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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.
