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

Előadások: - Architecture and identtity

2.2.5.3. Socially Motivated Modernism was ideological, aiming at creating better living conditions, making programs for small flats. (CIRPAC) It came close to the endeavours in Hungarian villages and getting some commissions by the state. 2.3. The Period After World War Two (1945-1980) The post-war period of architectural theory and practice was almost exclusively a one-way development dictated by the single-party political system and its ideological and tactical changes until the late 1970s. It might be divided into four epochs; 2.3.1. 1945—48 under the motto architecture is a creation of the community for the community was a period of post-war reconstruction in which the previously re-pressed architectural modernism could take over. Although Marxism was already in the air, architecture was by and large ideologically free. The questions about the task of architecture were discussed on solely professional base. 2.3.2.1949—59 undere the motto socialistic in content, national in form was the period of Socialistic Realism, a highly ideological period of architectural theory and practice. The Communist Party liquidated private architect offices forcing the architects to work in big state controlled offices. In the same time an ardent ideological battle was launched against architectural Modernism, that was condemned to be formalistic and cosmopolitic, i.e. incomprehensible for the society of workers and peasants and as such it became public enemy of socialism. Although Social Realism was dictated by the Soviete Union, its Hungarian version showed some specific features referring to the local architectural heritage, mostly to Neo-Classicism. Thus, social realism might be related somehow to the Hungarian anti-liberal tradition as well. 2.3.3.1960—69 under the motto artistic freedom and limitations was a period of industrialisation of building. Unlike the previous period in which architecture enjoyed high importance for the Communist Party and the whole society, the 1960s was the age of mass production, raising doubts into the artistic quality of architecture. (The previously widely used expression építőművészet (building art, German: Baukunst) was replaced by the építészet (building), meaning that the artistic component was not of utmost importance.) The majority of theoretical works attempted to elaborate a compromise between the industrial and artistic component of architecture. In practice we witness a split: some buildings represented quantitative endeavours — housing estates —, some others — mainly public buildings — still retained some artistic qualities of architecture. 2.3.4. 1970—80 under the motto artificial structure of human environment was the period of political and economic consolidation of the Real Socialism in which quantitative determinants of architecture dominated. Although the great Marxist theories of Máté Major and Frigyes Pogány were still in foce, the interest for architectural theory decreased. It was the era of intense publication of the achievements of Western Modernism and its domestic explanation. Nevertheless, it was the age of decline of architecture both in the West and in the East. The previously stiff dogmas of Marxism and Western Modernism were replaced by new theories: ,,The source of the aesthetics is the system of the free moving individuals and objects, life itself and not artificial