F. Mentényi Klára szerk.: Műemlékvédelmi Szemle 1999/1-2. szám Az Országos Műemléki Felügyelőség tájékoztatója (Budapest, 1999)
KIÁLLÍTÁS - Bujdosó Győző: Sedlmayr János Ybl-díjas építész „Műemlékek elvi rekonstrukciói” című kiállításáról
The next tableau shows detail drawings of a survey from 1967, a linear strict drawing documenting a precise work with artistic value. The following subject is still Vértesszentkereszt - but a very different aspect of it, a theoretical reconstruction of the church from 1969. The three drawings side by side form an elegant composition. The vision of the not existing buildings is given by the balance of known and unknown elements, of linear and flat details. The reconstruction drawings of Nagyvázsony castle and the fortress of Visegrád (different periods of the latter also) give a more complex view than in the case of Vértesszentkereszt, details are less visible. Here Sedlmayr's style is different, using a simple, open, linear structure. The Sopron series begin with the Roman views from 1992. Two views of the Forum are represented on a simple linear pen and ink drawing. The drawing makes us feel not only the dimensions of the provincial city but the simpler outlook of the buildings, the less expensive decorations of stucco and terracotta as well. The drawings are more than the means of pure scientific interest, they are enjoyable works of art even for the public. The view of Sopron city from around 1440 made in 1988 is imposing as it is composed to give an exact point, the Kecske (Goat) church for the viewer together with the representation of the city tower and walls, the system of streets and squares. It is giving a more detailed representation of the two reconstructed synagogues of the medieval city to make them better known following the excavation. Another drawing is showing an important stage of the architect's oeuvre: one of the synagogue reconstruction of the 1360-1480 state from the year 1996. A reconstruction drawing is made of the houses of Sopron, Main square showing their state around 1400, 1500 and 1700. The exactness and scientific way of rendering is followed by a strict composition. Individual details can be identified, and typical elements making possible exact identification. The drawing of three different states give a complex view of the houses. The choice of the drawings exhibited was made on the basis of the architect's reconstruction work. Drawings of the church of Sopronhorpács and Tar were made by the architect as well. Personal survey is important for the architect even today, and in the case of monuments it is an „indispensable luxury". On the drawings of Eger cathedral different stylistic elements can be observed at the different states from constructed perspective view to easy sketches. Drawings also reflect the instability of our knowledge. The series of the Dominican church and convent of Buda (he was architect of the Hilton building as well together with Béla Pintér) are representing the 13 th and 14 th century views. Details, like the pitch of the roof, the ridge turret, the wooden barrel vaulting or the stairs are helping our imagination to create an exact view. This inner perspective is very important, as it shows the dividing place and role of the rood-screen, which is not clear enough even from the reconstruction. The last pieces are a series of phase-drawings the simpler version of which is shown on the invitation card. The basis is a linear structure giving also the direction of the perspective. Behind ortogonal drawings the silhouette of the city can be observed with different states of St. George church. Below the facade perspective drawings of doorways, vaults can be seen with cars resembling to X-ray drawings.
