In 1950, Polish architect Maciej Nowicki joined the team designing Chandigarh, contributing to an innovative urban concept that sought to shape the city in close dialogue with its landscape, climate and patterns of everyday life. Although his sudden death interrupted his involvement in the project, his ideas remain an important and often overlooked chapter in the early history of this city.
Stanisława Nowicka and Maciej Nowicki are two architects whose work unfolded across Europe and the United States before converging, in the final months of Maciej’s life, in Chandigarh. Shaped by the dramatic events of the twentieth century their work developed at the intersection of cultures and continents. Combining technological experimentation with a deep respect for local context, landscape and human needs, the Nowickis helped shape a form of humanist modernism that expanded the understanding of modern architecture. Their ideas continue to inspire a more responsible and sensitive approach to design attentive to place, environment and the lives of communities. ↑ Stanisława Sandecka-Nowicka, photo by
“If time had allowed his genius to spread its wings in full, this poet-philosopher of form would have influenced the whole course of architecture as profoundly as he inspired his friends.”
Eero Saarinen 1910 –1961, Finnish-American
architect and interior designer, one of the most prominent figures in American architecture of the 1950s.
↑ Board of Design Consultants and other consultants appointed to assist Wallace K. Harrison in drawing up plans for the construction of UN permanent Headquarters, Matthew Nowicki first on right, 1947
Maciej (Matthew) Nowicki (1910 –1950) pioneered an innovative approach to architecture that derived aesthetic expression from structural engineering, broadening the understanding of both disciplines.
Matthew’s interest in drawing blossomed during his visits to the Art Institute of Chicago, where his father worked as consul general after Poland regained independence in 1918. Upon his return to the country, Matthew began studying fine arts in Krakow and then architecture at the Warsaw Polytechnic. He married the architect Stanisława Sandecka, with whom he established an architectural practice.
The couple withstood the difficult circumstances of World War II. Matthew remained professionally active in secret architectural competitions, taught masonry, and worked as a design lecturer in the underground classes of the Warsaw Polytechnic, even though teaching architecture to Poles was banned by the Nazis.
After the war, Matthew returned to his work through planning for the reconstruction of Warsaw. He later traveled to the United States as cultural advisor to the Polish diplomatic mission and was involved in the design of the United Nations headquarters in New York. He was appointed the first director of the School of Architecture at North Carolina State College.
Nowicki died tragically in a plane crash caused by an engine fire above the Libyan Desert in August 1950.
Stanisława Sandecka-Nowicka (1912–2018)was the first woman in United States history to receive the title of professor of architecture. She began her career as a student at the Faculty of Architecture at the Warsaw Polytechnic, where she met her future husband, Matthew Nowicki. Parallel to her architectural activities, she worked as a graphic designer.
Stanisława and Matthew signed their designs with a joint signature. In addition to posters, their works included leaflets and illustrations, as well as interiors, for example, for the Polish pavilion at the 1937 “International Exposition of Art and Technology in Modern Life” in Paris. Upon receiving a scholarship from the French government, Stanisława spent a year working with Le Corbusier on a photo collage for the “Temps Nouveaux” and a stadium design, among others.
After the war she worked in the Bureau for the Rebuilding of the Capital creating plans for the reconstruction of Warsaw. She co-authored the designs for the Resort Hotel in Augustów and the Paraboleum in Raleigh. In 1950 she worked with William H. Deitrick on the interior designs for the Carolina Country Club. In 1951, Sandecka-Nowicka began her academic career at the University of Pennsylvania. After receiving the title of professor in 1963, she was often referred to as the grand dame.
Stanisława Sandecka-Nowicka was awarded the Medal of the American Institute of Architects in 1987 and the Gloria Artis Medal in 2016 for her contribution to Polish culture.
Chandigarh, India
Chandigarh was Maciej Nowicki’s largest and last commission — and it was the project in which his methods found their fullest expression.
Working alongside American planner Albert Mayer and Julian Whittlesey, Nowicki brought to the project an ability to adapt to unfamiliar conditions — climatic, social and spatial — and to draw from local knowledge rather than impose ready-made solutions.
The Indian authorities, intrigued by Nowicki’s designs and methodology, offered him a ministerial position to oversee the construction of Chandigarh. Nowicki planned to return to Raleigh before the project could get underway, and tragically died in a plane crash on his way home.
“I have found at last the exact words of Krishna: ‘Indifferent to pleasure and pain, to gain or loss, to conquest or defeat, thus make ready for the fight… as do the foolish, attached to works, so should the wise do, but without attachment, seeking to establish order in the world.”
Maciej Nowicki, quoting the Bhagavad Gita in a letter to Albert Mayer, Chandigarh, August 1950.
↑ Assembly of the People in Chandigarh, circa 1950, source: Matthew Nowicki Drawings and Other Material, 1944–2011 (MC00190), Special Collections Research Center at NC State University Libraries
“Every great city has two aspects — the everyday and the holiday. The everyday is the city of work and habit, of repetition and routine: the grid of streets, the superblock, the neighbourhood unit. The holiday is the city of ceremony and celebration, of axis and monument, of the great open space that gives scale to everything around it. Neither is sufficient alone. A city without holiday is a factory.
A city without everyday is a stage set.”
Maciej Nowicki, letter to Albert Mayer, 15 March 1950
[Published in Perspecta: The Yale Architectural Journal, vol. 3, 1959, pp. 82–83]
A New Capital
The decision to build a new capital for Punjab followed directly from the Partition of India in 1947 and the loss of Lahore. The new city was intended both as an administrative centre and as a symbol of a modern, independent nation. Jawaharlal Nehru envisioned it as a manifestation of freedom and an expression of confidence in the country’s future.
The selected site, located about 240 kilometres north of Delhi at the foothills of the Shivalik range, consisted of a gently sloping plain intersected by seasonal streams. Natural boundaries defined by riverbeds and valleys made landscape a fundamental factor in shaping the earliest planning proposals.
Although Chandigarh is most often associated with Le Corbusier, the initial conceptual groundwork was undertaken by Albert Mayer and Maciej Nowicki. Invited by the Punjab government, they developed the first vision of the city in 1949 –1950, combining modern planning ideas with a careful reading of local spatial, climatic, and social conditions.
Leaf plan
The Mayer and Nowicki proposal for Chandigarh drew on the Garden City tradition and on American residential planning influenced by Ebenezer Howard’s ideas. It deliberately rejected the rigidity of a geometric grid in favor of a gently curving system responsive to landscape and topography.
The master plan assumed a fan-shaped outline spreading across the site between two seasonal riverbeds. At its head stood the Capitol area, with the City Centre located at the heart of the urban structure. Two linear parklands ran continuously across the plan, linking the northeastern and southwestern edges. A curving network of main roads enclosed neighbourhood units known as superblocks.
The leaf diagram structured this composition. A principal commercial axis connected to the Capitol complex, while secondary and local streets branched outward to define residential blocks. This hierarchy unified the city and at the same time enabled more intimate neighbourhood environments. Development was conceived in phases, beginning in the northeastern part and expanding gradually.
Nowicki’s unbuilt Leaf Plan remains an important reference in interpretations of Chandigarh’s planning history. Instead of a rigid orthogonal grid, Mayer and Nowicki proposed a more organic and landscape-based structure in which green corridors, public space and neighbourhood life formed an integrated urban system.
← The Leaf Plan scheme by Matthew Nowicki, source: “Chandigarh”, Norma Evenson, University of California Pres, Berkeley and Los Angeles, 1966. Graphic design based on source materials. Graphic design based on source materials.
↑ Capitol building layout, circa 1950, source: Matthew Nowicki Drawings and Other Material, 1944–2011 (MC00190), Special Collections Research Center at NC State University Libraries.
Capitol
The Capitol complex was to express – through its form – the importance of the new capital for independent India. Nowicki proposed a configuration in which a parabolic dome of the Parliament towered over the horizontal administrative buildings, while the complex as a whole resembled a massive block. A wide access ramp across the river connected the Capitol to the city.
Nowicki’s design was carefully tailored to the natural environment. The proximity to the water echoes two earlier projects: his proposal for a parliament building above the Vistula in Warsaw, where a large public square was set on the river bank, and the UN Headquarters in New York, located by the East River. In each case, Nowicki placed the city’s most symbolic building at the edge of water, shaping arrival and civic presence through landscape.
A second plan for the Capitol included a large group of separate buildings that represented an entirely different approach to the design task. The project envisioned two perpendicular axes: one of them led from the city through its center to the Governor’s Office, the other connected the Secretariat Building and the Supreme Court Buildings. The Parliament, located in a central square at the intersection of the two axes, became the focal point of the entire complex.
Superblock L-37
A superblock designed by Nowicki during his stay in India was identified in the general plan as L-37. It was intended to house approximately 1175 families, predominantly of government employees. The plan comprised one- and two-story houses and small four-story blocks with various types of apartments. Their layouts were designed to offer flexibility to users and allow for future adaptations. In some cases, groups of houses were arranged around a common courtyard, effectively expanding their usable space. A notable detail of the design were the varied facades with brise-soleils, as well as the use of brick – a natural material found in traditional buildings in the area. Nowicki wanted to create a sense of spatial variability by breaking up the facades, curving the streets, and superimposing enclosed and open spaces. Also noteworthy are the numerous studies of the typologies of apartments, schools, and neighborhood spaces, which indicate Nowicki’s particular interest in local context and human scale.
“I am not advocating diversity in design for its own sake. The constructive diversity that provides strength to an expanding and virile civilization is the result of creative sensitivity to the eternally changing circumstances where ‘every opportunity stands alone.’”
Maciej Nowicki
↑ Superblock L-37, housing typologies A and A1, circa 1950, source: Government Museum and Art Gallery, Chandigarh
“The sudden death of Nowicki ended the possibilities for further refining the Mayer plan to define a modern urbanism rooted in India’s tradition.”
Tridib Banerjee PhD, Professor and James Irvine Chair of Urban and Regional Planning at the School of Policy, Planning and Development, University of Southern California
In the months following Maciej Nowicki’s death, the Government of India first invited Albert Mayer to continue the work on the master plan. Mayer declined, considering the project fundamentally a joint endeavour and unwilling to proceed without Nowicki. Only afterward did the government approach several other design teams before appointing a group led by Le Corbusier, including Pierre Jeanneret, E. Maxwell Fry, and Jane Drew. Although formally commissioned to implement the Mayer plan, they soon replaced it with their own vision.
The new master plan was based on a regular orthogonal grid of sectors conceived as self-contained neighbourhood units. A hierarchical traffic system structured the city, clearly separating fast-moving roads from local and pedestrian circulation. The composition was rational and monumental, culminating in the Capitol Complex as the symbolic focus of the urban scheme.
By contrast, the Mayer–Nowicki proposal envisioned neighbourhood units of varying size, flexible in form and responsive to topography. Their superblocks were more organic, with centrally located open spaces. Instead of a uniform grid, the structure emerged from landscape conditions and social relationships. Local scholars widely maintain that Sector 8 reflects the urban principles developed by Mayer and Nowicki and remains one of the city’s most appreciated areas due to its human scale and spatial quality.
While Chandigarh was ultimately defined by Le Corbusier’s monumental scheme, the earlier humanist principles remain discernible within the city’s spatial fabric.
Cultural diversity
In Chandigarh, Maciej Nowicki sketched designs for a Hindu temple that did not impose Western models of religious architecture but drew instead from close observation of local sacred space — its relationship to courtyard, shade, water and approach. The sketches show not a Western building dressed in Indian motifs, but an attempt to understand how a gathering space grows from its site and its community. These drawings were made during the same weeks that Nowicki was designing Superblock L-37: close observation before design was his method in both cases. This attentiveness to unfamiliar traditions reflected a wider sensibility shaped by years of living and working across cultures. In the ethnically diverse Second Polish Republic, the Nowickis had already designed churches, chapels and a mosque. The experience of relocation, life in a multinational society, and the Second World War all deepened their humanist modernism and its social sensitivity.
↑ Church in Prandocin, unexecuted design, perspective sketch, designed by Maciej Nowicki, Stefan Putowski, 1942–43, source: “Architectural Record”, vol. 115, iss. 6, p. 146, 1954
↑ Mosque in Warsaw, competition entry –3rd prize (Stanisława and Maciej Nowicki), photograph of building model, designed by Maciej Nowicki, Stanisława Sandecka- Nowicka, 1935, source: “Architektura i budownictwo”, year XII vol. 6, p. 190, Warsaw, 1936.
Superblock L-37, housing type B, circa 1950, Government Museum and Art Gallery, Chandigarh
Beginnings
The joint design venture of Stanisława Sandecka and Maciej Nowicki began in 1931, when – as students –they established a studio for interior and graphic design. Their first commission was to design interior decoration and printed materials promoting the annual Architecture Ball at the Warsaw University of Technology. Between 1931 and 1936 they created about 20 poster designs. For their designs, they received numerous awards, which recognized their technical prowess and artistry. As students, Nowicki and Sandecka participated together in architectural competitions for various buildings, such as the Warsaw Mosque, in which they placed third (1936) or a spa house in Druskienniki, which they won (1938).
Notable among their projects is the Resort Hotel in Augustów (designed together with Władysław Stokowski), completed in 1938. In the US they worked on the design of the Dorton Arena and the interiors of the Carolina Country Club in Raleigh (together with William Henley Deitrick).
In addition to his large-scale and largely unbuilt visions, Matthew Nowicki’s architectural work consisted of many smaller commissions, in which he often collaborated with Stanisława Sandecka-Nowicka. They participated in many architectural competitions. In 1938 Nowicki worked with Jan Bogusławski on his design for the Polish pavilion for the World Fair in New York.
During the war, Nowicki worked conspiratorially and actively participated in architectural competitions with other architects. In the post-war period, Nowicki had the opportunity to further develop and publish some of the projects he had started in Poland.
While continuing his work with Harrison on the UN headquarters in New York, Nowicki began collaborating with architect Clarence Stein. They designed a circular, elevated platform for pedestrians at Columbus Circle in the northwest corner of Central Park. He worked on many projects in North Carolina as a consultant for William H. Deitrick’s firm.
↑ Columbus Circle in New York, unexecuted design by Matthew Nowicki, Clarence S. Stein, 1948, source: Clarence Stein papers, #3600. Division of Rare and Manuscript Collections, Cornell University Library.
The German attack on Poland in September 1939, carried out in cooperation with the Soviet Union, brought the entire country under occupation. During this time, the population of Warsaw was estimated at over 1.3 million inhabitants.
Warsaw was one of the cities most affected during World War II. About 85% of the left-bank part of the city was destroyed. Infrastructure losses included all bridges over the Vistula River, 90% of industrial buildings, 90% of architectural landmarks, and over 70% of residential buildings. 70% of schools and 95% of cultural buildings were damaged. The railway and tram systems ceased to exist.
Postwar Warsaw was a sea of rubble. However, on January 3, 1945, shortly before the Red Army reached the city, the Provisional Government in Lublin decided to rebuild Warsaw. To coordinate this gigantic effort, the Bureau for the Rebuilding of Warsaw was established. The extraordinary character of Warsaw’s reconstruction can be attributed to the vision of Jan Zachwatowicz, who strove to completely rebuild all of the destroyed historical buildings. Of the 957 buildings that were listed as monuments before the war, only 34 survived the war in good condition.
In 1980, UNESCO placed Warsaw’s Old Town on the World Heritage List. It was the first time this distinction was given to a city that was completely rebuilt.
The first attempts to plan the post-war reconstruction of Warsaw began under the German occupation. Students and teachers at the underground school of architecture were conscious of the necessity of future reconstruction. Immediately after the war, Maciej Nowicki, was appointed the main planner of the central part of Warsaw.
Part of Nowicki’s proposal for the city center was a new parliament building. It was monumental in its round shape and experimental in its construction, with a roof suspended from steel cables.
The business district, planned on the site of the former Warsaw Ghetto in the Grzybów district, presented a design challenge due to the overwhelming destruction and rubble. Instead of removing the rubble, Nowicki decided to incorporate it into his design to differentiate the streetscape. To maintain the human scale of the complex, the maximum height of the commercial buildings was set at four stories. He planned to use prefabricated structural elements to facilitate a quick construction process.
“Perhaps the life of no other architect so well reveals the dilemmas and choices that have presented themselves to the modern architect; or so sensitively indicates the direction that a more humane culture must take, if it is to save itself from the sterility and dehumanization that now threatens our civilization.”
Lewis Mumford
United Nations Headquarters in New York
In late 1945, Nowicki went to the United States as a cultural advisor to the Polish diplomatic mission and later participated as a Polish consultant in the Board of Design’s work on the new UN Headquarters. He became part of the working group headed by Wallace Harrison, which included notable figures such as Le Corbusier and Oscar Niemeyer.
In the case of the UN he believed that the design of its headquarters was a means of defining the identity of the organization. Nowicki saw here not only a cluster of buildings, but also a physical manifestation of the united postwar world. He was the author of five concepts; only two of which have survived to the present day.
↑ Urban plan of North Carolina State Fairgrounds, source: Matthew Nowicki Drawings and Other Material, 1944 –2011 (MC00190), Special Collections Research Center at NC State University Libraries
North Carolina State Fairgrounds
Thanks to his collaboration with William Henley Deitrick, Nowicki was able to participate in a wide range of design activities in Raleigh. Beginning in January 1950, they worked on designs for the North Carolina State Fairgrounds. Nowicki and Deitrick held numerous meetings with Fairgrounds officials, whose intent was to promote North Carolina as a progressive state. After a series of designs had been brought to completion only with great difficulty, Nowicki was commissioned for a project that would finally allow him express his architectural vision.
Dorton Arena in Raleigh, NC
The Paraboleum (now Dorton Arena) was designed for the prosaic function of exhibiting farm animals. Its structure is based on two parabolic arches made of reinforced concrete, inclined in opposite directions. The roof is suspended from steel cables stretched between them above a huge one-room hall.
The key to this innovation is the complete departure from the classic system of post and lintel structure. The roof seems to float above the fully glazed exterior walls, which no longer have a load-bearing function.
Completed in 1953, the arena received an award from the American Institute of Architects and was listed on the National Register of Historic Places in 1972 for its architectural significance.
Dorton Arena, general view, source: Division of Archives and History Photograph Collection (State Archives of North Carolina Collection 4.1), State Archives of North Carolina
Chandigarh, India
Nowicki’s last major commission was the design of Chandigarh – a new capital of the northern Indian state of Punjab, on which he worked with Albert Mayer and Julian Whittleys.
The city was laid out on a plan that resembled a leaf. The main commercial axis was connected to the government building complex by a highway, from which smaller roads branched off on each side. The plan unified the city while creating small, intimate residential areas. The clear hierarchy of the street system provided easy connections from the residential neighborhoods to the commercial axis and to public facilities such as the Capitol, the lake, the public forum, and a large hilltop park. The Indian authorities, intrigued by Nowicki’s designs and methodology, offered him a ministerial post to oversee the construction of Chandigarh. Before the project could get underway, however, Nowicki had to return to Raleigh and died in a plane crash on his way home.
“The sudden death of Nowicki ended the possibilities for further refining the Mayer plan to define a modern urbanism rooted in India’s tradition.”
Tridib Banerjee PhD, Professor and James Irvine Chair
of
Urban and Regional Planning at the School of Policy, Planning and Development, University of Southern California
↑ Assembly of the People in Chandigarh, circa 1950, source: Matthew Nowicki Drawings and Other Material, 1944–2011 (MC00190), Special Collections Research Center at NC State University Libraries
The National Institute of Architecture and Urban Planning has since 2018 continuously been building the public awareness of the role that architecture plays in everyday life, its meaning for culture, influence on the environment, and the social aspect of design.
During this time, we have prepared numerous exhibitions, starting with the monumental series titled Tożsamość [Identity], presented simultaneously in five Polish cities, and continued in the following years in a new formula. What followed were monographic exhibitions, among them: Ściana Wschodnia [Eastern Wall], Jan Bogusławski and Humanist Modernity, which promote the rich traditions and history of Polish architecture, while maintaining a connection with the present. Working on exhibitions and publications such as The Anthropocene—dealing with the current pressing issue of architecture’s contribution to the climate crisis—we look to the future, but also search for trusted solutions from the past. With the aim of reaching the largest possible audience, we hold our events in large cities and small towns. For some citizens, NIAiU’s initiatives are the first opportunity to interact with architecture understood as a discipline of the arts and a part of cultural identity.
Popularizing knowledge about architecture and building care for our common space are long-term goals that require continuous grassroots work. We fulfil them through educational programs: by showing children and teens that it’s cool To be like an architect and lead the Laboratory of Regions for universities and local governments. Education is an important, but not only foundation of NIAiU’s operations. It is our ambition
and aim to share the achievements, knowledge and experience, as well as promote Polish architects and their projects abroad. The works of Helena and Szymon Syrkus, Stanisława and Maciej Nowicki or Krystyn Olszewski have the potential to inspire audiences not only in Poland, but also in the US, Germany and even Singapore.
We want to establish the international prestige of Polish architecture through promoting the achievements of Polish architects—both locally and abroad—but also by supporting current initiatives and experts, as well as leading cross-institutional cooperation. With this aim we developed the map titled Mozaika lokalnych tożsamości and its English counterpart—the Mapping Identities catalogue, in which we present the best Polish architectural and urban designs of the past 30 years but also give a voice to local experts. Through the Common Space Platform, we wish to establish a European network of architecture centres, which would support the exchange of information, tools and methodologies in the scope of researching and promoting knowledge about the built environment.
Our motto—Space is a common good—is universal. European values, such as human rights, faith in democracy, care for the environment and social solidarity, are important clues when designing and discussing architecture and urban space, both for us and our partners—from Sweden to Hungary and from Germany to Ukraine. These principles guide our local and global activities.
The Polish Institute in New Delhi expresses itself through contemporary projects built through cooperation with India’s leading talents and institutions, in order to contribute relevant programming within the cultural sector.
Established in New Delhi in June 2012, the Polish Institute is an extension of the Polish diplomatic mission to India. Polish Institutes are present globally in Europe, North America and Asia. Their aim is the promotion of Poland and Polish culture through public events in collaboration with Poland’s local partners and friends.
Through shared professional exchanges, cultural understanding is nurtured in order to build a strong platform for on-going dialogue and exchange. The Institute works primarily in the disciplines of visual art, design, literature, music, theatre, film, architecture and academic research.
The National Institute of Architecture and Urban Planning has since 2018 continuously been building the public awareness of the role that architecture plays in everyday life, its meaning for culture, influence on the environment, and the social aspect of design.
During this time, we have prepared numerous exhibitions, starting with the monumental series titled Tożsamość [Identity], presented simultaneously in five Polish cities, and continued in the following years in a new formula. What followed were monographic exhibitions, among them:
Ściana Wschodnia [Eastern Wall], Jan Bogusławski and Humanist Modernity, which promote the rich traditions and history of Polish architecture, while maintaining a connection with the present. Working on exhibitions and publications such as The Anthropocene dealing with the current pressing issue of architecture’s contribution to the climate crisis—we look to the future, but also search for trusted solutions from the past. With the aim of reaching the largest possible audience, we hold our events in large cities and small towns. For some citizens, NIAiU’s initiatives are the first opportunity to interact with architecture understood as a discipline of the arts and a part of cultural identity.
Popularizing knowledge about architecture and building care for our common space are long-term goals that require continuous grassroots work. We fulfil them through educational programs: by showing children and teens that it’s cool To be like an architect and lead the Laboratory of Regions for universities and local governments.
Education is an important, but not only foundation of NIAiU’s operations. It is our ambition and aim to share the achievements, knowledge and experience, as well as promote Polish architects and their projects abroad. The works of Helena and Szymon Syrkus, Stanisława and Maciej Nowicki or Krystyn Olszewski have the potential to inspire audiences not only in Poland, but also in the US, Germany and even Singapore.
We want to establish the international prestige of Polish architecture through promoting the achievements of Polish architects—both locally and abroad—but also by supporting current initiatives and experts, as well as leading cross-institutional cooperation. With this aim we developed the map titled Mozaika lokalnych tożsamości and its English counterpart—the Mapping Identities catalogue, in which we present the best Polish architectural and urban designs of the past 30 years but also give a voice to local experts. Through the Common Space Platform, we wish to establish a European network of architecture centres, which would support the exchange of information, tools and methodologies in the scope of researching and promoting knowledge about the built environment.
Our motto—Space is a common good—is universal. European values, such as human rights, faith in democracy, care for the environment and social solidarity, are important clues when designing and discussing architecture and urban space, both for us and our partners—from Sweden to Hungary and from Germany to Ukraine. These principles guide our local and global activities.
Organized by: National Institute of Architecture and Urban Planning, Poland
Government Museum and Art Gallery Chandigarh
Polish Institute New Delhi
Curator: Kacper Kępiński
Curatorial collaboration: Karolina Częczek, Grzegorz Piątek
Text by: Kacper Kępiński
Visual identity: Katarzyna Nestorowicz
Artists: Alicja Bielawska, Małgorzata Kuciewicz, Simone De Iacobis
Acknowledgments: Peter Nowicki with family, Burak Erdim, Dominika Stecyk, Izabela Gola, Izabela IwanickaDzierżawska, Piotr Kibort, Ewa Perlińska-Kobierzyńska, Katarzyna Iwańska-Rybka, Wanda Urbańska, Katie Mullen, Jesse Lazar, David Hill, Ireneusz Kotlewski, Małgorzata Wejsis-Gołębiak, Aneta Święcicka, Seema Gera, Isha Kamboj, Sangeeta Bagga, Jan Tyszowiecki, Barbara Szczepańska, Daria Dorota Pikulska
Collaboration:
Permanent Mission of the Republic of Poland to the United Nations in New York College of Design – School of Architecture – North Carolina State University Embassy of the Republic of Poland in Washington DC
Consulate General of the Republic of Poland in New York
Polish Cultural Institute New York
AIA NY Center for Architecture Museum of Architecture in Wroclaw
National Institute of Architecture and Urban Planning
Cover:
↓ Civic center perspective drawing, circa 1950, source: Matthew Nowicki Drawings and Other Material, 1944–2011 (MC00190), Special Collections Research Center at NC State University Libraries
