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)

granite staircase (1922—23). For decoration he employed Greek vases, metamorphosed to colossal dimensions. He opened several vantage points looking towards the town, and linked the gardens organically with the prague panorama through purely architectural means such as pyramids or obelisks. The arranging of the Bastion Garden (1928—32) was simultaneous to the construction of the prommenade in Tivoli Park, Ljubljana: in both cases Plecnik conducted the passage from the urban space into free nature without a special dominating point to crown the end. Plecnik acquired his first experience in town-planning exactly with the work on the castle's gardens, which took place before he set to planning the town of Ljubljana. The same is true of the paving of the first and the third courtyards of Prague Castle (1921—22 and 1928—32); here, he radically levelled the courtyards and covered them with a neutral granite pattern. He placed an obelisk in the entrance axis of the southern wing, re-arranged the fountain of St. George, and preserved archaeological remains of an older building under the pavement. As a sign of his respect for Czech tradition, he pointed to the symbolical axis which connected Prague cathedral with the ancient Visehrad by placing a ,,provisionary" baldachin on the courtyard. To add a proper centre to the series of Baroque rooms in the southern wing, Plecnik created the so-called impluvium (1923—24); among other things he also furnished the president's library (1923—24), the salon with embroideries (1924—26), the big and the music salons (1925—27), the white tower with the table for signing state documents (1923—24), and the room with the harp (1923) whose walls are gilded, thus following the example of the Chapel of the Holy Cross at Karlstejn. He also provided a new access with an elevator (1922—23). The Czechs were not always favourably disposed to his inventions, so before setting to reconstruct the areas that were intended for public use, Plecnik left for Delphi and Athènes with his students in 1927, to meet classical antiquity on the spot. The result of this travel was a monumental propylaeum in the transverse wing between the first and the second courtyards (1927—29). The project for a new church in the Prague suburb of Vinohrady was postponed for several years because of a quarrel over the site's ownership, so the foundation stone was laid only in 1928. Unexpected troubles with the foundations greatly raised the costs of the building; consequently, at the cost of a unified hall-like interior Plecnik gave up the original idea of a church in the form of a temple with colonnades outside and inside it. He monumentalized the relatively low building with a road bell-tower, and gave the façade texture a likeness to an ermine royal robe, in memory of the park dedicated to King George Podebradsky. The original plans for the Prague church were later used by Plecnik in a slightly varied form for the Franciscan church at Siska, Ljubljana (1925—27); the building with the altar placed in the centre is an anticipation of the novelties that the later Council of Vatican II brought about. A rural variant of the Siska church is the parish church at Bogojina (1925—27); there, monumental columns with level beams were substituted with arches resting an lower columns, and space proportions were determined by the old edifice now changed into a vestibule. This type of village church was developed by Plecnik with the transversely oriented church of St. Michael on the Ljubljansko barje area (1937—38); to make it cheaper he even used concrete sewage tubes instead of columns. Although the church is supposed to be derived from folk art, its architectural problems follow Semper's explanation of archaic antiquity. The church of St. Anthony in Belgrade (1929—32) tries to initiate a dialogue with the Pantheon in Rome, intended for the Byzantine cultural sphere. The same theme gave rise to several similar projects (Osijek, Dolina by Bosanska Gradiska). A late answer given by Plecnik to Wagner's starting points is St. Mary's Church in Zagreb (1936—37), only partly executed after the original plan. Its space seems functionally unclear because of the