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

Előadások: - Architecture and identtity

2.2.3. The Lechnerian Movement (the end of 1920s, until 1930) Started in the framework of Lechner Ödön Society (1928) having two periods: 2.2.3.1. National Liberal 2.2.3.2. Folkish The Lechnerian movement favoured a moderate modernism in thinking, but in a national framework. Béla Jánszky classified all Hungarian national endeavours in architecture in 1929. He pleaded for the usage of folklorist expression for larger buildings as well, Ferenc Vámos, on the other hand, advocated a more dogmatic approach in the deployment of folkish traditions. 2.2.4. The Movement of Vernacular Architecture (1933—44) The socially motivated movement strove to improve the living conditions in rural areas on the base of the local traditions. It was based on the presumption that peasants carry the national spirit. Sociologists, writers, musicologists, architects studied village life and art. (Architect Pál Granasztói Rihmer) 2.2.4.1. Idealistic Period (1933—1935) was characterised by struggle with the modernists and the conservatives. (Architects Jenő Padányi Gulyás, Rezső Csaba, Ferenc Vámos) 2.2.4.2. Research in Villages (1935—39) did not aim at collecting elements for representative buildings like in the case of Kós and Thorockay, but at the finding of reasonable and easily usable elements. (Kálmán Tóth) 2.2.4.3. Building for the Country Folk (1939—44) was characterised by social concern and acceptance of some principles of Modernism, although with a reluctance from urban civilisation and enthusiasm for organicism. (Architect Rezső Csaba) 2.2.5. Modernism, the so-called New Architecture (from the late 1920s) Hungarian Modernism in architecture encompassed mainly three branches, all of them were reluctantly accepted by the establishment and by significant part of the conservatively oriented professionals. 2.2.5.1. The Avant-garde constituted a tiny section of Hungarian architecture withstanding the pressure of the mainstream thinking of the so-called Neo-Baroque society. The Avant-garde has had no particular ideology, it followed Bauhaus and CIAM principles (Architect Farkas Molnár). 2.2.5.2. Balanced or Moderate Modernism was more widespread in cities, particularly Budapest. It was a cooled down version of high Modernism with a slight touch of Neo-Classicism that expressed a kind of Humanism fitting the taste of liberal intelligentsia. Apart from the aferementioned reference this branch of Modernism was unideological. (Architects Domány and Hoffstädter)