XX. századi műemlékek és védelmük (A 26. Egri Nyári Egyetem előadásai 1996 Eger, 1996)

Előadások: - Damjan Prelovšek: Joze (Josip, Jusep) Plečnik (Ljubljana, 1892. jan. 23-1957. jan.7)

expression. While teaching in Prague, he had an opportunity to get a closer knowledge of the metal objects of the ancient Etruscans; he thought their artistic perception was very close to his own, which made him believe that most probably they had also been of Slavic origin. Because Semper's advice was not to take from the relatively young folk art, Plecnik drew inspiration from the example of Etruscan forms which thus gained the status of a more authentic national expression (frequent use of the Tuscan order, metaphors of vessels, characteristic door frames). First public recognition for Plecnik came in Vienna with the entry in the competition for Gutenberg memorial in 1897 (jointly with the sculptor 0. Schimkowitz) and with the interior decoration for a part of the Rotunda in the Prater in 1898. He became a freelance architect in 1900 when he re-did the plan for K. Langer's villa at Hietzing. In 1901—02 he built an apartment house on Wienzeile for the same client; among other things, glass balconies, encompassing the corner of the house, give it an extraordinarily light appearance. It was only with the Zacherl house (1903—05) in the very centre of Vienna that Plecnik succeeded in entering a dialogue with O. Wagner on an equal level. By interposing granite slabs between narrow bands made of the same material, he answered the then topical question about the façade ,,coat". The marked plasticity and dynamism of the building are Plecnik's original contribution to Art Nouveau architecture; the severity of the facade, however, is softened in the interior with organic forms. The Church of the Holy Spirit in Vienna (1910—13) belongs among the first sacred buildings in Europe that were made of reinforced cocrete. In contrast to Wagner's solution at Steinhof, Plecnik's concept of the church was one of a functional religious centre for suburban workers. He opted for a type of a paleochristian basilica; for the purpose of acoustics and a better view of the altar he eliminated the vertical supports below the two side emporas. Protodoric columns on the façade are adapted to the new building technology which made use of reinforced concrete. Capitals in the crypt are the announcement of Cubist architecture. Already in the Zacherl house Plecnik strived to transplant to the Viennese millieu some characteristics of his homeland and the Slovene Carst. While making the project for a memorial fountain to the mayor K. Lueger (1906—09, jointly with J. Engelhart), he drew inspiration from the Robba Fountain in Ljubljana; the final work is well thought-out from the town-planning aspect, and it is also marked by his classical sense of plasticity. In general, interior designs are initially the most prominent of Plecnik's Viennese works (interior for the 15th Secession exhibition, 1902; apartment and consulting room of the physician E. Knauer in Graz, 1903; salon for the world exhibition in St. Louis, USA, 1904; waiting room of the consulting room of H. Pehan in Vienna, 1905; rebuilding and furnishings of the Zacherl villa in Döbling in Vienna, 1905—15). Decisive for Plecnik's appointment as the architect of Prague Castle was the fact that he and T. G. Masaryk shared the same views on the role of the national acropolis. The architect was able to translate the president's abstract wish into architectural language, i.e. the transformation of the absolutistic castle into a democratic one, as it was impossible to restore the castle's preHapsburgh condition, Plecnik marked some points of historical importance for the Czech national tradition with symbolic accents. By means of new passages he opened the castle on to the world outside as much as possible. He had two courtyards paved, he arranged the gardens facing the south and the west, and he furnished the president's apartment together with its parlours, but he did not manage to erect an obelisk with eternal light on the staircase of the Paradise Garden, to re-arrange the so-called royal palace, nor to construct a monumental access to the castle. He included existing trees almost entirely into the new pattern of sandy garden paths and he changed the modest stairs an the entrance into the Paradise Garden into a monumental