If we look at the Hungarian turn of the century (1896-1914) as a unique cultural and architectural era, the Hungarian twentieth century – as a cultural history era – was born after the First World War . The decades after the Great War and the end of World War II occupy a special place in the history of Hungarian architecture . The elaboration and evaluation of the vastly varied architectural image of the era, its structure, style and professional ideology is still in the beginning of its very beginning. The end of the era, as in its beginning, is a social-political rearrangement following a lost war.
The architectural features of the subject
From the architecture of the era, the architectural history of posterity refused the merit of innovation, and all that went ahead of it, even considered the turn of the century before the World War. For a strictly functionalist and structural test – at the same time only for a moderate degree of environmental harmonization – a customary successor regarded the conservative manifestation as a reverence imposed on the architects by the ruling class, and does not even examine the objective circumstances that are actually made … and justified.
Architecture of the era and typical periods
The decades after the war – the first period – were in fact the years of architectural change. The transformation of the attitude was influenced by underdevelopment, economic backwardness and technical development, which required social changes. On the old and the new side there were both architects, architects and artists. The former, the principals were directed towards the new one by economic thought, the old ones were bound by the conventions. Of the architects, younger people were looking for ways to move on both domestic and foreign developments. There were also architects with a romantic tone, influenced by the German civilization of the German Heimatstil.
In the second period, around 1930-1940, there was a change in the development of architecture in Hungary. This was caused by several important circumstances. Among the two most important of these, the ever-changing effects of the changed economic situation and the foreign expansion of the new architecture are certainly increasing. After the Great Depression of 1929, the sober builder made more rational architectural demands. And they met with the possibilities offered by the young Hungarian architect who was raised in Bauhaus and the achievements of the young Hungarian architect.
Main architectural tasks
Housing construction
In the First World War, as a result of warfare, our homes have not yet been destroyed in Hungary. However, due to the resettlement of almost one million inhabitants and the earlier failures of housing construction, the displaced population became increasingly depressed in the 1920s, especially in the capital.
By the time of 1914, 500 flats were built each year in the capital, and this figure fell to 29 in 1917. Housing construction only grew six years after the war, and only after economic consolidation and money stabilization, in 1927 it went so far that it exceeded the pre-war volume (677 apartments), and then in 1928 with 1039 flats not previously used reach an experienced number. However, as the economic difficulties following the war ceased, the uprising was again blocked by the 1929 world crisis.
Compared to foreign flats in Budapest, the average number of rooms in Budapest is lower, but their floor space is larger. This is a feature of a lower level, less functional housing culture: a room-kitchen apartment is the main type of mass demand. The bunk beds and the modern dining kitchen have not yet spread.
Among the small apartment houses in Budapest are the Bécsi út (1927), the Budaörsi út housing estate (1925), the Simor street office (1926), the more purely Hengermalom street estate (1927), and so on.
In the inner city of the capital, in the booming private construction activity, especially in the late 1920s, more representative buildings were built. As regards the appearance of the town, they are not left out of the constructions of the same size of the turn of the century and the turn of the century, mostly with regard to the size of their decorations. Béla Málnai so called. MÁK’s headquarters on Kossuth Lajos Square (1927) is a typical example of this.
The eclectic facade formation – just in the city halls, with its large enclosed buildings – is far beyond the architectural practice of the 1930s and even with short interruptions until the decoration of the facades of the 1950s .
Eclectic, mainly Neo-Renaissance and Neo-Baroque facade formation are frequent and, at the same time, more pronounced in the construction of large-scale family houses, which were erected mainly in the Buda Hills during this time, extending the woodland or shrub towards the green belt surrounding the capital city.
In contrast to the chambers of houses where the flat layout as a consequence of the modernization of the modalities has evolved significantly by avoiding the corridor and the courtyard apartment, the family house of Nagypolgár, the villa’s floor plan was still largely outdated despite the financial means available. Secondary rooms are common and the representation overcomes functional needs. The functional layout of the villa is probably the most modern of all building types. This particular controversy, not least, was caused by ignorance and the fact that the builders were satisfied with the representative exterior appearance. However, advertising the need for a state-of-the-art home has been the subject of new architecture.
In our rural towns, the situation of housing construction was different from that of the capital city. The government’s measures to promote housing construction mainly benefited from tax relief and, in keeping with the possibilities of looser integration, they favored a closed-tier, one- storey block of flats, which provides a garden behind the family house of magnitude-sized buildings. The detached family house was fancy in the areas with a lower densities, which were far removed from the center of the settlements and were partially publicized. The appearance of these buildings is more varied than before or later. Typical examples are the individual dwellings of Nádor City in Győr , the beginning of the installation of the Mecsek slope in Pécs , the completion of the construction of the old Garden City, Sopron Downhills. The situation is similar in certain districts of Budapest ( Zugló ) and in peripheral cities (eg Rákospalota , Pesterzsébet ).
Public buildings
In the first half of the 20th century , the most numerous genres were the various denominational churches in public buildings. They also wanted to make up for a decade of omissions in the first world war in this area. In addition to the increased number of parishes in town, village temples were often built. In the history of architecture, the temple square was always one of the greatest genres of creative work, as the cult buildings provided greater freedom for the architect’s ideas (crowd composition and detailing).
School Building
School building was another significant area of public building construction. In this area, too, the development of the village and farm school network is mainly concerned with the elimination of decade lags. The efforts made by the culturist archbishop were marked by the work of two architects, Kertész K. Róberté and Sváb Gyula . The connection of the building to the village due to the size of the village’s building stock, the village and farm schools in this village are still alive to the idea of national architecture dying at the turn of the century. The school buildings, built on the example of folk architecture, were beautifully complemented by the image of the Hungarian village, which, in these decades, reflected the beauty of losing sight of the unity of the traditional visual spectacle.
Town Hall, Town Hall Building
Town halls and town halls were built in the great villages and market towns in the Great Plain at this time ( Mezőkövesd , Mezőtúr ).
Hospital construction
Several hospitals have been built to improve the backwardness of healthcare. At the beginning of the 1920s the pavilion system was dominant (New Szent János Hospital in Buda ), the hospitals of Nyíregyháza , Szombathely and Szekszárd were gradually interrupted by the pavilion layout and included the task in larger compositions. They are heavily decorated – perhaps for advertising purposes – in the spa buildings (the spa building of Gellért and several lowland towns).
Commercial and industrial buildings
Commercial and industrial facilities have not yet attributed the role of architecture . It is true that the architecture of the hall structure is puritanical ( Garay Square Market (1931), Capital Bus Garages (1931). Such industrial construction was very small (in Sopron’s Silk Manufacturing Industries (1923).
Urban planning
At the end of the First World War, urban planning was still a young concept in architecture, despite the fact that in the second half of the last century, settlement and regulatory plans for the capital and for the majority of rural towns were already in place. In the twenties, urban planning activities have already brought some experiences to the public – in Budapest and in the rural towns – for the preparation of major renovations and settlements, primarily for the design of contests. One of the most characteristic features of architectural activity in the 1920s is the retention and completion of previous urban development practices. At the end of the turn of the century and in the late eclectic of the turn of the century everything is well suited to what they are now building (Piarist Gymnasium (1915), Cistercian Church and Gymnasium behind Gellért Hill ( Villányi út ).
Construction engineering, construction technology and structures
Wall constructions . In the decades following the First World War, the main material of the wall structure of residential and public buildings was the brick which was burnt in the old 29 X 14 x 6.5 cm, which determined the considerable wall thicknesses (The new, small brick 25x12x6 , 5 cm in size).
In the ceiling structures – besides traditional steel beams – our era is the time of experimentation. In public buildings, the under-and-over-reinforced concrete slab flooring and reinforced concrete slab flooring made of reinforced concrete beams were liked. Due to the later corrosion phenomena, the Mátrai Reinforced Concrete Flooring Patent requiring costly renovation was used as a material-saving solution.
Covering structures . Most of the buildings are still made with a joiner’s wooden frame, with a slight sloping slab, called flat roof, and roof structures that are basically influencing the mass structure of the work have just begun to spread. For now, there were not enough skilled insulating workers to carry out the task well enough, as there was not enough skilled skilled worker for reinforced concrete.
At the facade decoration , various styles of ministrations were expressed, so the work of masonry remained significant. In addition to the plaster architecture, stone ornamented facade decorations have also been made, but the carved stonework is usually limited to the footpath. The smooth stone wall begins to become characteristic only at the end of the era as the white plaster without decoration. There was a wide choice of patterned, artificial stone flooring, including ceramic tiles. Wood chips were used both for floor and facade coatings. The staircases were characterized by traditional staggered, floating, one-sided, stacked and stacked staircases, with wrought iron rails. Door, window and door constructions are predominantly wood-based solutions, in the case of window openings, the coupled gutted structure and the horizontal folding wings are standard. In the case of doors, the chassis and insert (drawer) doors are liked. Solid construction design included nicely spaced sheaves and structural profiles. The tiled door has not yet spread, the metal window frames used only in industrial buildings.
The construction industry was not mechanized, and most of the time even the elevation was made on rafts, the notorious “trepnin”, with low-paid human (mostly female) labor. Combining these two efforts with the pursuit of profit often led to slower export quality.
From the First World War to the Thirties
In the 20th century Hungarian architecture, the historical (social and technical) determinism following the war is met by both the Hungarian architectural formations preceding the World War, and the effects from the contemporary universal and international architecture in the period, and the “products” of the period can be found in the architectural legacy of the era. Late eclecticism is well suited to these effects often being mixed with the same architectural work. Besides the influence of the early 19th century architecture of the Szekler and Hungarian folk architecture, the neo-baroque eclecticism is the most strongly represented.
But he was also fond of the English Edwardian architectural styles of painting and elegance that used late modern Art Nouveau and New-Biedermeier, as well as the home-architecture architecture called Heimatstil in Germany, whose romantic mass structures are often the functionalist of the flourishing English bourgeois home. Expressionism also had followers. On some of the works, however, especially in industrial buildings, the cleaner architecture is already visible.
These years were actually years of architectural change. The transformation of the attitude was influenced by underdevelopment, economic backwardness and technical development, which required social changes. On the old and the new side there were both architects, architects and artists. The former, the principals were directed towards the new one by economic thought, the old ones were bound by the conventions. Of the architects, younger people were looking for ways to move on both domestic and foreign developments. There were architects with a romantic tone, influenced by the civilization of the German Heimatstil, which strives to fit the landscape.
Follow Story Styles
Style Styles
Neo-Baroque architecture has been the reaction of the magnificent architectural renewal of the turn of the century in the 1910s. The neo-german, Neo-Roman, and Neo-Gothic were again resurrected, yet most of the works were built in Neo-Baroque style, mixed with neo-Renaissance traits.
The forms of the Mediterranean architectural heritage were blossoming in the twenties with a special force, the reasons for which were manifold. The baroque style was considered a Hungarian national tradition: during the reconstruction of the Turkish occupation the church and the palace of the Hungarian village and town were built in this style. In the midst of the ever-radical transformations following the turn of the century, as a counterbalance to the unfolding puritanism of architecture, many in the Baroque style thought of finding the form that was so crowded in crowd composition, spatial design and detailing that its general spread could be assured. State, city and ecclesiastical builders, who were threatened by new trends in the face of the revolution, demanded the cultivation of historical styles.
The official builders of the time required a building decorated in the same way as the historical styles, but they preferred the neo-baroque, and hardship was hardly reported (the Szeged dome space). Artisans qualified the post-office building of Gyula Sándy (1925) in Krisztinaváros and the arbitrarily stylized churches of Jenő Lechner.
Why was the Baroque style, however, to which renowned architects (Dénes Györgyi, Béla Málnai, Iván Kotsis) may be due to the fact that the versatility of Baroque architectural forms bestowed the designer with free hands.
Searching for picturesque effects
Characterization of style orientation
The architectural approach that aspires to painting has a unique national background. The posthumous architecture of England, which was inspired by painting, could hardly unfold in the 19th century, because during the “late Victorian” architectural effects we had to pay attention to the Belgian, German and Austrian secession in Hungary, to oppose Hungarian architecture in accordance with national consciousness. the young architects behind the Ödön Lechner, and from this nucleus, the Transylvanian architecture (Malonya and its circle) and analytical folk architecture have grown.
However, in the decade following the First World War, the situation favored the construction of a painting that had crossed the stage. The picturesque appearance is typical of the new architectural features and tasks of the last century. Factory buildings and transport facilities are looking for a new function and appearance in the exhibition pavilion, and, in the absence of this, they find a worthy look for the content the implementation of which was achieved through the technical achievements of the era. In the pursuit of painting, it is not the origin of the form used, but the desired effect is decisive. The objective also includes more advanced elements: the goal of a dignified integration can be explored in the pursuit of a picturesque effect , though this was only a much later architectural criterion.
In an age that alternates with historical styles, the essence of architectural aspirations can be more expressed by analyzing the effect rather than adapting to pattern designs. Already and especially in the second half of the 19th century, during late eclectic times, buildings with their main architectural features are the picturesque composition and decoration. This aspiration to the paintings stems from the romanticism of the last century and the desire to attain the effects achieved in affiliated arts, especially in painting.
In line with national styling efforts, the research and revival of the elements of folk architecture since the turn of the century and the transposition of urbanization into urban settlements, following scientific and art policy objectives. Its aesthetic aspects and its picturesque appearance have liked it. The two aspirations – conscious nationalism and the intent of pictorial rendering – met in several works. The pattern of fashionable painting was the German “Heimatstil” in the twenties after English romance and Western European eclecticism.
The Art Nouveau is “out of date” and the building society has been the revolutionary new style of work since the beginning. In addition, the architectural shapes collected from folk architecture did not correspond to the scale of urban, especially capital construction in Budapest. As a result of the exclusion of these trends, the road returned to eclecticism, but at the same time – under the ebbs of eclecticism – the various pictorial effects of the building compositions were also given, whose strength was not in their aesthetic appearance either historically or long ago.
Living the Hungarian Secession
Characterization of style orientation
Ödön Lechner ‘s efforts to unfold Hungarian architectural style were found in a strong echo in the Hungarian architecture of the turn of the century. On the one hand, they inspired followers and, on the other hand, the attention of architects belonging to the younger generation to the way of folk building and decorative art, and with the works of Viennese art nouveau , different forms and compositions. Their common feature is perhaps to reject historicalism based on the use of the Greek-Roman formacle, and even more to advertise it.
Certain elements of the Art Nouveau were mixed with Hungarian formations, hence the asymmetrical building composition, the particular ornament, the polycromy , the romantic space effect. All these were so strong elements that the advancing-neo-baroque eclecticism could not quite be forced out even in the twenties, although in that time the secession had been rejected, unsuccessful fashion, and indeed, often ridiculously experimented. The great architectural style experiment of the turn of the century, because of the mixing of familiar folk architecture with Hungarian folk architecture, can be called the Hungarian secession. We find this trend in buildings of various destiny and order of magnitude. Often mixed with new baroque elements or even neo-Baroque features.
The style of the turn of the century continued with the work of the already mentioned Budapest Gellért Hotel, Artur Sebestyén, Sterid Izidor and Ármin Árpád (1911-1918). Arturger Sebestyén was the Lechner follow-up artist, Henmin Hegedűs – designer of Henrik Böhm – a Viennese-inspired Art Nouveau style, as evidenced by his peacocks and other buildings. The master slave of Lechner’s legacy remained the master nephew of Lechner Jenő in the twenties. In his typical works of his life, Hungarian art nouveau is accompanied by historical motifs of the Renaissance of Szepesség. Interestingly, Gyula Sándy regarded the prominent renaissance as his model, though his works are far from secular.
Other outstanding architects of the era
The Hungarian architecture of the 1920s is outlined in the outlines of the listed creators, and it also points to the different trends, that the same masters were often perceived by their works. The aforementioned trends and their cultures can be complemented by the presentation of some of the more active architects and their works.
One of the most important centers of the Hungarian avant-garde in Hungary was Vienna . First of all, as a multifaceted communication center, because here the influence of Hungarian activism was felt as the most radical literary and artistic movement in Hungarian and non-Hungarian art movements in Czechoslovakia , Romania and Yugoslavia . From here he tried to get the most diverse forms of relationships with the avant-garde art movements of Eastern and Western Europe. In Vienna, the most recent Ma, published by Ma (journal) in 1926 as one of Europe’s most prestigious arts portraits the Viennese Hungarian avant-garde in a wider sense.
Hungarian architecture of the thirties and forties
By 1930, there was a change in the development of architecture in Hungary. This was caused by several important circumstances. Among the two most important of these, the ever-changing effects of the changed economic situation and the foreign expansion of the new architecture are certainly increasing. After the global economic crisis that broke out in 1929, the cautious builder made more rational architectural demands. And they met with the possibilities offered by the young Hungarian architect who was raised in Bauhaus and the achievements of the young Hungarian architect. At the same time, construction technology also advanced significantly. Reinforced concrete construction, which was previously restricted to some building structures, is now commonly used, and domestic industry has been able to undertake complicated works without the help of the rest of the world.
The renewed transformation of the architectural approach was well reflected in the speeches and publications of the 1930 International Congress of Architects in Budapest, although this gathering can not be considered as a forum for radical innovation. However, by trying to create similarly timely themes, it was actually trying to create fresh streams. Also in 1930, in the columns of the building industry , Vilmos Magyar , a typical representative of architecture at that time, published an article entitled ” New Culture “. In this, he explained that our era is “the machine age” (in effect, rigorous rationalization).”… He will only know an art, architecture, in the spirit of a cold, compelling reason, to the simplicity of the drunkenness, but to open up unpredictable possibilities” . But the power of rationalization, at least in the long run, was overwhelmingly overestimated by almost all radical advocates of the new architecture. It is reflected in the features that, half a century after the complete unfolding of the new architecture, both inside and outside, in city scenes and in building, on the facade or in decorative details, like the historic eclectic of the twenties, cite painting and romance.
Bauhaus effects in Hungarian architecture
The Hungarian aspects of Bauhaus are inevitably to be found within the framework of the avant-garde (activist) movement in Hungary, which is basically interpreted as the further evolution of the previous monarchical social-cultural renewal efforts adapted to changed social policy.
This era – in the twenties – is so important in the history of Hungarian art because its situation is unique and its experiments are heroic because most of the artists practiced in art centers outside Hungary. After the fall of the World War and the republican republic, the advancing Hungarian literary / artistic endeavors could exist primarily outside the country (their groupings in Vienna, Berlin, continued in Paris and later in Rome). Only in the middle of the 1920s some of the writers and artists could return, but even then, many people did not find a suitable environment for the achievement of their artistic goals in Hungary.
One of the most important centers of the Hungarian avant-garde in Hungary was Vienna . First of all, as a multifaceted communication center, because here the influence of Hungarian activism was felt as the most radical literary and artistic movement in Hungarian and non-Hungarian art movements in Czechoslovakia , Romania and Yugoslavia . From here he tried to get the most diverse forms of relationships with the avant-garde art movements of Eastern and Western Europe. In Vienna, the most recent Ma, published by Ma (journal) in 1926 as one of Europe’s most prestigious arts portraits the Viennese Hungarian avant-garde in a wider sense.
KURI (abbreviated from the consolidation of the constructive, utilitarian, rational, international initials of the initials) was a work by the Hungarian and Serbian students of Bauhaus and the staff of the Gropius architects’ office. Like the organizational intent of activism, he looked at the trends of modern art, urged the synthesis of his thoughts, the concept of analyzed and organized space as the task to be accomplished for the architect, and to this was the requirement of strict functionalism which in fact existed in European architecture since the turn of the century. but their first plans have not yet been fully implemented.
Architects have imagined that the economical, structural-mathematical and intellectual content-expressing needs-can be expressed in a basic note in the same geometric form (as in the art the supremacy of the square, so they made the cube as their basic form), and “the world “One of the creators of the manifesto, Molnár Farkas , at the Bauhaus Exhibition in 1923, also presented its Red Cube House as a plan for the realization of KURI (10 × 10 × 10 m house is more symbolic than a functionally solved building).
The experimental operation of the Bauhaus students, the summary, integrating, absolutizing intention manifested in the manifests published in the activist papers, is well characterized by the relationship of the Hungarian avant-garde activism of the 1920s with the Bauhaus principles. The “poster” principle of the tens of years was differentiated by the environmental art branches and genres, but the material and spatial experiences for renewing them had been framed for a while by total world-forming intentions. The other point of view is their protracted opposition to current history and the emergence of ideas such as “world-kuri”, “world-state” or – no less bold – the “Central European United States” (the latter in the introduction to the Pozsony Fire ).
In 1929, Sándor Bortnyik opened an advertising graphic school at MŰHELY , which was originally planned for a larger facility, the Hungarian Bauhaus . But their architects were not. (This workshop was a major European master of the sixties, Győző Vásárhelyi – Victor Vasarely .)
The transformation of Bauhaus, the departure of Gropius, Moholy-Nagy (1928) and then the dissolution of the institution (1933) (or even before)
Molnár Farkas
Forbát Alfréd
Fischer József
and others worked in Budapest and Pécs. They tried to reconcile the problems of architecture and society (think of Hannes Meyerinstructors), modern working-class apartments were designed, but little was done. European advanced architectural spirit is only becoming accepted from the second half of the thirties. The paradox of the era is that the Bauhausists were then able to develop their work only in the private construction of the more talented emerging upper and middle class in the villa’s genre. The red cubicle was also built, but only in a reduced (6x6x6 m) form and its original meaning disappeared as neither the “world curiosity” nor the “zenitist” Balkan revolution nor the emigration world state, the Eastern European – Danube valley – or the Hungarian state union has not become actual or distant from the perspective of the distant future. The progressive construction of the future has come to an endless distance, and the present has become increasingly threatening: the Second World War is approaching.(The work of the Bauhausos in Hungary is detailed inCIAM entry “Hungarian group”.) It was possible to use their ideological and professional skills – albeit only for a short time – after the wounding of the wounded wounds after 1945.
“… The paradox of art history and history is that, by the end of the 1920s, the Hungarian Party of Communists and the once-avant-garde art avant-garde movements that are nowadays mistakenly identified with one of the constituent parts, the Bauhaus name , are completely separated from each other. In the ranks of the KMP and the MSZMP there was a very strong anti-avant-garde atmosphere, and its theoretical antecedents and parallels can then be found in the avant-garde emigration circles. Once György Lukács, who supported the work of the Eight , approached the reception of the traditional concept of realism . At the beginning of the thirties Das Wortentitled Moscow emigre newspaper published political and artistic debate broke out between the German avant-garde and Luke, where Luke German expressionism and activism of fascism ranked among the preparatory movements. Similar impatient positions characterized the forums of the Hungarian Communist Movement in the turn of the 1920s, against the domestic reserve-activist aspirations. In the 100% (1927-1928) edited by Aladár Tamás , the Kassák circle was also unfairly classified as a category of social phascism … “(MM 1919-1945)
With this intellectual confrontation , a memorable building-artist-alliance between the Imre Perényi and Máté Major representing the birth of the so-called Socrealist architecture, can be identified. The national Renaissance of the Bauhaus spirit was only achieved in the days following the 1956 revolution when the “old men” of the avant-garde spirit and the newly created artist (builder) of the art-inspired high-level art and architecture became the scene.
Source from Wikipedia