Krzysztof Kwiatkowski

This paper is an attempt at reconstructing Stanisław Witkiewicz’s creative method on the basis of his scattered writings. The Zakopane style has become a phenomenon across a broad spectrum of Polish national styles. The inspirations for classical national styles were typically arbitrarily selected sets of forms taken from a specific historical style associated with a given nation or state. It was often an eclectic set – enriched with elements derived from other styles. Stanisław Witkiewicz consistently avoided borrowing and copying, confining himself solely to drawing inspiration from the folk art of Podhale. In the methodology of his architecture, rational elements (exposing the structure, stressing hygiene) interweaved with ornamentation, predominantly featuring floral themes and elements of a specific mythology.

Traditional system of social ties and communities, based to a major extent on the classic dichotomy of Gemeinschaft/Gesellschaft succumbs to the process of debilitation, even atrophy. Modern social networks are undergoing a metamorphosis towards the system of “weak ties”, the term coined by Mark Granovetter. Those ties, despite their name, are very effective. Changes in the social sphere are dynamically connected with the process of redevelopment of urban spaces. The spaces evolve towards creation of residential complexes that enable an unlimited choice of living scenarios and lifestyles (Homo eligens [choosing agent] architecture). The trend towards pluralism is connected with the tendencies to create multicultural spaces, that evolve in the direction of becoming transnational.

The phenomenon of national styles as cultural constructs can be seen in the context of the theory of ‘tradition invented’ by Eric Hobsbawm. The basis of this theory is the simplification of the creation of imaginary and, to some extent, fictitious traditions but based on authentic, existing principles. Buildings erected in the national style were intended to create a uniform space saturated with national elements. The aim of this architectural ideology was the apotheosis of the nation. Nowadays, the phenomenon of national styles has completely disappeared. No new objects are erected in these styles. However, the perception of the preserved works of architecture in the national style has evolved. There are now perceived as objects with stylistically diverse decor.

The work is an attempt to reconstruct the creative method of Stanisław Witkiewicz based on his various written works. The Zakopane style has become a phenomenon within a wide spectrum of Polish national styles. The inspiration for classic national styles was generally an arbitrarily selected set of forms taken from a specific historical style associated with a given nation or state. It was often an eclectic collection. Stanisław Witkiewicz consistently avoided borrowing and repetitions, using only inspirations from the folk art of Podhale. In the methodology of his architecture, ‘rational’ elements were interspersed with ornaments mainly on the subject of plants and elements of a mythology.

The paper presents the activities of Swantibor I, Duke of Pomerania, undertaken in relation to the captivity of his son, the young Griffin Casimir [V], by the King of Poland, Władysław II, after the Battle of Grunwald on July 15, 1410; it also verifies the erroneous opinions present in the older literature regarding the period of Casimir’s imprisonment (1410–1411) and indicates sources which confirm that in 1411 Swantibor I went on a pilgrimage to the Holy Land. Taking into account the old age of the Pomeranian monarch, his poor health, the several‑months‑long break in performing monarchic functions in his Duchy and gubernatorial functions in the Mittelmark, the geographical expanse of the journey, as well as its very destination – i.e., the sanctuaries, first and foremost the Holy Sepulchre in Jerusalem – this journey, distant and in many aspects dangerous for the old Duke, should be interpreted as a paternal votivem pilgrimage in the intention of recovering his son. We also pointed at some indications that the votive pilgrimage of Swantibor I was motivated not only by his paternal feelings for his son, but that the decision to visit the Holy Sepulchre resulted from the old Duke’s perception of the Polish‑Lithuanian‑Teutonic conflict and the King of Poland himself. The latter, keeping his son imprisoned, most likely in the distant Lithuania, presented himself to him as an enemy of Christianity availing himself of “pagans”, “schismatics”, and “Saracens” in the fight with the German order, whom both Griffins supported. In this situation, only a remarkable votive deed performed in the hope of eliciting direct divine intervention could have saved the son and return him to his father. This action of Swantibor I and its motives wholly inscribe themselves into the religious mentality of the then elite and their perception of reality.

The phenomenon of national styles is characterised by two properties: (1) proliferation – the combination of multiple styles, which is paradoxical given that the national style defining national identity should occur in one form; (2) the confrontation (usually of an indirect nature) between styles created in countries aspiring powers and styles created in dependent countries which lost their independence. The work juxtaposes neo-Romanism – one of the German national styles, whose main representative was Franz Schwechten – with the Polish Vistula style, created by Jan Sas-Zubrzycki. The second example cited is a comparison Stanisław Witkiewicz, the creator of the Zakopane style, with Edgar Kováts trying to promote the eclectic ‘Zakopane way’ containing elements of Tyrolean architecture.

The space of nature may be understood in a dichotomous way. Traditionally, it was interpreted as an “external” space both in relation to the human being, and city space. As a specific type of “internal space”, during the period of the Enlightenment, the space of nature became an instrument of social integration and a levelling force of social inequalities. The process of internalization of nature is reflected in the projects of utopian cities.

The devastation of the natural environment which took place in the 20th century, contributed to an increase of interest in the problems of nature. On the other hand, it also contributed to the creation of a specific type of defensive attitude, resulting from the need to conduct a current struggle with ecological threats. One could observe a lack of great ideas and narrations concern­ing green spaces and nature. What turned out to be a great breakthrough point was the development of the conception of biodiversity. The latter conception arose as a counter-reaction to the processes of ever increasing extinction of certain species of plants and animals. The postulate of broadening the spectrum of biological diversity may find its reflection in the postulate of broadening the diversity of architectural forms. In this way, there arises architecture which is co-shared with nature.