Oldal 452 [452]
NATIONAL SYLISTIC ASPIRATIONS
of applied materials were decisive. In addition, the houses of Zakopane prove
that forms borrowed from folk art are suitable to meet both aesthetic and
comfort demands."' Not only the typical medieval Polish house design was
rediscovered in the timber architecture of the Tatra region, but also the myth
of the noble savage, originating in Switzerland, had been spreading since the
enlightenment era hand in hand with the trend of the Swiss house type in
Europe.”
Witkiewicz himself mentioned that the house types of Podhale share
common features with the architectural style in the Moravian region. The
Slovakian Dusan Jurkovic designed similar buildings to Zakopane style
structures, also drawing his inspiration from the Carpathian house types of
wooden-sides and shingled roofs. Jurkovic had already become familiarized
with the characteristics of Tirol-architecture and the theory of the Austrian
urbanist, Camillo Sitte, promoting the conscious application of building and
the psychological impact of the environment during his studies in Vienna.
Works by the Slovakian architect Blazej Bulla, who was inspired by Slovakian
folk art, also greatly influenced him.” Having settled in Brno he focused
on the research of Czech and Slovakian folk art and published his findings
in several volumes. The architect used the language of forms developed
throughout his research as a stylistic device in accordance with the demands
of a new work of art and following the logic of matter-construction-form.
He borrowed the picturesque roof-designs from the architecture of the
Carpathians, while in designing ground plans the English mansion influenced
him with its organization of rooms around the central hall, which solution is
well demonstrated by his villa design erected in the Bohemian Rezek.”
1 Stanislav Witkiewicz: A zakopanei, 2005, 60.
12 Following the turn of the century, Zakopane-style was considered regionalism by more and
more; some architects debated whether the forms of gural timber houses could be applied
at different locations and could be built of other materials as well. Meanwhile not only new
national trends appeared, but folklorists more often opined that the art of other ethnic
groups such as of the mazurs or krups were not at all inferior to gural. Wojciech Balus: A
zakopanei... 2005, 27-28.
13 Dana Bofutová: Kommentar Dugan Jurkovié ‘Epitémtivészet egykor és ma’ cimti cikkének
margójára in Katalin Keserü — Péter Haba (eds.): A modernizmus kezdetei Közép-Európa
építészetében. Lengyel, cseh, szlovák és magyar építészeti írások a 19-20. század fordulóján,
Budapest, Ernst Müzeum, 2005, 112-113.
4 Dana Bofutova: “Dugan Samo Jurkovi¢.” Dusan Jurkovid 1868-1947. Exhibition of the
Slovakian National Gallery organised by OMvH’s Museum of Hungarian Architecture
(Catalogue), eds.: Andras Hadik — Pal Ritodk, Budapest, 1995, 20-28.