Warszawa

From research on the history of country residences near Warsaw. The precincts of the Brühl family palace in Młociny (from the mid-18th century).
The palace in the village of Młociny near Warsaw was part of a large early-modern complex, including a park, outhouses and outbuildings, as well as gardens on the bank of the Vistula, decorative pavilions, a game park, an inn and a windmill. It was the most northward residential complex of this type along the Warsaw Embankment. It did not survive long in its most extensive form, as it started to be reshaped at the end of the 18th c., which led to its degradation.
The article discusses structures that were part of the Młociny palace-and-garden design and had various functions (some were used as living quarters, some for leisure pursuits and entertaining guests, some were purely decorative). Various available data were collected, including written and iconographic sources, archival maps and photographs, results of excavations from 2010 and of non-destructive research (an analysis of numerical models of the area generated by the GIS software). Correlating data from all those sources made it possible to the characterize the buildings and trace their histories from the design through the construction to the gradual destruction, as well as localize and identify those that have disappeared completely.
The oldest structures, designed by Johann Friedrich Knöbl and constructed in the years 1748–1763, when the palace in Młociny was owned by Henryk Brühl, were three wooden outhouses and a brick kitchen, probably a palisade–pergola on the courtyard, a neighbouring home farm with a brickyard, a game park with a pheasantry, a massive gate facing the south, a forest theatre and a temple of Diana. The next owner, Alojzy Fryderyk Brühl, who employed the architect Szymon Bogumił Zug, probably commissioned most of the decorative pavilions on the riverbank and some utility buildings, constructed in the years 1772–1784. These were brick outhouses, some small outbuildings (?), a new pillared gate, an Oriental pavilion, a monopteros (gloriette), two “peasant cottages”, a “fisherman’s cottage”, alias hermitage, an inn and
a windmill. Most of those garden structures did not survive beyond the mid-19th century. The complex was largely transformed and some of its 18th-century elements were rebuilt at the beginning of the 20th c., when the palace with its closest surroundings was taken over by Stefan Grodzicki. The elements reconstructed at that time were the outhouses, whose usable floor space was extended, the small neighbouring buildings, which were turned into living quarters, and — partly — the palisades. A new greenhouse, stable and barn were built, while the garden wall was modernized to make a passage to the courtyard.
Excavations on the plot to the south of the palace revealed relics of some of those structures, i.e. the outhouses further from the palace, the neighbouring outbuildings, the palisades-pergoles, the gates and the passage. An analysis of the sources resulted in establishing the approximate location of the 18th-century home-farm buildings and brickyard. A comparison of Zygmunt Vogel’s watercolour A View of Młociny with 19th-century maps helped to identify the location of the possible remains of the structures visible in the painting but non-existent now: the inn and the Oriental pavilion. A thorough analysis of the archival cartographic sources and their integration with the numerical model of the area revealed remnants of two islands in the game park, on one of which there used to be some buildings in the mid-18th c. The buildings described above were integral parts of the residential complex in Młociny and had varied functions, which influenced their varied form and character. In most cases, as far as it can be established on the basis of the available sources, their form was determined by a coherent architectural vision reflecting current trends in designing palace-and-garden complexes. The Młociny complex was shaped mostly by the two architects commissioned by the owners, Johann Friedrich Knöbel i Szymon Bogumił Zug, whose work survived for less than a century. Most credit goes to Zug, whose artistic vision was fully implemented here, with eclectic solutions characteristic of his designs integrated into the Vistula landscape. Due to its coherent design and varied details, the Młociny complex can rival larger grandiose magnate residences of that epoch located in Warsaw or nearby.

Née de la rencontre d’un historien et d’une illustratrice ayant tous deux vécu à Varsovie, cette « histoire d’une capitale » vient combler un vide en même temps qu’elle invente une approche nouvelle, où l’image questionne, bouscule et parfois contredit la narration.
Formidable palimpseste de l’histoire récente du continent, Varsovie ne saurait être racontée sur un mode linéaire : au premier regard, le voyageur perçoit son urbanisme polycentrique, ses contrastes et ses paradoxes. Cette histoire de Varsovie à l’époque moderne et contemporaine multiplie les approches, comme autant de flâneries urbaines qui tour à tour s’éloignent, rebroussent chemin, se croisent : l’habitat, le travail, la culture, les rapports entre les sexes, les transports, la consommation, les blessures du passé et les visions de l’avenir.
Dans ses dessins, Fanny Vaucher excelle à débusquer au coin des rues, sur les façades, à l’ombre des arrière-cours, les blessures du passé, les scènes émouvantes ou burlesques de la vie quotidienne, mais aussi l’émergence des tendances nouvelles.

Wciąż mami nas pokusa myślenia o historii jako estetycznej, atrakcyjnej, sprawiedliwej, ostatecznie zamkniętej i doskonale użytecznej opowieści. Wypowiedzi zebrane przez Makowskiego i Szymańskiego nie pozostają złudzeń, że taka wizja ma niewiele wspólnego z rzeczywistością. Tezy, że rock obalił komunę wobec nich nie da się już obronić, w zamian nie dostajemy jednak żadnej pozytywnej alternatywy. Historia PRL-u w „OBOK…” rozbija poczucie istnienia jakiegoś możliwego do odkrycia przez nas sensu historii, co jest przecież warunkiem umożliwiającym budowanie na jej podstawie rozmaitych marketingowych ikon. Historia w zgromadzonych tu świadectwach jest chaotycznym zbiorem postaw a nie prostą opowieścią z dobrym i atrakcyjnym zakończeniem. Oczywiście nie ma żadnych szans na to, żeby te głosy wpłynęły w jakikolwiek sposób na dominujące w mediach estetyczne wizje historii PRL-u i kontrkultury.
Tymczasem chaotyczny wielogłos z „OBOK…” pozwala opowiedzieć o niej w nowy sposób, umieścić ją w perspektywie, na którą nie ma miejsca w podręcznikowej czy festiwalowej narracji. Przede wszystkim kontrkultura nie jest tu prostym synonimem opozycji i jej znaczenie jest zdecydowanie głębsze: „Montowanie tego [punka lat 70. 80.] w wyraz antyreżymowy, antypaństwowy – jest dla mnie nową kategorią. Kontrkulturowość jest czymś absolutnie innym. Jest ruchem, ideą, próbą nowego zdefiniowania relacji w społeczeństwie” (Tomasz Świtalski).
Z drugiej strony nie jest idealizowana, a tytułowe „Ile Procent Babilonu” to właśnie pytanie o granice/konieczność/wolę współpracy z systemem…

z recenzji: Marcin Wilkowski „Punki, frakcje i narracje” (portal „Historia i media”, 2011 r.)