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PL
Artykuł przedstawia zarys zmian urbanistycznych z okresu PRL-u na Starym Mieście we Wrocławiu. Intensywne działania budowlane rozpoczęły się już pod koniec lat 40. XX w. Początkowo polegały głównie na rekonstrukcji zniszczonej zabudowy staromiejskiej, skoncentrowanej wokół Rynku i pl. Solnego. Od 1956 r. zaobserwować można powrót do idei przedwojennego modernizmu. Nowa architektura i urbanistyka miała być symbolem nowej organizacji życia społecznego oraz postępu technologicznego. W latach 70. i 80. XX w., pomimo ambitnych planów przekształcenia centrum Wrocławia w wielkomiejskie centrum usługowe, tempo inwestycji budowlanych zdecydowanie zmalało. Pod koniec epoki PRL, dzięki stopniowemu odejściu od gospodarki centralnie planowanej, znacznie wzrosła ilość zabudowy plombowej na Starym Mieście.
EN
The article is a short brief about urban changes in the Old Town in Wrocław during the Polish People’s Republic. Intensive rebuiliding activities have begun at the end of 1940’s. Historical buildings around the Main Square and Solny Square were the first to be reconstructed. However, since 1956 the return to pre-war modernism ideas has been observed. New architecture and urbanism were supposed to be a symbol of new social order and technological progress. Despite of ambitious plans of transforming Wrocław’s city centre into a modern downtown the pace of rebuilding of The Old Town dropped dramatically in the 1970’s and 1980’s. At the end of the communist era in Poland, thanks to the gradual departure from the centrally planned economy, the number of infill buildings in the Old Town has increased considerably.
EN
The article presents the history of the elements of the former Tatarczy Market Square, which constitute an important part of the history of the Sieradz’s Old Town. The article deals with the history of elements of the Sieradz’s Old Town, such as stockade, gates, street system, the former Dominican Monastery and craft. The history of the Tatarczy Market Square is episodic and unique – it points to necessity to popularize information about this place and continue exploring its story. During the work, the methodology appropriate for historical and interpretative research was used. The information on the spatial development of Sieradz and the history of individual fragments of the Old Town was collected and analyzed. To get to know this story, the available archival references, literature and archaeological research were used. An analysis of these sources allows us to draw conclusions about the history of this part of the city. The article also discusses the role of historical urban spaces and the need and ways of presenting their history by architectural and urban planning activities. For this purpose, the revitalization of the Small Market Square in Bystrzyca Kłodzka and the concept of transforming the Tatarczy Market Square in Sieradz were presented. The amount and value of the information collected on the Tatarczy Market Square proves how important it is to take care of historical spaces, stop negative transformations, explore their secrets and, above all, save them from oblivion. The collected knowledge about the Tatarczy Market Square certainly requires supplementing with archaeological research on a large scale. Nevertheless, it does indicate some directions of research that should be continued. Disseminating the history of the Tatarczy Market Square will allow for a greater understanding of the history of the Old Town in Sieradz. Its inconspicuousness and mystery combined with the number of elements that made up this place make it unique and worth exploring.
PL
W artykule przedstawiono historię elementów dawnego Tatarczego Rynku w Sieradzu, które stanowią istotną część dziejów Starego Miasta. W tekście zarysowano dzieje obwarowań miejskich i bramy, sieci ulicznej, zespołu kościelno-klasztornego oraz rzemiosła. Wielowątkowość historii rynku oraz unikatowość jego elementów wskazuje na potrzebę rozpowszechniania tych informacji i dalszego zgłębiania dziejów Tatarczego Rynku. W trakcie pracy posłużono się metodologią właściwą dla badań historyczno-interpretacyjnych – zebrano i zanalizowano informacje na temat rozwoju przestrzennego Sieradza oraz historii poszczególnych fragmentów obszaru staromiejskiego. W tym celu wykorzystano dostępne materiały archiwalne, wyniki badań archeologicznych oraz literaturę przedmiotu, których analiza pozwoliła na wysnucie wniosków przybliżających historię tej części miasta. W artykule poruszono także kwestię roli historycznych przestrzeni miejskich oraz potrzebę i sposoby przybliżenia ich historii za pomocą działań architektoniczno-urbanistycznych. W tym celu przestawiono efekt rewitalizacji Małego Rynku w Bystrzycy Kłodzkiej oraz koncepcję przekształcenia Tatarczego Rynku w Sieradzu. Ilość i wartość zebranych informacji na temat Tatarczego Rynku udowadniają, jak ważne jest dążenie do zadbania o historyczne przestrzenie, powstrzymanie negatywnych przekształceń, poznanie ich tajemnic, a przede wszystkim ocalenie ich od zapomnienia. Zebrana wiedza na temat Tatarczego Rynku z pewnością wymaga uzupełnienia o badania archeologiczne na szeroką skalę. Niemniej jednak wyznacza pewne kierunki, w które należałoby się zwrócić. Upowszechnianie dziejów Tatarczego Rynku pozwoli na większe zrozumienie historii Starego Miasta w Sieradzu. Jego niepozorność i tajemniczość połączona z liczbą elementów, które tworzyły to miejsce, czyni je wyjątkowym i wartym dalszego odkrywania.
EN
In 1945, the liberating Red Army caused enormous devastations to the Old Town in Olsztyn. Damaged, burnt and destroyed buildings – that was the picture of the liberation of the city, but also an unusual challenge for those who started to settle Olsztyn already from February 1945. In further years, the city was gradually cleared of debris and a non-uniform reconstruction process was eventually started, referring both to historicist (neo-Baroque) forms and the broadly understood modernism. By the beginning of the 1960s the Old Town in Olsztyn was reconstructed to a large extent. Among people engaged in the reconstruction of the Old Town there were also artists from Olsztyn. Their task was to arrange colours of selected objects and to design and prepare decorative motifs. Most of the artists living in the city participated in the performance of the above works, including Andrzej Samulowski, Bolesław Wolski, Maria Szymańska, Eugeniusz Kochanowski, Henryk Oszczakiewicz, Roman Ilkiewicz, Ryszard Wachowski, Maria Wachowska and Hieronim Skurpski. Works of those artists can still be seen today on the Olsztyn Market Square, Staromiejska, Prosta and Staszica streets, and we can also encounter single items on streets going beyond the area of the old historic Olsztyn. The thematic scope of the Old Town works oscillates around the subject of human labour. It can be categorised into several groups: the first of them comprises activities connected with the Warmia region and shown in a folk fashion. The second group is related to motifs referring to the intended use of buildings, which illustrate their functions connected with work and daily activities. The third group comprises geometrical motifs that complement figural decorations or occur as independent decorations. Another group represents the free use of plant motifs. We can also distinguish single independent decorations that are not linked thematically to the above, but refer to the Warmia and Masuria region. This undoubtedly interesting collection of works from Olsztyn is worth special attention. Inspired presumably by the Warsaw Old Town, it has become an integral part of the reconstructed city. It is also a testimony to the involvement of artists in the aesthetic aspect of the reconstruction. The prevailing technique is sgraffito, which is the most suitable technique for works of this kind because of its durability; the latter is best reflected by the fact that after more than 50 years decorations are still lucid and retain their colour. Painting & sculpture works in Olsztyn that are of interest to us are not covered by conservation protection; the same goes for most of the buildings decorated by them. As objects not entered into the register of monuments, they are handled without restraint, deformed or even destroyed fragmentarily or entirely. However, it is impossible to ignore their artistic values or grounds for their protection.
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