Műemlékállományunk bővülése, új műemlékfajták (Az Egri Nyári Egyetem előadásai 1987 Eger, 1987)

Nováki Gyula: Őskori és középkori földvárak Magyarországon

but this was not profitable enough. Finally a few years ago the state bought the estate. It will be protected by the law. The lack of maintenance and the commercial speculation during the last decades have caused loss of the architectural quality. Efforts are made to gain back the original values in a future restauration. Idea to build the National Museum arose in the last decades of 1800. The museum was considered to support the national regeneration. The museum collections should inspire design which thus should develop into a national style. The building of the museum was planned to be a classical palace in eclectical style, but after a heavy public discussion the plans were rejected and an architectural competitions was organized. Gezelius, Lindgren and Saarinen won with a design in national romantic style. The museum building was completed in 1910. Its architecture tells a message about medieval churches and castles. The building was meant to be a national monument and as such it is protected by the law. However a museum is an evergrowing institution . So the National Board of Antiquities, department of which the National Museum is, planned to enlarge the building. When the plans were published, it appeared that the Board had forgotten its task to preserve a monument. The plans would have distorted the original idea of the museum complex. A heavy public discussion arose. The history was repeating itself. Once again the plans were rejected and an architectural competition was organized. It was won by Aarno Ruusuvuori with an entry proposing that the new spaces were build underground. A modern auditorium and a modern exhibition hall do not need day light. Visible above the earth will be a glass pyramide giving light to the entrance hall, like a top of an iceberg marking the existence of the underground spaces. Temples have always been buildings where architecture can most freely concentrate into artistic symbolism and mysticism. The greatest architectural masterwork of the beginning of this century in our country is without doubt the Tampere dome, which was built in the years 1902—07. The church was designed by Lars Sonck and the interiour is impressively decorraed with frescoes and stained glass by Hugo Simberg and Magnus Enckell. The skill of many craftsmen was needed to create this architectural monument; stone masons, brick layers, blacksmiths, carpenteers, stained glass masters, plasterers, stucco artists. The North gallery waults are decorated with the pattern from a crossspider the same theme on which Sibelius in 1898 produced a composition which was taken up as a protest song during the years of Russian oppression. The gallery rail is decorated with twelve boys carrying the garland. Initially Simberg started off designing his "Garland bearers" on a biblical basis, the eventual fresco is an allegory of the earthy life. The boys carrying the rose and thorn garland illustrate the different ways various people bear the "garland" of their lives. The art historian Paula Kivinen writes about the elements of this monument:" The church was planned around the time that char Nicholas II issued the February Manifesto violating the Finnish Constitution, and the work went on amidst the oppressed yet at the same time defiant atmosphere of the era of the oppression. In all creative work there was now a much stronger national feeling, a greater patriotism. The result was a paradox. The russification era saw the flowering of National Romanticism". The dome of Tampere is preserved intact to these days. The smoky climate of the industrial town has however made the interiour frescoes dirty and they were to be cleaned some years ago. The exteriour, the specially made roofing tiles and the joints of the granite facades are weathering. However I belive that this monument, symbolizing deep national emotions, will be conserved using original materials even if these had to be made by hand. Vierumäki sports institute was built in 1932—36 to educate sportsmen. It is a mini-society with gymnastics and sports halls, dormitories, appartements of the personality, canteen, club rooms built on the slopes of gravel mounds in a pine forrest. Erik Bryggman got the planning task after an architectural competition. In the 1930's sportsmen had to "run Finland to the world map". The white cubic volumes of the main building, modest but funtional and harmonically planned rooms were suited to educate healthy youth. About a year ago an extension plan was published, which would have spoiled the most beautiful parts of the main building. The National Board of Antiquities proposed that the building would be protected by the law. The enlargement plan was stopped by the Ministery of Education, who is responsible of financing sport institutes. After long byrocratic and often hot consultations the cabinet will hopefully decide to protect the building by the law and a new architect will plan the extension. The interiours are already demolished due to later alterations. The today's corrupted elite sporters demand petty bourgeoise comfortableness instead of the original functionalism. As soon as the building is protected by the law, the protection document will include the obejctives for future renovations. The interiours should be repaired so that their character is in harmony with the fresh and clear spirit of the 1930's. Alvar Aalto is particularly valued in the Finnish history of architecture. Seldom has an architect achieved a similar position in the art of a nation. With his architecture and his creations in the field of industrial arts, pieces of furniture and the like, Aalto gave expression to that ascetic beauty peculiar to our national cultural heritage, which draws its strength from nature. The speed of technical and economic progress is breaking the relationship of living and nature also in our country. In this situation Alvar Aalto's art is felt all the more significant; its unconditioned modernity combined with simplicity raises trust in the possibilities of employing modern technology humanistically. Alvar Aalto's work date from the year 1918 onwards and some of his designs are still being carried out years after his death. In Finland there are nearly a hundred buildings by Aalto. In what way should we handle them? Would it be proper to select a few for preservation or should we attempt to protect his total production? I would now like to illustrate some of the problems which have arisen in the preservation on Aalto's works. The so-called"State building" in the centre of Jyväskylä was built in 1927—29 commissioned by the Civil Guard (a fascist military organization of citizens abolished after the war). Not long after completion it became state-owned. This building, part of a large otherwise unexecuted plan, belongs to the phase in which functionalism was beginning