Zakopane is a tourist city that is unique on a national scale. It is a one-of-a-kind mountain resort with an exceptional history and atmosphere. It is a fashionable place where visitors can rest. It currently requires not only the concern for sustainable development but also that the effects of negligence and the other deficiencies required for it to comfortably function be addressed, in addition to the supplementation of its offering both in terms of use and culture. The small-scale architecture of the Podhale region must rise must rise to face to contemporary challenges. Presenting underground projects from all over the world aids in raising awareness regarding the potential for development of the area, demonstrating one of the paths to solving the problems of overburdened cities. Examples show methods of relieving the pressure of current needs whilst simultaneously relieving the above--ground service programme of cities and increasing the amounts of greenery at their disposal.

We are currently living in a critical moment of climate change. One of the remedial search paths is the exploration and use of urban gaps in cities and their non-urbanised underground environments. To restore the balance of the environment, a model three-dimensional approach to urban design is being sought. However, despite the use of pioneering experience, each solution requires recognition of local conditions and adaptation of the project to individual local needs.

Changes in the perception of the urban space leads to the need to create (global scope, compatible and universally understood) new legal, proprietary, security, codification and conduct communication studies, including international agreements, data exchange, joint research, complementary studies, etc. There is a necessity to achieve global environmental sustainability and restore living conditions.

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 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 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 first documented mentions of Zakopane come from the early 17th century. From the late 1830s, climatic medicine contributed to the development of Zakopane as a summer and spa town. Acceleration of development occurred at the end of the 19th century as a result of the popularisation of the town’s climatic values. In 1886, the town obtained the status of climate station. At that time, the Swiss style of architecture was becoming widespread for summer buildings and Stanisław Witkiewicz back to the beginning of the battle for the ‘highlander style’ in local architecture. Another ‘civilisational leap’ occurred at the beginning of the 20th century, after the railway was brought to Zakopane itself. In the centre of the village, brick buildings began to appear.

In the interwar period, there was an increase in construction in Zakopane, which forced the local authorities to develop another regulatory plan (designed by K. Stryjeński from 1924 to 1928). Dynamic development led to the granting of municipal rights in 1933. The architecture of this period was initially dominated by the historicism of the 1920s, then by the art déco movement and the Zakopane style, and in later years, by functionalism and free functionalism – new regionalism. During the occupation, the Germans made Zakopane a recreational town. As part of the so-called order action, in the years 1940–1942 a number of wooden and brick buildings were demolished. New buildings were also built. In Podhale as the official current of socialist realist architecture was the new Zakopane style. The most characteristic examples include shelters in the Polish Tatras. The city developed as a health resort and a centre for sport and tourism.

After the administrative reform of the country (1975), Zakopane found itself within the province of Nowy Sącz. Architecture from this period mainly presents late modernism and socmodernism. In the 1980s, the third concept of Zakopane regulation was developed. For the first time, it included monument protection. At the end of the 1980s and the beginning of the 1990s, postmodern architecture appeared in Zakopane along with political changes. In 1994, the local general spatial development plan for the city was adopted. In 1998, a study on the conditions and directions of the spatial development of the city of Zakopane was adopted. Twenty-first century Zakopane architecture was dominated by large buildings, hotels and apartment buildings.

MŁODA PUA

Paweł Sikorski 141
Agnieszka Lachor 151
Aneta Ciszek 167
Barbara Fatyga 177
Justyna Topa 185
Ewelina Tokarz 195
Ewelina Miazga 196