Urbs - Magyar várostörténeti évkönyv 6. (Budapest, 2011)
Recenziók
410 Abstracts temporal concurrence - a commonality of style. All of them represent the “new architecture”, the modern style, in showy or demure form. Even in the final hours of the Second World War and the earliest phases of clearing the rubble, many architects and like-minded people, as well as many politicians, while they shovelled the debris, were struck by visions of a new countenance for their town or city. The spectacle of destruction did not just induce despair and hopelessness. For architects, it was also an inspiration, a challenge. The dilemma of restoration or new building, except in a few places, remained a theoretical question for many years, because financial constraints forced the choice of restoration. The inchoate power structures of the late nineteen forties did not inhibit, indeed tolerated, the modem school of architecture, and it was only in the nineteen fifties that construction as a whole was forced to follow the new norms of socialist realism. JÓZSEF GAGYI From Stalin Square to Theatre Square. Târgu Mure§ 1959-1973 The story of “becoming a socialist city” is condensed into three consecutive and partly-overlapping processes: 1) Putting the city centre in order (1959-1961) 2) The first phase of building the outlying areas (industrial and housing estates, 1962-1968) 3) Rearranging the city centre (formation of Színház tér 1965-1973). Theatre Square was built at a fortunate time: the Romanian boom of the nineteen sixties, the relatively liberal - and short-lived - public mood following the change of general secretary, and above all a move towards consumption, had mutually reinforcing effects. Having grown into a city of a hundred thousand people, Târgu Mureç (Márosvásárhely) was poor in terms of cultural consumption, and managed, in the early seventies, to create a square more
