Castle of the Pomeranian Dukes in Szczecin
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ISSN: 2753-4146 (Online)
Type of the Paper (Article)
Castle of the Pomeranian Dukes in Szczecin
— reconstruction of a renaissance residence after 1945
and contemporary transformation of a cultural centre
Piotr Fiuk*
1
West Pomeranian University of Technology in Szczecin, al. Piastów 17, 70-310 Szczecin,
Poland, Faculty of Architecture, Department of History and Theory of Architecture;
piotr.fiuk@zut.edu.pl
Corresponding Author: piotr.fiuk@zut.edu.pl, Tel.: (+48 502-443-951)
Received date: 03/03/2023; Accepted date: 24/03/2023 ; Published date: 28/03/2023
Abstract: After 1945, the representative residence of the Pomeranian Dukes was
reconstructed from the period of the building's splendour - the late Gothic south wing
and the Renaissance architecture of the wings encompassing the courtyards - based
on a comprehensive analysis of archival cartographic and iconographic material.
Development of the designs for the reconstruction of the castle with the reconstruction
of the artistically valuable fragments, multifaceted inventory and scientific research was
carried out. Successive versions of the functional layout were developed and adapted
to the changing requirements and decisions of the authorities and institutions
supervising the restoration of the historic appearance of the most important building in
Western Pomerania. Szczecin was the unofficial capital of the Duchy of Pomerania;
the extinction of the Gryfit dynasty took place in 1637. The plans for the rebuilding of
the castle did not envisage reflecting the successive stages of rebuilding the ducal
residence that occurred after the loss of independence of Pomerania and after the
administration of Szczecin was taken over by the Kingdoms of Sweden (mid-17th
century) and Prussia (early 18th century). During the period when Szczecin belonged
to the Scandinavian dynasty, plans were made to rebuild the castle rebuilt the castle.
The Prussian authorities undertook extensive construction work to transform the
former ducal residence into a building adapted, among other things, to the needs of
the new administration and garrison (the dilapidated Renaissance forms were replaced
with mansard roofs and schematic Baroque decorations, characteristic of the Friedrich
period). Fragments of the grandiose decorations were demolished, radically
transforming the castle's architecture from the period of the Pomeranian Duchy,
reflecting the tradition of the Slavic Griffin dynasty.
Keywords: Rebuilding the castle, Castle of the Pomeranian Dukes in Szczecin, Renaissance
residence, Cultural Heritage.
1. Introduction
During the reconstruction of the Pomeranian Dukes' Castle in Szczecin, carried out since
1946, the most valuable elements from the residence's heyday were reconstructed:
Renaissance attics, cloisters, Mannerist gables and tower helmets. The decision was made to
Journal of Modern Technologies for Cultural Heritage Preservation 2023,2, 1. www.jmtchpjournal.com
DOI: 10.33687/jmtchp.002.01.0016
ISSN: 2753-4146 (Online)
restore the elaborate structure of the monumental edifice and the homogeneous architectural
composition based on archival materials containing the presumed appearance of the castle
from the heyday of the most important seat of the House of Griffins. Based on the available
archival materials, the construction of the south wing was prepared, which was intended to
house an auditorium with technical facilities. The extensive volume of the castle was designed
as a Provincial House of Culture with a complex functional layout. Preparatory work started in
1946, and the whole project was planned to be completed in six stages - by 1960. The complex
reconstruction process officially ended in 1982, and the final finishing touches were made to
the historical details and interior design over the next five years. After 1989, transformations
were carried out on selected fragments of the representative building, resulting, among other
things, from the necessary technical modernisation and the restoration of original decorative
elements modelled on archival records. Partial changes were made to the functional layout of
the castle, which now functions as the Cultural Institution of the West Pomerania Voivodeship
Local Government.
"Where there are accurate messages, iconography and history, it is difficult to take a
creative approach, because then we would have created something distinct after several
creative preservations" [1]. In Szczecin after 1945, the body of the Castle of the Pomeranian
Dukes was rebuilt, rising - until its destruction in the last months of World War II - on the high
Oder embankment and exposed from the north-east, against the backdrop of the Old Town
buildings. The history of Szczecin1 is a complex process of changing state systems; the castle
hill and the suburb were associated with the Lusatian culture, the Slavic stronghold, the rule
of the Polanian state (10th-11th c.), Danish domination (11th c.), the Duchy of Pomerania
under the rule of the Slavic Griffins (12th-17th c.), the Kingdom of Sweden (17th-18th c.), the
Kingdom of Prussia (18th-19th c.), the Russian siege (1756-1763), the French occupation
(1806-1813), the Prussian and German states, the Weimar Republic, the Third Reich (1871-
1945) and the Polish state after the end of the Second World War.
The Szczecin Castle bears witness to centuries of change, from the period of the wooden
castle ramparts, the medieval and renaissance expansion, the wartime destruction, the
planned conversion and rebuilding from the 17th/19th century, and the post-war reconstruction
as the most important building in the history of West Pomerania. In 1946, work began on
cleaning and protecting the ruins of the destroyed building. The opening of the rebuilt castle,
after many changes to the original concept of the hill and the monumental building, took place
in 1982.
1.1. Castle of the Pomeranian Dukes - the representative residence of the House of Griffins
The monumental scale of the building and its magnificent architectural composition, with
a partial openwork attic with late Gothic masquerade gables2 [2], developed in the form found
in Pomerania in the transition period between Gothic and Renaissance, and refined plastic
and sculptural decoration from the Renaissance and Mannerism (known from archival
iconographic sources) [3] reflected the high position of the Szczecin ducal court in terms of
achievements in building art and artistic culture, against the background of modern residences
in northern Europe3 (Fig. 1). The former seat of the independent dukes of Pomerania gained
1
Szczecin was the unofficial capital of the Duchy of Pomerania; the extinction of the Griffin dynasty occurred in
1637.
2
Phase IV of the Gothic extension, probably by Friedrich Nussdörfer, in: [26], pp. 1253.
3
Within the borders of the Polish state, the rank of Szczecin Castle is comparable to the royal residences in
Krakow and Warsaw.
Journal of Modern Technologies for Cultural Heritage Preservation 2023,2, 1. www.jmtchpjournal.com
DOI: 10.33687/jmtchp.002.01.0016
ISSN: 2753-4146 (Online)
its period of splendour after the reconstruction of the medieval complex initiated by Duke
Barnim XI in the second half of the 16th century (following the fire of 1551).
Figure 1. Szczecin. Castle of the Pomeranian Dukes. Etching and engraving with a magnificent
bird's-eye view, made in the workshop of Matthäus Merian in Frankfurt am Main according to a drawing
by the architect Carl Heinrich á Osten 1652 (multicoloured version) [39].
Journal of Modern Technologies for Cultural Heritage Preservation 2023,2, 1. www.jmtchpjournal.com
DOI: 10.33687/jmtchp.002.01.0016
ISSN: 2753-4146 (Online)
Figure 2. Szczecin, Castle of the Pomeranian Dukes. The south wing of the Great Courtyard has
a view of the north elevation with late Gothic masquerade gables. Drawing by Jan Joachim Zeuner
1674 (found at Skokloster Castle near Stockholm in 1972) [4].
The expansion of the castle was continued from 1574 by Duke John Frederick. The
magnificent architecture of the Renaissance residence was the work of artists and builders4
from the Apennine Peninsula5. At the beginning of the 17th century, Prince Philip II, who was
a connoisseur and collector of works of art, built the fifth wing, intended as an armoury, library
and museum6 - one of the very early exhibition spaces established in northern Europe - which
included the Crane Courtyard (named after the breeding of this species of bird, the term Mint
refers to the later function of the western part of the building during the Swedish and Prussian
administration).
1.2. Period of the Kingdom of Sweden
The loss of the independence of Pomerania as a result of the heirless death of Boguslaw
XIV in 1637 (the last duke of the Griffin dynasty died during the Thirty Years' War), following
the occupation of Szczecin by the Swedes in 1630, resulted in the decline of the residence,
the looting of works of art and the library collection; the extraordinary scale of the collected
works, which were taken to Stockholm and other Scandinavian centres, is shown in detailed
descriptions and inventories by Swedish officials. The Renaissance architecture of the ducal
residence remained unchanged during the Swedish administration. The planned rebuilding of
the castle into a magnificent seat for the Swedish governor-general, which was also the royal
4
"Perhaps they were Antoni Wilhelm and Wilhelm Zachariah, who, despite the conversion of their surnames to
sound German, were of Italian origin", in: [28, pp. 297].
5
Still disputed by historians is the authorship of the design of the 1575 Renaissance residence, also attributed to
Antonio Gugliermo,, in: [26, pp. 1254].
6
After the takeover of Stettin by the Brandenburg Electors of the Hohenzollern dynasty, the famous castle
collection was taken away.
Journal of Modern Technologies for Cultural Heritage Preservation 2023,2, 1. www.jmtchpjournal.com
DOI: 10.33687/jmtchp.002.01.0016
ISSN: 2753-4146 (Online)
residence, whose symmetrically-planned wings, designed in Baroque forms, opened up the
courtyard towards the Oder, was not realised [5].
Figure 3. Szczecin. Pomeranian Dukes' Castle. Barnim XI Hall. A 16th-century beamed ceiling
with decorative pine-beam, originally on the ground floor of the great court chamber of the south wing;
moved to the upper storey during reconstruction in the 1870s (housing, among other things, the archive
of the Prussian administration). The imposing wooden structure was burnt down in a fire in 1944.
Photograph from the 1830s. [37].
1.3. Period of Prussian and German administration
The unfortunate change to preserve the economic and artistic achievements of the
Pomeranian Duchy, which lost its independence in 1637, started a period of degradation of
the former ducal residence. The location of new functions: the arsenal, administration and
government offices, as well as living quarters7, involved considerable reconstruction of the
representative building, leading to the obliteration of the appearance of the ducal residence
(Fig. 4). The mansard roofs were built after the demolition of the magnificent gables with
masquerade decoration, and in subsequent stages, the motifs of the attic (fragments) and
cloisters, characteristic of the Renaissance period, were removed8.
Changes in the function of the building at the end of the 19th century, involving the
installation of court and archive rooms, resulted in the reconstruction of the northern part of
the building into a three-tier layout (convenient for offices) and the superstructure of the fourth
7
The guest chambers were arranged for the temporary stay of the royal family.
8
The sumptuous late-Gothic gables of the south wing and the modern decoration, which distinguish the former
ducal residence, are preserved in an engraving from M. Merian's workshop from 1652, on which the oldest
versions of the plans for rebuilding Szczecin Castle were based.
Journal of Modern Technologies for Cultural Heritage Preservation 2023,2, 1. www.jmtchpjournal.com
DOI: 10.33687/jmtchp.002.01.0016ISSN: 2753-4146 (Online)
storey (intended for the storage of works of art). A neo-Gothic octagonal tower was added to
the north-eastern corner - a viewing pavilion and a two-storey loggia staircase was built on the
northern façade. In the 1870s, the walls of the south wing were demolished above the ground
floor, and the Renaissance staircase in the Clock Tower and the wooden ceilings from the
16th century were taken down9 (Fig. 3) [6]. In the place of the mansard roof - the level of the
demolished Late Gothic gables - the fourth storey was built, in which a replica of the great hall
from the ground floor was arranged, with a second installation of a wooden ceiling with
decorative pine-beam; the facades of the superstructure were adapted to the modern
compositional divisions of the neighbouring eastern wing.
Figure 4. Szczecin, Castle of the Pomeranian Dukes. South wing with the mansard roof after
reconstruction during the Prussian administration, obliterating the grandiose late-Gothic and
Renaissance forms of the former ducal residence, 18th century (the cloisters were demolished in the
19th century), Painting by L. Most, 1828 [7].
The depreciation of the body of the castle took place in the 19th century, with the density
of buildings within the city garrison encompassed by the ring of fortifications; superstructure
tenement houses with multi-storey annexes were built directly next to the eastern wall of the
former ducal residence and in the area of the northern ravine, the former fortifications of the
castle and the buried ravine. The surrounding new and elevated buildings obscured the body
of the Szczecin castle from the water. During the period when Szczecin became part of the
Prussian state, radical transformations were made, depreciating the architectural splendour of
9
Wooden profile beam construction was used in the above-ground storeys to replace the vaults, collapsed after
the 1551 fire, in: [26, pp. 1254, 1256].
Journal of Modern Technologies for Cultural Heritage Preservation 2023,2, 1. www.jmtchpjournal.com
DOI: 10.33687/jmtchp.002.01.0016ISSN: 2753-4146 (Online)
the castle, which can be seen as a planned obliteration - by the new administration10 - of the
traces of the glory of the Griffin duchy11 [5, 8].
1.4. Destruction from the Second World War
The castle was destroyed in an Allied air bombardment on Aug 17, 194412. The fire
consumed the furnishings, collapsed ceilings and most of the vaults. When the ruined remains
were burnt down in 1945, only small fragments of the monumental building were preserved:
the bodies of the towers, the perimeter walls of the wings around the courtyards and the vaults
of the basement and cellars (Fig. 5). "Immediately after the cessation of hostilities, the people's
authorities turned their attention to this valuable monument of our culture in the Recovered
Territories. As early as 1946, work began to secure the building. Temporary roofs were put
over the whole structure, cracked parts of the walls and vaults were fixed, and research work
began. Archaeological investigations confirmed the existence of an early medieval settlement
here" - from the Slavic settlement of the river Oder stronghold.
Figure 5. Szczecin, Castle of the Pomeranian Dukes. The ruined former ducal residence and
townhouses on the north-west side, view from 1948 [9].
10
A similar process, involving the elimination of architectural remains from the period of the Pomeranian Duchy,
is evident in the current appearance of the castles of the House of Griffins in former Pomerania, rebuilt in the 18th
and 19th centuries. The residences of the ducal family, located after 1945 within Polish borders, were rebuilt,
restoring their appearance from the heyday of the Slavic dynasty, in: [10; 15, pp. 236-240].
11
The scale of architectural transformations, involving the annihilation of ancient cultures and religions carried
out since ancient times by victors and new administrators, also occurs today (on a different scale); it is an
unfortunate aspect of the history of the art of building and shaping space - independent of the development of
architectural thought and the protection of historic buildings, in: [2; 9].
12
Szczecin was an important industrial centre in the nineteenth/twentieth century, and during the Third Reich it
was an important military base - the bombing included an extensive factory zone located along the banks of the
Oder. The aim of the air raids was to weaken the morale of the German population, in the declining years of the
Second World War.
Journal of Modern Technologies for Cultural Heritage Preservation 2023,2, 1. www.jmtchpjournal.com
DOI: 10.33687/jmtchp.002.01.0016ISSN: 2753-4146 (Online)
2. Reconstruction after 1945.
The reconstruction of the Szczecin castle reflects the influence of ideological, political-
social and economic factors in the Western and Northern Territories after 1945, determining
the adoption of a conservation doctrine regarding ruined historic buildings and the restoration
(or contemporary development) of ruined old town layouts. In Szczecin and other cities that
were within the boundaries of the German state until 1945, the problem of territorial changes
of a national character had a significant impact on the work of conservation architects,
supported by historians and art experts [10]; the cultural context of alienation and identity of
the historical heritage (reflecting centuries of tradition and belonging to systems of different
states) was also an issue.
2.1. The artistic influence of late Gothic and Renaissance forms
During the reconstruction of the Pomeranian ducal residence, the influence of Polish
centres on the shaping of its modern architectural form was emphasised, which, according to
many post-war publications, would represent a transposition of Italian Renaissance solutions
to Pomerania - indirectly from the Vistula. The Szczecin residence was called after 1945.
"Castle of the Piasts" or the "Wawel of the North" [11]. It was emphasised that "(...) the gables
of the south wing, the arcaded arcades in the spacious courtyard, the light openwork finials of
the 4 towers, the crest of the rhythmic volutes of the Polish attic on the other wings, and finally,
beyond the reach of the castle courtyard to the west, the long tract of the three-storey mint
with light Renaissance gables, forming a long line of the roof - all this erected on a hill (...) truly
crowned the city, created a singular, majestic and painterly phenomenon. It could then be
associated with the royal Wawel Castle. (...) With the help of the unifying Polish attic on the 3
long tracts (except for the gable ends of the southern house), the architect Wilhelm Zacharias
achieved an optical unity of the blocks. He must have been no stranger to the solutions of the
Polish palaces of that time. The decorative elements at the windows and arcades indicate the
Italian artistic pedigree of the builder, although he travesties his prototypes as Italian masons
and sculptors did in Poland" [3, pp. 440-441].
The Szczecin Castle was one of the unique buildings in the Old Town area that were
included in the reconstruction programme following the destruction caused by World War II13.
The reconstruction of the historic buildings emphasised the Slavic roots of the castle and the
Gryfit dynasty and highlighted Szczecin's return to the most ancient periods in the history of
the riverside town [12]. The search for Slavic influences, identified with features of Polish
culture, influenced the decision for a reconstruction form from the modern period; without
emphasising elements from the Prussian reconstruction of the former ducal residence. "We
proceeded from the premise of extracting from the object all the valuable features and
architectural elements often destroyed and consciously neglected during Prussian rule, which
testify to the Slavic culture in the Pomeranian lands and its close ties with Poland" [13]. The
restoration of the castle, together with the rebuilding of the largely ruined Archcathedral
Basilica of St James the Apostle, was of the greatest interest to Szczecin's historians, art
historians, restorers, architects and residents. It was envisaged that "the rebuilt castle would
concentrate the cultural life of West Pomerania, with its architectural form documenting the
rich and glorious past of Slavic Pomerania, and as the main accent in the urban planning of
the old city, already visible from afar from ships arriving in the harbour, it would become a
symbol of our maritime reborn Szczecin" [13].
13
Also as a result of the post-war neglect and deliberate actions of the new administration with regard to Prussian
and German heritage, in: [7, pp. 115-120].
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DOI: 10.33687/jmtchp.002.01.0016ISSN: 2753-4146 (Online)
For representatives of state authorities and the local administration, it was "understandable
(...) that the rebuilding of the princely castle of the House of Griffins - Slavic rulers in
Pomerania, destroyed during the war and dominating the old urban space of Szczecin - grew
to become a symbol (...) of conservation activity" [13]. The invocation of the Slavic ancestry of
the Griffins, after Szczecin was taken under Polish administration after 1945, obliged them to
care for the heritage of their culture, obliterated during the period when the city was part of
Prussia and the German Reich. "Already, the initial preservation work and the research carried
out on that occasion made it possible to discover so many relics of high artistic and
conservation value within the castle walls that the urgent need to save them as a testimony to
the achievements of all-human culture ceased to raise any doubts. But this was not yet
tantamount to a decision to rebuild the very costly building. Urban planning arguments
contributed significantly to this decision in the end. The exposed position of the castle on a
high hill above the Oder, on the very edge of the Old Town, gave it exceptional compositional
conditions. In fact, it would have been unthinkable to rebuild the Old Town district leaving
behind even the most picturesque ruins" [14].
Late Gothic and Renaissance architecture from the period of the Pomeranian ducal
dynasty's development of the castle as a monumental residence was considered by the
conservation community to be appropriate for restoration during the architectural
reconstruction of the castle and has been gradually implemented since 1958. The scale of the
damage and the need to gain a thorough understanding of the structure of the building and of
the layering of its style necessitated an inventory, multifaceted archaeological and
architectural-conservation research, and the drawing up of expert structural opinions, as a
result of which the necessary demolition and conservation work was carried out in the first
stage (in the years 1948-1954). Research into the castle's history also included archival
searches for iconography and cartography of the castle hill conducted in libraries in Poland,
Germany and Sweden.
According to the chief designer of the castle's reconstruction until 1972, Stanisław Latour,
"its architectural form represents clear features of native late-Gothic and early-Renaissance
West Pomeranian architecture and Polish architecture of the early and mature Renaissance,
indicating the influence of Polish court and artistic circles" [15]. The masquerade decoration
of the tenement house of the Loitz14 (Łozice) banker family, neighbouring the castle to the
south, was also modelled. The professor emphasised the analogies - from a similar period -
in the solution of the Renaissance vaults, supported on polygonal pillars in the prince's
chambers in Szczecin, with the layout of the former Chamber of Deputies in the Royal Castle
in Warsaw.
Influences from the Rzeczpospolita were emphasised in the forms of the horizontal finial
of the Szczecin castle, with its characteristic helical crest, referring to Polish Renaissance
attics [16]: "The whole establishment framed in a quadrangle with the former Boguslaw X wing
preserved was crowned with an attic (the so-called Polish attic) typical in our area. A cloister
surrounds the courtyard" [13]. Contemporary scholarly interpretations point to "actually rather
loose connections between the Pomeranian Griffin dynasty, and the Cracow court (...) a
certain type of attic is indeed of Polish origin, but the form used in Szczecin has no analogy in
Poland, raising doubts about the direct import of this element from Cracow. (...) It is possible
to adopt 'attic-like' forms from Veneto or import them from Poland by a circuitous route through
14
"The tenement was probably built by the court builder of Duke Barnim XI in 1547 for Mayor Hans II Loitz, a
wealthy merchant and banker. The decoration of the tenement was directly related to the decoration of the late
Gothic attic of the castle's Big House", in: [1, pp. 308].
Journal of Modern Technologies for Cultural Heritage Preservation 2023,2, 1. www.jmtchpjournal.com
DOI: 10.33687/jmtchp.002.01.0016ISSN: 2753-4146 (Online)
Silesia". Henryk Dziurla was regarded as the initiator of the Polonocentric15 interpretation of
castle architecture in 1954, regardless of the extent to which the provincial conservator of
monuments was in 1952-1959. - the initial period of preparations for the castle's reconstruction
- was to be convinced of the Polish influence on the Renaissance architecture of the Gryfit
residence; art historians consciously used this argument, conservators and architects to win
over the then state decision-makers to undertake the costly and complicated process of
rebuilding the Szczecin residence. It was emphasised that the medieval form of the castle
defined the Slavic features of Pomerania and that the expansion of the oldest, southern part
of the castle in the third Gothic phase was carried out during the years of the reign (1474-
1523) of Prince Boguslaw X, known as the Great, married to the Polish princess Anna
Jagiellonka [35, pp. 89].
2.2. The architectural influence of Lower Saxony
The promoted theory on the probable roots of the Renaissance castle reconstruction was
corrected in a publication by Zbigniew Radacki [17], who analysed the international context -
from Northern Europe - for the reconstruction of the oldest part of the Szczecin building from
the 16th century, exposed from the side of the entrance to the representative courtyard. The
conclusions identify the fascination of Duke Barnim XI, the founder of the redevelopment, with
the late Gothic of Upper Saxony.
Figure 6. Szczecin, Castle of the Pomeranian Dukes. The unrealised first version of the
reconstruction of the south wing (originally planned to house the Faculty of Architecture of the Academy
of Engineering in the castle), architects: Wojciech Onitzch and Marian Sulikowski 1951. Photo: G.
Solecki, reproduction from the collection of the Regional Centre for Research and Documentation of
Monuments in Szczecin (ROBiDZ) [18].
15
Previous publications are known, identifying the influences referred to, in: [3, pp. 417-442].
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DOI: 10.33687/jmtchp.002.01.0016ISSN: 2753-4146 (Online)
2.3. Functions of the rebuilt castle
The study of Dziurla [7]comprised several conceptual versions of the reconstruction of the
complex castle structure, the scope of which had been modified since the early 1950s, along
with changing functional concepts, also introduced as a result of successive discoveries of the
original state of the historical building substance and the former appearance of the ducal
residence. In the first stage, the reconstructed wing of Boguslaw X was planned to be used as
a public hall for public events and lectures; a complete reconstruction of the wooden ceiling
with decorated pine timbering was envisaged based on the available iconographic
photographic documentation (realised at the beginning of the 21st century). In 1950, the first
funds were allocated to prepare design documentation, assuming that the entire building
would be used by the Faculty of Architecture of the Academy of Engineering in Szczecin,
established in 194816 [19]. The location in the representative premises of the university - which
had not been established in Szczecin until 1945. - was an important element in shaping the
face of the city after the Polish administration took it over. Wojciech Onitzch developed the
first design and Marian Sulikowskiwego in 1951, referring to the late Gothic forms known from
an engraving of 1652 (Fig. 6). "The jury's very positive assessment17 accepted, in addition to
the classical restoration of the preserved wings, the reconstruction of the long-defunct form of
the south wing, pointing to the particularity of the task of 'reconstructing the Piast castle in the
restored Szczecin for the cultural needs of the city' [20]. High demands were made of the
author - both in terms of maintaining maximum reverence for the historical legacy and the
ability to process or creatively recreate distorted forms" [21]. The changed programme
assumptions and difficulties with the adaptation of the ruined building led to the preparation of
a replacement project in 1953, envisaging the location on castle hill of a philharmonic concert
hall, a historical museum, a library, a restoration workshop (with technical and storage
facilities) and other premises for public institutions and social organisations.
Subsequent concepts18 [22] from the first half of the 1950s were (for a variety of reasons19)
critically assessed by the Central Urban Planning and Architectural Commission. The project
of 1955 was accepted, for which a comprehensive utility programme was developed and sent
for implementation within two years. Among the various programme concepts and changing
proposals for the use of the former ducal residence, it was decided to create a multifunctional
centre for the cultural life of Szczecin and the region. The diversity and flexibility of the planned
use are reflected in the name of the new institution: Provincial House of Culture20, containing,
among other things, museum spaces, performance halls for theatre performances, concerts,
cinema screenings, educational facilities for young people and administration. There are also
plans for restaurants, cafés and representative interiors for Szczecin's institutions and for a
hotel of international standard. The best-preserved north wing is used for temporary
exhibitions and is connected to a café on the ground floor. The former castle chapel (Fig. 7),
with three storeys of arcaded galleries (the only such solution for the interior of sacred
buildings from the Renaissance period in Poland) and a barrel vault with lunettes, ensuring
excellent acoustic qualities, was intended to be used as a concert and theatre hall - initially, it
16
The initiative of Czesław Krassowski and Marian Sulikowski, among others (who at the time were affiliated
with the universities in Warsaw and Szczecin), was a reference to the decision made in 1945 to inaugurate the
Faculty of Architecture in Cracow in Building No. 5 in the Wawel Castle; more about the circumstances of the
creation of a new faculty in the capital of the Lesser Poland region, in: [29, pp. 420-421].
17
First National Architecture Design Show organised in Warsaw in 1951, presenting, among other things,
concepts for the reconstruction of the historic landscape of destroyed Polish cities.
18
A detailed discussion of the authors of the various stages of castle reconstruction in the: [17; 18; 19, pp. 75-92,
239-260, 111-136; 26, pp. 1256-1257].
19
A detailed description of the preliminary drafts was discussed by Stanislaw Latour, in: [17, pp. 84-91].
20
Currently an Institution of Culture of the Self-Government of the West Pomeranian Province.
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DOI: 10.33687/jmtchp.002.01.0016ISSN: 2753-4146 (Online)
was also planned to serve as a philharmonic hall - the entrance to which was designed from
the side of the new hall21 (in the space of the former gate of the northern wing) leading through
a two-aisle staircase from the 16th century to the exhibition part [23]. to the exhibition part; the
communication part was connected on the ground floor with a restaurant area facing the
restaurant terrace, the attraction of which was the panoramic view of the Oder's spill and the
picturesque buildings of the Szczecin harbour.
Figure 7. Szczecin, Castle of the Pomeranian Dukes. Theatre performance in the former castle
chapel. Photographer: Marek Holzman [14].
During preservation work, a ducal crypt with preserved sarcophagi (a priceless treasure of
material culture from the period of the Pomeranian duchy) was discovered under the floor of
the chapel, which was cleaned up; due to the difficult access to the underground in this part
of the castle, the exhibition of the coffins has been arranged since 1954 in a specially
designated part of the basement of the east wing, initiating the creation of a museum of the
21
For the post-war functional solution of the complex structure of the building, the historical layout of the princely
chapel was changed, the entrance part of which was emphasised by the originally imposing form of the Bell
Tower. The double-arched-return staircase, with a central wall, is the oldest arrangement of its kind on Polish soil.
Journal of Modern Technologies for Cultural Heritage Preservation 2023,2, 1. www.jmtchpjournal.com
DOI: 10.33687/jmtchp.002.01.0016ISSN: 2753-4146 (Online)
castle's history. Meetings of the poetry club and experimental theatre performances of small
forms were held in the former crypt. A new exposition of the tomb was designed with fragments
of a glass floor to present historical relics, and the presumed former colour scheme was
restored.
In the northern wing, the Renaissance character of the façade was to be restored, with an
attic finial and crested finial of volutes and pinnacles, using original elements. The exhibition
halls and representative interiors of the duke's former flats were built by reconstructing the
Renaissance vaults supported by sandstone pillars, which were modelled on the relics of the
former supports taken from the ruins of the destroyed castle (the found original bases, shafts
and capitals of the pillars were to be exhibited in the castle lapidarium). The hypothetical
polychromes were not restored, preserving the neutral character of the decoration of the
vaulted halls of the north wing, with convenient double-sided lighting for changing exhibitions
of ancient and contemporary art22 [24]. The history of Szczecin's post-1945 culture has been
marked by exhibitions organised by the Provincial House of Culture, the Art Exhibition Office
and the Union of Polish Artists23 [25].
In the ruined eastern wing of the edifice's original structure, only parts of the cellars and
external walls (at their full height) have been preserved, with no remains of the former interior
architecture that could be reconstructed. The condition of the building substance made it
possible to redevelop the eastern part of the castle, to introduce modifications to the original
structural layout, to accommodate additional rooms and institutions previously unconnected
with the castle; an excessively long list of expected functional programme was proposed for
the rebuilt edifice, modified over the years. The monumental body, exposed from the Oder
River, housed separate departments of the Provincial House of Culture, a library, art studios
and a cinema room. The contemporary reinforced concrete ceilings of small thickness,
introduced in the levels of the former vaults and the considerable height of the historical roof
covered with a sumptuous attic, made it possible to design - above the representative storeys
- a fourth usable level, intended for the installation of studios and youth rooms; the historical
composition of the attic's oval openings was preserved, the introduction of glazing in the roof
slopes provided additional illumination of the new storey.
2.4. Controversy in the solution of the south wing façade
In 1973 a decision was made to locate in the most impressive south wing the seat of a
musical theatre - later to become Opera and Operetta - together with functionally extended
technical, workshop and administrative facilities, a complex of dressing rooms and
accompanying rooms for an independent cultural institution (the western wing of the Grand
Courtyard was allocated for some of the rooms). During the analysis of archival materials
related to the reconstruction of the wing of the castle adjacent to the Old Town buildings from
the side of the Archcathedral Basilica of St. James the Apostle, the restoration of the form
resulting from the Prussian reconstruction and the superstructure of the fourth storey was
abandoned, as well as the introduction of a new architectural form, which would constitute a
contemporary interpretation of historical accounts.
22
The project was developed by a team from the Szczecin-based studio of the State Enterprise Conservation
Workshop (located in the western wing of the Mint Courtyard), led by Stanislaw Latour, in: [25, pp. 21-28].
23
Among others: "Festival of Polish Contemporary Painting", Pablo Picasso, Marc Chagall, Joan Mirò, Salvador
Dali, Franciszek Starowieyski, Tadeusz Kantor, Józef Szajna and Magdalena Abakanowicz, Leon Wyczółkowski,
Władysław Hasior (on the occasion of an exhibition in 1975. the original artist presented an open-air composition
on the castle escarpment - 'Firebirds', now exhibited on a picturesque hill in Szczecin's Kasprowicz Park; in a
version without the attributes of the symbolic element of fire, in: [27, pp. 76].
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2.5. Drawing by M. Merian according to C.H. Osten and drawings by J.J. Zeuner
"A link between past and present that appealed to popular memory and imagination were
also the views of the former ducal castle, which after the Swedes took over the city became a
worthy seat of the highest representative of the Swedish Crown - the governor. In this way,
the Swedes sought to legitimise and emphasise the continuity of their rule over Pomeranian
Szczecin, which they had conquered by force" [3].
The design for the reconstructed south wing from the late 1960s and early 1970s was
based on its appearance in the 16th century, based on analyses of an engraving by M. Merian
and C.H. á Osten from 1652 (Fig. 1). The etching in etching and engraving with a magnificent
bird's-eye view of the Szczecin castle was an evocative image, which became the model for
the post-1945 reconstruction of the former ducal residence. Executed in the workshop of
Matthäus Merian in Frankfurt am Main - according to a drawing by the architect Carl Heinrich
á Osten - it was an excellent example of a Mannerist composition with an architectural motif,
depicting the castle in its most perfect form, following the completion of its Renaissance
reconstruction and the addition of a museum and library wing, enclosing a smaller courtyard.
The view was an embellished representation of the appearance of the modern building, above
all, the elevations of the Big House in the south wing decorated with decorated bands of
masquerades on five stepped gables on the courtyard side, with a similarly depicted façade
on the city side; probably also imagined was the function of the pedestrian terraces on the flat
roofs, which would have been accessible to courtiers and guests of the princely seat via the
non-existent exit from the Bell Tower.
In 1972, in the library of Skokloster Castle near Stockholm, drawings were found by
Zbigniew Radacki with five views of Szczecin Castle, made by Jan Joachim Zeuner (1674)
three hundred years before they were published, showing the castle in late Gothic and early
Renaissance forms [26] (Fig. 2). The found views of the castle, prepared by the builder and
draughtsman Johann Joachim Zeuner, were dedicated to the Swedish king and were a gift
from the governor-general of Szczecin. They were considered to be a reliable representation
of the castle in five different views from the early 17th century24, according to the state, after
the completion of its monumental extension. The visible inaccuracies in perspective,
composition, and details of architectural detail were committed by the two authors working on
the 17th-century views of the Szczecin residence, who did not have the contemporary
technical capabilities to analyse the building. The aim of their work was not a faithful
architectural inventory; on the contrary, it was a striking presentation of the seat of the
Governor General, who, on behalf of the Swedish king, took over the administration of the
fallen Duchy of Pomerania.
J.J. Zeuner's new iconographic material influenced the composition of the reconstructed
façades of the representative wing with its neo-Gothic styling, whose realisation according to
the 1968 design was based on the suggestive representation of the building by M. Merian and
C.H. á Osten. The project team's analysis of J. J. Zeuner's views enabled them to clarify
compositional and structural doubts that arose during the faithful reproduction of the building's
silhouette according to the 1652 drawing, such as the method of draining the roof slopes and
the solution of decorative elements in the attic. It was decided to reconstruct the façade as
accurately as possible according to the source information obtained, resulting in many
changes to the design and the realised construction elements, which were adapted to a
24
After a comparative interpretation of Merian's and Zeuner's works, it was noted that 'both authors made various
mistakes and sometimes had to use fantasy' resulting, among other things, 'from the change of place of the
draughtsman when sketching from nature', in: [24, pp. 102].
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different geometry of the gables and the layout of the openings, which did not coincide with
the historical appearance of the façades (Fig. 8).
2.6. Construction work from the 1970s and 1980s.
This publication by the co-author [21] of architectural designs for the shape of the castle
and its functions since the early 1970s discusses the successive versions of the development
of the appearance of the connecting passage - which did not exist in the enclosed form in the
former castle - built between the south and west wings to provide comfortable communication
between the back and the theatre hall (Fig. 9). The reconstruction of the southern part was
completed in 1978 (Fig. 10). In 1976, construction work was completed on the Crane (Mint)
courtyard wing, to be used as offices, the design and research studio of the PKZ and the
archaeological department of the National Museum; it was also planned to provide
accommodation for administrative staff.
Figure 8. Szczecin, Castle of the Pomeranian Dukes. Restoration of the late Gothic and
Renaissance exterior; reinforced concrete frame construction, realised according to a design developed
before the discovery of J.J. Zeuner's views of the original façade [27].
The final stage was the creation of terraces surrounding the castle along the southern,
northern and eastern elevations and the earthen slopes (using the rubble of the destroyed
parts of the building) covered with grass and composed greenery - an attractive space for
walks and recreation, with viewpoints on the Szczecin skyline; the layout of the terraces was
composed to expose the reconstructed body of the Renaissance residence.
Journal of Modern Technologies for Cultural Heritage Preservation 2023,2, 1. www.jmtchpjournal.com
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Figure 9. Szczecin, Castle of the Pomeranian Dukes. Unrealised concept of a connector with the
plastic composition of glazing, architect: Janusz Nekanda-Trepka 1973. Photo: G. Solecki, reproduction
from the collection of the Regional Centre for Research and Documentation of Monuments in Szczecin
[21].
To obtain an image of the rebuilt residence from the period of its splendour, the principle
resulting from the conservation doctrine of the time [28] - stylistic purism - was preserved,
removing secondary layers created as a result of the reconstruction carried out by the Prussian
and German authorities. The external form of the rebuilt castle received a coherent
composition, reflecting the appearance confirmed by archaeological, architectural and
conservation research, archival queries of iconographic and cartographic sources, with
interpretations made of the state of preservation of the original building substance, correction
of proportions of vertical elements known from historical photographic accounts (including the
helmets of towers and elements of the attic). The building regained a modern homogeneous
compositionrestoring historical detail forms more than two centuries after their destruction.
The reconstruction of the most critical former secular building in Western Pomerania reflects
the realisation possibilities of the extensive organisational and construction project of the time.
In its forms and the solution of the interiors, the aim was to create - in a German city until 1945
- a symbol referring to the influence of Polish culture. "Without getting into historical disputes
concerning the provenance of the architectural design of the building, it should be recognised
that the decisive differentiation from the pre-war form of the castle was a spatial manifestation
of the displacement of the German cultural heritage and its replacement by a Polish heritage
with which the new inhabitants could identify" [10].
Journal of Modern Technologies for Cultural Heritage Preservation 2023,2, 1. www.jmtchpjournal.com
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Figure 10. Szczecin, Castle of the Pomeranian Dukes. Ground floor plan of reconstruction project [29].
3. Transformation of the castle after 1989.
In the period of systemic change in Poland after 1989, the next stage of transformation of
the former ducal residence and spatial changes in the northeastern fragment of castle hill was
initiated. The reconstruction of the tenement house complex in Szczecin's Podzamcze [30],
including the area of the former fortified settlement located around the castle escarpment, was
undertaken in a period of political change, involving, among other things, the restoration of
private property and freedoms for entrepreneurs (after a period of central management in the
People's Republic of Poland and the domination of the state sector, there came a possibility
for private investors to conduct business)25 [31]. The rebuilding of the townhouses in the
25
The reconstruction of the historic urban layout of Podzamcze, the reconstruction of the most artistically valuable
elevations of the old town houses, and the construction of houses that are a contemporary reminiscence of the
historic residences of merchants, patricians and wealthy burghers, was initiated by the Podzamcze Housing
Cooperative; it is continued by companies, consortia and unaffiliated entrepreneurs, in: [33].
Journal of Modern Technologies for Cultural Heritage Preservation 2023,2, 1. www.jmtchpjournal.com
DOI: 10.33687/jmtchp.002.01.0016ISSN: 2753-4146 (Online)
riverside part of Szczecin's Old Town complex changed the historical spatial context and
exposure of the monumental castle, whose foundation on the eastern side was formed after
1989 by silhouettes of stylised townhouses. The castle escarpment26, built around the castle
terrace after 1945 to expose the body of the former residence from the quayside, which at the
same time provided a scenic opening onto the picturesque panorama of the Oder and the
Szczecin harbour area, was liquidated along with the reconstruction of contemporary houses,
located on the former foundations, restoring the historic layout of the bourgeois, merchant and
patrician buildings; the compositional opening was planned in the 1950s27 (Fig. 11).
After 1989, significant investments were made to restore the historical - including idealised
- the appearance of the Renaissance residence, interiors and surroundings, adapting the
multifunctional cultural centre to modern requirements. According to a design by Stanisław
Latour and Slawomir Kiersnowski, in 2005-2006, reconstruction was carried out - in the spirit
of imagined neo-historicism, referring to the version presented by the professor in 1968. - a
windowless connector, built between the south and east wings, with a disharmonising
'keyboard' composition and concrete texture finish. "The change was dictated, among other
things, by the disastrous public perception of the very contrasting combination of the sculpted
planes of the reconstructed block, with the 'shabby' modernism, bearing all the negative
features of the 1970s"28. No satisfactory solution with a neutral form was achieved for the
formerly non-existent cubic connection between the castle's wings, which would have been
harmoniously integrated into the historical structure of the reconstructed residence. The
relationship with the open gallery is depicted in the engravings by Merian/Osten and Zeuner -
the roofing and wall covering was necessary for functional reasons to connect the concert hall
and opera house (south wing) with the back rooms (west wing); irreversibly changing the
spatial structure of the Grand Courtyard, causing the oldest part of the castle with its preserved
Late Gothic lattice vaults to be obscured.
The historicising creation for the renovation of the interiors of the north wing was based on
Janina Kochanowska's study entitled "The assumptions for the modernisation of the North
Wing. "Assumptions for the modernisation of the North Wing of the Pomeranian Dukes' Castle
in Szczecin based on historical and iconographic premises". In the concert hall of Prince
Bogusław X (the former castle chapel), the neo-style painting of the vaults29 was restored,
referring to Renaissance ornamentation, and the stone slabs were replaced with a ceramic
floor imitating brick texture. The neutral character of the interiors of the exhibition halls on the
upper floors was changed, with an intensive colour scheme referring to the Renaissance
period. A lapidarium was created in the basement with an exposition of the Gothic foundations
and cellar walls. Due to unforeseen circumstances resulting from the complex foundation
conditions of the building on an elevated area in the northern part of the castle hill, the
Renaissance pillars and vaults restored after World War II were destroyed during the
construction work in the basement and ground floor [7, 32].
26
The castle escarpment formed after 1945 is shown in the illustration, in: [27, pp. 76].
27
Concept of Leonard Kotowski, in: [32, pp. 419].
28
The author presents the changing design solutions for the connector (with the presentation of conceptual
drawings; including his own development), which evolved from relief and decorated planes with plastic glazing
arrangements, to the windowless version with a stepped finish indicated for realisation: a durable pebble texture
and an alternating smooth wall (prefabricated element technology was eventually replaced by a traditional
rendered brick wall), in: [24, pp. 109].
29
New polychromes were introduced after 1906, after part of the stucco decoration of the former Evangelical
church had been removed.
Journal of Modern Technologies for Cultural Heritage Preservation 2023,2, 1. www.jmtchpjournal.com
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As part of the project entitled "Restoring old beauty. Modernisation of the north wing of the
Pomeranian Dukes' Castle in Szczecin" from 2007 to 2013, the roof was adapted into a
viewing terrace, referring to a drawing from 1652 (by M. Merian and C.H. á Osten) with a
partially imagined appearance of the monumental body and people walking on the terraces of
the wings covering the Grand Courtyard; according to the draughtsman's "vision", access was
to be provided by an entrance located in the Bell Tower - unconfirmed according to historical
and contemporary accounts. The horizontal silhouette of the northern part of the castle is
disturbed by a glazed steel structure above the roof level, forming a spacious vestibule with a
lift and stairs providing access to the new viewing terrace (inaccessible due to a building
disaster), which was installed at the same time.
Figure 11. Study for the reconstruction of the old town complex, architect: Leonard Kotowski 1956.
Exposure of the mass on the castle hill with planned terraces for composed greenery and a town square,
on the site of former old town houses (no plans for reconstruction of the former Podzamcze structure
until the 1980s/90s). Along the Oder embankment, the Oder route, 1946-1948 (to this day realised on
the fragment visible in the illustration, making it impossible to restore the historic layout of the port city)
[32].
On the northern slope, a terraced layout of the chateau garden30 was envisaged, with
reference to the landscape layout of modern residences. As part of the multifaceted
modernisation programme of the former ducal residence, the northern façade was exposed,
and it was decided to cut down the dense tree cover on the slopes of the escarpment. Several
historical conditions made creating a composed green complex linked to the Renaissance
residence impossible. Among the most important were the terrain configuration, the defensive
fortifications and moats surrounding the hill, and the restrictions imposed on the Griffins by the
30
"Comprehensive development of the terraces of the Pomeranian Dukes' Castle in Szczecin", project:
COMPONO Sp. z o.o., Szczecin.
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Szczecin bourgeoisie31. The fortification regulations of the garrison town resulted in a denser
development in the area of Szczecin, close to the boundaries of the medieval locality; a
compact enclosure of the monumental building was made - tenement houses with high
annexes were erected in the 19th century near the eastern elevation of the castle and in the
area of the former steamboat, on the northern side.
Figure 12. Szczecin Castle of the Pomeranian Dukes. Post-1945 reconstruction from the
Renaissance architectural splendour of the former residence, contemporary roof terrace and link in the
main courtyard; in the background, reconstructed and contemporary Podzamcze townhouses
completed after 1989. View from the north-west in 2021 [38].
Between 2012 and 2015, the decapitalised hall of the Opera and Operetta was
redeveloped into a modern and functional venue for Szczecin Opera32, with a magnificent
stage and contemporary interior design33. As part of comprehensive conservation works, the
original vaulted frescoes of the Prison Tower from the late 16th century were protected and
31
"In 1249, during the reign of Barnim I, the castle was handed over to the burghers and the fortifications were
demolished, leaving only the 'court' to the duke. (...) During the reign of Casimir VI (c. 1430), the castle was
further fortified, which was the cause of constant strife with the burghers, so that the Duke, on his deathbed, gave
the order to dismantle the fortifications". The end of the townsfolk's revolt in 1502 made it possible to hand over
the town's land for castle expansion, involving the demolition of some of the buildings of the inhabitants of
Szczecin, in: [6, pp. 241].
32
Designed by Szczecin-based studio MXL4 Architects (first place in an architectural competition), team: Norbert
Białek, Tomasz Maksymiuk, Jerzy Szparadowski, Hubert Góralski, Piotr Wilento. Photographs of contemporary
interior design, in: http://www.mxl4.com/opera-na-zamku-w-szczecinie/, (accessed on Nov 30, 2022).
33
It is important to emphasise the excellent artistic level of the Szczecin Opera House, involving performers from
an international range of artists; it is visited by an audience largely from outside Szczecin and the north-western
region of Poland.
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made accessible to the public34. The reconstruction of a fragment35 of the wooden ceiling with
a magnificent pine tree in the south wing, which decorated the main hall (named after Prince
Barnim XI), was also undertaken.
4. Completion
The contemporary scope of conservation work and new interventions into the structure of
one of West Pomerania's most valuable historic buildings after 1989 reflects the change in
conservation doctrines at the turn of the 20th and 21st centuries. It triggered a discussion
among the conservation and architectural community. Criticism encompassed both the final
effect of the interior architecture and the introduced decorative elements of the castle halls,
the forms of which did not always relate to historical messages. There were also discussions
from the opposite point of view - due to the change in the neutral character of the interiors,
which was consistently realised during the reconstruction of the 1950s-70s, maintaining
consistent features within the castle complex. Before 1989, no solutions were introduced into
the decoration of the castle halls, which had not been confirmed in archival sources; the scale
of the multistage reconstruction in the Prussian period and the war damage made it impossible
- according to the project team and the scientific coordinators of the work, to restore the
appearance of the castle from its heyday - to make a reliable reference to the Middle Ages
and the modern era; formal and plastic analogies and materials referring to historical solutions
were abandoned. The contemporary attitudes of a significant part of the community of art
historians, conservators and architects, supported by representatives of local communities,
approve and support decisions on the reconstruction of objects of exceptional artistic and
historical value, which restore the appearance of fragments of former towns and historic
buildings (Fig. 12). Today's investments are a continuation of the work, undertaken after the
end of the Second World War, to rebuild the former ducal residence, restore its artistic values,
and define the contemporary context of a multifunctional cultural and artistic centre, within the
structure of Szczecin, north-western Poland and Europe.
References
[1] P. Majewski, "Ideologia i konserwacja," Architektura zabytkowa w Polsce w czasach
stalinizmu, Warszawa, 2009.
[2] K. Kalita-Skwirzyńska, I. Stróżyńska, A. Prochotta-Miłek, and I. Miklewicz, Zamki i
rezydencje na Pomorzu. Wydawnictwo Zamek Książąt Pomorskich, 2006.
[3] W. Molik and E. Gwiazdowska, "" Widoki Szczecina: źródła ikonograficzne do dziejów miasta
od XVI wieku do 1945 roku", Ewa Gwiazdowska, Szczecin 2001:[recenzja]," Roczniki
Historyczne, vol. 68, 2002.
[4] S. Latour, "Przekształcenia i odbudowa Zamku Książąt Pomorskich w Szczecinie," Przestrzeń
i Forma, no. 4, pp. 75-92, 2006.
[5] J. I. Gołębiewski, "The Influence of Political Factors on the Architecture of Ducal Castles
Owned by the Griffin Dynasty," in Arts, 2020, vol. 9, no. 4: MDPI, p. 124.
[6] W. Nerdinger, "Geschichte der Rekonstruktion–Konstruktion der Geschichte.[Publikation zur
Ausstellung» Geschichte der Rekonstruktion–Konstruktion der Geschichte «im
Architekturmuseum der TU München in der Pinakothek der Moderne, 22. Juli bis 31. Oktober
2010]," Zusammenarbeit mit Markus Eisen und Hilde Strobl. München: Prestel, 2010.
[7] H. Dziurla, "Szczecin-Zamek. Jego dzieje i odbudowa," Przegląd Zachodniopomorski, pp. 5-
115, 1959.
34
Previously available to users of the studios and facilities of the Opera and Operetta.
35
The restoration of the full beam was not possible due to the location of the hall and the backstage area, which
were built in the space of the halls arranged on the four storeys of the oldest wing of the castle; a moat lowering
for the orchestra was designed in the part of the hall with a profiled pine beam.
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