Założenie urbanistyczne cmentarza komunalnego w Opolu Półwsi w projektach Gustava Allingera

Monika Ewa Adamska

doi:10.5277/arc120106

Streszczenie

Gustav Allinger, autor projektu cmentarza komunalnego w Opolu Półwsi, znacząco przyczynił się do rozwoju architektury ogrodów i zieleni miejskiej w XX-wiecznych Niemczech. Urodził się w 1891 r. w Lauffen am Neckar, w Badenii-Wirtembergii, zmarł w Bonn w 1974 r. w wieku 83 lat. Projektowe i organizacyjne talenty Gustava Allingera ujawniły się już w latach 20. XX w. w trakcie przygotowań i realizacji wystaw ogrodniczych. W dorobku zawodowym Allingera znaczącą grupę stanowią projekty ogrodów, które obrazują rozwój jego stylu, towarzysząc mu na wszystkich etapach kariery zawodowej. Projekty ogrodów z lat 20. i 30. XX w. oparte są na geometrycznych podziałach, późniejsze z lat 40. i 50. to założenia o charakterze mniej formalnym i bardziej swobodnym. Podejmowanym tematem projektowym były również opracowania zagospodarowania terenu na obiekty użyteczności publicznej (szkoły, uczelnie wyższe, uzdrowiska i szpitale) oraz dla firm i zespołów mieszkaniowych. W latach 1928–1932 Gustav Allinger pełnił funkcję dyrektora Urzędu Zieleni Miejskiej (Stadtgartendirektor) w Zabrzu (Hindenburg), uczestniczył w pracach nad planami regulacyjnymi i projektami nowych osiedli miasta. Założenia urbanistyczne cmentarzy to zachowana grupa kilkunastu projektów opracowanych w latach 1914–1943, na terenach Nadrenii Północnej-Westfalii, Nadrenii-Palatynatu oraz współczesnej Polski (Bolesławiec, Elbląg, Gdynia i Opole). Założenie nowego cmentarza komunalnego w Opolu Półwsi, w części zrealizowane, to wydłużona, geometryczna kompozycja oparta na liniach prostych i współśrodkowych łukach. Cmentarz został oficjalnie otwarty w 1931 r. Cmentarz został powiększony w latach 70. i 80. XX w., dalsza rozbudowa nekropolii nastąpiła w latach 90. XX w. i na początku XXI w. W 2012 r. realizowany będzie ostatni etap rozbudowy cmentarza.

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Garden exhibitions

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in Gustav Allinger’s projects

Gustav Allinger – biographical note

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Gustav Allinger’s Professional Achievements

DOI: 10.5277/arc120106

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PLHMVFHGRRGSRF]\QNX]IRQWDQQąZ\VRNLHURĞOLQ\áąND]LHOHĔZ\VRND$UFKLWHNWXUPXVHXP78%HUOLQ,QY1U*$

 7KHOD\RXWRIWKHPXQLFLSDOFHPHWHU\LQ2SROH3yáZLHĞLQ*XVWDY$OOLQJHU’VSURMHFWV 55

the future of garden design, clashes between formal and less

strict styles. The discussions regarded the form and shape of

the modernist garden, residential house, and the garden of

WKHIXWXUH*XVWDY$OOLQJHU¶VLGHDRI³.RPPHQGHU*DUWHQ´

ZDVDVLJQL¿FDQWYRLFHLQWKDWGHEDWHDQGLWLQVSLUHGPDQ\

speakers, articles, and even actual designs

[4].

*DUGHQVJUHHQDUHDVDQGSDUNOD\RXWV

7KH UHYLHZ RI *XVWDY $OOLQJHU¶V SURMHFWV IURP WKH

collection of the Museum of Architecture at the Techni-

cal University of Berlin (Architekturmuseum Technische

8QLYHUVLWlW%HUOLQ), where Allinger worked in the 1950s,

provides a large group of about 50 projects of gardens de-

signed for private investors. Most of them are designed on

VPDOODUHDVQHDUVLQJOHIDPLO\KRXVHVSULPDULO\LQ*HUPD-

ny (e.g. Berlin, Düsseldorf, Essen, Cologne). Allinger’s

professional work was connected with garden designing

ERWK EHIRUH DQG DIWHU:RUOG :DU ,, +LV JDUGHQ GHVLJQV

from the 1920s and 1930s were based on geometric divi-

sions and axes, and they employed such landscape struc-

7KHWHUP³.RPPHQGHU *DUWHQ´LVDWWULEXWHG WR*XVWDY$OOLQJHU

ZKR XVHG LW ¿UVW WR GHVFULEH KLV FRQFHSW RI JDUGHQ SUHVHQWHG DW WKH

*DUGHQ([KLELWLRQLQ'UHVGHQLQ>@

tures as terraces, fountains or terrain steps and they allude

to the Baroque garden art. At the same time, the gardens

had specially designed places for growing vegetables and

fruit trees (Fig. 3). During the designing and executing

the SURMHFWRIWKHPXQLFLSDOFHPHWHU\LQ2SROH3yáZLHĞ

LQ±*XVWDY$OOLQJHUDOVRGHVLJQHGWKHJDUGHQ

LQ2SROHDW3DVLHF]QD6WUHHW9LNWRULD6WUDVVH) for the

house of Johann Schmidt who was the municipal con-

struction counselor. Although the house with its modern-

LVWIRUPVXUYLYHGDPRQJWKHYLOODVRQ:\VSD3DVLHNDWKH

Fig. 5. Development plan of Doctor Karl Hopmann’s garden,

&RORJQH$UFKLWHNWXUPXVHXP78%HUOLQ,QY1U*$

,O3ODQ]DJRVSRGDURZDQLDRJURGXGODGRNWRUD.DUOD+RSPDQQD

.RORQLD$UFKLWHNWXUPXVHXP78%HUOLQ,QY1U*$

Fig. 3. Concept for development of Doctor Otto Hundt’s garden,

2OSH1RUWK5KLQH±:HVWSKDOLD$UFKLWHNWXUPXVHXP78%HUOLQ

,QY1U*$

,O.RQFHSFMD]DJRVSRGDURZDQLDRJURGXGRNWRUD2WWR+XQGWD2OSH

1DGUHQLD3yáQRFQD:HVWIDOLD$UFKLWHNWXUPXVHXP78%HUOLQ

,QY1U*$

Fig. 4. Development plan of the garden of Johann Schmidt, the

PXQLFLSDOFRQVWUXFWLRQFRXQVHORU2SROH3DVLHF]QD6WUHHW

$UFKLWHNWXUPXVHXP78%HUOLQ,QY1U*$

,O3ODQ]DJRVSRGDURZDQLDRJURGXPLHMVNLHJRUDGF\EXGRZODQHJR

-RKDQQD6FKPLGWD2SROHXO3DVLHF]QD$UFKLWHNWXUPXVHXP

78%HUOLQ,QY1U*$

56 Monika Ewa Adamska

layout of the garden with a simple arrangement and plant-

LQJVGHVLJQHGLQJUHDWGHWDLOHJUKRGRGHQGURQVD]DOHDV

roses, bushes and fruit trees, which were used by Allinger,

can be seen unfortunately only in blueprints (Fig. 4). Later

JDUGHQVLQ*XVWDY$OOLQJHU¶VSURMHFWVIURPWKHVDQG

1950s are less formal designs with less strict path layouts

and lawns in irregular shapes surrounded by plants (Fig. 5)

A smaller group of projects includes designs of gardens

DQGJUHHQDUHDVIRUKRXVLQJHVWDWHVRIGLIIHUHQWVL]HHJLQ

/HLS]LJ(EHUVZDOGH1HYLJHV

*XVWDY $OOLQJHU¶V SURIHVVLRQDO SRUWIROLR LQFOXGHV DOVR

DORW RI ODQG GHYHORSPHQW SURMHFWV IRU SXEOLF EHQH¿W LQVWL-

tutions: schools (Evangelische Schule; Erkrath-Unterbach

1957–1958, Berufsschule; Ratingen 1959–1960), universi-

ties (Pädagogische Akademie; Cologne 1957–1958), health

UHVRUWV.XUJDUWHQ%DG:LPSIHQKRVSLWDOV.UDQNHQ-

KDXV 9HOHEHUW 9HOEHUW  6WLIWXQJV XQG .OLQLNKRVSLWDO

Zagreb 1931) and private companies (Siemens&Halske; Ber-

OLQ6LHPHQVVWDGW±*XVWDY$OOLQJHUDOVRGHVLJQHG

PXQLFLSDOSDUNV*DUWHQ6WDGW3DUN(UIXUWDQGSDUNVIRU

recreation and rest (Spiel und Erholungs Park; Erkrath 1961–

2QHRIKLVODVWSURMHFWVZDVWKH]RRORJLFDOJDUGHQZLWK

DUHVWSDUNQHDU,VWDQEXOLQ7XUNH\=RRORJLVFKHQ*DUWHQPLW

9RONVHUKROXQJVSDUNDP)DWLKZDOG,VWDQEXO

In 1928–1932, while working as Director of the

*UHHQ$UHDV'HSDUWPHQWLQ=DEU]H*XVWDY$OOLQJHUZDV

a member of the team developing the regulation plans and

projects of new housing estates in the city. Together with

0RULW]:ROIWKHPXQLFLSDOFRQVWUXFWLRQFRXQVHORUKHGH-

VLJQHGPDQ\JUHHQDUHDVLQ=DEU]HZKLFKDUHVWLOOLQXVH

today, including an over one km long urban axis, one of

the elements of the regulation plan of the north part of the

city. The project also included a park layout of the area

of about 10 ha based on wide alleys with trees, grass par-

terres, with no landmarks or symmetrical axis characteris-

tic of the 19

century designs [8].

*XVWDY$OOLQJHU LV DOVR IDPRXV IRU KLV QXPHURXV DU-

WLFOHVRQJDUGHQGHVLJQLQVXFKPDJD]LQHVDV³'LH*DUWHQ-

NXQVW´³*DUWHQVFK|QKHLW´DQG³*DUWHQZHOW´VDQG

VDVZHOODVERRNVSXEOLVKHGDIWHU:RUOG:DU,,HJ

'HU'HXWVFKH*DUWHQVHLQ:HVHQXQG6HLQH6FK|QHKHLWLQ

alter und neuer Zeit (1950) and'DV+RKHOLHGYRQ*DUWHQ-

NXQVW XQG *DUWHQEDX  -DKUH*DUWHQEDX$XVVWHOOXQ-

gen in Deutschland (1963).

Projects of cemeteries

*XVWDY $OOLQJHU¶V SURIHVVLRQDO DFKLHYHPHQWV DOVR LQ-

FOXGH XUEDQ OD\RXWV RI PRUH WKDQ D GR]HQ FHPHWHULHV

which is a relatively small number compared with a large

group of garden projects. The documentation of the cem-

HWHULHVGHVLJQHGLQ±LQ1RUWK5KLQH±:HVWSKDOLD

Rhineland–Palatinate, and the territory of contemporary

3RODQG%ROHVáDZLHF(OEOąJ*G\QLDDQG2SROHLVDOVRLQ

the collection of the Museum of Architecture at the Tech-

nical University of Berlin (Architekturmuseum Technische

8QLYHUVLWlW%HUOLQ). These are layouts of both small local

FHPHWHULHVDQGELJJHURQHVIRUPHGLXPVL]HGDQGODUJHFLW-

LHV7KH¿UVWSURMHFWVFRPHIURP*XVWDY$OOLQJHUZDV

then 23. One of them is the design of a little cemetery in the

WRZQRI:DQQHLQ1RUWK5KLQH±:HVWSKDOLDLWVJHRPHWULFDO

OD\RXWRQDÀDWDUHDLVEDVHGRQDV\PPHWULFDOUHFWDQJX-

lar system of alleys and circular squares. A bigger evan-

JHOLFDOFHPHWHU\LQ%ROHVáDZLHF%XQ]ODX) was designed in

D VLJQL¿FDQWO\ GRZQVORSH DUHD7KH VSDWLDO GHVLJQ RI WKH

cemetery features a short, wide axis with 7KXMDSOLFDWDon

both sides, enclosed by a square with a cemetery chapel. On

WKHHDVWVLGHRIWKHD[LV*XVWDY$OOLQJHUGHVLJQHGDFKHFN-

ered layout of alleys marking regular and square-like sec-

tions with circular squares. The west side of the layout has

a less formal design and is more natural, taking account

of the natural landscape with a large, distinctive circular

square and columbarium on a circular plan (Fig. 6).

The extensive layout of the central cemetery (+DXSW-

friedhof) for the city of Dortmund which was designed in

1919–1921 and then executed with its irregular form and

great scale, combining geometrical sections with those of

OHVVIRUPDOGHVLJQ$OWKRXJKDWSUHVHQWLWLVVLJQL¿FDQWO\

extended, the cemetery’s original layout with the main

axis is still partly visible in the plan of the contemporary

city. Apart from drawings, plans, and sections, the pre-

served documentation of the cemetery contains a picture

of the design mockup and sketches of the fountain, bridge,

and model tombstone designed by Allinger.

In the 1920s, apart from the local cemeteries in Bladen-

KRUVWDQG/XLVHQVWDGW*XVWDY$OOLQJHUGHVLJQHGWKHOD\-

out of the municipal cemetery in Opole which is described

separately in this article.

Chronologically, the last two projects of the cemeteries

feature distinctive, less formal spatial designs. The layout

RIWKHFHQWUDOFHPHWHU\IRUWKHFLW\RI(OEOąJElbing) was

designed in 1938–1940 on partly forested area outside of

the city. The dominant element of that layout is the oval-

shaped form of a landscape park divided by the main axis

of the cemetery connecting it with a smaller geometrical,

regular section (Fig. 7). The preserved perspective sketch-

es show the existing green areas (trees) with a free layout

of graves, alluding to the solutions of forest cemeteries [3]

)LJ3ODQRIWKHOD\RXWRIWKHHYDQJHOLFDOFHPHWHU\%ROHVáDZLHF

$UFKLWHNWXUPXVHXP78%HUOLQ,QY1U*$

,O3ODQ]DáRĪHQLDXUEDQLVW\F]QHJRFPHQWDU]DHZDQJHOLFNLHJR

%ROHVáDZLHF$UFKLWHNWXUPXVHXP78%HUOLQ,QY1U*$

 7KHOD\RXWRIWKHPXQLFLSDOFHPHWHU\LQ2SROH3yáZLHĞLQ*XVWDY$OOLQJHU’VSURMHFWV 57

which feature the distinctive fragments of the main axis

with landmarks and architectural accents, testifying to the

use of geometrical, regular elements with monumental

and symmetrical features.

The drawings of the cemetery in Gdynia designed in

1943 use the term Forest Cemetery (Waldfriedhof) which

describes its character. The drawings of the cemetery in

Gdynia, available in the collections of the Museum of Ar-

chitecture at the Technical University of Berlin, show the

concept of the project. The intent to locate the cemetery

LQDIRUHVWHGDUHDZLWKDYDULDEOHODQGVFDSHVLJQL¿FDQWO\

affected its spatial composition where the alleys were de-

signed freely, taking into account the system of contour

lines adding the features of a landscape park to the layout.

The perspective sketch which was often used by Allinger

shows a fragment of a forest with freely arranged urns on

pedestals (Urnenhain) (Fig. 8).

The following conclusions can be drawn from the analysis

of the spatial solutions of the cemeteries designed by Gus-

WDY$OOLQJHUVPDOOHUGHVLJQVRQÀDWDUHDVDUHPRVWO\UHJXODU

geometrical layouts with symmetrical elements, axes, cir-

cular and semi-circular squares, and meticulously designed

and maintained plants and landscape structures (Luisenstadt-

Berlin; 1923). On the areas with more varied landscape,

Allinger designed layouts which would follow the system of

contour lines and slopes of the terrain with less formal fea-

WXUHV %ROHVáDZLHF  ZKLFK FRXOG VRPHWLPHV DVVXPH

the form of landscape parks (Gdynia; 1943). Although the

layouts of some cemeteries demonstrate monumental fea-

tures, Allinger divides the sections with graves by variously

composed green areas, alleys with cosy niches, creating inti-

mate places favorable for meditation.

7KHOD\RXWRIWKHFHPHWHU\LQ2SROH3yáZLHĞ

At the beginning of the 19

century, the burials in

Opole were carried out on small cemeteries located around

churches and monasteries in the Old Town (6WDUH0LDVWR).

Surrounded by the city buildings, they had a limited area

DQG VOLP SRVVLELOLWLHV IRU GHYHORSPHQW 2QH RI WKH ¿UVW

decisions of the authorities in Opole – the new seat of re-

gency – was to establish in 1817 the municipal cemetery

on the west side of the Odra River, in the Odra Suburb

(3U]HGPLHĞFLH2GU]DĔVNLH). In the 19

century, the area of

the cemetery was extended twofold, and in 1917–1920 its

area was extended for the last time to cover about 7 ha

. In

the 1920s, a decision was made to build a new, municipal

cemetery to be located on a hill on the left bank of the

2GUD 5LYHU EHKLQG WKH YLOODJH RI3yáZLHĞ Halbendorf),

which was then still outside the administrative limits of

the city

. A small part of the area was occupied by the lo-

FDOFHPHWHU\RIWKHYLOODJHRI3yáZLHĞHVWDEOLVKHGLQWKH

century which still exists today. Gustav Allinger was

commissioned to design the layout of the new necropolis

in Opole [1].

The author of the article found three perspective sketch-

HVRIWKHOD\RXWRIWKHFHPHWHU\LQ2SROH3yáZLHĞGHVLJQHG

by Gustav Allinger in the collections of the Museum of Ar-

chitecture at the Technical University of Berlin. They are

a bird’s eye views of the layout with the main poplar alley

and a square with the buildings of the cemetery chapel. The

plan of the cemetery with notes, signed by Allinger and dat-

ed September 1928, was published in the book titled Neu-

bauten in Oppeln in 1929 [6]. The search conducted by the

author of the Public Archives in Opole included the follow-

LQJJURXSVRI¿OHV¿OHVRIWKH2SROH5HJHQF\'LYLVLRQ,,

&KXUFKHVDQG6FKRROVDQG5HJHQF\&DUWRJUDSK\7KH¿OHV

ZKLFKZHUHSUHVHUYHGLQWKH¿UVWJURXSUHJDUGHGWKHSUHSD-

ration for the construction of the cemetery in 1926–1929

and the rules of the cemeteries in Opole ()ULHGKRIVRUGQXQJ

der Stadt Oppeln) from 1930. Unfortunately, no design

documentation of the new municipal cemetery was found

The rules of the cemeteries of the city of Opole from 1929 include

a provision on suspension of sale of burial plots on the cemetery at

:URFáDZVND6WDIWHU$SULO,QIDFWWKHFHPHWHU\RSHUDWHGXQWLO

when the burials of the deceased stopped.

7KHYLOODJHVRI3yáZLHĞDQGQHDUE\6]F]HSDQRZLFHZHUHLQFRUSR-

rated to Opole in 1936.

Fig. 7. Perspective drawing of a bird’s eye view of the layout of the cem-

HWHU\LQ(OEOąJ±$UFKLWHNWXUPXVHXP78%HUOLQ,QY1U*$

133,013)

,O5\VXQHNSHUVSHNW\ZLF]Q\]ORWXSWDNDSODQXFPHQWDU]DZ(OEOąJX

±$UFKLWHNWXUPXVHXP78%HUOLQ,QY1U*$

Fig. 8. Perspective drawing of a fragment of the forest cemetery

(Urhnenhain) in Gdynia, 1943 (Architekturmuseum TU Berlin,

,QY1U*$

,O5\VXQHNSHUVSHNW\ZLF]Q\IUDJPHQWXFPHQWDU]DOHĞQHJR

(Urhnenhain) w Gdyni, 1943 (Architekturmuseum TU Berlin,

,QY1U*$

58 Monika Ewa Adamska

in the second group. The cartographic records from before

World War II include the layout of the cemetery on the plan

of Opole from 1938 (Pharus – Plan von Oppeln) on a scale

of 1:10000 and on a topographic map of Opole from 1941

on a scale of 1:25000

(Fig. 9).

The new municipal cemetery designed by Gustav

Allinger is an elongated, geometrical layout of the area of

about 20 ha. based on straight lines and concentric circles,

¿QHO\LQFRUSRUDWHGZLWKLQWKHH[LVWLQJWHUUDLQDQGFRQWRXU

OLQHV)LJ7KHOD\RXWIHDWXUHVWKHPDLQD[LVJRLQJ

along the ridge of the hill to the funerary chapel building in

the north-west part and a circular square with a chapel or a

bell tower in the south-east part. The middle section of the

cemetery is composed of rectangular burial plots designed

on a checkered layout of alleys enclosed by two semicir-

cular patterns of concentric and radial alleys; one bigger

– with a funerary chapel and the other smaller – with that

circular square. From the south-east, a driveway alley with

Lombardy black poplars was designed perpendicular to

the main alley, going up the hill from the circular entrance

square to the funerary chapel located at its end. In the de-

signed layout of the cemetery, Gustav Allinger indicated the

location of a garden center, nursery, columbarium, adminis-

tration and services buildings (Fig. 10). The green areas of

the cemetery included primarily the trees and bushes plant-

HGDORQJWKHPDLODOOH\VYLVLEOHRQWKHD[RQRPHWULFVNHWFK

from a bird’s eye view (Fig. 11). By the funerary chapel

LQ D FXELF IRUP FDSSHG ZLWK D ÀDWWHQHG GRPH WKHUH LV

DFRPSOH[RIEXLOGLQJV PRUJXH URRPVIRUFOHULFVSK\-

VLFLDQVDGPLQLVWUDWLRQDQGRWKHUDX[LOLDU\VWUXFWXUHV GH-

signed on a plan similar to the letter “L”. Furthermore,

$OOLQJHULQGLFDWHGWKHEXULDOSORWVWREHXVHG¿UVWDQGWKH

plots for graves for adults and children. On both sides of the

The spatial composition of the cemetery presented on the plan of

the city of Opole from 1938 differs in its south-east part from the origi-

nal layout; the topographic map, which is a more reliable source, shows

the fragment of the layout completed before the war which is substan-

tially consistent with Allinger’s design.

PDLQDOOH\WKHOD\RXWD[LVKHGHVLJQHGSORWVIRUEXULDORI

distinguished persons.

The new layout was commented on in the publication

regarding Opole from the 1920s; Johann Schmidt de-

VFULEHGWKHQHZ PXQLFLSDO FHPHWHU\ LQ3yáZLHĞLQNeu-

bauten in Oppeln as a regular, green layout perfectly in-

corporated into the assigned area [6].

Fig. 10. Plan of the layout of the municipal cemetery in Opole

3yáZLHĞ2SROH1RWHVPDLQGULYHZD\DOOH\ZLWKFROXPQ

form Lombardy black poplars, 2. circular entrance square with

administration and services buildings, 3. garden center with nursery,

PDLQZDWHURXWOHWIXQHUDU\FKDSHOZLWKDX[LOLDU\EXLOGLQJV

6. yard, 7. chapel or bell tower, 8. columbarium, 9. 19

-century, local

FHPHWHU\LQWKHYLOODJHRI3yáZLHĞ5HSURGXFWLRQIURP1HXEDXWHQLQ

Oppeln, mit einer Einleitung von Stadtbaurat Dipl. Ing. Schmidt,

Berlin, F.E. Hübsch, 1929, p. 20)

,O3ODQ]DáRĪHQLDXUEDQLVW\F]QHJRNRPXQDOQHJRFPHQWDU]D

Z2SROX3yáZVL2SROH2EMDĞQLHQLDJáyZQDDOHMDGRMD]GRZD

]NROXPQRZ\PLWRSRODPLZáRVNLPLRNUąJá\SODFZHMĞFLRZ\

]EXG\QNDPLDGPLQLVWUDF\MQ\PLLXVáXJRZ\PL]DNáDGRJURGQLF]\

]HV]NyáNąJáyZQHXMĊFLHZRG\NDSOLFDSRJU]HERZD

]WRZDU]\V]ąF\PL]DEXGRZDQLDPLG]LHG]LQLHFJRVSRGDUF]\

7. kaplica albo dzwonnica, 8. teren kolumbarium, 9. XIX-wieczny,

JPLQQ\FPHQWDU]ZVL3yáZLHĞ5HSU]1HXEDXWHQLQ2SSHOQPLWHLQHU

Einleitung von Stadtbaurat Dipl. Ing. Schmidt, Berlin, F.E. Hübsch,

1929, s. 20)

Fig. 11. Perspective drawing of a bird’s eye view of the layout of the

PXQLFLSDOFHPHWHU\LQ2SROH3yáZLHĞ$UFKLWHNWXUPXVHXP78

%HUOLQ,QY1U*$

,O5\VXQHNSHUVSHNW\ZLF]Q\]ORWXSWDND]DáRĪHQLDFPHQWDU]D

NRPXQDOQHJRZ2SROX3yáZVL$UFKLWHNWXUPXVHXP78%HUOLQ

,QY1U*$

Fig. 9. Fragment of the topographic map of Opole with partly com-

SOHWHGGHVLJQRIWKHPXQLFLSDOFHPHWHU\LQ2SROH3yáZLHĞ

(Silesian Library, Katowice, file no. M 3070/368 IV)

,O)UDJPHQWPDS\WRSRJUDILF]QHM2SROD]H]UHDOL]RZDQ\P

F]ĊĞFLRZR]DáRĪHQLHPNRPXQDOQHJRFPHQWDU]DZ2SROX3yáZVL

%LEOLRWHNDĝOąVND.DWRZLFHV\JQ0,9

 7KHOD\RXWRIWKHPXQLFLSDOFHPHWHU\LQ2SROH3yáZLHĞLQ*XVWDY$OOLQJHU’VSURMHFWV 59

3UHZDUFRQVWUXFWLRQRIWKHFHPHWHU\LQ2SROH3yáZLHĞ

and its postwar extensions

The municipal cemetery was opened on March 15, 1931

[5]. The topographic map of Opole from 1941 presents

the north-west part of the cemetery of the area of about

14 ha. completed at that time (Fig. 9). The composition and

functional axis of the cemetery was the main driveway al-

ley with the column-form Lombardy black poplars planted

as designed on its sides, going up the hill from the semi-

circular entrance square to the square with the chapel which

was a spatial landmark at the end of the alley (Fig. 12). On

the elongated composition axis of the layout, perpendicular

to the driveway alley, a semi-circular system of concentric

alleys on the north-west side of the square with the chapel

and a small fragment of the main alley of that axis with the

burial plots for distinguished persons on its south-east side

were completed before World War II (Fig. 9, 10).

The project of the chapel with its auxiliary buildings

ZDV GHYHORSHG LQ WKH 0XQLFLSDO &RQVWUXFWLRQ 2I¿FH

(Stadtbauamt) in Opole. Finally, the chapel, despite be-

LQJORFDWHGLQWKHSODFHVSHFL¿HGE\$OOLQJHUDQGKDYLQJ

the building volume similar to the original concept, was

GHVLJQHG RQ D *UHHN FURVV SODQ DQG FRYHUHG ZLWK D ÀDW

roof. The construction of the chapel’s auxiliary build-

ings was reduced to only one wing connected to the cha-

pel. The whole chapel building is simple in form and its

spatial design is typical of the interbellum architecture.

$VPDOOURPDQWLFVWUXFWXUHZDVEXLOWLQWKHSUHZDUSHULRG

near the main alley on a circular plan with a conical roof;

unfortunately at present it is not used and its condition is

bad

. What has survived from the prewar construction of

the cemetery is the layout of its main alleys, some of the

squares, terrain steps, retaining walls, and stone marks of

some of the burial plots. The division of the burial plots

into further smaller sections which developed already af-

ter World War II along with the growth of the number of

the graves in the cemetery does not follow the regular pat-

WHUQRI*XVWDY$OOLQJHU¶VGHVLJQ

The green areas with trees designed in the prewar sec-

tion of the cemetery, both along the alleys and inside the

burial plots which add some park feature to it are worth

mentioning

$SDUW IURP WKH PDLQ SRSODU DOOH\ WKH DO-

leys with trees which should be noted include a slightly

narrower and shaded linden alley on its south-east side,

going parallel to it. Further in that direction, the prewar

section of the cemetery is enclosed by a row of Lom-

EDUG\EODFNSRSODUWUHHV$FFRUGLQJWRWKHVXUYH\IURP

1970, about 3.5 thousand of deciduous and coniferous

trees grew in that part of the necropolis in Opole, repre-

senting over 50 species and varieties, including a number

of interesting dendrological specimens. The most numer-

ous species included the following: linden, maple, ash,

robinia, spruce, poplar and single specimens of oaks of

monumental sizes [5].

$PRQJ WKH JUDYHV PRVW RI ZKLFK FRPH IURP WKH

postwar period, the author found, about 25 graves from

± IURP WKH ¿UVW SHULRG RI RSHUDWLRQV RI WKH

new cemetery

. These graves were found in different

places located primarily in the burial plots assigned in

WKHSURMHFWE\$OOLQJHUWREHXVHG¿UVWRQWKHQRUWKZHVW

side of the driveway alley and in a smaller number on its

south-east side.

With a few exceptions, most of them are earthen

graves, mainly single, rarely family ones. The character-

istic features of that group of graves include their simple

forms, harmonious proportions, and sparing means of ar-

tistic expression. Mostly concrete grave frames are com-

bined with stone upright elements in the cubic form or

more often with a wavy line of the gravestone (Fig. 13).

The epitaphs in German were engraved in stone, some

RI WKHP ZLWK WKH QHR*RWKLF OHWWHULQJ GLI¿FXOW WR UHDG

Some gravestones have geometric ornaments or reliefs.

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form to a bell tower, however, it is located as an architectural landmark

of a circular square which was not completed.

$SDUW IURP WKH VSHFLHV RI EODFN SRSODU XVHG LQ WKH SHUVSHFWLYH

sketch of the main driveway alley (Pappelallee), the partially preserved

SURMHFW E\ $OOLQJHU XQIRUWXQDWHO\ GRHV QRW SURYLGH DQ\ LQIRUPDWLRQ

about the plants included in the design.

The total number of graves provided in the card of the cemetery

developed in 1984 is about 200 from that period located on that cemetery [5].

)LJ0DLQGULYHZD\DOOH\RIWKHFHPHWHU\LQ2SROH3yáZLHĞZLWK

FROXPQIRUP/RPEDUG\EODFNSRSODUVSKRWR0($GDPVND

,O*áyZQDDOHMDGRMD]GRZDFPHQWDU]DZ2SROX3yáZVL

]NROXPQRZ\PLWRSRODPLZáRVNLPLIRW0($GDPVND

60 Monika Ewa Adamska

Unfortunately, some modern graves in the area of the his-

toric layout seem to be randomly located with no connection

to the original layout of the alleys, some of them blocking

them. Also the location of the commemorative plaques by the

Golgotha of the East (Golgota Wschodu) near the square with

the chapel does not demonstrate any features of planning on

an urban scale, causing unrest and chaos.

After World War II, in the 1970s and 1980s, the cemetery

was extended to the east, bordering on the residential areas

with low-rise buildings, comprising an estimated area of about

22 ha. in the shape of a square with its south-east corner cut

off. The main axis of the layout was then extended according

to the design by Allinger, however, without a semi-circular

end. Despite being rectangular, the layout of the new alleys

did not correspond to the divisions designed before the war,

and there are no tall plants planned in that section of the cem-

etery. In the 1990s and at the beginning of the 21

century, the

cemetery was further extended to the north behind Cmentarna

Street, separating the new part of the cemetery from its main

part without any composition connection with it. At the be-

ginning of the 21

FHQWXU\LWZDVGHFLGHGWRPDNHWKH¿QDO

extension of the cemetery, this time to the south and west to

include the area irregular in shape of about 4 ha. That invest-

ment will be executed in 2012, and consequently the area of

the largest necropolis in Opole will grow to about 42 ha., with

mainly industrial and residential areas around it.

Although Gustav Allinger assigned in his project of the

cemetery in Opole a location for the columbarium, two

such structures were built only in 2009 and 2011. Both

of them, cubic in form, are located by the square with the

funerary chapel.

The issue which since 2010 has been the subject of

social discussions and caused a lot of controversy in con-

QHFWLRQZLWKWKHPXQLFLSDOFHPHWHU\LQ2SROH3yáZLHĞLV

the planned construction of the south ring road of Opole

that is supposed to go across the two furthermost sections

RIWKHFHPHWHU\DGMRLQLQJ=ERĪRZD6WUHHWDQGERUGHULQJ

on the semicircular part of the historic layout. Construct-

LQJ WKH ULQJ URDG ZRXOG ¿UVW RI DOO UHVXOW LQ H[KXPLQJ

a group of graves and depriving the historic layout of

the green buffer zone. Unfortunately, the layout of the

cemetery designed by Gustav Allinger is not listed in the

, and no local

development plan is going to be developed for this area

which would impose the protection of the historic layout

of the necropolis with its park features.

Only the graves of the victims of the Nazi terror, Polish Army

soldiers, and the alley of the distinguished persons located on the area of

WKHPXQLFLSDOFHPHWHU\LQ2SROH3yáZLHĞZHUHOLVWHGLQWKH5HJLVWHURI

Historic Monuments in 1987.

Fig. 13. Earthen grave of Angelika Bork, née Frydrychowicz (1890–

1937) with a stone epitaph and inscription in the neo-Gothic letter-

ing, 2011 (photo: M.E. Adamska)

Il. 13. Grób ziemny Angeliki Bork z domu Frydrychowicz (1890–

]NDPLHQQąSá\WąHSLWDILMQąLLQVNU\SFMDPLZ\NRQDQ\PL

F]FLRQNąQHRJRW\FNąIRW0($GDPVND

Conclusions

The review of Gustav Allinger’s works, the author of

WKH OD\RXW RI WKH PXQLFLSDO FHPHWHU\ LQ 2SROH 3yáZLHĞ

provided in this paper mainly on the basis of its preserved

designs, presents the formal and functional diversity of

his projects completed primarily in Germany as well as in

contemporary Poland over the course of almost 60 years –

from the 1920s to the 1970s

The author did not analyze the scope of completion of Gustav

Allinger’s projects or the condition of completed projects, except for

single records (e.g. the cemeteries in Dortmund and Opole). The scope

of research formulated this way could be the subject of a separate study.

$OOLQJHU¶VZRUNVLQFOXGHDVLJQL¿FDQWJURXSRISURMHFWVRI

small private gardens which demonstrate the development of

his style at all stages of his professional career. The project of

a garden located in Opole which was found in the Museum

of Architecture exists only in the form of a graphic record…

The development of garden art and its new stylistic

WUHQGV ZDV JUHDWO\ LQÀXHQFHG E\ WKH RUJDQL]DWLRQ DQG

projects of garden exhibitions, especially those in the

1920s, many of which were directed by Gustav Allinger

and with a lot of creative involvement on his part.

Allinger’s designs of cemeteries are a relatively small

group among all of his projects. Most of their spatial com-

SRVLWLRQVFDQEHFODVVL¿HGDVUHJXODUDQGJHRPHWULFDOOD\-

 7KHOD\RXWRIWKHPXQLFLSDOFHPHWHU\LQ2SROH3yáZLHĞLQ*XVWDY$OOLQJHU’s projects 61

outs; a few of the layouts demonstrate less formal landscape

features; some of them employ both trends at the same

time. The repetitive composition elements include axes,

squares in circular or semi-circular shape, poplar or linden

alleys, hedgerows with cypresses and thujas. Such land-

scape structures as fountains, sculptures, circular bell tow-

ers, terrain steps and retaining walls are important features

of those layouts designed in harmony with green areas.

7KHVSDWLDOGHVLJQRIWKHQHFURSROLVLQ2SROH3yáZLHĞ

which is probably the only partly completed project from

among four cemeteries designed by Gustav Allinger in

the territory of contemporary Poland, demonstrate such

distinctive features typical of the cemeteries designed by

him as geometrical layouts of alleys, monumental axes

enclosed by landmarks, plants along alleys, circular or

semi-circular squares and walkways. Although the spa-

tial layout of the cemetery designed by Allinger was only

partly completed before World War II and the postwar ex-

tensions – already in Poland – did not follow his original

design, the preserved historic composition with park fea-

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Opole, testifying to the continuity of its development as

well as the perfect example of solutions characteristic of

the architecture of green areas from the 1920s.

The period of twenty years between the wars was the

period of intense spatial development of Opole and nu-

merous other Silesian cities in which many German archi-

tects were involved, creating the contemporary image of

those cities. Gustav Allinger also contributed to that pro-

cess, and his person as well as professional achievements,

though less famous, deserve attention and appreciation,

and his works deserve care and protection.

References

[1] Adamska M., :\EUDQHDVSHNW\UR]ZRMXSU]HVWU]HQQHJR2SRODZODWDFK

1816–1945 GRFWRUDO GLVVHUWDWLRQ:URFáDZ 8QLYHUVLW\RI 7HFKQRORJ\

:URFáDZSS±

>@%LĔNRZVND,*DUGHQSU]\GRPX0RGHORZHUR]ZLą]DQLDQDZ\VWD-

ZDFKĞOąVNLFKZ;,;L Z SLHUZV]HM SRáRZLH ;; VWXOHFLD, “Rocznik

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[3] Czarnecki W., 3ODQRZDQLHPLDVWLRVLHGOL.UDMREUD]LWHUHQ\]LHOR-

ne9RO3:1:DUV]DZD±3R]QDĔSS±

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garden architecture in the 20

century and their impact upon the

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Vol. 9, No. 2, pp. 53–70.

[5] The cards of the cemeteries of the city of Opole. Survey of the deve-

lopment (conducted for the Municipal Office in Opole), the Polish

Association of Research and Applied Agriculture Specialist (SITR),

The Regional Cemter of Expertise and Agricultural Consulting, team

OHDGHU)&]\ĪRZVNL(QJ2SROHSS±±&DUG1R

[6] Neubauten in Oppeln, mit einer Einleitung vonStadtbaurat Dipl. Ing.

Schmidt, Berlin, F.E. Hübsch, 1929, p. IX.

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Band 1: A-F. Dearborn, Routledge, Chicago 2001, pp. 29–32.

[8] Wagner T., =DEU]H 1LH]QDQH REOLF]D ĞOąVNLHM DUFKLWHNWXU\, Vol. 1,

Silesia Heritage Center, Katowice 2003, pp. 67–69.

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Gustav Allinger, autor projektu cmentarza komunalnego w Opolu

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Translated by

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Key words: 20

century landscape architecture, cemetery, Opole, Gustav

Allinger

6áRZDNOXF]RZH architektura krajobrazu XX wieku, cmentarz, Opole,

Gustav Allinger

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