Heritage

Inspirations with regional architecture form in the Sudetes landscape

Jacek Suchodolski

Abstract

The Sudetes Region is one of many European borderline mountain areas with specific and different culture which has been developed through centuries. This specific culture resulted from the fact that this region belonged to different countries during the previous centuries (Poland, Czechs, Austria and Germany) and the important European trade routes, which connected Lower Silesia with the countries of Western and Eastern Europe, crossed this region. The variety of culture was reflected, among other things, in the whole sphere of folk art, including native and wooden architecture.

Native regional culture also appeared in Lower Silesian traditions and legends, which in turn, influenced painting, sculpture and architecture of this region enriching them with new concepts often filled with the spirit of mysticism and symbolism.

Beautiful landscape of the Sudetes with the highest range of the Karkonosze Mountains inspired with its beauty and danger the people living there for ages and the tourists of the 19th century who visited this place more often.

The magic of the Karkonosze Mountains also significantly influenced the life and creative activity of the artists who more willingly settled there and at the end of the 19th century they founded a colony assembled around the writers Carl and Gerhart Hauptmann.

The main personality, who lived in Szklarska Poręba among the members of the artistic colony, was the writer and Nobel Prize winner Gerhart Hauptmann and similarly, the structures built in 1903 were the main buildings in the Seven Houses Valley; the house of the painter Hermann von Hendrich (Hendrich-Haus) and first of all “Hala Baśni” – “FairyTales Valley” (“Sagenhalle”) situated nearby became the objects associated with the Karkonosze Mountains symbolism.

Full article view is only available on bigger screens.

Full article

2010

Nr 2(28)

The Sudetes Region is one of many European border-

line mountain areas with specic and different culture which

has been developed through centuries. This specic culture

resulted from the fact that this region belonged to different

countries during the previous centuries (Poland, Czechs,

Austria and Germany) and the important European trade

routes, which connected Lower Silesia with the countries of

Western and Eastern Europe, crossed this region. The variety

of culture was reected, among other things, in the whole

sphere of folk art, including native and wooden architecture.

Native regional culture also appeared in Lower Si-

lesian traditions and legends, which in turn, inuenced

painting, sculpture and architecture of this region enrich-

ing them with new concepts often lled with the spirit of

mysticism and symbolism.

Beautiful landscape of the Sudetes with the highest

range of the Karkonosze Mountains inspired with its beauty

and danger the people living there for ages and the tourists

of the 19

century who visited this place more often.

The magic of the Karkonosze Mountains also signi-

cantly inuenced the life and creative activity of the artists

who more willingly settled there and at the end of the 19

century they founded a colony assembled around the writ-

ers Carl and Gerhart Hauptmann.

The main personality, who lived in Szklarska Poręba

among the members of the artistic colony, was the writer and

Nobel Prize winner Gerhart Hauptmann and similarly, the

structures built in 1903 were the main buildings in the Seven

Houses Valley; the house of the painter Hermann von Hen-

drich (Hendrich-Haus) and rst of all “Hala Baśni” – “Fairy-

Tales Valley” (“Sagenhalle”) situated nearby became the ob-

jects associated with the Karkonosze Mountains symbolism.

Their interior decoration was lled with the atmosphere

of Karkonosze-like traditions and legends, which was ad-

ditionally enriched with paintings and sculptures created by

the artists who lived in colonies [6, 16].

Woodcarving, which was quite common in the Su-

detes and gave a specic character to the new buildings,

developed already in the second half of the 18

century.

Woodcarving reached its culmination before the outbreak

of World War I and mainly thanks to Woodcarving School

in Cieplice Zdrój which was founded in 1902. Native folk-

lore was cultivated in different forms, for example, wood-

en signposts were used in the mountain tourism, which be-

came a characteristic part of the Sudetes landscape [16].

The interiors of shelters, inns and taverns were decorat-

ed with the local artists” woodcarving, who graduated from

Cieplice Zdrój School. Unfortunately, after 1945 many of

those interiors were devastated or totally destroyed and

Cieplice Zdrój School was closed. The new School of Ar-

tistic Craftsmanship does not continue artistic creativity of

its predecessor.

Jacek Suchodolski*

Inspirations with regional architecture form in the Sudetes landscape

Introduction

“Hala Baśni” and the Sudetes villas

“Hala Baśni” was built in 1903 and the author of its

design was the Berliner architect Paul Engler. Its con-

struction aroused heated discussions but nally, “Liczy-

rzepa Castle” was built and it became a place of particu-

lar worship of Liczyrzepa – Woltan. “Hala Baśni” often

called “Nordic framework temple” was a building simple

in form with a framework construction and covered with

a steep gable roof. The main entrance, which was situ-

ated on the side of the gable wall, was anked with two

Wrocław University of Technology, Faculty of Architecture.

68 Jacek Suchodolski

high columns on the model of old German clasped spears

“Eidring” and decorated with god Thor hammer hanging

on chains. Above the entrance, there were dragons and

horses” heads stylized in wood [16].

On the outside of “Karkonosze Legends Temple”

there were old German external sculptural decorations

(“Sagenhalle des Riesengebirges”), whereas the interior

was decorated with the symbols based on the legends and

fairy-tales connected with the Karkonosze mountain spirit

called Liczyrzepa. The themes of the interior paintings by

Hermann Hendrich who initiated the building of the “Hala

Baśni” were magnicent Karkonosze landscapes and the

gure of the spirit of these mountains. The paintings pre-

sented in the fairy-tale convention, with specic colours,

in specially designed frames, were full of mystery and

poetry, thus creating a unique climate which permeated

the interior [6]. Shaped in this way, the Fairy-Tales Valley

was complemented by the Karkonosze landscape which

spread from its entrance – powerfully inuencing the im-

agination by being the source of all inspirations and cre-

ated by nature itself.

Peculiar magic of these mountains became a ‘strong

magnet” attracting many artists who often came from dif-

ferent parts of Germany and settled at that place under the

inuence of the mountains” charm and beauty, which was

expressed in their creative activity [16].

The inuence of the native type of wooden buildings,

which had been shaped in the Sudetes for centuries, on

the creative activity of architects who worked in the circle

of the artistic colony was emphasized by means of par-

ticular villas and pensions. A characteristic escape – made

by many members of the artistic colony – from big and

Fig. 1. “Hala Baśni” in the period

before World War I.

Source: http://fotopolska.eu

Fig. 2. House of Gerhard

and Carl Hauptmann

in Szklarska Poręba Średnia.

Photo by author, 2001

Inspirations with regional architecture form in the Sudetes landscape 69

overpopulated cities to this mountainous region and the

return to nature, communion with nature, had an inuence

on the character of new buildings as well as on the choice

of old village huts as the place for living. The member-

ship of Wilhelm Bölsch and Brunon Will (the artists who

belonged to the artistic colony in Szklarska Poręba) in

German Association of Cities-Gardens (Deutsche Gar-

tenstadtgesellschaft – the aim of this association was the

popularization of living in detached houses surrounded by

gardens and using the models of the local and regional

architecture – contributed to strengthening the movement

of Heimatschutz Bewegung (Protection of Regional Cul-

ture Movement), which existed since 1880 in the Sudetes

where many important persons from cultural and artistic

circles decided to live in old regional buildings.

Most of them were adapted by new owners according

to their needs through changes of the construction and the

roof shape, creation of new rooms and other more or less

signicant alterations [16].

We should also mention, among other things, the

houses which belonged to Gerhart and Carl Hauptmann

who were rst to become the owners of a wooden house

in Szklarska Poręba Średnia in 1880, a village house of

John Henry Mackay (Siebenhausern), houses belonging

to Wilhelm Bölsche and Brunon Wille situated near “Hala

Baśni” in Szklarska Poręba Średnia, a house of Hans

Fechner also in Szklarska Poręba Średnia or a village

house of Alfred Wilm in Zachełmie.

In the group of buildings, which were designed from

scratch, the most distinctive are the following ones: the

house of the painter Georg Wichmann from the years

1908–1909 in Michałowice, the house with a framework

construction of the mayor of Berlin Reicke in Szklarska

Poręba Średnia from 1907, the house of the painter Her-

mann Hendrich from 1905 designed by Paul Engler situ-

ated near “Hala Baśni” in Szklarska Poręba Średnia and

nally, the house of the historian of art Alfred Koepen

built opposite to the Hendrich villa in 1905 and designed

by a well-known Berliner architect Bruno Möhring. The

“Lukas Mill” (“Lukasmühle”), which was designed by

Franz Egbert Scumann and opened to public in the years

1922–1923 in the centre of Szklarska Poręba, certainly

deserves our attention as well. The building was the seat

Fig. 3. Hermann Hendrich House (Hendrich-Haus)

in Szklarska Poręba Średnia. Photo by author, 2001

Fig. 4. Georg Wichmann House

in Michałowice.

Photo by author, 2001.

70 Jacek Suchodolski

of St. Lukas Artistic Society (Künstlergemeinschaft St.

Lukas) with a hotel and restaurant [10, 12, 16].

The architecture of this building was explicitly in-

spired by the Sudetes regional elements of architecture

and it mainly referred in its essence to the principles of St.

Lukas Artistic Society, i. e. protecting and propagating the

native architecture.

It should be mentioned here that the above mentioned

villas – as a result of the native building tradition – were

not only more or less successful copies of the Sudetes

regional architecture but they also constitute its creative

development. Each of these designs had some individu-

al formal solutions which enriched the architecture and

made it more charming and sophisticated.

Tourist buildings

The inuence of regional elements was particularly

emphasized in the architecture of objects which were con-

nected with tourism.

The objects which are directly connected with recrea-

tion and active leisure time certainly come to the fore here.

These are rst of all shelters, mountain hotels, inns (tav-

erns), pensions of different sizes and agro-tourism build-

ings which were arranged for this purpose in the adapted

Sudetes houses.

Most often, their forms were inspired by regional ar-

chitectural elements both in construction and building

details.

The biggest concentration of the buildings of this type

is in the highest part of the Sudetes, i.e. the Karkonosze,

where tourism developed at the earliest in comparison to

other parts of these mountains [12, 13, 14].

In these mountains, the most known shelters in the

Sudetes were built from shepherd or chimneyless huts.

In their form they often referred to the native heritage

of the region (“Pod Łabskim Szczytem” – “Alte Schle-

sische Baude”, “Strzecha Akademicka” – “Hampelbau-

de”, “Bronek Czech” – “Schlingelbaude”, “Samotnia”

– “Kleine Teichbaude” or relatively the newest “Na Hali

Szrenickiej” – “Neue Schlesische Baude”).

Important elements, which also inuenced the shape of

the wholeness in the case of shelters or inns, were practi-

cal aspects, i.e. higher resistance of the building construc-

tion to the impingement of weather changes which are

particularly destructive in higher parts of the mountains.

In high mountains shelters, the elements which are so

frequently used in the construction of buildings situated in

lower parts and serve the purpose of tourism, such as bal-

conies, loggias, terraces, dormers and others, are reduced

to the minimum. Peculiar asceticism and monumentalism,

which serve the purpose of practical goals, are dominant

in the shape of the buildings. The only characteristic ele-

ments in the shape of shelters and inns are verandas where

there are dining rooms and which constitute an excellent

place for admiring this magnicent mountainous land-

scape.

The examples of shelters which have compact and

crude forms are: “Na Szrenicy” (“Reifträgerbaude”) at

the top of Szrenica Mountain at the height of 1365 m

above sea level built in the years 1921–1922; “Strzecha

Akademicka” (“Hampelbaude”) built on the slope of

Złotówka meadow at the height of 1258 m above sea

level– the present building was designed after the re in

1906; and nally, the old shelter “Nad Śnieżnymi Kotłami”

(“Schneegrubenbaude”) at the height of 1490 m above

sea level from the years 1895–1897. Also the third shel-

ter “Na Śnieżce” (“Schneekoppe Baude”) built on top of

Śnieżka Mountain at the height of 1603 m above sea level

in 1862 survived for 104 years and it had a compact con-

struction with visible features of the regional architecture.

And the shelters with a stepped and pyramid-shaped form

of the roof, for example “Dom Śląski” (“Schlesierhaus

im Riesengebirge”) from the years 1921–1922 at the

height of 1394 m above sea level as well as “Odrodzenie”

(“Jugendkammhaus Rübezahl”) on Karkonoska Pass –

1236 m above sea level from 1928 are characterized by

a simple form [14].

The interiors of the Sudetes shelters and inns were in

many cases arranged in a very interesting way. The inte-

rior decorations were based on regional elements which

were enriched with motives from fairy-tales and legends

connected with mountains and their unique atmosphere as

well as a majestic landscape.

After 1945 many of these interiors were deprived of

their most precious elements and equipment and some of

them somehow disappeared along with the buildings like,

for instance, Altschlesische Bauernstube in Kowalowa –

Fuchswinkel colony (Lisi Zakątek) near Mieroszów in

the Suche Mountains in Wałbrzych district. There were

many interesting exhibits in form of furniture, dinner

sets, ceramics and fabrics with a regional origin, which

were collected in this building by director Bertram from

Sokołowsko. The interiors of such shelters, among other

things, as “Strzecha Akademicka” in the Karkonosze

Mountains, “Dom Śląski” at the foot of Śnieżka Moun-

tain or the present pension “Irena” (the old “Kaffebaude”)

in Karpacz are also worth paying attention to. The shel-

ters situated in Kłodzko district such as already non-ex-

isting “Hindenburgbaude” in Zieleniec or “Puhu Baude”

on Puchaczówka Pass in the massive of Śnieżnik, which

have stylistically designed interiors with the Sudetes re-

gional character.

Now we would like to present some interiors in the

tourist industry structures which survived the war destruc-

tion and due to their redecorations we can now see their

old beauty and style.

The interior decorations of “Andrzejówka” shelter

(“Andreasbaude”) in the Suche Mountains in Wałbrzych

district in Rybnica Leśna town (Ober-Reimswaldau) come

to the fore here for sure [14].

This shelter was built in the years 1932–1933 as a re-

sult of an architectural competition in 1928 announced

Inspirations with regional architecture form in the Sudetes landscape 71

by GVW (Waldenburger Gebirgsverein) – Wałbrzych

Mountains Society which was the part of Wałbrzych

Mountains Federation. The initiator of this development

was the chairman of GVW Andreas Bock and the shelter

was given his name. Thanks to Bock’s determination, the

process of building the shelter was accomplished despite

a very unfavourable nancial situation resulting from the

world economic crisis. The winner of this competition

was the Wałbrzych architect Friedrich W. Kronke, the

member of BDA who also managed the whole building

place. The building was supposed to be a structure with

the architecture referring in its form and construction to

the regional traditions and full contemporary functional

requirements.

The cornerstone for the building of “Andrzejówka”

was put on 20

June 1933 and the ofcial opening of the

building located at the height of 805 m above sea level

took place already on 22

October in the same year.

The shelter is a one-storey building with a basement

and utility attic. The whole structure is covered with a hip

and stepped roof. Grey stone walls of the basement, brown

beams of the ground and rst oor walls along with white

joint of carcasses of the building and nally a silver shade

of the roof eternity cover created a particular artistic effect

of the shelter.

The carpenter’s works during the framework construc-

tion of the shelter walls were performed by the master

Petrick, while bricklayer’s work were performed by the

Wałbrzych company called Becker and Bergmann.

We should focus our particular attention on all deco-

rations and woodcarving made by the artist and sculptor

Hans Brochenberger from Janowice Wielkie. By sculptur-

ing forest animals, local highlanders, dancing couples or

skiers Brochenberger presented the regional topics which

were strongly connected with the Wałbrzyskie Mountains.

The climate of the building’s interior with the open-access

Fig. 5. Shelter “Andrzejówka”

with a sculptured signpost,

photograph from the 1930s.

From the collections

in the Wałbrzych Museum

Fig. 6. Interior of “Andrzejówka”

shelter. Inter-war period.

From the collections

in the Wałbrzych Museum

72 Jacek Suchodolski

part for guests as well as lodging part was dominated by

woodcarving of the native character which was strongly

inspired by the Sudetes and lled with local legends and

fairy-tales, which was the wish of the investor – Wałbrzych

Mountains Society.

The rst leaseholder of the shelter was a famous tourist

activist Otto Rübartsch who along with his wife Marga-

retta ran the shelter for several years and popularized the

ideas of active recreation among tourists from Wałbrzych

who visited this place in large numbers. He tted the shel-

Fig. 7. “Andrzejówka” shelter,

view from south.

Photo by author, 2004

Fig. 8. “Andrzejówka” shelter, southern side Shelter interior fragment.

Banquet room. Photo by author, 2004

Fig. 9. “Andrzejówka” shelter. Stylized sculpture of a goat supporting.

Photo by author, 2006

Inspirations with regional architecture form in the Sudetes landscape 73

ter interior with furniture at his own expense and several

years later he connected the building to the water main.

In 1944 Hitlerjugend took over the shelter and one year

later Wehrmacht came there. After the war ended the

German leaseholder came back to “Andrzejówka” but in

1946 he left it for good. After the war in 1947 the

Wałbrzych PTT took over the shelter and together with

the Lower Silesian Coal Industry Association it belonged

to the PTTK till 1992 when the company ZG PTT “The

Sudetes PTTK hotels and shelters” in Jelenia Góra was

established.

Most of the shelter woodcarving made by the artist

was preserved until today and now we can admire the

artistry and symbolism of human and animal gures as

well as mountain spirit allegories enchanted in wood

[14].

Fig. 10. “Andrzejówka” shelter.

Cap of the column with

the motif of a dancing couple.

Photo by author, 2008

Fig. 12. Rybnica Mała.

Gospoda Sudecka Doliny Rybnej.

Entrance façade.

Photo by author, 2009

Fig. 11. “Andrzejówka” shelter, staircase to the rst oor. Skier.

Photo by author, 2009

74 Jacek Suchodolski

“Gospoda Sudecka Doliny Rybnej” (The Sudetes Inn

of Fish Valley) is another well preserved structure situated

not far from the “Andrzejówka” shelter, namely in Ryb-

nica Mała. This building was erected in 1713 as a mill and

later it was converted into an inn. It performed this role

until World War II, however,after the war ended it became

a residential house.

After the general overhaul at the beginning of 2002,

which restored the beauty and style of the inn building,

this structure again became a place that was willingly vis-

ited by tourists.

The interior part, in particular the banquet room on the

ground oor, which is kept in the austere interiors style

of the old Sudetes inns, is really worth noticing. Simple

wooden furniture, small windows giving very little light

and the beam construction of the structural ceiling on

which there were simple decorative motives created the

atmosphere of the interior.

The relatively low interior of the banquet room along

with a marked rhythm of the structural ceiling beams addi-

tionally create the atmosphere of familiarity and warmth,

which is so typical of the Sudetes wooden houses.

Summary

In the Sudetes region, a type of wooden building with

characteristic constructional and formal features was cre-

ated as a result of different cultural inuences through

centuries. It became a creative inspiration for many gener-

ations of architects and builders who designed residential

houses, public utility buildings and in particular pensions,

inns and shelters in this mountainous region.

The additional signicant factor, which had an inu-

ence on the shape of creative activity of the representa-

tives of art and culture who lived in the Sudetes, was the

magnicent mountainous landscape, especially the high-

est part of the mountains, i.e. the Karkonosze. The local

folklore, which was strongly embellished with mysticism

and fairy-tales, in particular the mountain spirit gure –

Liczyrzepa, became the force which inspired and stimu-

lated artists” imagination.

“Hala Baśni” (Fairy-Tales Valley, also called Moun-

tain Spirit Castle), which combined the features of the

old German and Sudetes regional buildings, constituted

in a way a symbol that united various domains of creative

activity of the artists who lived in the artistic colony in

Szklarska Poręba.

Another signicant element, which shaped the charac-

ter and climate of houses in the Sudetes, was also – apart

from their wooden construction and proportions of the

particular parts – the interior decoration which often re-

ferred to the local symbolism through the style of wood-

carving.

Unfortunately, after the end of World War II, the cul-

tural continuity in the Sudetes was broken; the artistic col-

ony in Szklarska Poręba stopped existing, “Hala Baśni”

was demolished, Cieplice Zdrój School of Woodcarving

does not exist any longer and the newly built houses in

the Sudetes do not refer in their form and detail to the

local regional models which were crystallised throughout

the centuries.

However, especially during the recent years after

1989, among the inhabitants of the Sudetes region we can

observe the rebirth of interest in its rich cultural heritage

and among architectonic projects we can notice more or

less successful attempts to refer to the regional character

of the buildings, although this is by no means a permanent

change in the building style. The process of crystallisation

of cultural inuences, which takes place in the changing

social and economic conditions after the year 1945 in the

Sudetes, is still in its early stage and we must wait till we

see its mature form.

References

[1] Album vom Riesengebirge mit 31 Bidern, Graph. Kunstanstalt Globus,

Kotzschenbroda, Dresden.

[2] Baedeker K., Schlesien – Riesengebirge, Grafschaft Glatz, Edition 2,

Karl Baedeker Verlag, Leipzig, 1938.

[3] Birke E., Das Riesengebirge und Isergebirge in 144 Bildern, Gerhard

Rautenberg Verlag, Leer–Ostfriesland, 1983.

[4] Birke E., Das Waldenburger und Glatzerbergland in 144 Bildern,

Gerhard Rautenberg Verlag, Leer–Ostfriesland, 1983.

[5] Dehlitz F., Umgebinde im Überblick, Graphische Werkstätten Zittau,

Gmbh,1987.

[6] Die Sagenhalle des Riesengebirges (Schreiberhau),von Hermann

Hendrich, Hugo Schuchard, Paul Engler, Bruno Wille, J.J. Weber in

Leipzig, 1903.

[7] Franke H., Ostgermanische Holzbaukultur und ihre Bedeutung für das

deutsche Siedlungswerk, Wilh.Gottl.Korn Verlag/Breslau, 1936.

[8] Härtel H., Ländliche Baukultur am Rande der MittelSudetes, Schles-

ien-Verlag, Breslau 2, 1941.

[9] Kłodnicki Z. (ed.), Dziedzictwo kulturowe Dolnego Śląska, Polskie

Towarzystwo Ludoznawcze, Wrocław, 1996.

[10] Kurverwaltung Schreiberhau, Schreiberhau im Riesengebirge, Som-

mer, 1929.

[11] Löwe L., Schlesische Holzbauten, Werner Verlag, Düsseldorf,

1969.

[12] Słownik geograi turystycznej Sudetów, Vol. 3, Karkonosze, M. Staf-

fa (ed.), Wydawnictwo PTTK „Kraj”, Warszawa–Kraków, 1993.

[13] Suchodolski J., Regionalizm w kształtowaniu formy architektury

współczesnej na obszarze Sudetów, Ocyna Wydawnicza PWr,

Wrocław, 1996.

[14] Suchodolski J., Architektura schronisk górskich w Sudetach, Ocyna

Wydawnicza PWr., Wrocław, 2005.

[15] Trocka-Leszczyńska E., Wiejska zabudowa mieszkaniowa w regionie

sudeckim, Ocyna Wydawnicza PWr., Wrocław 1995.

[16] Wspaniały krajobraz – artyści i kolonie artystycz ne w Karkonoszach

w XX wieku, praca zbiorowa, Gesellschaft für Internationalen Kultur-

austausch e.V Berlin, Muzeum Okręgowe w Jeleniej Górze, 1999.

Inspirations with regional architecture form in the Sudetes landscape 75

Inspiracje regionalną formą architektury w krajobrazie sudeckim

Region sudecki jest jednym z wielu europejskich pogranicznych

obszarów górskich o ukształtowanej w ciągu minionych stuleci specyce

i odrębności kulturowej. Złożyły się na to: przynależność do różnych

organizmów państwowych w poprzednich wiekach (Polski, Czech, Austrii

i Niemiec) oraz przebieg ważnych europejskich szlaków handlowych,

łączących Dolny Śląsk z krajami Europy Zachodniej i Wschodniej.

Wielowątkowość kulturowa uwidoczniła się tu także między inny-

mi w całej sferze ludowej sztuki, w tym w rodzimej formie drewnianej

architektury.

Rodzima kultura regionalna zaznaczyła się także w podaniach i le-

gendach dolnośląskich, co z kolei wywarło wpływ na malarstwo, rzeźbę

i architekturę tego regionu, wzbogacając je o nowe wątki przesycone

często duchem mistycyzmu i symboliki.

Wspaniały krajobraz Sudetów z najwyższą ich partią Karkonoszami

inspirował swym pięknem i grozą ludność zamieszkującą te tereny od

pokoleń oraz turystów przybywających tu coraz liczniej od XIX wieku.

Magia Karkonoszy wywarła także głęboki wpływ na życie i twór-

czość coraz chętniej osiedlających się tutaj artystów, którzy z końcem

XIX stulecia założyli kolonię skupioną wokół pisarzy Carla i Gerharta

Hauptmannów.

Key words: Sudetes Region, regional architecture Słowa kluczowe: Sudety, architektura regionalna