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Abstract
At the end of the 20th century in Kraków Andrzej Wajda began to implement his architectural vision. With the Manggha Museum of Japanese Art and Technology he created a counterpoint to the Wawel hill on the opposite bank of the Vistula. Another precedent was the intimate “Wyspiański 2000 Pavilion”, finally erected between 2005–2007 at plac Wszystkich Świętych. Through his architectural vision and creations he etched himself permanently in the identity of Kraków. Wajda proved that it is possible to understand the city as a creation, as a living work of art. His imagination and determination proved that this does not only need to be through the illusion of film.References
Fabiański M., Purchla J., Architektura Krakowa. Przewodnik, Kraków 2012.
Galeria Europa – Daleki Wschód, red. A. Oleśkiewicz, Kraków 2015.
Kraków – architektura i przestrzeń miasta u progu XXI wieku, red. A. Wyżykowski, Kraków 2010.
Manggha. Historia projektu, red. M. Urbańska, Kraków 2009.
Purchla J., Miasto jako dzieło sztuki, „Herito” 2016, nr 22–23 (2–3), s. 12-29.
Włodarczyk M., Architektura krakowska lat 1956–2000. Wybrane przykłady, Kraków 2013.
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