Art Deco architecture in Upper Silesia in the face of social and economic changes during the interwar period

1.1. Purpose of the article

The article aims to examine the influence of art déco on the shaping of urban space, architecture and applied arts in Upper Silesia in the period after World War I, i.e. after Poland regained its independence. Particular emphasis was placed on the combination of international trends with the unique features of local culture and crafts.

1.2. Research question

How did the art déco style influence the development of architecture, applied arts and urban space in Upper Silesia in the context of the socio-economic changes of the interwar period?

1.3. Research methodology

The research was conducted within a specific time frame, mainly covering the interwar period, i.e. 1918–1939. Particular attention was paid to the period from 1920 to 1939, i.e. from the moment of the plebiscite and the division of Upper Silesia in 1921–1922 until the outbreak of World War II. The starting point for the analysis was the end of World War I in 1918 and Poland’s regaining of independence. The research also took into account events of key importance for the region, such as the plebiscite and the Silesian Uprisings in 1921–1922, which led to the incorporation of part of Upper Silesia into the Polish state. Another important context was the reception of the art déco style in Poland after the Paris exhibition in 1925. The research period ended in 1939, but the analysis also referred to later renovations and restorations if they were significant for preserving the original stylistic character of the buildings.

The geographical scope of the research covered the region of Upper Silesia within its historical and cultural borders, taking into account the administrative division after 1922. The field research focused primarily on selected buildings located in Katowice, such as the Cathedral of Christ the King, St. Casimir’s Church, the Bank Gospodarstwa Krajowego building, and the complex of the Provincial Office and the Silesian Parliament. In addition, the analysis covered the Admiralspalast Hotel in Zabrze, which is an important example of the architecture of that period in the region.

1.4. Research techniques used

The following are the research techniques used:

• source research;

• comparative analysis of completed architectural buildings;

• field visit – original photographic documentation;

  Based on the criteria developed for selecting the topic, the following buildings were selected:

• Zabrze: the former Admiralspalast Hotel on Wolności Street, designed by Richard Bielenberg and Josef Moser (1924);

• Katowice: the Cathedral, designed by Z. Gawlik and F. Mączyński (1927);

• Katowice: St. Casimir’s Garrison Church, designed by L. Dietz d’Arma (1930);

• Katowice: Provincial Office and Silesian Parliament, designed by L. Wojtyczko, S. Żeleński, P. Jurkiewicz (1924–1929);

• Katowice: The National Economy Bank, designed by S. Tabeński (1930).

1.5. Selection criteria used

• objective criteria of the architectural community: awards granted by the professional community, publications in recognised professional journals,

• formal reference to the Art Déco style: proportions, symmetry, detail, finishing materials.

3.1. Zabrze, former Admiralspalast Hotel on Wolności Street, designed by Richard Bielenberg and Josef Moser, 1924

Built between 1924 and 1928, the corner building of the Admiralspalast Hotel, designed by Berlin architects Richard Bielenberg and Josef Moser, is located at the corner of Wolności Street and Dworcowy Square in Zabrze [3]. The main part of its façade was designed in the shape of a wedge, which harmoniously blends the main artery of the city with Dworcowa Street leading to the railway station, while closing off the view from the square, which is the central point of Zabrze’s urban layout. Thanks to its elegant, monumental shape and vertical divisions of the façade, reminiscent of the Chicago School, the building has been nicknamed the “Zabrze skyscraper” [4] (Photo 1).

Photo 1

Source: Author’s contribution.

The Admiralspalast Hotel was built in a modernist style with clear art déco influences, which spread throughout Europe in the 1920s, drawing inspiration from Cubism, Futurism and the achievements of contemporary engineering and technology. This style, presented to the general public during the Exposition Internationale des Arts Décoratifs et Industriels Modernes in Paris in 1925, quickly found its reflection in the architecture of Upper Silesia, a region undergoing intensive industrialisation and modernisation. In the local context, art déco carried with it aspirations of modernity, elegance and representativeness, responding to the needs of developing urban centres such as Zabrze, Katowice and Bytom.

The side façades of the hotel were decorated with bas-reliefs depicting human heads symbolising the races of the five continents [5], which was in line with the international art déco trend of using motifs that were both exotic and universal. Originally, there was a popular beer hall on the ground floor of the building, and later a café and restaurant with a ballroom seating 500 people were also opened. On the roof, there was a so-called American garden with a dance floor that could accommodate up to 300 guests, which testified to the high standard of the facility and its openness to the latest entertainment trends from Western Europe and the United States. The hotel offered 48 comfortable rooms, including luxury suites, which were a place of rest and meetings for the city’s economic and cultural elites [6].

The Admiralspalast Hotel served its original function until 1995, when it was closed. In January 2022, the city of Zabrze purchased the building from the Provincial Tourist Services Company, and its renovation was entrusted to the Katowice-based Konior Studio [7]. The work currently underway aims to restore it to its former glory, while preserving its valuable architectural details.

The art déco style, present in both the architectural forms and interior design of the hotel, was characterised by geometric ornaments, stylised pilasters and elegant glazing, emphasising the monumentality of the structure. The interiors of the Admiralspalast combined soft lines with geometric arrangements, creating spaces that were luxurious, modern and functional at the same time. The building is an example of a successful synthesis of international influences with the local cultural context of Upper Silesia, where the art déco style symbolised both modernisation and the social ambitions of the region.

Today, the Admiralspalast hotel remains one of the key examples of art déco in Poland and an important part of the cultural heritage of Zabrze and the entire Upper Silesia region. Its preserved details are a reminder of a time when the region was undergoing intensive development as an industrial, economic and cultural centre, and art déco introduced elements of elegance, prestige and modernity to its landscape.

3.2. Archcathedral of Christ the King in Katowice, designed by Zygmunt Gawlik, Franiczek Mączyński, 1927,

The Archcathedral of Christ the King in Katowice, designed in 1927 by architects Zygmunt Gawlik and Franciszek Mączyński, is a monumental Roman Catholic church built between 1927 and 1955 in a classicist style, with clear art déco influences in its interior design. The temple is located in the southern part of Katowice’s downtown district, in the quarter of Powstańców, W. Stwosza, H. Jordana and Plebiscytowa streets, and is one of the largest cathedrals in Poland, with an impressive volume of approximately 120,000 m³ (Photo 2).

Photo 2

Source: Author’s contribution.

The exterior of the archcathedral is characterised by monumentalism and classical harmony, expressed in the paired columns of the portico and the magnificent dome set on a low tambour, which evokes the traditions of European sacred architecture and at the same time gives the building a representative, state-religious character. The construction of the cathedral took place at a time when Upper Silesia, after its incorporation into Poland in 1922, was shaping its cultural and political identity, and the monumental temple was to symbolise the spiritual and national unity of the region’s inhabitants.

The interior design of the archcathedral, designed by architect Mieczysław Król in collaboration with sculptor Jerzy Egon Kwiatkowski, was kept in the art déco style, which gained popularity throughout Europe and America in the 1920s and 1930s. This style, fully showcased at the Paris exhibition in 1925, was distinguished by geometric forms, symmetry, Cubist inspirations, and exotic and classical motifs, which corresponded to the aspirations of a modernising society, including in Upper Silesia. The interior of the cathedral is characterised by simplicity and harmony of form, as well as the use of luxurious materials, such as polished travertine in the main altar, decorated with reliefs depicting the Last Supper and the wedding at Cana in Galilee. Above the altar table stands a figure of the Risen Christ from 1973, made of polymerised synthetic resin, which testifies to the combination of tradition and modern technologies.

After World War II, the interior of the cathedral was enriched with further art déco elements, including the altar in the Chapel of Our Lady of Perpetual Help with a copy of the miraculous painting and the stained glass window of Our Lady of Piekary in the Chapel of the Holy Spirit, designed in 1959 by Adam Bunsch. These works clearly display the geometric ornaments, sun motifs and ancient Egyptian inspirations characteristic of the art déco style, giving the interiors a modern, elegant and monumental character.

Christ the King Cathedral is an example of how art deco, a style originating in the international artistic and design community, found its place in the sacred architecture of Upper Silesia. Although the exterior of the building is in the monumental classicist style, its interiors reveal the modernist face of the interwar period. The art déco style allowed for a modern expression of spirituality, harmonising with the ideas of moral and social renewal, so important for the region during the formation of Polish national identity.

The inclusion of art déco elements in the design of the cathedral shows that Upper Silesia not only followed European trends, but was also able to creatively adapt them to local needs, combining tradition with modernity. Thanks to this, the Cathedral of Christ the King remains not only a place of worship, but also a symbol of the cultural and social aspirations of the region and a valuable example of art déco in Polish sacred architecture.

3.3. Katowice, Kościół św. Kazimierza Królewicza, aut. Leon Dietz d’Arma 1930

The Church of St. Casimir the Prince in Katowice is a historic Polish Army garrison church located in downtown Katowice, at the intersection of Mikołaja Kopernika and Maria Skłodowska-Curie Streets. Designed by Leon Dietz d’Army in collaboration with Jan Zarzycki in the functionalist style, it was consecrated in 1933 and has since served as the church of the military parish of St. Casimir the Prince (Photo 3).

Photo 3

Source: Author’s contribution.

The building’s structure reflects the modernist trends in Europe in the 1920s and 1930s, combining functionalist principles with the decorative style of art déco, which flourished in art and architecture around the world during this period. This style, fully displayed at the Paris exhibition in 1925, also spread to Upper Silesia, where it became an expression of the region’s modernisation aspirations and, at the same time, a way of creatively reinterpreting tradition in the spirit of modernity.

The interior of the church was designed as a three-nave pseudo-basilica with minimally differentiated nave heights. The main nave is separated from the side naves by simple, square pillars, and their verticality is softened by a wide strip of wall covering the galleries at half height. In the presbytery, there is a niche housing the main altar, flanked by two rounded balconies, which are the only accents breaking the austere rhythm of the vertical and horizontal divisions of the interior.

The church has two chapels: the Chapel of St. Joseph behind the south aisle and the Chapel of Our Lady Queen of Poland on the right side of the presbytery. The interior has retained almost all of its original art déco furnishings, including stone altars made of grey Żuraw marbles, a balustrade, a baptismal font, confessionals, benches, lamps and stained glass windows. Among the decorations, the sculpture of Christ made of linden wood by Marian Spindler from Lviv, the bas-reliefs of the Way of the Cross made by Zofia Trzcińska-Kamińska and the sculpture of St. Anthony of Padua by Karol Muszkiet stand out. The organ, funded in 1933 by Father Stoiński, was built at the Stanisław Krukowski and Son Organ Factory in Piotrków Trybunalski.

The intense colour combinations dominating the interior – gold, black and white – together with contrasting materials are typical of art déco, which combined modern elegance with decorativeness, inspired by motifs of the sun, geometric forms and luxurious materials, often in dark tones. This style in sacred architecture was characterised by sparse ornamentation, clear geometry and the use of innovative technologies, thanks to which it harmoniously fitted in with the modernist aspirations of the era, without abandoning traditional religious symbolism. St. Casimir’s Church is an example of how art déco was adapted to the sacred architecture of Upper Silesia, where the Catholic religion played a key role in shaping social and cultural identity. This style made it possible to express spirituality in a modern way, in line with the aesthetics of the era, responding to the aspirations of the region’s inhabitants seeking a balance between tradition and modernity.

The façade of the building is distinguished by its simple, monumental form with geometric decorative details, emphasising the elegance and harmony of the architectural composition. The interior of the church impresses with its functionality and tranquillity, which encourages contemplation and emphasises the spiritual dimension of the space. Particular attention is drawn to the altars, the Stations of the Cross and other art déco furnishings, characterised by symbolic depth and decorativeness inscribed in the rigour of the geometric composition.

St. Casimir’s Church, like other sacred buildings of that period, reflects the social and cultural changes in Upper Silesia in the interwar period. During the dynamic development of industry and urbanisation, sacred architecture became a tool for building community and local identity. The choice of art déco for the church design was an expression of openness to modernity and an attempt to adapt traditional forms of religious expression to the aesthetics and technology of the new era.

Today, the Church of St. Casimir in Katowice remains one of the most important examples of the use of art déco in the sacred architecture of the region. Its significance goes beyond its aesthetic value, showing how this style influenced the way in which the inhabitants of Upper Silesia expressed their spirituality and cultural identity in the interwar period.

3.4. Provincial Office and Silesian Sejm, authors: Piotr Jurkiewicz, Ludwig Wojtyczko, Stefan Żeleński, Piotr Jurkiewicz 1924–1929

The Provincial Office and Silesian Parliament complex at 25 Jagiellońska Street in Katowice is one of the most monumental architectural projects of the interwar period in Poland. Built between 1925 and 1929 according to a design by a team of architects: Piotr Jurkiewicz, Kazimierz Wyczyński, Ludwik Wojtyczka and Stefan Żeleński, at the time of its construction, the largest administrative building in the country, and its Sejm hall became a model for the later Sejm hall in Warsaw (Photo 4).

Photo 4

Source: Author’s contribution.

The building reflected the political, social and economic aspirations of Upper Silesia, a region which gained extensive autonomy within the Second Polish Republic after World War I. The art déco style in which it was designed perfectly captures the spirit of the era – elegance, functionality and modernity, symbolising modernisation and technological progress in Europe and America in the 1920s and 1930s.

The building consists of four wings forming a closed quadrangle, with four entrances from Ligonia, Jagiellońska, Lompy and Reymonta Streets. Its inner courtyard features a circular assembly hall, whose form and spatial layout were inspired by ancient theatres, giving the interior a monumental and representative character. The western façade is distinguished by a wide, representative staircase leading to the main entrance, behind which there is a majestic vestibule serving as a ceremonial space.

The autonomy of the Silesian Province, established in 1920, found its expression in the architecture of the new seat of the Silesian Parliament. The design competition was won by a group of architects from Krakow, whose concept referred to Polish classicism of the Enlightenment era, emphasising the symbolic ties between Silesia and Poland. Construction began in 1925 and was completed four years later. The form of the building, resembling a defensive palace with bastions, was intended to express the strength, stability and prestige of the region, as well as its importance as the western borderlands of the Republic of Poland.

The building’s facades are decorated with numerous symbolic details characteristic of art déco: stone pilasters topped with capitals in the shape of legion eagles, a frieze with shields bearing the initials RP, coats of arms of Silesian cities and lictor’s rods – referring to the republican tradition and the idea of statehood. These elements survived the German occupation almost intact, during which the building was taken over by the Nazi administration; only the Polish accents in the interiors were removed at that time.

The three-storey-high vestibule resembles a Renaissance courtyard with cloisters, covered with a dome decorated with coffers and rosettes. In the central part of the dome, there are 11 coats of arms of the cities that were part of the Silesian Province in the interwar period. A monumental double staircase leads to the meeting room, and the whole is finished with stone cladding, which emphasises the prestigious character of the interior.

The Silesian Parliament Hall, built on an elliptical plan and lit by a glass dome, had 140 seats, including 80 for MPs and the presidium, 30 for representatives of the Provincial Office and 30 for the press. Its design, by Ludwik Wojtyczka, was distinguished by its sophisticated décor, including armchairs covered with cowhide imported from Great Britain [8], as well as art déco decorations, characterised by geometric ornaments and luxurious materials such as marble, chrome and exotic wood.

The conference room features bronze busts of four prominent Silesians [9], created by Marcin Rożek, an artist and participant in the Greater Poland Uprising [10], commemorating individuals who contributed to the preservation of the Polish national and cultural identity of the region.

Art déco, a style originating in France and popularised after the Paris exhibition in 1925, was characterised by simple, geometric forms, stylised details and the use of expensive, exclusive materials [10,11]. In public architecture, it symbolised power, stability and modernity, which perfectly suited the needs of Upper Silesia in the interwar period, when the region was becoming a modern economic and political centre of Poland [12].

The complex of the Provincial Office and the Silesian Parliament [13] was a manifestation of these ambitions. The monumental structure of the building, the regular arrangement of windows, geometric details and austere elegance combined classicism with art deco, creating representative but also functional architecture. The interiors impress with their precision of workmanship and refined aesthetics, especially in the monumental staircases, representative halls and decorative details such as lighting, balustrades and floors, which showcase the design mastery of the era.

The construction of the complex was an expression of Katowice’s new role as the capital of the autonomous Silesian Province, and the building itself became a symbol of the region’s modernisation and political aspirations. The art déco style, combining tradition with modernity, allowed for the creation of a functional yet representative building – a testament to the dynamic development of Upper Silesia in the interwar period and proof of the creative adaptation of international architectural trends to the local context.

3.5. Katowice The National Economy Bank, author Stanisław Tabeński 1930

The building of the former National Economy Bank in Katowice, located on Adama Mickiewicza Street, at the corner of ks. Piotra Skargi Street, was built in the late 1920s as an expression of the modernisation aspirations of the region and interwar Poland. Designed in 1928 by Stanisław Tabeński and Jan Noworyta [14], it combines features of expressionism [15] with clear influences of the art déco style, which at that time dominated public architecture in Europe and the United States (Photo 5).

Photo 5

Source: Author’s contribution.

Erected during a period of dynamic development in Katowice, the building was intended to symbolise the financial stability and prestige of the city as a modern industrial and economic centre of Upper Silesia. The monumental, six-storey structure, built of brick and plastered, was composed in the form of geometric cuboids [16]. Its layout refers to the shape of an irregular trapezium, which resulted from the conditions of the building plot in the densely built-up city centre.

The main façade, on the south-western side, is characterised by a symmetrical composition. The lower part of the ground floor is decorated with rustication, which gives the building a massive, stable character, characteristic of banks from that period. The central entrance, framed by double doors with a semicircular transom, is flanked by ramps with driveways, emphasising its monumental character. The rustication around the doors is decorated with stylised, simplified floral motifs, while the windows on both sides of the portal are protected by decorative grilles.

From the first to the fourth storey, the façade is decorated with fluted pilasters with geometric capitals, between which rectangular, six-part windows are arranged. The whole is crowned with a simple attic wall, giving the façade a classicising harmony typical of art déco [18].

The north-eastern façade, facing Piotra Skargi Street, is distinguished by a wider layout with two side risalits, also decorated with fluted pilasters and six-part windows. The central part of the façade has been set back and kept in a smooth form [18]. The south-eastern façade, on the other hand, has a more varied composition, with stepped divisions, among which there is a rectangular entrance with wooden doors and a geometric relief above the portal.

The interior of the building impresses with its representative character, combining functionality with elegance. The main hall is decorated with multicoloured marble, white stucco, gilding and bronze, which, as in the best art déco projects in New York or Paris, create an atmosphere of luxury and modernity. Square pillars with crystal capitals and geometric lamps emphasise the modernist character of the interior. The stained glass window in the rectangular, tripartite window above the stairs is particularly noteworthy, depicting an abstract geometric composition with the inscription ‘A 1930 D’ and a motif of crossed blades of grass – a typical symbol of growth and prosperity in art déco [19].

The main hall leads to the operating room through a swing door in the axis of the entrance. Despite later alterations, it has retained its original pillars supporting the architrave. A marble clock was placed above the main entrance, another detail emphasising the function of the financial institution and the modern character of the space. The coffered ceilings, representative offices and conference room on the first floor retain elements of the original decor, including parquet floors and stylised furniture.

Art déco motifs are visible throughout the building: in the geometric patterns of the floors, stylised pilasters, portal decorations and metal finishes, as well as in the lamps and lighting details. Particularly characteristic are the use of expensive materials – marble, wood, bronze – and the symbolism of the sun, growth and strength, which refer to international art déco trends that flourished after the Paris Exhibition of Decorative Arts in 1925 [20].

In Upper Silesia, the art déco style quickly became an expression of modernisation aspirations and the need to emphasise the region’s importance on a national scale. Public and financial institutions, such as the National Economy Bank in Katowice, were intended to symbolise the stability, economic development and prestige of the region – just as the large banks in Chicago and New York reflected the economic power of the United States.

The National Economy Bank building in Katowice is an excellent example of a harmonious combination of functionality and sophisticated art déco aesthetics. Its monumental yet elegant structure and rich geometric details create a composition that continues to impress to this day. This building not only remains a testament to the modernity of interwar Silesia, but also reminds us of the region’s role as an economic pillar of the Second Polish Republic, fitting into the broader international art déco architectural trend that defined the image of global metropolises in the 1920s and 1930s.