The Hungarian Art Nouveau architecture in the Kingdom of Hungary, which forms part of the Austro-Hungarian Monarchy, dates back to 19-20. At the turn of the 19th century, a decade of art nouveau art, mostly Hungarian architects, constructed legacy of several artistic and stylistic styles.
In the Hungarian architecture, the marks of Art Nouveau appeared for the first time in the 1890s and, after the turn of the century, the end of the 1910s, in fact, with the First World War, can be considered as closed. The most important home master of style is Ödön Lechner. In addition, in parallel with the Hungarian art nouveau developed and cultivated by him and his followers and disciples, there were several trends in style: in some domestic buildings, the French and Belgian Art Nouveau, the German Jugendstil, the Viennese contemporaries or the Scandinavian and English architecture. Lechner’s theoretical and practical work was a major starting point for many of the decisive architects of the era, such as Béla Lajta or one of the founders of the Younger Group, Kós Károly.
Budapest is also rich in secessionist monuments in Europe. Here are the most important works of Ödön Lechner: the headquarters of the Museum of Applied Arts, the Savings Bank and the Hungarian Geological Institute. The Gresham Palace, the former Parisiana Mulató, the Academy of Music, the Gellért Baths and Hotel, are the buildings of high quality materials and artwork that are typical of the era. Numerous memories of the Hungarian secessionist architecture of the period are found in the Great Plain and Transdanubian towns, such as Szeged, Veszprém and beyond today’s Hungarian borders in Subotica, Oradea and Târgu Mureş.
The emergence of the Hungarian secession, its main trends
In the 1890s, the first pieces of art in Szeged were the works of Frigyes Spiegel and Ödön Lechner. The common was that they both wanted to show new directions by the organic development of historicization. Spiegel’s multi-storey apartment building in Budapest has been decorated with plant ornaments and symbolic forms under the influence of contemporary French architecture, preserving the basic framework of traditional architecture. Lechner, which has evolved a much greater echo in decades, combines the formal solutions of French Renaissance, Middle Eastern and Indian architecture with Hungarian folk decorative motifs. His first major assignment after the Museum of Applied Arts was the disappearance of the historicizing paintings, but the innovative application of the folk motifs, the original imaginative forms and the basically flat facades, remained.
Lechner and his admirers by his Hungarians, nationals and critics, however, his idiosyncratic forms of idols, at the turn of the century, were among the most controversial phenomena of Hungarian architecture. His talented followers received numerous assignments, so his style quickly appeared in many parts of the country, including in the capital. However, he himself remained without significant mandate after the Post-Savings Bank. The golden age of the Lechner followers was roughly until the death of the master in 1914, and after the first World War it ended, Lechner’s reputation for the country is still high.
In 1907, following the theory of Lechner, but in the inspiration of Transylvania’s folk art, freshly graduated students were formed by the loose organization of the Young People, whose members worked many times in the following years. The group was created under the influence of contemporary Scandinavian and British architecture, although the first such work was Bela Lajta’s design for Dezső Malonyai, the importance of which was emphasized by Kós Kós. Besides Ede Toroczkai Wigand, Dénes Györgyi, Dezső Zrumeczky, Valér Mende, Béla Jánszky and Tibor Szivessy, as well as Lajos Kozma, are among the young ones. The death of Zrumeczky and Mende in the young, and after the First World War, the outstanding members of the group went to other directions, Károly Kós remained the only principle of the original principles, who had a great influence on the development of Hungarian architecture even in the 1940s.
Among the foreign influences, Vienna quickly applied to the Hungarian architecture of the turn of the century; mainly for Otto Wagner, Josef Hoffmann and Adolf Loos. Among the works of József Vágó, who are also in good contact with Lechner, the work of the architectural couple of the Austrian co-operative can be observed in the houses of architect Aladár Kármán – Ullmann, among others. István Medgyaszay, who also came to Otto Wagner’s pupil, returned home to find a Hungarian style and turned his energies into a unique form of language with the latest technology of the day, combined with reinforced concrete.
Other famous renowned architects and architects of the turn of the century: Géza Maróti, Gyula Fodor, Zoltán Bálint and Lajos Jámbor, Sámuel Révész and József Kollár, Dávid Jónás and Zsigmond Jónás, Ármin Hegedűs and Henrik Böhm, Flóris Korb and Kálmán Giergl, Löffler Sándor and Löffler Béla, Ernő Román and Miklós Román, László Vágó, Sándor Baumgarten and Zsigmond Herczegh.
The first signs of modernism and art déco were already shown in the early 1910s, especially in works such as Béla Lajta, Béla Málnai and Gyula Haász, or Emil Tőry and Móric Pogány. Lechner’s last home, probably with his students, is also a strong departure from his own style in St. Ladislaus Grammar School at Kőbánya or at Vajda Péter Street School in Kőbánya. However, after the First World War and the traumas of peace triangle in Trianon, the conservative spirit was clearly ruled; in the 1920s it became a decisive factor in Hungarian architecture.
Professional public life
The older age group of the Hungarian art nouveau, such as Ödön Lechner, began his career in a historian fashion. At the turn of the century, architects typically graduated from the Budapest University of Art and then traveled abroad (typically to Vienna, Munich, Paris, Zurich) for practical knowledge. On their return home, they usually worked with more experienced and experienced masters until the capital and experience required to open their own office came together. The characteristic feature of the turn of the century is the creative couple: the two architects who gave their name and talent to the office were typically artistic and the other for administrative and business activities.
Public buildings
Whatever it was short, the period of Art Nouveau architecture in the Hungarian cities left a significant mark. Continuing the economic upswing of the second half of the 19th century, primarily due to the development of agriculture and trade, our mainland towns have started to undergo major construction; among the administrative buildings built in the age, it is not a uniquely uniform and rich collection of architecture and craftsmanship. In Budapest, which was built as a historically historic town, significant public buildings were also raised in Art Nouveau, mainly thanks to Ödön Lechner and his followers.
Public administration
City Hall, Kecskemét (1893-1897) – based on the winning designs of Ödön Lechner and Gyula Pártos. As a result of his years spent in France, Lechner shows the Renaissance effect of the French age, which has become more varied by designers with Hungarian folk motifs. The building on the borderline of historicization and secession was damaged in 1911 in the Kecskemét earthquake. The façade was restored to the direction of Lechner.
Town Hall, Újpest (1898-1900) – At the then independent settlement in Újpest, the invitation to the City Hall was won by Henrik Böhm and Ármin Hegedűs ; the three-story, towerless building on the square floor was completed in less than a year and a half. Plastered and brick-faced facades show the effect of Lechner’s planned city hall in Kecskemét.
Town Hall, Kiskunhalas (1905-1906) – The large, four-winged building, built under the old town hall, was built in an Art Nouveau style, besides the administrative functions, including theaters, restaurants and shops. The facades faced with various colored, cracked, plastered facades are embellished with sgraffito- shaped representations. Architects: Rezső Hikisch and Henrik Kotal.
Administrative Palace, Târgu Mureş (1905-1907) – A complex of three-storey 60-meter-high tower built by Komor Marcell and Dezső Jakab. In the picture of a plastered façade with small ceramic tiles, the colorful majolica cathedral plays an important role. The interior was originally decorated with glass windows made by Miksa Róth. The county prefecture and council work today in a building raised in the city hall.
Town Hall, Subotica (1906-1912) – The city was nominated in 1906 for the design of the new headquarters, which was won by the Viennese Baroque style by Komor Marcell and Dezső Jakab. This was revised in the Art Nouveau style by the mayor Károly Bíró. The building was built in 1910 and its interior decoration was completed in 1912. The four-storey building is one of its largest public administrative complexes of 16,000 square meters. The tower is 72 meters high.
City Hall, Kiskunfélegyháza (1909-1911) – After several unsuccessful tenders, the city was built on the basis of József Vas’s plans, upon whose request, Nándor Morbitzer finished the work after his unexpected death in 1910. The façades decorated with Zsolnay ceramics clearly show the influence of Ödön Lechner’s work.
The village hall, Poroszló (1910) – designed by architect Polgáry István , designed by a Budapest architect, is a nice example of small-scale, but demanding, public buildings. The ground planed U floor planks are faced with a variedly laid bark covering, with a curved horn tower over the centralized gradient above the curved brim.
Megyeháza, Cluj-Napoca (1910) – The building erected under the plans of József Huber combines gothic and eastern elements of architecture with Hungarian folk formacles undeniably by the work of Ödön Lechner. It was originally the headquarters of the Chamber of Commerce and Industry, after 1948 it was also used as a town hall.
Megyeháza, Debrecen (1911-1913) – Architects in Budapest: Zoltán Bálint and Lajos Jámbor designed the headquarters of the Hajdú county, winning the national prize. The symmetrical, three-story main facade is dominated by a moderately-progressive middle-class ruler, with an Art Nouveau tower planted on its brink, with a statue of prince Árpád at its peak. On the yellow plaster, the terracotta elements produced in the Zsolnay-Porcelain Factory in Pécs, which cover the doors and windows, are the cloak of folk costume culture. The façade is split into the “cavities” of the entrance and the first floor balcony. The leaded glass windows of the stucco-style grand hall were built on the plans of Károly Kernstok, representing Árpád and other conquering leaders.
Cultural Buildings, Institutional Chairs
The era of major cultural mediations ended with the Millennium celebrations in Hungary. As part of this, we built our first Art Nouveau museum building, the home of the Hungarian Museum of Applied Arts and the College of Applied Arts on Üllői Street in Budapest. Ödön Lechner’s work is the praise of Hungarian craftsmanship, and in almost every detail the work of Hungarian masters. Its architectural training is the first, summing-up of the form developed by Lechner. The one-storey metal roof of the museum’s hall was of pioneering importance in its own time; With the design of prefabricated building elements, Lechner not only allowed rapid construction but also demonstrated pioneering thinking over his age.
Educational Buildings
The significant population growth in the 19-20. The turn of the century required great school building programs in Hungary. Among the most prolific creators are Salgs Baumgarten and Zsigmond Herczegh, who are in the ministry, who have designed hundreds of educational buildings. The name of Ármin Hegedűs, who works as a city official, is also associated with a number of schools, not with Böhm Henrik alone. Budapest’s most significant school building program was commissioned by Mayor István Bárczy ; In this context, 36 permanent school buildings were built between 1909-1912. In the spirit of modern, reform-oriented pedagogical trends, the design of these buildings put great emphasis on creating the possibilities of modern physical education, creating libraries and community spaces.
Renovated facade of the Academy of Music in 2013
Academy of Music (now Ferenc Liszt Academy of Music), Budapest, 1907 – The new building of the Academy of Music, founded in 1875 under the leadership of Ferenc Liszt, was built after the open design contest, based on the plans of Korb Flóris and Kálmán Giergl. However, the original façade with bold Lechner were to tune with more conservative public taste. The building is one of the most beautiful works of the Hungarian Art Nouveau, especially its interior spaces, showing the unparalleled harmony between architecture, industry and art. The most important masters of the age took part in the implementation of this; the glass windows were delivered by Miksa Róth’s workshop, floor and wall coverings to the reinforced concrete structure of the Zsolnay factory,Designed by Szilárd Zielinski. Ede Telcs, Géza Maróti, Alajos Stróbl and Károly Senyei worked on the facade decoration. Among the interiors are the ground floor and Aladár Körösfői-Kriesch floor – toped hall, the large concert hall, the library and the kisterem. The building still has many original furnishing elements to date. Completely renovated by 2013, based on original plans.
Trade, Services
The new commercial buildings of the turn of the century have been conducting some of the covered passages since the early 19th century. Such is built oriental style, decorated with majolica Budapest Paris court (Schmahl Henry, circa 1912 to 1913), or Oradea Black Eagle Palace (Komor Marcell and Jakab Dezso, 1907-1909). The former originally functioned as a bankhouse and a residential building, in addition to shops, rooms used for flats, hotels and theatrical and cinematic performances.
Baths, hotels
At the turn of the century, a fast growing and growing popularity among tourists in Budapest showed a natural demand for new hotels. On the Danube Corridor and in the center of the city, a historic style of existing lodges, newer ones were built on the Rákóczi road, one of the main roads of the city. The 145 room Astoria Hotel, built in 1914 by Rezső Hikisch and Emil Ágoston, is a basically elegantly classical building, showing only the details of the Art Nouveau. A few hundred meters away, three years earlier, the 150-room Palace Hostel was handed over. The work of Komor Marcell and Dezső Jakab is a work up to the end, with the characteristic ceramic decorations and the folk-inspired woodburner, at the height of the seventh floor. The hotel has a valuable interior, as is the restaurant on the ground floor at Astoria. The Palace is U floor plan from the second level, and this layout was also used in residential homes in the era to provide as many street space as possible in the building. Similarly, the 173-room Park Hostel was built at the end of Rákóczi Street, near the Keleti Railway Station in 1912, according to the plans of Rezső Gondor.
Beside the capital, the countryside also enriched many valuable hotel buildings in the era. The Pannonia (today Dacia) Hotel was built in Szatmárnémeti between 1899-1902 by Zoltán Bálint and Lajos Jámbor, who were the first of their major joint projects. Facades of richly decorated facades, gilded patio and exquisite interior design of the Lechner school, are the buildings that still work in their original function. Unfortunately, the same saint could not be saidPetőfi Hostel, which was built between 1896-1899 under the designs of Marcell Komor, also under the influence of Lechner. The facades of the two- and three-storey buildings, as ceramic expensive, decorated with plant ornaments made of plaster and gypsum, and bands familiar to Lechner, dome-covered with relief tile, rather than glaze tile. A hostel that has been vacant since the 1990s has also built a theater hall.
One of Hungary’s most striking hotels is the Aranybika in Debrecen, founded in 1699, which received its current main building in 1915. The Alfred Hajos raised by the plans of the building’s main entrance Long Market Street on the edge of the facade, two slightly protruding projection was in – evokes the typical U-shaped structure of the inner courtyard hotels of this age. The late Art Nouveau, richly articulated facade is enclosed by a large tower on the corner.
As the above examples show, larger rural construction projects were often won by architects in Budapest on open tenders. The Pannonia (today Palatinus) Hotel in Pécs, in Király street, is an exception for high-quality buildings: it was built between 1913 and 1915 by the decisive master of the Art Nouveau architecture, Andor Pilch. It is also U-style, but the court is completely open to street level. Not far away, the Hotel Nádor was built on the Széchenyi Square at the same time, with an irregular façade divided into three levels of loggias.
One of our latest Art Nouveau buildings was the Budapest Gellért Hotel and Spa, which was built in collaboration with Ármin Hegedűs – Artur – Sterk Izidor, a joint venture between the first two prized works of the competition. Combining the two functions is not unusual in the age, but here is the most uniform and representative. The 1909 built, but only because of the war passed in 1918, a large array domed rizalitokmark the decorative entrance of the hotel and the bath. The interior of the bath was richly decorated with colored lead glasses and Zsolnay ceramic decorations. The women’s department was destroyed during the Second World War, but the tile and mosaic tiles of the male floor area of the male spa area still show their original image.
The other famous Art Nouveau bath building of the capital is the Dohány Street Hungária bath, which was built following the plans of Emil Ágoston between 1908 and 1909, in addition to the existing Continental Hotel. The stone-faced façade dominated by the rising rhizals and windows shows the influence of Jugendstil, which is one of the most beautiful in Budapest. The well-trained, fractured cupola with its dome is now completely destroyed and the façade was reconstructed from the edge of the vault in its original form until 2010 when the building opened as a hotel again.
The Baths of the Árpád Bath built in 1905 in Székesfehérvár are worth mentioning. The ground floor cour d’honneuros is divided into pavilion-like masses, and its façade combines historic and secessionist signs.
The most beautiful urban scale of the turn of the century includes the Palics holiday resort of Vojvodina, with its predominant buildings, Vigadó, the entrance combined with the water tower and the Baths of the Bath by Komor Marcell and Dezső Jakab.
Residential buildings
Urban dwelling and apartment buildings
Compared to historicization, Art Nouveau brings little newness to the architecture of residential buildings in the function area. The basic type of the corridor tenement was still characteristic, but the elevation of elevators in the early 20th century has changed considerably; as a result, the most important dwelling levels have become the upper levels of houses instead of the first-second floor. Both in Budapest and in rural big cities, many residential and tenancy buildings were erected in the era; some architects specially specialized in this genre, such as Gyula Fodor, Romanian Sisters, Kármán and Ullmann, or Révész and Kollár’s workshops. The flourishing architecture of the capital was characterized by the varied, demanding, representative form and substance use; as a consequence, the Art Nouveau buildings still enjoy great popularity,and not one of our esteemed and protected memories.
Houseplant housing has gained more and more importance at the turn of the century. The best-known example of the age is the Wekerletelep in Budapest. His area was purchased by the Minister of Finance Sándor Wekerle in 1908 for the purpose of building the ten thousand workers. Spatial planning was realized on the basis of the plans of Ottmár Győri, and the application for the planning of the main square was won by Kós Kós, who also involved several other builders. The buildings were, among others, Dénes Györgyi, Dezső Zrumeczky, Lajos Schodits and Béla Eberling, and Gyula Wälderdesigned; the 1084 residential area of the area is ground floor and one storey. The architectural level of mass housing construction highlights the staff and workers’ habitats of the Óbuda Gas Factory ; the former was realized by Kálmán Reichl, the latter by Lorány Almási Balogh.
The artists’ colleges represent a special category of settler housing construction, at this time in Kecskemét, Zebegény and Gödöllő respectively.
Villas, flats, mansions, mansions
The centuries-old tradition of mansard building in the early 20th century is a thing of the past in Hungary. Family homes are less representative of representativity than everyday life. Exceptions include the Budapest Villa by Villány Sipeki, Béla Zala County Mayor Balás Sipeki, together with Marcell Komor and Dezső Jakab, as well as the students of the town, such as the Ödön Lechner. The almost complete ground floor of a not very large but spectacular building served the two-story corridor, the interconnecting rooms and the winter garden to serve the family life of the family while the private rooms were located upstairs. Of Lechner’s residential buildings, one of his brothers, Charles Károly, stands outdesigned by Lechner House in Kolozsvár, which has several parallel lines in the facade of the Balás-villa.
It is typical of the buildings built in the age that the Art Nouveau style is mixed with historical elements. For example, planned by Lechner mozsgói Biedermann Palace, Budapest or Sacelláry Castle.
Representative urban villas include the Schanzer villa in Budapest, built in 1907-1908, based on the designs of Frigyes Spiegel, which continues the row of Andrássy street villas in a historic style. From 1941 onwards it has been preserved for a long time also from the interior decoration of the building of the National Association of Hungarian Journalists. Not far from it is the Léderer Palace (Zoltán Bálint and Lajos Jámbor, 1907), which is a special combination of two functions: the “palace”, that is, the residential areas of the family, while rented flats were rented to the back wing overlooking the side street.
Architects belonging to the Young People were more representative of folk architecture than most representative, and most of them homeowners reflect the effects of the British Arts and Crafts movement. An important preview is the Red House, which was designed by William Morris in the 1860s and which has an impact on the Tata villa designed by János Vaszary, Ego Toroczkai Wigand, and even at Károly Kós’s own Stanza house in Varjúvár.
It is a nationally unique Art Nouveau villa complex located in Buda, in Kissvábhegy. All originally forty buildings were designed by Aladár Árkay for the appointment of the National Judicial and Prosecutorial Association between 1911-1913. The one-two-storey, multi-storied, varied street-style villas were built by members of the association, but a 80-person dormitory and a 15-apartment flats were built (the latter were destroyed in World War II). It also built Árkay’s own residential building at the same time, at Alma Street No. 1.
Church architecture
The previous trend continued at the turn of the century and churches became less and less involved as builders, and their investment activity shifted from sacral buildings to community, service and health functions. The prominent church buildings of the era can not be characterized by a uniform style, they are organically integrated into the oeuvre of an architect (Ödön Lechner, Károly Kós, István Medgyaszay). In sectorial architecture, secession (sometimes mixed with neo-styles) continued to exist as in other areas; A good example of this was the protracted construction of the Pope Reformed Church, Kálmán Dudáswork. The long-lasting effect of Hungary’s sacral architecture was practiced by Kós Kós and the Workers of Young People. Between the two world wars, many of Bálint Szeghalmy’s works, such as the church of Miskolc, dedicated to the Miskolc in 1938, and in the second half of the 20th century, the creators of Hungarian organic architecture continued their traditions.
The most important church buildings of the era (in the chronological order of construction)
St. László Church, Budapest- Kőbánya, 1894-1899. – The church combining the many stylistic elements was built on the plans of Ödön Lechner, for the parish of Kőbány, which became independent in 1881. The hexagonal middle tower is accompanied by two small riverboards, the Gothic mass ratio of the church is not only enhanced by the division of the ship and the shrine. The colorful, cheerful look is covered by bricks and ceramic made in Zsolnay factory. The equipment is the work of Ottó Tandor.
Church of the Blessed Virgin Mary, Zebegény, 1908-1909. – One of the most famous and outstanding examples of Hungarian art nouveau architecture. Károly Kós and Béla Jánszky, one of the first results of the Young People Group. With its asymmetrical façade, massaging and some details, in the building of the mystical mood of the Romanesque churches, Aladár Körösfői-Kriesch and his students prepared their interior wall paintings, the equipment was designed by Kós, the work of Dénes Györgyi, the baptismal basin. The façade decoration of the façade was completed on the basis of the original, but unrealized, plans for 2010.
St. Elizabeth’s Church, Rothmarin, 1909-1910. – The structure designed by István Medgyaszay was the first church with reinforced concrete technology in Hungary. The octagon-shaped, bold dome-covered boat is linked to the distinctive belfry of the Transylvanian folk architecture (originally with the higher helmet). At the corners of the ship, the angelic statues of Ferenc Sidló stand above the main gate, and the entrance rosettes are highlighted by a mural. Some details of the building evoke the church of Steinhofi of Otto Wagner. Medgyaszay also designed the Catholic church in Püspökladány.
Church of St. Elisabeth of Árpád (Blue Church), Bratislava, 1909-1913. – Albert Apponyi commissioned minister was this temple Lechner one last job in which the House of Árpád St. Elizabeth in 1899. In addition to the murdered Queen Elizabeth commemorates it. The player’s mass-shaped building is mostly covered with light-blue plastering, dividing the architectural plaster and ceramic blocks. The temple front is dominated by blue and yellow.
Fasori Reformed Church, Budapest, 1913 – The decisive master of 20th century church architecture, one of Aladár ‘s most important works, combines German, Scandinavian and American influences. Asymmetrical façades are reminiscent of the Zebegény church, the Greek-chapel-like, central interior is the Otto Wagner’s steinhofi building. The entrance is highlighted by a ceramic, medieval crowd. The interior decoration is also the work of Árkay.
Kakasos Church, Cluj-Napoca, 1913-1914. – The facade and plan of the church designed by Kós Károly cites the Romanesque basilicas, with some characteristic features of Transylvanian medieval and Renaissance architecture, mainly with the tower of the river. The simple, unadorned facade has a characteristic brown finish with a deep green glazed ceramic tile. The coffered ceiling of the temple vessel is decorated with folk motifs painted. Its famous name is the church from the tower of the tower, which is a symbol of the Reformed Church.
The chapel of the National Tébolyda of Lipótmezek, Budapest (built in 1863, chapel design: 1913) – The chapel of a mental hospital under the plans of Ludwig Zettl was painted in 1913 by Sándor Nagy. The biblical themes of the new windows are also made in his workshop, Miksa Róth’s workshop, and are one of the culmination of the Hungarian glass painting. The frescoes of the chapel, which had been converted into a lecture hall in the 1970s, were cut off, and the restoration started in the 1920s was interrupted. The building is currently closed, empty.
Synagogues
The synagogue architecture of the turn of the century started from a previously unified, orientalist-historicizing direction, seeking new ways. The basically central, domed structure of the buildings did not change, though this is also the case: the Orthodox Synagogue of Kazinczy street (1912-1923) of Löffler brothers in Budapest, showing the influence of Béla Lajta and the architecture of Vienna’s age. The distinctive façade was made of natural and artificial stone, brick and ceramic, but the overall effect was puritanical and elevated.
In the late works of Lipót Baumhorn, the great master of the synagogue of the turn of the century, the art of secession and the effect of Ödön Lechner are obvious. Here are the synagogues of the parallel-built Novi Sad and Budapest-Aréna út (now Dózsa György út) synagogues, as well as the Nyíregyháza, Eger, Liptovský Mikuláš and Nyíregyháza chambers that were completed in the 1910s. The synagogues of Budapest-Páva street and Gyöngyös built in the 1920s are examples of the somewhat cumbersome late secession. The effect of Baumhorn can be explored in the works of many lesser-known architects; a good example of this is the richly formulated mass of Hódmezővásárhely with its triumphal-shaped entrance synagogue, work by Miksa Müller (1906-1908).
Buildings
The turn-of-the-century tombstone is a rich and varied part of the era of architecture. Antal Gerenday and his son, Béla Gerenday, in addition to the company that defines the market for the tombs, many architects and sculptors have planned tombs themselves. Béla Lajta designed dozens of times in Jewish cemeteries in Budapest, orders from personal and family tombs to the building’s scale; at the Salgótarjáni Road cemetery, the jeweler and the gate structure are also his work. Similar scales and the quality Fiumei Road Cemetery in elevated arcade, dove Louis Armin Hegedus and step (1904-1908), which Roth Maximilian Körösfői Kriesch Alpha, Dudits Andor, John Stein zsigmond Vajda mosaic decorated.
Following the success of the Hungarian pavilion at the 1906 Milan International Exhibition, Géza Maróti was asked to design the permanent Hungarian pavilion for the Venice International Fine Art Exhibition (Venice Biennial). The main façade of the building, completed in 1909, is dominated by a chapel gate decorated with colorful Zsolnay ceramics over which a five-story glass window is visible. In the preparation of HUN- Hungarian mythological themes, Sándor Nagy and Aladár Körösfői-Kriesch gained the main role, and Ede Telcs’s interior decoration was made by Ede Telcs.
At the Hungarian Pavilion of the 1910 World Exhibition in Turin, Dénes Györgyi was occasionally associated with Emil Tőry’s and Móric Pogány’s office and won. The large Hungarian pavilion is the triple pillar of the coat of arms, the prominent, pyramidal central roof, and the tent of Attila. The copper dome over the entrance was reminiscent of ancient combat helmets. The decoration included Miksa Róth, Zsolnay factory and Géza Maróti. The pavilion, which also had a great success in the international press, was demolished after the exhibition.
Engineering constructions
In the engineering structures, the Art Nouveau figurines were mainly decorated in the decoration; this is more of a feature of the featured cityscape role.
Reinforced concrete was a revolutionary invention of the era of architecture. Szilárd Zielinski was the first Hungarian distributor in Hungary, whose experience was gained in the design of the Academy of Music and the Margitsziget Water Tower.
The survival of Hungarian secession in post-World War II architecture
Certain features of the secession were mixed with Hungarian formations (asymmetrical building compositions, special ornaments, polycromes, romantic spatial effects) that proved to be such strong elements that the evolving neo-baroque eclecticism was not able to squeeze out even in the twenties, although this era had already been dissected, unsuccessful fashion, and indeed, often ridiculous attempts. The great architectural style experiment of the turn of the century is considered to be a Hungarian art nouveau by mixing with the known forms of Hungarian folk architecture, and this trend can be found in buildings of different destiny and order of magnitude. Often mixed with new baroque elements or even neo-Baroque features.
Besides the example of the oeuvre of Ödön Lechner, the pattern that Marx Komor and Dezső Jakab provided with their buildings in Târgu Mureş, Nagyvárad and Szabadka, József Vas and Nándor Morbitzer with the Kiskunfélegyháza Town Hall proved to be even more effective. Certainly, this has an effect in the center of several of our lowland towns. This is recalled in Csongrád, the Kossuth Lajos Square number 1, Lajos Ybl, designed by Batsány Grammar School.
Source from Wikipedia