevails the traditional material, brick or concrete. In those times, glass and steel technologies and high-tech details had not reached Poland yet. However, the great involvement of designers, builders, and of thousand of parishioners was essential. The latter were devoted to this work for free, building a church for themselves, their neighbors, and for the glory of God. Keywords: Polish contemporary church architecture, trend in contemporary architecture in Poland 1. Contemporary Trends in Polish Sacral Architecture material culture and also the philosophical content. It is essential for large conurbations to possess unique values. The silhouettes of historic European cities have their One such functional element associated with the fulfilling dominating elements – in many cases they are church- of higher needs (and capable of creating a community in es. Coming from various epochs, constructed in various a residential environment for the majority of the local in- styles, reshaped, and converted to new needs, they could be habitants) is the place of worship – the local church. There implemented for tens or hundreds of years as special struc- is no other country in the world that managed to complete tures. In urban layouts, they were always strong forms. The 2,000 churches in the past 30 years. They were constructed architecture of sacral buildings played an important role in in new housing estates – where the Communist authorities 1 historical cities. It created new canons of style, producing thought that they were not needed. The following eruption new artistic trends, and progress in technical and build- of such constructions resulted from the need of the Catho- ing solutions, both in external forms and in the shaping lic society – one that was unsatisfied for many years. The of interiors. Churches themselves reshaped the artistic im- great extent of this development in Polish religious archi- 2 ages of the cities. The churches generally stemmed from tecture was a unique phenomenon on a world scale – per- the tradition of a sacral form that culminated in a tower. haps even comparable with that of early Christianity.3 The Such a tower was usually individually transformed and mass social involvement in church building projects was adjusted to contemporary styles. Sometimes the designed equivalent to a gesture of political contestation, for many towers were left incomplete due to a lack of funds. While of the participants. The element of social protest in these residential or office buildings rise high, churches do not activities is thoroughly understandable in societies which need to dominate. Their significance and distinct character bore the yoke of Communism. On the other hand, the haste can be reached by means of diverse materials, shapes, or in construction was explained by the fear that “the thaw” details. The silhouettes of contemporary cities will not be (as it was called) in the decisions of the Communist regime surmounted by steeples of churches anymore. may be short, thus the day must be seized. In many instanc- A church has a symbolic meaning in human aware- es, especially at the beginning of the period in question, ness. It is not merely a question of the religious role of the aesthetic aspects of the new churches were not always a church building itself. Historical analysis confirms the given the prominence they deserved. What mattered then church’s socially significant role as an object conveying was the emotional act of creating “forbidden structures”. * Assoc. Prof. D.Sc. Ph.D. Arch. Ewa Węcławowicz-Gyurkovich, The passage of time has permitted a preliminary aesthet- Institute of History of Architecture and Monuments Preservation, ic critique to be conducted now – of these new churches, Faculty of Architecture, Cracow University of Technology, Poland. many of which are being criticised for not coming up to the 1 Compare with: H. Buczyńska-Garewicz, Miejsca, Strony, Oko- lice. Przyczynek do fenomenologii przestrzeni, Universitas, 3 E. Węcławowicz-Gyurkovich, Polska architektura sakralna. Trady- Kraków 2006. p. 13. cja a współczesność. Kierunki poszukiwań twórczych w najnowszej 2 E. Norman, The House of God, Thames&Hudson, London 1990. architekturze, Nasza Przeszłość, Kraków 1992, p. 329-372. 60 standards one should expect of a culture’s unique construc- that does not dictate or impose an official aesthetics on the tions. The highest intensity of construction of new temples artist, instead admitting almost any form and recognising occurred at the end of the 1970s and in the 1980s.4 the preferences and tastes of its users. Geometry and minimalism5 make their way with diffi- In architecture, Postmodernism is primarily a fantasy culty in Polish sacral architecture, and the situation differs and narrative quality; the application of small extracts, not here from that in Western Europe. We can boast a number even of the motifs of style; the deliberate use of historical of new sacral objects rather than their aesthetic quality. detail; and incorporation of the archetypes of simple The blame for such a state of affairs should be attributed geometrical forms. A composition, which superficially to the architects as well as to the patrons – sacral investors produces the effect of having no underlying basic concept (diocesan commissions), their advisors, and to the recipi- in the structure, is the overall impression. An especially ents of this kind of art. Most Polish architects choose the important feature is the use of the intentional compilation of language of modern Eclecticism accepted by the recipients many elements of mutually superimposed and interacting and suggest some quotations from the past: “It is probably forms and spaces, and the simultaneous application of the more difficult to promote the effects in the world but per- principles of complication, contradiction, contrast, and haps they will be closer to the believers”.6 The people then irony with references and hints. chose Postmodern forms, which were easier to understand Sometimes churches were built as monuments, looking and to accept.7 like fortresses, not only separated by the wall protecting Many Polish churches built in that time show Postmod- their sacrum from profanum, but also to accentuate the ern solutions. Postmodernism hinted at history, it quoted symbolic stronghold of freedom and truth standing against details, interpreting them freely and transforming them.8 In the surrounding sea of the Communist state. Poland, this sentimentalism and nostalgia, turning towards In Postmodern buildings, there are hints to and the broadly understood tradition, lasted slightly longer than quotations from the past, from the old towers and spires, elsewhere. Notwithstanding the fact Polish Postmodernism chapels and traditional altars, which were remembered has been developing under different conditions and in rath- from the interiors of historic temples. One sees many er different forms than the main Postmodern trends in the examples of the quest for the new interpretation of the 12 West, there has been a marked change in the aesthetic and vernacular and the local traditions. intellectual climate in Poland with respect to former years.9 The social changes initiated in 1970 (and escalating There is no question, however, of such phenomena on any rapidly after 1980) established favourable conditions – as mass or comprehensive scale, but rather it is a matter of in- has frequently happened in the history of architecture – for tensity of intellectual impact. Postmodernism appeared in our country with great delay at the beginning of the 1980s, following the political and social turn.10 Postmodernism means above all a freedom of choice: the simultaneous ap- plication in the same object of diverse traditions, ranging from antiquity to Modernism. The introduction of referenc- es and distorted interpretations of various traditions, rather than the creation of new ready-made patterns, is allowed.11 The human and humanistic values are stressed, in a trend 4 K. Kucza-Kuczyński, Nowe kościoły w Polsce, Instytut Wy- dawniczy PAX, Warszawa 1991. 5 For example: Church of Christ the Redeemer of Man Redemp- tor Hominis in Kraków–Tonie, designed by T. Konior 2006– 2010; Chapel in Tarnów in Mazovia, designed by Beton Ar- Fig. 1. Church of Christ the Redeemer of Man – Redemptor chitekci M. Rowińska, L. Rowiński, p. 2007-2011. Hominis, 2006–2010, Kraków, arch T. Konior. Photo by author 6 K. Kucza-Kuczyński, Architektura sakralna przed końcem wie- ku, Architektura 2/1998, p. 46. 7 K. Kucza Kuczyński, O tożsamości, Architekt 4/2000. 12 For example Polish Post-modern churches are: church in Nowy 8 E. Węcławowicz-Gyurkovich, Post-modernizm w architek- Dwór Mazowiecki (unbuild), designed by M. Budzyński, 1984; turze, [in:] G. Dziamski (Ed.) Encyklopedia Kultury Polskiej church of Ascension of the Lord in Warszawa–Ursynów, de- XX wieku. Od Awangardy do Post-modernizmu, Instytut Kultu- signed by M.
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