The directions of evolution of church architecture in the background of the cultural landscape of seaside area of Western Pomerania

The seaside area of Western Pomerania is the perfect

example of the directions of evolution of church architec-

ture after World War II in villages and small towns

. This

paper presents examples of church buildings from differ-

HQWKLVWRULFDOSHULRGVLQFOXGLQJWKH¿UVWFKXUFKHVWKDWDS-

peared in this area in the Romanesque period to the Neo-

*RWKLFH[DPSOHVIURPWKH¿UVWKDOIRIWKH

century that

provide solid proof of the existing cultural heritage from

that area which was seen by new settlers, to the examples

of new church architecture from the second half of the



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century. Western

Pomerania comprises the area between the sea line north

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mouth of the Odra River in the West and the border with

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Western Pomerania comprises the area stretching from the

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The directions of evolution of church architecture in the background of

the cultural landscape of seaside area of Western Pomerania

Introduction

* Faculty of Civil Engineering and Architecture, West Pomeranian

University of Technology.

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churches and conversions of buildings for religious purposes) over the

period of sixty years alone on the area of four seaside districts of the

6]F]HFLĔVNR.DPLHĔVND&XULD

The Origins of the Church in Western Pomerania



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more simple choir end) developed as a result of adaptation of Saxon pat-

terns and are common in the area of Western Pomerania and north-east

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the architecture of granite churches in Pomerania shows some construc-

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architecture of town churches shows the features of basilicas and the cru-

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&KULVWLDQLW\WKDWJUHZIURPDERXW

century in Eu-

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at christianization of this area were made during the reign

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parishes in Pomerania. The origins of sacred architecture

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Otto’s missions and undoubtedly followed the patterns of

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The church architecture fully developed in the Gothic pe-

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in villages



that have survived until today are single-space

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lar choirs or with no choirs, often with an articulated tower

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cance such as parish churches, collegiate churches or ca-

thedrals which were built in cities and had more elaborate

2012

No. 2(32)

DOI: 10.5277/arc120211

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forms with several naves on the plan of the Latin cross or

as basilicas. The ecclesiastical buildings were constructed

with granite which is popular in that area in the form of

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which appeared in Europe caused the development of a new

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in the area of Western Pomerania which developed in that

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century to the middle

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the prevailing and universally common building material

for that current. Those materials were combined only in the

case of extensions and remodeling granite buildings. The

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lages and small towns are most often buildings with halls

and special regional features and especially village parish

churches which are simple halls with no choirs or halls with

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quisite details. Such an intensive expansion that lasted at

the beginning and in the middle stage of Gothic, when new

parishes were established and churches were built, slowed

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century, however, what was cre-

ated at that time and the earlier Romanesque period left a

permanent imprint in the cultural landscape, becoming the

source of tradition in that area.

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The history of the church from Gothic to Neo-Gothic

At the close of the Middle Ages, the new church build-

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sacred architecture included remodelings and annexing

towers, porches, and sacristies to the existing buildings as

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Pomerania. The appearance of Martin Luther, the inter-

nal church crisis, and the collapse of the whole essence of

Catholic faith triggered reformation and divisions inside

the church. The Pomeranian ordination regulations which

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many centuries dramatically changed the further history of

church architecture created over the earlier centuries. A lot

of church buildings and especially monasteries were trans-

formed and converted to serve other purposes, whereas the

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respect of their main body structure. The austere Protes-

tantism introduced greater changes inside the church build-

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near altars. Renaissance, Baroque and Neoclassicism all

contributed to such an intensive growth of church archi-

tecture in this area that occurred in the preceding periods.

Few new buildings and partly extensions of the existing

churches, which usually included adding towers or pres-

byteries as well as reconstructions of damaged buildings,

prove only that new architectural styles came to Western

Pomerania. However, the small number and scale of the

new church buildings did not produce the characteristic

features of those periods in the area which was surveyed.

Before the Neo-Romanesque and Neo-Gothic buildings

ZHUHFRQVWUXFWHGLQYLOODJHVIURPWKH

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century,

a special form of timber frame architecture developed

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cal periods, and the economic simplicity as well as easy

construction contributed to the popularity of that architec-

ture in the villages and small towns in that region. When

WKHFKXUFKHVZHUHEXLOWWKDWDUHDZDVXQGHUWKHMXULVGLF-

tion of the Protestant Church and it was only after World

War II that the churches were adopted for the purposes of

the Catholic Church. Most of these buildings have simple

SODQVWKH\DUHXVXDOO\KDOOFKXUFKHVZLWKHDVWZHVWRULHQWD-

tion covered by steep double-pitched roofs, without towers

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was most often made of wood capped with a spire and the

timber frame main structure with clear stages. At present

the common characteristic feature of that architecture is the

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and the special

function of the tower as the most prominent and sculptured

element of the whole design of the church which was most

often located on a little hill usually in the village center.

The directions of evolution of church architecture in the background of the cultural landscape of seaside area of Western Pomerania 71

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Intensive growth of church architecture of the 20

century

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The directions of evolution of church architecture in the background of the cultural landscape of seaside area of Western Pomerania 73

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mentioned in this paper are only some examples of the

new church architecture that have been built in Pomera-

nia over the last sixty years. Their great variety in all cit-

LHVDQGYLOODJHVWHVWL¿HVWRWKHODFNRIFRPPRQGLUHFWLRQ

of the development of church forms and their frequently

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historical forms testify to the negligence of the existing

cultural landscape.

Summary

The new churches which were built in the second half

RIWKH

DQGDWWKHEHJLQQLQJRIWKH

century on many

occasions deviated with their forms from the existing cul-

tural landscape of the urban or rural fabric in which they

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Through their innovative forms they often try to force their

distinctness from the space surrounding them and conse-

quently they provide a glaring cultural dissonance which

is even greater because there are no historical connections

that would testify to the continuation of certain traditions

and canons of church architecture of previous ages. Un-

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the cultural continuity of those places and it is one of sig-

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of the changing landscape of that area.

New churches still appear in Western Pomerania and

WKH³IUHHGRPLQH[SUHVVLQJWKHLUFUHDWLYHLGHDV´ZLWKWKH

respect for the whole history of church architecture, the

church’s acceptance of new directions and search in ar-

chitecture and art still can produce valuable structures in

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The directions of evolution of church architecture in the background of the cultural landscape of seaside area of Western Pomerania

Dorota Janisio-Pawłowska

doi:10.5277/arc120211

Abstract