A műemlékek sokszínűsége (A 28. Egri Nyári Egyetem előadásai 1998 Eger, 1998)

Előadások / Presentations - MEZŐS Tamás: What in german is known as „Bodendenkmalschutz”

discovered in the Aquincum camp to ensure their preservation. The earliest example I know of in Germany is the building constructed in 1831 to protect the Hiifingen (Brigobannis) therma dating from the second decade of the first century A.D. Karl Egon von Fiirstenberg's purpose in building it was to save the bath's stones from local peasants. Architecturally, erection of protective buildings above remains is the most complex task. Structures can be divided into two groups according to whether a.) protection is by a roof using the filled-in original walls and mounted on either wooden or metal „stilts", or b.) completely separate walls are built in order to spare the originals. There are many examples of both types in Hungary. The famous main building of the Roman Baláca villa and the structure protecting the Kővágószőlős mausoleum, also by Gyula Hajnóczi, belong to the first group. Here walled-up stone pillars hold up the roof. The roof over the little bath in SzéhalombattaDunafiired stands on wooden posts. Structures completely separate from the original walls are the Hercules villa building in Óbuda and the elegant reinforced concrete shell over the medieval Gizella Chapel in Veszprém (designed by Ferenc Erdei). It is a speciality in this country, although also found in Italy, for instance, that the protective structure also tries to give an impression of the outline of the original building. In this case the form of the roof and height of the sills of the modern building corresponds to the dimensions derived by reconstruction. One such is the mosaic villa displayed in Piazza Armerina in Sicily, and another Hajnóczi's Kővágószőlős building. In Germany, buildings of the first kind were favoured at the end of the last century and the beginning of this century, such as the protective roof of the mosaics found in the Fließen villa (1874) or the famous roof over the Weinsberg therma (1906). Protective roofs built nowadays on to original walls are usually simple frame structures, like the protection of some parts of the Mundelsheim villa. The last decade has seen the construction of a large number of protective buildings completely enclosing the whole or part of a ruin. These are architectural objects in their own right, which as well as providing perfect protection for the ruins leave enough room for information: reconstructed drawings, models, paintings and craft objects found on the site, and explanatory signs. Quite frequently they include areas fitted out for educational purposes, such as an educational workroom, projection room, lecture hall, etc. (Walheim villa). The danger carried by such self-contained buildings is that they may push the remains into the background, relegating them to a secondary status. Stepping into the spacious wood-structure building protecting the Ahrweiler-Silberberg villa, it is first the roof structure which draws the attention. One's eye is then caught by the system of bridges designed to facilitate moving around inside. Finally, among this imposing set of structures, the 50-60 cm high wall remains are discerned languishing below and beside the bridges, divested of their significance. The information and the installation is of course exemplary. It would have been possible to reconstruct a painted barrel vault and thus give visitors a direct impression of the original space. A successful display has been achieved in the ground floor of a multi-storey car park in Rotterdam, where a city latrina discovered during construction has been put on view. Remains whose function alone make them an attraction have been well presented without changing the structure of the reinforced-concrete building, only by the addition of displays and the appropriate arrangement of the interior architecture. The most spectacular arrangement that I have seen is the elegant, laminated wood support protective building protecting the Bliesburck-Reinheim therma on the German-French border. The building's outline and architectural form presents a striking impression from outside, while in the interior space the emphasis, quite naturally, is on the ruins and the installation explaining the site. In the 18th century, when travel to Italy first became fashionable, tourists sought out buildings known throughout Europe from Piranesi's drawings. Goethe was disappointed to find that the grand, strengthexuding edifices portrayed on the etchings were in reality rather small. Nowadays the camera objective