Lviv, which remembers: Jewish architects, houses on Bandera, and mezuzah traces that survived the 20th century

In Lviv, there are still houses that tourists photograph as the “postcard of the city,” not always knowing who designed them and for whom they were built.

At the turn of the 19th–20th centuries, Jewish architects and clients worked in the city. Their contribution is visible not in one “legend,” but in specific addresses, dates, and styles — from rational modernism to secession.

And then came 1941, and the conversation about facades inevitably turns to something else: the almost vanished community and the small traces on doorposts that sometimes speak louder than any argument.

Lviv at the beginning of the 20th century: when surnames are read on the map

Lviv was never “one color.” It changed along with states and administrations, but the urban fabric — neighborhoods, tenement houses, charitable buildings — grew according to the quite practical logic of the time.

And in this logic, Jewish surnames are noticeable: architects, owners, philanthropists, professionals who worked in the general urban rhythm.

Angelyovicha, 28: 1909 and the Jewish Academic House

The building at Angelyovicha, 28 was erected in 1909. In materials about it, Jewish architect Józef Awin and Alfred Zachariewicz are mentioned.

Here was located the Jewish Academic House. This is an important detail: it’s not about “being nearby,” but about institutions — a place where they studied, argued, read, built their urban careers.

1913: shelter for widows of Jewish merchants and the project of Ferdinand (Feivel) Kassler

In 1913, a shelter for widows of Jewish merchants of the Jakub Shtrog Foundation was erected nearby — according to the project of Ferdinand (Feivel) Kassler.

Such buildings rarely make it onto postcards, but they show the city’s inner workings: charity, community funds, everyday social infrastructure that keeps people afloat.

Bandera Street: tenement houses, rational modernism, and secession

The tenement house at Bandera, 69 was designed by Jewish architect Leopold Reiss.

The house on the even side, Bandera, 24 was designed by Ferdinand (Feivel) Kassler. It was erected in 1913 by order of Jew Berl Finkler and is known as an example of rational modernism — a double bay window, grotesque interpretation of the classical order, original bas-reliefs. It is from such details that “beautiful Lviv,” which today is sold by guidebooks, is composed.

Three more secession houses — Bandera, 35, 37, and 39 — were built according to the project of Jewish architect Jakub Solomon Kroch. In the history of this complex, there is a telling detail: the architect was a wealthy man and the owner of the entire complex.

That is why NAnews — Israel News | Nikk.Agency in such stories bets on verifiable specifics: not on the argument “whose city,” but on a chain of facts — address, year, name, context.

Other names: Rimer, Kalms, Silberstein

In the history of Lviv architecture, other architects are mentioned — Salomon Rimer, Daniel Kalms, Maurycy Silberstein, and others.

They worked in modernism, renaissance, historicism — and these are the styles that today are perceived as “Lviv beauty.” The city remembers them not with slogans, but with facades.

Jewish community of Lviv: up to a third of the residents — and almost complete destruction

In the interwar period, Jews made up a significant part of Lviv’s population — estimates mention up to a third of the residents.

These were doctors, lawyers, professors, industrialists, architects. The words “built,” “healed,” “taught,” “wrote” in such a context cease to be pathos — it is a description of professions and real urban life.

Further in the chronology is 1941.

Pogroms.

Ghetto.

Janowska camp.

In the story of Lviv, it is impossible to ignore the assessment often repeated in family and community memory: about 99% of Lviv’s Jews were killed. Even if the reader is cautious about the numbers, the meaning remains the same — the community was almost completely destroyed, and the city was left with a void that is not visible in tourist photos.

Traces of the mezuzah and a verse that returns memory to voice

There is a sign that is not immediately noticed: on old doorposts in some houses, traces of the mezuzah remain.

A small mark, sometimes just a different tone of wood or stone. But it works like a document without a seal — they lived here. There was faith and life here. Here, once, they touched the doorpost with their palm “for luck,” not thinking that it would become evidence of time.

In the finale of such a story, a loud point is not required.

It is enough to understand: the question “and did you build Lviv?” sounds different if you remember not only the facades but also those who were forcibly erased from this city.