Town and Urban Planning, Architecture and Building Engineering

Symbol as a versatile language of communication

in Polish contemporary sacred architecture
Anna Maria Wierzbicka
Warsaw University of Technology, Faculty of Architecture, Faculty of Religious and Monumental Architecture,
PhD, senior lecturer, e-mail: [email protected], phone: +48 605 938 088

The human being does not live in a material world only

but in a symbolic one also
E. Cassirer , “An Essay on Man”

The purpose of the research was to prove the following thesis:

1) The symbol is a versatile communicate of space perception. The sacral symbol is independent on culture is a versatile language
and has an arbitral character.
2) The meanings of archetype and cosmological symbols in contemporary Polish sacral architecture become from Judeo-Christian
culture.

urban space. Graphic symbol — Graphic symbol two

The Report
dimensional or spatial, standing separately on the
Genesis of work was: building or inside constitutinsymbolic contact. Its
• The recognition accuracy of Ernst Cassirer’s thesis perception is possible if the distance to the observer is
that the symbol is immanent being, confirmed by insignificant and is not important in urban space (e.g.
Mircea Eliade research. Check thesis of human cross, labyrinth, tabernakulum). Spatial symbol — Not
studies in the architectural realizations. using graphic symbol but only certain spatial form. The
• My own experience with the space perception of conclusion of the chapter was that symbol has following
particular objects of sacred architecture. Checking attributes: transparency, arbitrary, participation in
the thesis of universality on the ground for symbolic presentation force, multilayerness — [indication beyond
execution of contemporary Polish churches. itself ], hierarchical structure, symbols explain always
• Contact with the problems of spatial perception and spiritual reality, symbols have always sacred character,
symbols in the course of the thesis Chapel City — full symbol meaning can be explained only with reference
silence zone. to structure of universe, symbols of cosmological order
have universal nature [Fig. 1–3].
Chapter 1 under the title: Main definitions under
discussion in the work: [symbol (sacred symbols), sign, Chapter 2 under the title: Symbol recognition to
archetype, religion , myth, sacrum — profanum, sacrum human studies for architectural space. The chapter
— taboo, sacred space, sacred experiences and present different philosophical symbol theory. The
psychological experiences in architectural space, ways of studies of the symbol significant were carried out on the
communication — language, gesture, symbol. Symbol basis of anthropology, sociology, religious study and
classification according to way of influence on receiver. psychology of perception. The symbol definition was
Urban symbol — Building or part of building visible given on the basis of humanistic theories of E. Cassirer,
from outer perspective making important element of M. Eliade and J. Hani, J. Baldock, D. Forstner, P. Tillich,

81
 Anna Maria Wierzbicka

Chapter 3 under the title: Psychology of perception and

its language. It has been describe christens person
human dual concept, the man as the being bodily-
spiritual is spiritual in the state to feel the sacred. In the
chapter discussed individual perceptual senses; so as; the
eyesight, the hearing, the touch, the taste, the smell and
the sense kinesthetically. The chapter presents As well the
problem of emblematic getting to know God. All issues
were discussed on the basis of contemporary sacred
implementations.

Chapter 4 under the title: Symbols in the judeo-

christian architecture and architecture in the great
religions of the world. Is the description of symbols in
Fig. 1. City Chapel. Dyploma. Anna Maria Wierzbicka three monotheistic religions. The chapter describe the
following topics: symbols history in temple, common
symbols language in non-Christian and Christian
religion temples, nature — the part of contemporary
sacred architecture — its meaning and symbolic. The
similarity, differences as well as connections between the
sacred symbols of Christianity, Judaism and Islam have
been revealed. The understanding of their meanings in
sacral architecture of Judaism and Islam can understand
the significant and the provenience of symbols in
contemporary, sacral, Polish architecture. The describing
the symbols used in designs outside the Poland have
shown the versatile character of cosmological symbols.

Chapter 5 under the title: Polish contemporary sacred

architecture and its symbols. Is the description of
Fig. 2. Poland, Warsaw, Sigismund Church. Drawing symbols of the symbols witch aspires in Polish
A. Wierzbicka.
contemporary sacred architecture. It is the most extensive
chapter is about 50% volumes of the work (227 pages).
The relations between the cosmological and theological
symbols have been described on the basis. There is
a description of cosmological symbols so as; the tent —
the first Judaic temple, the holy top — where the God
lives, and the holy mountain — the place where the man
meets the God. In particular theological symbols such
as: gate — symbol of crossing in to sacred space, tower
— urbanity sine of heaven, water- a  symbol of
purification and rebirth, altar- symbol of death and
Resurrection of Jesus Christ, stone — symbol of the
temple building material, light — symbol of Jesus Christ,
temple as a home of the people of God, cross and the
temple as a  body God Men — Men God has been
Fig. 3. Poland, Warsaw, Temple of devine providence. Arch. analyzed from theirs first meanings and theirs significant
Wojciech and Lech Szymborscy. in non-Christian temples. Such approach revealed that
symbols in temples have versatile an arbitrary character
M. Wallis. The philosophical theory have proved that and primary provenience. In spite of this an allegory in
symbol is a versatile communicate of a space perception Polish, contemporary sacral architecture has meanings
and its perception is independent on culture and religion base on archetype. The analysis was carried out in a range
since the perception is mainly depended on human of different projects of contemporary Polish sacred
psyche. architecture. Particularity of religious and political

82
Symbol as a versatile language of communication in Polish contemporary sacred architecture

Town and Urban Planning, Architecture and Building Engineering

Fig. 7. Poland, Gate, Church in Warsaw, Ursynow. Arch.
Fig. 4. Poland, Międzylesie, Altar in NMP Church. Photo
M. Budzyński. Drawing A.Wierzbicka
W.W.

Such approach revealed that symbols in temples have

versatile an arbitrary character and primary provenience.
In spit of this a allegory in Polish, contemporary sacral
architecture has meanings base on archetype. It should
be noted that on the understanding of the meaning of
liturgical symbols has a  big influence liturgy in Neo-
Catechumenal Way, that specifically draw attention to
the symbolic nature of the liturgical space. The study
examined 72 realest objects and 20 objects of the
competition. During analyze were taken into account
about 20 foreign objects. In particular, projects were
analyses temples providence of God — International
Competition organized in cooperation of Union of
Polish Architects and The Warsaw Metropolitan Curia.
Fig. 5. Poland, Altar of Pop John II Papieski. Łomża. Arch. In competition participated 100 employees architectural
A. Miklaszewski and K. Kucza-Kuczyński. Drawing A. workshop from around the world. In this work
Wierzbicka. comparative grown together as a background of sacred
architecture analyzed foreign objects include such
projects as: Cathedral of the Resurrection, Evry, Paris —
arch. M. Botta, Notre-Dame de Pentecote — Franck
Hammoutene , Paryż — arch. F. Hamuntem, Chapel of
St. Mary of the Angels, Monte Tamaro, Ticino — arch.
M. Botta, Notre Dame du Haut, or Ronchamp, Convent
of La Tourette, Church at Firminy — arch. Le Corbusier,
Church on Water in Tomau Japan –arch. Tadao Ando
[Fig. 4–7].

Chapter 6 under the title: Roundup, was divided in for

under champers such as: New view for symbols in
contemporary sacred buildings, New praying and
contemplation spaces and its symbolic language, Thesis
proof, Final conclusions. The human being can feel the
sacer only by symbols, which are the fundamental
Fig. 6. Poland, Milanówek, Church. Drawing A.Wierzbicka language of the space communication. It has been
revealed during analysis of sacral architecture in the
situation undoubtedly influenced design features of the difference cultures. It should be noted that the trying to
outputs. (In no other European country there was build, design the versatile sacer places without any theological
so many places of worship in the recent 30 year period). symbols always failed and finalized using cosmological

83
 Anna Maria Wierzbicka

symbols. Such an example is sacral design The Space of

Contemplation in UNESCO headquarters in Paris, by
Japanese architect Tadao Ando. In spite of the versatility
in this area there a lots of symbolic significant.
Contemporary civilization can be characterized by
dynamic, technological progress and the flood of the
information. However, the technological progress has
not changed the perception of the holy area since their
need will be present at any time. The examples of sacred
designs — particularly the area of the meditations and
serenity — have revealed that the way to finding the
meaning of the space is coming back. It steams from an
arbitrary need of human being, independent on origins,
culture and religion. The sum up in the thesis shown that
Fig. 8. Neocatechumenal liturgi. Drawing A. Wierzbicka. architecture can be played the significant role to finding
the meanings of existence, cultural progress and
deepening of the social ties.
This work is an attempt to answer the questions:
What is sacred in architecture? Is the language of symbols
are currently surround the site? What makes being in
some places helps customers experience transcendental?
The summery of the research was that: Symbol is
a versatile communicate of space perception. Universalism
of symbol message Polish contemporary sacred
architecture proofs. Symbols, by Cassirer and Eliade,
they are not only the products of human minds”. They
constitute the coherent conceptual system, which is
pointed by numerous sacred buildings. Symbols fulfill
the certain needs, meet the particular meaning as
a language of communication. The space becomes Holy
through symbols only. Symbol remains the basic language
of Temple space communication. Technical progress of
modern civilization does not change the attitude of
sacred spaces. Need for consecration of space remain
present and it will be present any time [Fig. 8–10].
Fig. 9. Symbols in neokatechumnal.

References
Chapter 1
[1] Norberg-Schulz, Ch. Existence, Space and Architecture
Praeger. London: Publishers, 1971.
[2] Heidegger, M. Identity and Difference, trans. by Joan
Stambaugh. New York: Harper & Row, 1969.
[3] Baldock, J. Symbolika chrześcijańska. Poznań, 1994.
[4] Kopaliński, W. Słownik symboli. Warszawa, 2006.
[5] Guenon, R. „Symbols fondamentaux de la Science sacre”.
In: J. Cirlot. Słownik symboli. Kraków, 2007 : 7.

Chapter 2
[1] Eliade, M. Images and Symbols: Studies in Religious
Symbolism. Princeton: Princeton University Press, 1991.
[2] Eliade, M. A History of Religious Ideas. Vol. 1. Chicago:
University of Chicago Press, 1978.
Fig. 10. Paris, Unesco, T. Ando, Osaka. Drawing [3] Cassirer, E. Philosophy of Symbolic Forms (1923–29).
A Wierzbicka. English translation 1953–1957.

84
Symbol as a versatile language of communication in Polish contemporary sacred architecture

[4] Hani, J. Le Symbolisme du Temple Chrétien. Paris, Chapter 5

1990. [1] Kucza-Kuczyński, K.A., and A. Mroczek. Nowe kościoły
[5] Forstner, D. Świat symboliki chrześcijańskiej. Warszawa: w Polsce. Warszawa, 1991.
Instytut Wydawniczy Pax, 1990. [2] Palladio, A. Cztery księgi o architekturze. Warszawa, 1955.
[6] Tillich, P. Morality and Beyond. Westminster John Knox [3] Miłobędzki, A. Zarys dziejów architektury w  Polsce.
Press, 1995. Warszawa, 1978.

Town and Urban Planning, Architecture and Building Engineering

[7] Wallis, M. Wybór pism estetycznych. Kraków, 2004. [4] Koch, W. Style w architekturze. Warszawa, 1996.
[5] Kotula, A. and P. Krakowski. Architektura współczesna.
Chapter 3
Kraków, 1967.
[1] Heeger, J.D. “Model of extraction of image”. J.Am.Opt. [6] Uścinowicz, J. Symbol, archetyp, struktura. Hermeneutyka
Soc. 44 (1987): 1455-1471. tradycji w architekturze świątyni ortodoksyjnej. PB Białystok,
[2] Gregory, R.L., and A.M. Colman. Sensation and 1997.
Perception. London, 1995. [7] Cirlot, J.E. Słownik symboli. Kraków, 2007.
[3] Bańka, A. Psychologiczna struktura projektowania
środowiska. Poznań, 1985: 132. Chapter 6
[4] Arnheim, R. Sztuka i  percepcja wzrokowa. Kraków, [1] Cordes, P.J. “Presentazione”. In: M. Bergamo, and M. del
2004. Prete. Spazi celebrativi. L’architettura dell’Ecclesia. Roma,
[5] Biegański, P. Architektura sztuka kształtowania przestrzeni. 1994: IX.
Warszawa, 1974. [2] „Memoriales”. No. 1/1998. Biuletyn Informacyjny Archi-
diecezjalnego Seminarium Misyjnego „Redemptoris Mater”
Chapter 4 w  Medellin — Kolumbia. In: www.redemptorismater.pl/
[1] Tylor, E.B. Antropologia. Wstęp do badań człowieka budowa.php.
i cywilizacji. Warszawa, 1902. [3] Orteger y Gasset, J. Bunt mas i inne pisma socjologiczne.
[2] Biedermann, H. Leksykon symboli. Warszawa, 2003. Warszawa, 1982: 57–65.
[3] Ratzinger, J. Duch liturgii. Poznań, 2002. [4] Heathcote, E., and L. Moffatt. Contemporary church
[4] Dziekan, M.M. Symbolika Arabsko-Muzułmańska. architecture. 2007.
Warszawa, 1997. [5] Cappellato, G. Mario Botta Ofentliche Bauten 1990–
[5] Merton, T. Siedmiopiętrowa góra. Kraków, 1973. 1998. Mailand.
[6] Baudrillard, J. La Transparence du Mar. Essai sur les [6] Zumthor, P. „Wykład laureata nagrody Carlsberga
phenomenes extremes. Paris, 1990. w Krakowie”. In: www.sztuka-architektury.pl/index.php.

85