Brutalism in the Architecture of Polish Churches

Abstract

The main research problem presented in the article is the impact of brutalism on sacral architecture in Poland. The author analyses six churches built in the second half of the 20th century. In addition, he compares their features with the global brutalist trend of this period. The following churches were examined in the article: Church of St. Michael in Sopot, Church of Our Lady the Queen of Poland in Kraków – Nowa Huta, Church of St. Jan Kanty in Poznań, Church of Our Lady of Sorrows in Łódź, Church of St. Jadwiga the Queen in Kraków, Church of St. Joseph the Worker in Kielce. The brutalist style in architecture was initiated in the 1950s. It was based on Le Corbusier’s post-war buildings and the architectural program developed by Alison and Peter Smithson called the New Brutalism. The brutalist style quickly spread throughout the world, reaching its apogee in the 1960s. In Poland, however, it was introduced relatively late and to a limited extent. Its influence is particularly visible in the architecture of Polish universities, apartment buildings, but most of all churches. The search for original, monumental forms of contemporary religious buildings coincided with such features of brutalism as individualism, strong expression and the use of raw materials. The new churches had to be different from the clichéd, standard and often repeatable buildings of socialist modernism. Brutalist architects in other countries followed similar assumptions. They rejected machine aesthetics of functionalism and preferred dramatized, complex forms. Based on the analysis of the presented churches, brutalist features and elements characteristic of Polish sacral architecture were indicated, including: monumentality, massive plasticity, complexity, strong chiaroscuro effects, expressive and sculptural forms, exposure of internal functions in building facades, emphasizing the importance of movement and articulating elements of pedestrian circulation, preferring craftsmanship over industrial methods. Architects often created rhythms on facades by repeating structural elements, and also introduced reinforced concrete details such as: roofs, gargoyles, window frames, brise soleil and ondulatoires. They favored rough and picturesque textures of concrete, brick and stone.