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1

PALESTINE STOPOVER. THE ACTIVITY OF JEWISH ARCHITECTW EDUCATED IN WARSAW MILIEU (Przystanek Palestyna. Dzialalnosc architektów Zydów wyksztalconych w srodowisku warszawskim)

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Omilanowska M.
Kwartalnik Historii Żydow
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2010
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issue 3(235)
326-344
EN
The modern buildings of Tel Aviv (and to a lesser extent also of the new quarters of Jerusalem) came under scrutiny of Israeli and German researchers. The scholars drew attention to the structure of Tel Aviv's architectural community. In the years 1918-1948, at least 595 architects worked in Palestine, and 117 of them came from Poland. The biggest tide of arrivals from Poland came in the years 1933-1936. Sixteen of them -as well as seven architects born in other countries - were educated in Poland. Other architects who came from Poland learned their skills in Technion (more than 30), in German (14) as well as Austrian, Czechoslovak and Russian universities. The biggest group of architects from Poland were those who were born on Polish lands but emigrated to Palestine together with their parents at a young age. The second group were Jews born and raised in Polish lands, who studied and worked in Europe and only made the decision to go to Palestine when they already made a name for themselves on the market. The ties with Polish architectural milieux were stronger among those architects who upon graduation returned to their home towns and chose to emigrate to Palestine already as mature designers. Warsaw University of Technology graduates included Wadris Goldman and Reoven Mitelman, who got their degrees in the late 1920s. Another duo of architects trained in the Warsaw school were Abraham Markusfeld and L. Karnovsky, of whose first name only the initial is known. Markusfeld returned to Lódz after graduation, emigrated to Palestine in 1935 but returned to Lódz in 1937 and was murdered during World War II. Lucjan Korngold, a graduate of the Warsaw University of Technology, went from Poland to Palestine in 1993, but returned to Poland in the following year and successfully worked until the outbreak of WWII. In 1940 he went to Brazil, where he spent the rest of his life, designing buildings erected in Sao Paulo in the first place. The houses designed by Warsaw University of Technology graduates blend superbly with the modern architecture of Tel Aviv 1930s, influenced predominantly by Bauhaus graduates. The best building designed by Warsaw graduates (Korngold or the Goldman & Mitelman partnership) is Rubinsky's house, one of the first buildings in Tel Aviv to implement Le Corbusier's principles of spatial opening of the ground floor and basing the solid of the building on rows of slender pillars called pilotis.
2

EDOUARD ANDRE AND HIS GARDEN REALISATIONS IN POLAND AND LITHUANIA (Edouard Andre i jego realizacje ogrodowe w Polsce i na Litwie)

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Omilanowska M.
Rocznik Historii Sztuki
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2009
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vol. 34
199-237
EN
Edouard Andre (1840-1911) is recognised as the author and promoter of the so called 'mixed style' of garden design. Already as a mature person, Andre accepted the commissions from Polish aristocratic families; two tasks in at Samostrzel and Potulice), and four in Lithuania: at Landwarow (Lentvaris) near Vilnius, at Zatrocze (Uzutrakis), Waka Trocka (Traku Voke) and at Polaga (Palanga) on the Baltic coast. At Samostrzel of the Bninski family a park was being created in the 1880s. Its main attraction was the terrace complex situated in front of the palace, decorated with pergolas, gazebos, rows of niches with sculptures and parterres. It seems that Edouard Andre, undoubtedly referring to Italian models (Tivoli), drew here also from his earlier experiences (Monte Carlo). The palace and romantic park at Potulice also existed before, and André, recommended to Aniela Potulicka by Emilia Bninska, transformed it in 1898, created a new space in the mixed style, with a twin lane on the palace's axis and wide terraces on the park side. Andre's parks in Lithuania for Tyszkiewicz brothers were made almost at the same time. At Landwarow the design was initiated in 1896 or 1897. A huge regular garden was created in front of the palace's back façade and landscape park consisting of two parts: 'Riviera' on the lake and 'Switzerland' with unusually diversified lay of the land and four ponds with waterfalls and cascades. At Polaga on the Baltic shore a new palace (1896-1897) was designed by Franz Heinrich Schwechten commissioned by Feliks Tyszkiewicz. At the same time a park was being constructed in seaside dunes overgrown with pines. One of the most interesting elements in the Polaga Park - the Birute Hill - was incorporated as a beauty spot, and its slope was used to make a grotto with a copy of the statue of Our Lady of Lourdes. The idea of modern rosary was André's achievement developed for Jules Gravereaux for his Roseraie de L'Hay. Second important task of André commissioned by Feliks Tyszkiewicz was the landscape design of the so-called 'resort institution'. The institution was designed probably in 1898 or 1899. It is possible that at Jozef Tyszkiewicz's Zatrocze the works on the park began in 1897 or 1898. As a result, a great park was established in the mixed style with a view terrace behind the back façade, parterres at the front and side façades and with a large landscape park decorated with streams, artificial rocks and cascades and a hill crowned with a view arbour. Waka belonged to Jan Tyszkiewicz who commissioned André to transform the existing park surrounding the palace he inherited from his father. The works were carried out at the same time as in other parks in Lithuania and were finished in 1900. Andre transformed the existing park layout into a scenic park. A characteristic feature of Andre's designs is that he maximally emphasised the attributes of selected style: the extreme formalism of geometric gardens and extreme naturalism of scenic parks. When designing his gardens, he had in mind both their aesthetic and purely practical values.
3

THE MARIAN SANCTUARY IN LICHEN: ARCHITECTURE AND ART AS AN INSTRUMENT OF HISTORICAL, RELIGIOUS AND NATIONAL IDENTIFICATION IN POST-COMMUNIST POLAND (Sanktuarium Maryjne w Licheniu:.. instrument identyfikacji .. w postkomunistycznej Polsce)

100%
Omilanowska M.
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2008
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vol. 62
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issue 2(281)
129-1390
EN
The Marian sanctuary in Lichen is one of the most impressive phenomena associated with the cult of the Virgin Mary in Europe. Today, it is the second most frequented pilgrimage site in Poland after Jasna Gora in Czestochowa - an immense architectural-town planning-garden premise which emerged in slightly more than thirty years, centred around a gigantic millennial basilica, the largest church in Poland, the seventh largest in Europe and the eleventh in the world, erected in 12 years thanks to voluntary donations. For all practical purposes, the Lichen basilica violates every canon of architectural design.. The basilica's architecture demonstratively refers to the past but at the same time disavows it by applying a strategy of pretence, characteristic for the category of kitsch. The basilica's architect, Barbara Bielecka cherished a profound belief that she correctly deciphered and applied Biblical directives concerning the erection of temples. An essential fragment of the project involves an attempt at evoking Polish national tradition by referring to associations with local nature, art and crafts. The gigantomanic architecture, the interiors, full of marble, gilding and crystal chandeliers, thus turning Lichen into a Catholic Las Vegas; equally justified are associations with Romanian socialist realistic architecture from the 'late Ceausescu' era. The phenomenon of Lichen's popularity consists in the fact that it ideally corresponds to the expectations harboured by droves of pilgrims from all over Catholic Poland. The popularity of Lichen is supported by a well-devised marketing strategy. The donors are commemorated by means of marble plaques (17 000 are featured on the walls of the lower church!). In accordance with the opinion voiced by Ms. Bielecka, claiming that 'one simply cannot offer the Lord God something modernistic on His birthday', the basilica has been planned as a postmodern work. It lacks, however, one of the most postmodern features, namely, a 'light-hearted' treatment of architecture. In his reflections on national identification Edensor defined the concept of the evocative site of popular culture and gatherings. In accordance with his definition, the Lichen sanctuary became a consciously meaningful site and, simultaneously, a place of popular culture created for Polish Catholics and enabling their identification with historical-messianic and Marian-religious myths, in this case treated as an indissoluble conglomerate and providing an unambiguous cultural source, making it feasible to reinforce national identity. By referring to folk religiosity suffused with a belief in miracles, Lichen is to act as an antidote against the contemporary world; at the same time, it is to turn the pilgrim away from that world by creating an enclave of Catholic religiosity and genuine Polishness envisaged as a remedy capable of curing all global ills. Lichen lacks anti-European Union propaganda or the obnoxious anti-Semitism so typical for Radio Maryja, and prefers a model of anachronistic religiosity. Its patriotism is intellectually and religiously enclosed, devoid of reflection and cramped; sadly, it corresponds to the predilections of a great number of the faithful and the clergy, thus abusing trust in the value of 'folk Catholicism'.
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