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Vedecká Štúdia Scientific Study Front Elevation Of FRONT ELEVATION OF THE REICHSTAG PROPOSAL, FRONTÁLNY POHĽAD, NÁVRH NA BUDOVU REICHSTAGU, À² Source Zdroj: Plan Collection and Archives of the Department of History of Architecture and Monuments ² VEDECKÁ ŠTÚDIA SCIENTIFIC STUDY Imre Steindl’s neo-gothic approach in the Hungarian design competitions of the 1870s Imre Steindl a jeho poňatie neogotiky v architektonických súťažiach sedemdesiatych rokov 19. storočia v Maďarsku Márton Székely, Katalin Marótzy Zbierka a archívy plánov Oddelenia histórie architektúry a pamiatok tribunály. Po skončení súťaže dostal napokon zadanie Steindl. Budapeštianskej technickej univerzity obsahuje hodnotné kresby Vzhľadom na to, že mesto vyžadovalo neorenesančný projekt, a fotograe. Vlastní aj viaceré dokumenty súvisiace s Imrem architekt presadzujúci, naopak, neogotický, vytvoril niekoľko Steindlom, dobre známym maďarským architektom, ktorý navr- variantov budovy v rôznych štýloch. Napokon bola realizovaná hol budovu Maďarského parlamentu. jedinečná zmes, ktorá pozostávala rovnako z renesančných, ako Najvýznamnejšie predmety vzťahujúce sa k Steindlovi aj z gotických prvkov. predstavuje štrnásť hárkov s plánmi berlínskeho Reichstagu V roku 1871 bola vyhlásená zjednotená Nemecká ríša datovaných rokom 1872 a zložka originálnych fotograí rozlič- a Berlín sa stal novým ríšskym hlavným mestom federálneho ných autorových projektov. Táto séria fotograí pozostáva okrem Nemecka. Názov nového nemeckého zákonodarného orgánu bol iného aj z variantných návrhov na Novú budapeštiansku radni- Reichstag (ríšsky snem). Už v roku 1872 vláda vyhlásila medziná- cu, postavenú v roku 1875. Tento príspevok pojednáva o vplyve rodnú otvorenú architektonickú súťaž na návrhy novej budovy gotiky na Steindlove projekty a návrhy. snemovne, ktorej víťazom sa stal architekt Ludwig Bohnstedt Architektúru študoval od roku 1857 do roku 1867 v Bu- z Nemecka. Spomedzi všetkých prihlásených projektov bol len dapešti a na Viedenskej akadémii umení, kde bol študentom jeden vytvorený architektom z Maďarska. Bol ním Imre Stein- Friedricha von Schmidta. Schmidtov vplyv na stredoeurópsku dl, ktorý mal vtedy len 32 rokov. Do súťaže bol zaradený medzi neogotickú architektúru bol pozoruhodný. Mladý Steindl prevzal rakúskych súťažiacich pod označením „Emmerich Steindl” Schmidtove vedomosti o histórii architektúry, štruktúrach a štý- z „Pesth”. Jeho návrh nezískal žiadnu cenu ani nebol zakúpený, le budov, čo malo počas celého jeho života vplyv na jeho dielo. no záznam zo zasadania poroty obsahuje niekoľko pochvalných Podieľal sa aj na významných pamiatkových prieskumoch stre- vyjadrení o jeho projekte. Porota ocenila najmä veľmi podrob- dovekých stavieb. Počas svojho neskoršieho života sa intenzívne ne vypracované interiéry, zatiaľ čo skôr negatívne kritiky si venoval projektovaniu Maďarského parlamentu, no vo svojich vyslúžila kompozícia exteriéru. Originály týchto návrhov sú raných rokoch vyvíjal v rámci architektúry rôzne aktivity. Jeho v súčasnosti k dispozícii v našej zbierke plánov. Hlavnou črtou zaujatosť myšlienkou neogotického štýlu je zjavná už v prácach Steindlovho návrhu je gotická kupola v tvare šesťnásťuholníka, realizovaných v prvých rokoch jeho tvorby. ktorá pripomína kupolu Kostola Maria vom Siege vo Viedni. V rokoch 1866 – 1872 sa Imre Steindl podieľal na piatich Existuje mnoho kníh venovaných medzinárodnej otvorenej architektonických súťažiach. Vzhľadom na skromný počet vypí- súťaži na návrh budovy Maďarského parlamentu. Do uzávierky saných architektonických súťaží v tomto období sa to javí priam súťaže v apríli roku 1883 bolo doručených devätnásť návrhov, pozoruhodné. Po rakúsko-uhorskom vyrovnaní v roku 1867 z ktorých porota rozhodla o udelení štyroch rovnocenných nastal v Maďarsku rapídny sociálny a ekonomický rozvoj, ktorý prvých cien. Spomedzi týchto štyroch kandidátov to bol práve naštartoval aj významný rozmach stavebníctva. Prvýkrát v his- Steindlov projekt, ktorý napokon získal najviac hlasov. Pritom tórii Maďarska boli vyhlásené veľkolepé architektonické súťaže, jedine jeho návrh bol vytvorený v neogotickom štýle, ostatní ktoré priťahovali pozornosť aj širokej verejnosti. Sprevádzali ich kandidáti zaslali klasické projekty hlásiace sa viac k etablova- totiž diskusie o štýle budov, ako aj výstavy súťažných návrhov. nejšiemu štýlu. Celková kompozícia jeho projektu bola výrazne Pozornosť verejnosti pritom v sledovanom období ustavične pozdĺžna reagujúc na potreby prevádzky dvojkomorového par- narastala. V šesťdesiatych a sedemdesiatych rokoch 19. storočia lamentného systému. Steindl umiestnil snemovne doprostred boli nepochybne najdôležitejšími architektonickými súťažami dvoch pozdĺžnych ramien, ktoré boli prepojené veľkou centrál- tie na palác Maďarskej akadémie vied, Novej budapeštianskej nou kupolou. V ďalšom, treťom, krídle, situovanom kolmo na radnice, Budapeštianskej opery a mestského územného plánu dve predchádzajúce, bolo umiestnené spektakulárne reprezen- hlavného mesta Budapešť. Vyvrcholením tohto radu súťaží tatívne schodisko. Na hlavnom reze budovou pritom možno bola architektonická súťaž na budovu Maďarského parlamentu vidieť, že sled priestorov v interiéri je riešený prakticky rovnako vypísaná v roku 1883, ktorá je najznámejšou architektonickou ako na návrhu Reichstagu. Najdôležitejší rozdiel v obidvoch súťažou 19. storočia v Maďarsku. projektoch spočíva v priestore pod kupolou, ktorý sa stáva nielen V roku 1867 Budapeštianska mestská rada vyhlásila otvo- zhromažďovacou sálou, ale symbolicky aj kľúčovým priestorom renú architektonickú súťaž na budovu Novej radnice v dôsledku celej budovy. Rozhodnutie poroty vyhlásené v roku 1883 však kapacitnej nedostatočnosti starej budovy. Mali tu sídliť aj súdne obsahovalo aj pripomienky a požiadavky o vykonanie zmien A&U / ³ v Steindlom pláne. Tieto zmeny mal predstaviť na jar roku 1884 Maďarského parlamentu. Štruktúra a usporiadanie jednotlivých porote i parlamentu a následne boli tieto prepracované plány aj krídiel je tu rozdielna, vzhľadom na odlišné zadanie, no idea schválené. Hlavná zmena súťažného plánu spočívala v pridaní hlavnej línie usporiadania priestorov sa kontinuálne rozvíjala už ďalšieho medziposchodia do hmoty stavby. Upravené boli aj od súťaže na Reichstag. Na pôvodných projektoch Maďarského nízke nárožné veže striech snemovní – na vyššie a štíhlejšie. parlamentu sa usporiadanie reprezentatívneho schodiska od Vďaka tomu sa kompozícia celého objektu, tak v exteriéri, ako plánov Reichstagu príliš nelíši, no na neskorších Steindlových aj v interiéri, zvýraznila aj vo vertikálnom smere. Budova získala plánoch už bolo výrazne pozmenené. Ak sa pozrieme na hlavný na monumentalite, no súčasne na ľahkosti a väčšej gracióznosti. rez budovou na pozmenených plánoch z roku 1884 pozornejšie, Prostredníctvom skúmania detailov neogotických plá- môžeme si všimnúť, že reprezentatívne schodisko je tu skôr nov týchto troch budov môžeme objaviť charakteristické črty pozdĺžne, barokizované, je zdôraznené smerom k sále s kupolou. Steindlovho neogotického štýlu, ktorý uplatňoval v priebehu Celkovo možno povedať, že zmeny víťazného projektu sa týkali celého svojho produktívneho života. Napríklad medené galantné predovšetkým vzájomných pomerov menších častí, ako aj ich gúry inšpirované severonemeckou gotikou umiestňované na vzťahov, než by sa zameriavali na detaily ako také. vrcholoch veží možno nájsť na všetkých neogotických plánoch, Prostredníctvom Steindlových projektov na Reichstag, Bu- o ktorých sme sa v tomto príspevku zmienili. Tento druh plastík dapeštiansku radnicu a Maďarský parlament môžeme sledovať bol napokon umiestnený aj na budove Maďarského parlamentu. metódy navrhovania charakteristické pre historizmus. Architekt Takisto rámovanie veľkého erbového znaku nad hlavným vstu- síce pôsobí v medziach obmedzení, ktoré tu predstavujú tradičné pom je rovnaký na návrhu na Reichstagu, ako aj na realizovanej prvky ako osovosť jednotlivých priestorov a foriem, no súčasne budove parlamentu. Toto nás vedie k ďalšiemu uvažovaniu o po- prináša nespochybniteľne inovatívne riešenia využívajúc naj- užívaní týchto elementov v celom Steindlovom diele. novšie technologické možnosti svojej doby. Kompozícia hlav- Gotická kupola Maďarského parlamentu je kľúčovým ných priestorov interiérov Maďarského parlamentu sleduje naj- bodom celkovej štruktúry priestoru, usporiadania exteriéru, ako vycizelovanejšiu tradíciu barokovej a renesančnej architektúry. aj symbolického obsahu celej budovy. Je to vlastne najspektaku- Táto kompozícia predstavuje priestorový typ, kde sa pozdĺžnosť lárnejšia architektonická črta stavby. Architektonické riešenie, miestnosti z jedného miesta otvára smerom do hĺbky priestoru. ktoré sa tu realizovalo, je najesenciálnejšou manifestáciou cha- To má na diváka dynamizujúci vplyv, pričom mu zároveň posky- rakteristických čŕt historizmu. Koncept interiéru vstupnej sály, tuje príležitosť k pohybu. Spoločne sú tieto plány autentickým reprezentatívne schodisko a sála s kupolou, ktoré sa objavujú dokladom analyticko-intelektuálneho prístupu a spôsobu tvorby na projektoch Reichstagu, boli rovnako použité aj na návrhoch historizujúcej architektúry 19. storočia. Introduction The Plan Collection and Archives of the Department of History of Architecture and Monuments at the Buda- pest Technical University possesses many valuable drawings and photographs,1 including several documents related to Imre Steindl.2 The most signicant pieces of Steindl’s are the fourteen sheets of the Reichstag proposal plan of 1872,3 and a folder of original photos presenting his plans,4 in this
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