Mentényi Klára szerk.: Műemlékvédelmi Szemle 2002/1. szám Az Országos Műemléki Felügyelőség tájékoztatója (Budapest, 2002)
VITA - Daragó László: 20. századi építészeti gondolatok a visegrádi királyi palota helyreállításának történetében
the paradigm the category of living monument used earlier with a different meaning. This could be defined mainly as a complicated notion of authenticity interpreting monuments as a building, a unity together with its material and immaterial relations. Although in Hungarian monument protection this notions had always been present (like in Ferenc Mendele's experiment in Hollókő, where the purpose was the forming of a living settlement working together with the cultural landscape), still the basic standpoint was actually concentrating on objects and works of art. In this study the author has tried to use the experimental paradigm in the history of the reconstruction of the royal palace in Visegrád and has investigated architectural ideas in connection with it in the 20 th century from the point of this living monument concept. The building had been almost rediscovered when found in 1916. From the excavations of the archaeologist-architect János Schulek begun in 1934 till today there has been a development ending in the regaining of the building form of the ruin field. Important stages are the reconstruction of the eastern part of the cloister in 1951 by Kálmán Lux with the help of the restorer Ernő Szakái; the activity of Alajos Sodor changing the bricks used by Lux for carved stones and placing the copy of the lion fountain in the upper garden, and János Sedlmayrcreating the first interior (the large cellar) and closes the cloister. A radical change to this direction is the millennial recontruction of Zoltán Deák building out the noth-eastern palace building and its surroundings from its ruins. This large-scale change is partly the result of the exemplary excavating, systematising and analysing work lead by Mátyás Szőke and Gergely Búzás, that has been contiued since the end of the eighties proofing the authenticity of the reconstruction. The ground-floor rooms, first-floor rooms in the eastern wing, courtyard in its whole height with the copy of the Hercules fountain have been reconstructed. The large orchard has been built and together with these the palace - still unfinished - is able to show much more of its original spaces than ever before. This is a pleasing result from the point of the living monument's authenticity concept. Unfinished architectural ideas have grown in number from the plan competitions of the 1970's in documented forms. Their general characteristic is that they are not interested in the ruin which remains a romantic setting, by which, near the orchard usually a modern glass and concrete museum building was placed. This is a representation of the chartesian way of thinking of the age, preferring modern architecture in the ruin field to reconstruction. The winners of the competition - Margit Pázmándi and Csaba Virág - got order to make a detailed plan in which they worked out a type of mass reconstruction. So thirty years before the idea of building out the ruin appeared already. This plan has remained unfinished, however, it would have shown the whole cross-section of the building making impossible to close the courtyard. The plan is inconsequent from the point of the new paradigm as it ruins the original spaces for the sake of a modern gesture. The present reconstruction is better than the former architectural notions leading the way toward the multiple authenticity. It is characterising the transitory state of our age conserving many earlier manners in the solutions of the details. It reconstructs the authentic space of the courtyard is its colours and sounds, but the metal covering of the vault on the exterior is not serving the formation of authentic mass. The pavement and
