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

Nováki Gyula: Őskori és középkori földvárak Magyarországon

to break down the classical tradition of designing in Aalto's mind. The free form associated with the new way to thinking is present in some of the details even if bound by strict classisicm. Construction work penetrating deep into bedrock has been carried out on the site and its vicinity causing cracks in the building. Accusing the building of poor condition of National Board of Building was going to demolish it outright, but growing pressure from public opinion and the standpoint of the National Board of Antiquities demanding preservation had such an effect that the National Board of Building is at the moment considering the preservation. The building will be protected by the law and the plans to restaure the "state building" will be completed soon. Muurame church belongs to the same period of transition as the "State building". Aalto compared its site with Tuscan landscape and the external appearance of the church in fact suggests classical echoes of Italian architecture. The relationship of interior spaces, light—fittings designed by the Dane Poul Henningsen and Belgian stell windows heralded the new architecture. The interior lost its bold colouring shortly after completion and in 1979 its character was spoiled once and for all when it was turned into a romantic wooden dream in accordance with today's fashion but completely alien to the original spatial composition based on distinct cubic forms and smooth surfaces. The National Board of Antiquities stated that the original architecture of the interior should be preserved, but because the church in question was rather young the Board's statement had not the effect it usually has in cases concerning the preservation of older church buildings. The Tuberculosis Sanatorium at Paimio, built in 1929—33, is that work, which made Alvar Aalto world-famous and widely established functionalist architecture in Finnish building. Aalto himself designed in 1964—66 alterations and extensions which represent his later artistic vision characterized as baroque. The transformation of the open rest terraces into interior spaces has obscured the boldness of the original building complex. Nowadays tuberculosis has almost disappeared from our country and so the sanatorium was to be transformed into a common hospital with a mass of technical equipment and drastic alterations especially in the patient's rooms. Public discussion brought up by these changes persuaded the owner, a federation on communinities, to reconsider its plans. Extension projects, which would spoil the clearcut outdoor area limited by the wings of the building and the stout rising of the white exterior walls straight from the ground, have been put aside. The Cellulose factory with dwelling quarters at Sunila was designed and built in 1935—39 and later extended in 1951—54. Whole industrial societies were erected in the early decades of the indépendance. The enterprises gave planning tasks to the architects who wanted to reform the society through modern architecture. One of the most famous of these modem industrial communities is Sunila designed by Alvar Aalto. The residential area with social services will be protected by a conservation town plan. In consequence of technological advances industrial buildings become subject to transformations. Architectural features are inevitably submitted when the process of production of a factory is enlarged or even multiplied. The relation of construction to the process of production itself is different in the case of industrial buildings than in the case of for example dwellings, offices and spaces for cultural activities. The preservation of industrial architecture stilll in service is confronted with a new set of problems. At Sunila some views of key importance have been preserved, although for example the upkeep of a former warehouse-building, completely useless in the present process of production, is no more sensible from the factory's viewpoint. The Town Hall in Säynätsalo built in 1950—52 is one of the renowned works manifesting Aalto's regenerated artistic views. Almost castlelike in appearance it reflects beautifully the importance of self—government in a small commune in Central Finland. The functions of communal administration have greatly increased since the time of construction, but the community library is still situated—even with enlarged accomodations—in the building as a unit of cultural activity. Communal authorities have wished to preserve the character of the building even if certain alterations have been inevitable. Advice and instructions offered by the National Board of Antiquities have been followed. Perhaps the most difficult and delicate task has been the designing of a railing to those entrace steps which are illustrated almost in every publication on Aalto's architecture. The "House of Culture", built in 1955—58, was commissioned by the Finnish Communist Party. Its auditorium is one of the best concert hall in Helsinki. Voluntary work amounting to thousands of working hours helped to construct the building, which with good reason can be considered the most remarkable architectural monument of the Finnish working class. However today it is hard to detect in the building anything reminiscent of labour movement ideology. The building is kept up with piety as to its architecture and repairs have been granted quite considerable state allowances. The economy of the House of Culture is managed as an independent unit and the building is rented even for religious meetings. Questions on the relation of architecture to ideology can be contemplated especially in the case of this building. The preservation of Aalto's architectural heritage has been most successfull in the case of his own house at Riihitie in Helsinki built in 1935—36. The building—still home of Aalto's second wife Elissa Aalto—is protected by the Act on the Protection of Buildings. Aalto's heirs have consented to these measures, and the house has bgcome the first building by Aalto protected by the law. Another superbly well kept and fondly cherished building by Aalto is Villa MAIREA built in 1937—39. It is owned by Maire Gullischen, a friend of Aalto's and a prominent patroness of the arts, a Maecenas rare in our times. She has starated a foundation to care for the building and the art collections in it. Lastly I would like to mention the Finlandia Hall, designed in 1962, built in 1967—71 with an extension in 1973. This concert and convention hall of white marble owned by the city of Helsinki and situated in the citycentre belongs to Aalto's late creative period, which perhaps could be considered mannerist. Finlandia-Hall was the scene of the Conference on European Security and Co-operation and therefore it is part of the world's most important historical and cultural heritage. On the other hand it is part of the sunset of Aalto's artistic lifework. The white marble of the