Search for: [Abstract = "A breakthrough moment in the history of Polish post\-war architecture was the Council of Party’s Architects held in June of 1949, which was the first step to the introduction of socialist realism. The doctrine “proved out” to be an effective means of control over culture in the totalitarian state, but not an artistic one. It was an utopian idea and, although politically strong, it was philosophically and aesthetically weak. Architecture as the discipline of arts that enjoyed special interest of the authorities was under much pressure and mechanisms of control. It was argued that “the domains of architecture and urban planning needed to be deliberately managed by the party”. Thus, the command over creativity was exercised, architects were devoid of their pre\-war status of artists, and their contacts with the West were limited. Yet, with the lapse of time, the influence of the party’s architects in the community grew weaker and weaker. A number of favourable opportunities to inspire ferment in the artistic communities presented when internal political and economic crises began, which in consequence led to the weakening of the Polish United Workers’ Party \(Polish acronym\: PZPR\), and the struggle for power in the USSR after Stalin’s death. In fear of the loss of control, once more the party tightened its ideological grip on the artistic communities. The political leadership decided to force the pace of implementation of the doctrine, and increased their pressure on both the Association of Polish Architects and individual artists. Finally, a section of architecture was established at the Department of Culture and Education of the Central Committee of the PZPR. However, it was too late for such measures, as was ruthlessly exposed by the National Council of Architects in 1956, a part of the “Polish October” and a turning point in the post\-war history of Polish architecture."]

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