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

Előadások: - Architecture and identtity

certain location. Their coolness is a genuine wish to avoid any strong expression —organic populism or high tech pragmatism. Although this camp is theoretically not entirely clearcut, from a historic perspective they would probably show a much more expressed coherence then they show at the moment. They did not build a real camp, like the technocrats or the organicists, but their church buildings, small-scale offices or dwelling houses, schools are still distinguishable from the other two camp's edifices. 2.4.4. Vernacular expressions Besides these three 'official' streamings, Hungarian architecture is characterised by furthet three expressions that are, in fact, vernaculars: 2.4.4.1. The 'Makovecz-vernacular' is an expression that takes some elements from the great master or his followers implanting them into a very popular architecture. It has nothing to do directly with the master, it is only a free play with his roof-forms, windows, trees. This expression is neither theoretically codified nor accepted as a movement, but it is very wide-spread in the country. Its thriving is facilitated by the popular architectural press. 2.4.4.2. Neo-Baroque expression is also without theoretical founding or strict codification. However, it resembles to the Neo-Baroque style of the Horthy-era, and the clients may share similar values with some developers of the Horthy-era. The postcommunistic Neo-Baroque is a characteristic expression of the nouveau rich in urban areas. 2.4.4.3. Popular Eclecticism is an all-embracing notion that denotes almost all expressions that do not fit into the aforementioned categories. It is characteristic for the provincial housing districts including the rural. Its main goal is to express wealth and 'good taste" of the developers. It is without theory, but its cultural roots might be traced back to the late-Kádár- and Grosz-era. 3. Summary Hungarian 20th century architecture is a multifaceted and pluralistic expression, that was often influenced by ideologies, frequently expressed national or cultural identity. In some periods when the country was economically consolidated it was close to European cultural streamings, like during the turn-of-the-century, when Ödön Lechner dismantled late-Eclecticism neck by neck with Otto Wagner, or when Béla Lajta developed Proto-Modernism simulatenously with Adolf Loos. In difficult times, however, Hungarian architects turned back to the past, as after the disastrous Trianon Treaty Gyula Wälder took his inspiration from the 'good old times' of the Baroque. In the same time some outstanding figures, like Farkas Molnár, cultivated the Avantgarde. In the most difficult times even this pluralism was denied, and Hungarian architects had to apply Social Realism that was imposed by the Soviet Union, but in the same time fitted into the framework of the tradition of Hungarian revivalism referring to Neo-Classicism, a happy period of cultural history of the country. After the fall of communism Hungarian architecture started to recover, traditional pluralism is now being unfolded again, but it will take many years, probably a generation, to overcome fully the impact of the difficult imes.