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

Nováki Gyula: Őskori és középkori földvárak Magyarországon

facades endures poorly our severe northern climate and sulphur dioxide and other air pollutants in the citycentre. The refining methods of the very hard Lapp quartsite stone are now researched. This inland stone might replace the totally detoriarated Carrara marble on the facades of the Finlandia Hall. Alvar Aalto himself didn't value all of his works and he even didn't protect Paimio senatorium which in the 1930's had made him world-famous. Although this feature is part of the dynamic personality of a creative artist, there is present a shade of human vanity, because Aalto even refused to recognize his own works he considered poor. Those who tear down buildings by Aalto justify their acts by the architect's own negative attitude towards his older works. Still, if architecture is an art, then the entire development, the total production of a great architect-artist is important for the understanding of his art. Is it possible to destroy a certain part of Picasso's, Bartók's or Sholokhov's production? Selection would distort the artist's personality, idealize and render his lifework unreal and impossible for the following generations to understand correctly. The Finnish architectural works of the National Romantic period at the begmning of this century and funktionalistic architecture of the 1930's have gained world-wide fame because of their originality based on the rural traditions, close relationship to the nature and material purity. The national and the international are here interwoven to a humanistic artistic synthesis. Architecture is usually and before all conceived as visual forms, as surfaces limiting space, but equally fundamental with space and vision is in its entirety, the material realization, on which architecture rests. Some technical inventions and bold experiments with material of the new architecture have proved to be difficult to take care of. Materials and structures used in these buildings are not available any more. The works of all those architects who participated in developing modern building, are to the last detail products of an experimental architectural ambition, and therefore their repair, as a problem of restoration, is often even more demanding, in a way more dogmatic, than for example the repair of a medieval church. The latter has been softened by the past centuries, building elements have been changed and the monument handed down to us is a product of the collective work of many generations, which today's restorer treats with due respect but also with full authority. The works of the architects of this century, as all building, are naturally products of a wide co-operation, the common efforts of designer, structural engineer, building foremen and construction workers. But these buildings are marked with an exceptionally powerfull individual skill. This leaves only a very narrow scope for solving the structural changes brought about by the maintenance and by the new advanced ways of their employment. Architecture differs from the other arts by the fact that it materializes througt the daily construction work in the build-up of society. Time and progress also treat architecture more harshly than those arts which are more detached from the prosaic aspects of life. Protection of architectural monument of later date is greatly effected by the power of the individual artist's personality of the designer. Time will assimilate the individual artist to the main stream of history. After centuries only a few architects of our time will be considered worthy of mention, but the development of new architecture in the beginning of this century will undoubtedly secure its place in the history of architecture as the liberator from the bonds of eclecticism. In Finland there is a strong national emotion bound to this development. For this reason we consider the preservation of the architectural monuments of our century essential in Finland.