WIENER STÄDTISCHE GROUP

October 29, 2008 through January 9, 2009


Poland, which boasts a rich and diverse cultural heritage, has been a member of the European Union since 2004. Poland's as yet little-known architectural scene of the period spanning roughly the last 100 years will be presented by showing numerous works from three significant phases.

Architecture in Poland in the time from 1900 to 1945
At the beginning of the 20th century, Polish architecture was marked by the historicizing ornamentary style of the 19th century. The diversity of Poland's historical regions which is in evidence even today is explained by the fact that, geographically, the territory was divided among three different powers until November 1918. Despite the temporary loss of Poland's identity as a state one can justly refer to a "Polish architecture", which, similar to Polish literature, has always continued to exist.

Early modernism - creatively echoing historical styles - broke free from historical forms and filled urban areas with elegant buildings such as banks, theaters or official buildings, which - in largely simplified form - fell back on proportions and details from the Renaissance and the Baroque. This "ironed-out", modernized, noble form is ideally suited to the spirit of an industrialized metropolis. This was also the last architectural style of the time of Poland's partition among three powers to give prominence to local distinctions; examples can, for instance, be seen in Warsaw, in the modern design of the city center of Poznan, or else in Lwów.

In terms of architecture, Polish independence found its expression in a duality of creative thinking taking the form of two distinct, mutually exclusive trends: on the one hand, we have the desire to showcase what is indigenous, and on the other hand we have the drive towards modernism, which latter was putting its mark on Europe at the time. The indigenous element, which in the context of the independent, re-united state had become so important, was to find expression in the Polish manor (dwór) - symbolizing positive thinking and the spirit of Polishness so typical of the landed gentry that pervaded these manors. Verandas with columns, triangular gables, high shingle roofs and circular flowerbeds combined to form picturesque domiciles.

The second trend, which was elevated to the status of "national" architectural style, was the Zakopane style. The spa and ski resort situated in southern Poland, from which the name is derived, gradually became fashionable, and the elements of popular architecture that were used there best exemplify this style. An important episode in the desire to leave the path of tradition was a prominent, though singular structure: the Polish pavilion for the 1925 "Exposition Internationale des Arts Décoratifs et Industriels Modernes" held in Paris.

In the mid-1920s, the western European avant-garde began to reach Poland: young architects were propagating the international style. The groups of young, dynamic creative spirits forming around and taking their names from the avant-garde magazines "Blok" and later on also "Praesens" were closely associated with the Congrès Internationaux de l’Architecture Moderne (CIAM) and, from 1928 onwards, also furnished the Polish delegates to these Congresses. The "Wohnung für das Existenzminimum" (minimum living-standard housing) - the theme of the 2nd Congress - was successfully embodied in numerous model buildings.

The Warsaw Housing Cooperative (Warszawska Spółdzielnia Mieszkaniowa) or the Workers' Settlements Society (Towarzystwo Osiedli Robotniczych) were true pioneers in the promotion of social housing initiatives offering extensive social services.

Also influenced by the Bauhaus were the numerous office buildings of Ministries and even the residence of the Polish president in Wisła. Furniture made from bent metal tubing, leather chairs and sofa tables with plate-glass tops gave a functional, modern air to rooms used for formal occasions.

Despite much opposition, the spirit of modernism was carried over far into the 1950s by the National Group of CIAM, which continued to be very active after the war - Helena Syrkus even was vice-president from 1948 to 1954.

On Poland's architectural map for the 1930s, Gdynia occupies a special place: a metropolitan port - built from scratch within a short time - became the calling card of a state whose economic development flourished. Within just 13 years (1926 to 1939), a city housing more than 100,000 inhabitants was completed. Gdynia's architecture is unmatched throughout Europe: it is an example of a uniform complex of first-rate modernist buildings, consisting of residential and office buildings as well as purely functional buildings and structures.

Poland as a modernist project
After the Second World War, Poland became the training ground for modern utopian ideas. The new society was to be born in the midst of a new architecture in new, or radically improved, cities. Even where it was decided that historic quarters were to be reconstructed, the local context ceased to be an inescapable liability; instead, the spirit of modernism was at work.

The absence of history and context manifested itself predominately in the expansion of mass construction. Even before the Second World War, Polish architects had anticipated the approach of the era of prefabrication, which had then become an important tool for achieving greater economy in the construction of new cities and housing developments. The communist powers-that-be that projected a large-scale industrialization of the country promoted reproducible systemic solutions which, sadly, were to gradually cause the originally idealist concepts to degenerate and spawn the notorious drabness of "Plattenbau" settlements (constructed from large pre-fabricated concrete slabs).

But there are places where small modern paradises were successfully created and where, even today, one can admire what is left of them, i.e. not just gracefully aging housing developments or urban complexes that patiently submit to being modified, such as the new centers in Warsaw (Ściana Wschodnia by Zbigniew Karpiński, Jan Klewin, Andrzej Kaliszewski, planning: 1958, execution: 1958 to 1968) or in Katowice (Armii Czerwonej street, now Wojciecha Korfantego avenue). The high point is the "Spodek" sports hall that even set an international trend (Maciej Gintowt, Maciej Krasiński, engineer: Andrzej Żórawski, 1964 to 1971).

The contemporary situation post 1989
Political, economic and cultural events in Poland after the radical change of 1989 shook up the country which, at the same time, was introduced to the temptation, or rather a vast variety of temptations, held out by the new system of which it had yet to learn the ropes. Most of the new buildings constructed since the beginning of the 1990s were shopping centers and office buildings.

One important point is that since the overthrow of the communist regime a fairly great number of interesting buildings have been constructed with official funds - mostly after national-level competitions. In each of these cases an individual architectural statement has been made that has benefited the townscape. Examples are the funeral parlor "Gate to the City of the Deceased", Cracow, Atelier Loegler, 1998; Southern Cemetery, Antoninów near Warsaw, Piotr Szaroszyk, 1999; Building "K" of the district court in Cracow, Studio Architektoniczne, 2001;
 
Memorial – a commemorative installation built on the area of the former Nazi-German death camp in Bełżec, sculptural project: Andrzej Sołyga, Zdzisław Pidek, Marcin Roszczyk,
architecture: DDJM Biuro Architektoniczne, 2004; Science and Music Education Center of the Karol Szymanowski Academy of Music in Katowice, Konior Studio, Barysz Konior Architekci, 2007.

But before commercial architecture gained the upper hand in Poland's landscape, curious creations of the new market economy appeared at the start of the 1990s, mostly as a result of private commercial initiatives - huts, kiosks, stalls for selling virtually everything - in short, "trade in all manner of goods". Accumulations of market stalls in larger cities formed large-scale "open-air markets" - with the Warsaw incarnation surpassing all European supermarkets in terms of sheer size.

It is worthwhile to look at the change that has taken place in the Polish architectural landscape over the past few years from the perspective of works created by young architects. Although it is still the older, more established architectural studios that provide the most important contribution to designing that landscape, the generation of those who are currently in their thirties or forties is more and more coming to the fore (e.g. the "Lajsta" single family home in Żernica, medusagroup, 2003; the "Dom OUTrialny" private home in Książenice near Warsaw, KWK Promes, 2007).

Most recently, this trend was confirmed by the Polish contribution to the Venice Architectural Biennale, to which the German weekly magazine "Die Zeit" consecrated a picture covering half a page and which was awarded the Golden Lion.

Curators: Adolph Stiller, Pawel Kraus

Catalog:
Polen Architektur / Polska Architektura (German/Polish bilingual)
Articles contributed by Maciej Chmara, Hanna Faryna-Paszkiewicz, Stanisław Grodziski,
Paweł Kraus, Grzegorz Piątek, Adolph Stiller, Jarosław Trybuś
168 pages with more than 300 pictures, EUR 25.00
Students, persons doing their military or alternative civilian service, pensioners (with valid official ID card): EUR 20.00

Press tour: Tuesday, October 28, 10.30
Official opening: Tuesday, October 28, 18.30

Exhibition venue:
WIENER STÄDTISCHE Versicherung AG
VIENNA INSURANCE GROUP
Exhibition Centre in the Ringturm
A-1010 Vienna, Schottenring 30

Opening hours:
Monday to Friday: 09.00 to 18.00, admission free
(closed on public holidays)

Enquiries to:
Alexander Jedlicka
T: +43 (0)50350-21029
F: +43 (0)50350-99 21029
E-mail: alexander.jedlicka@vig.com