SZENT ISTVÁN UNIVERSITY YBL MIKLÓS FACULTY OF ARCHITECTURE AND CIVIL ENGINEERING
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PUBLISHER:
SZIU Ybl Miklós Faculty of Architecture and Civil Engineering, Budapest, XIV. Thököly út 74. | Postal address: H-1442 Budapest 70. Pf. 117. managing publisher: Dr. Anthony John Gall PhD Editor-in-chief: Dr. habil. Bölcskei Attila PhD chair of editorial board: Dr. Dombay Gábor PhD
Editors:
Alan Beard PhD (Heriot-Watt University, Edinburgh, United Kingdom) Dr. Beda László PhD (Szent István University, Ybl Miklós Faculty of Architecture and Civil Engineering, Budapest, Hungary) Prof. Prof. h. c./SRSTU Dr.-Ing./Univ.Tokio Thomas Bock (University of Technology of Munich, Munich, Germany) Luigi Cocchiarella PhD (Politecnico di Milano, Milano, Italy) Dr. habil. Fogarassy Csaba PhD (Szent István University, Faculty of Economics and Social Sciences, Gödöllő, Hungary) doc.Ing. Tomáš Hanák PhD (Brno Univeristy of Technology, Brno, Czech Republic) Prof. Klein Rudolf Dr. Eng. Dr. Phil. Habil. D.Sc. (Szent István University, Ybl Miklós Faculty of Architecture and Civil Engineering, Budapest, Hungary) Dr. habil. Domen Kušar PhD (University of Ljubljana, Faculty of Architecture, Ljubljana, Slovenia) Dr. Makovényi Ferenc PhD (Szent István University, Ybl Miklós Faculty of Architecture and Civil Engineering, Budapest, Hungary) Prof. Dr. Markó Balázs habil. DLA (Szent István University, Ybl Miklós Faculty of Architecture and Civil Engineering, Budapest, Hungary) prof.dr.sc. Mladen Obad Šćitaroci (University of Zagreb, Faculty of Architecture, Zagreb, Croatia) dr hab. inż. arch. Adam Rybka (Rzeszow University of Technology, Rzeszów, Poland and East European State Higher School, Przemyśl, Poland) Dr. Takács Márton PhD (Szent István University, Ybl Miklós Faculty of Architecture and Civil Engineering, Budapest, Hungary)
Technical editor: Konda Tamás Cover design: Babály Bernadett (Szent István University, Ybl Miklós Faculty of Architecture and Civil Engineering, Budapest, Hungary)
ISSN: 2063-997X (print version) ISSN: 2064-2520 (online)
2 YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) CONTENTS
9 Gergely Kovács The history of the Summer Survey of the Hungarian Royal Public Higher Architectural Industrial School – in the Mirror of Collection Resources
22 András Veöreös Role of Surveying During Reconditioning of Monuments
31 Péter Bodó The Cooperation of Ernő Foerk and Gyula Sándy
40 Boris Dundović Ernő Foerk and Gyula Sándy’s Tüköry Mansion in Dioš, Croatia: Genealogy of Architectural and Stylistic Features
52 Aurél Benárd Two parallel life paths: Aladár Árkay and Ernő Foerk
57 Eszter Baldavári From the Foundation Stone to the Cathedral: Architecture of the Votive Church of Szeged
65 András Hadik Concerning Ernő Foerk’s Documentation of Historic Monuments and Applied Arts activities
74 Viktor Rozmann The Turn-of-the-century Monument Protection Practice in Light of ernő Foerks’s Work
82 Béla Zsolt Szakács ernő Foerk and the Medieval Cathedrals of Kalocsa
89 Gergő Máté Kovács, Krisztina Fehér The Survey Program of Ernő Foerk on the Türbe of Pécs
102 Gergely Domonkos Nagy Ernő Foerk’s Sacred Buildings
YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) Foreword
150 years ago, on 3 February, 1868, Ernő Foerk, a characteristic figure of the early 20th century architecture was born in Temesvár (Temeswar, Timișoara), On 20 November, 2018 Szent István University Ybl Miklós Faculty of Architecture and Civil Engineering the successor institution of the Hungarian Royal Public Higher Architectural Industrial School commemorated its former teacher with a conference. The program of this scientific session was a reflection to Ernő Foerk’s complex creative personality: he was not merely a designer architect, one of the most productive figure of Hungarian church architecture, but his work also encompassed the area of applied arts, monument protection, as well as a significant activity in the history of architecture as a researcher and teacher. The practice of the summer surveys with students he started, continues to this day in the institution. His personality also has an important message for the man of today: he could be characterized by a productive life work and exemplary load-bearing capacity, coupled with accuracy and modesty. The high standard of his work is also due to his wide-ranging vision. In addition to creation, he considered important to educate the next generations, to engage in scientific work and to participate in professional public life. Seventeen lectures were given at the conference, this time eleven are published in this special issue of Ybl Journal of Built Environment. It is my pleasure to provide this volume to those who are interested in.
Gergely Domonkos Nagy Leading Organizer of the Conference
YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) ‘Two beings dwell in me, one is the creative artist and the other is the diver, a studying scientist man’
Conference for Ernő Foerk’s 150th birth anniversary
Szent István University Ybl Miklós Faculty of Architecture and Civil Engineering – 20 November 2018 Budapest, Thököly str 74. – Building A, 2. floor Ceremonial Hall (Room 311.)
8.30: Registration
9.00: Opening ceremony Prof. dr. Markó Balázs DLA, dean (Szent István University, Ybl Miklós Faculty of Architecture and Civil Engineering)
9.20: Presentations – Chair: Nagy Gergely Domonkos (Szent István University, Ybl Miklós Faculty of Architecture and Civil Engineering) Kovács Gergely (Hungarian Museum of Architecture - Budapest): The history of the Summer Survey of the Hungarian Royal Public Higher Architectural Industrial School – in the Mirror of Collection Resources Fehér Krisztina – Baku Eszter – Krähling János (Budapest University of Technology and Economics): The Survey of Early Modern Era Monuments as an Educational Exercise in the First Half of the 20th Century Fülöp István (Szent István University, Ybl Miklós Faculty of Architecture and Civil Engineering): The Legacy of Erno Foerk in the Ybl Miklós Faculty of Architecture and Civil Engineering The Summer survey camps Veöreös András (Széchenyi István University, Győr; Government Office of Győr-Moson Sopron County): Role of Surveying during Reconditioning of Monuments Vukoszávlyev Zorán (Budapest University of Technology and Economics): Ernő Foerk’s Serbian-Orthodox Church-Typology
11.00: Break
11.20: Presentations Bodó Péter (Museum of Fine Arts): The Cooperation of Ernő Foerk and Gyula Sándy Boris Dundović (TU Wien, Vienna): Ernő Foerk and Gyula Sándy’s Tüköry Mansion in Dioš (Diósszentpál), Croatia: Conservation Research of Architectural and Stylistic Features Klein Rudolf (Szent István University, Ybl Miklós Faculty of Architecture and Civil Engineering): Ernő Foerk, Ferenc Schömer and the Synagogue of Lipótvátos Benárd Aurél (Szent István University, Ybl Miklós Faculty of Architecture and Civil Engineering): Two parallel life paths: Aladár Árkay and Ernő Foerk
YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) 12.40: Lunch break
13.40: Presentations – Chair: Veöreös András (Széchenyi István University, Győr) Farbakyné Deklava Lilla (Research Centre for the Humanities, Hungarian Academy of Sciences): Frigyes Schulek and the Early Design Stages of the Votive Church of Szeged Baldavári Eszter (Hungarian Museum of Architecture - Budapest): From the Foundation Stone to the Cathedral: Architect ure of the Votive Church of Szeged Kelecsényi Kristóf (Budapest University of Technology and Economics): The Contribution of Ernő Foerk in the Design of the Hungarian Parliament Hadik András (Hungarian Museum of Architecture - Budapest): Concerning Ernő Foerk’s Documentation of Historic Monuments and Applied Arts activities
15.00: Break
15.20: Presentations Rozmann Viktor (Szent István University, Ybl Miklós Faculty of Architecture and Civil Engineering): The Turn-of-the-century Monument Protection Practice in Light of Ernő Foerks’s Work Szakács Béla Zsolt (Pázmány Péter Catholic University, Faculty of Humanities and Social Sciences, Department of Art History): Ernő Foerk and the Medieval Cathedrals of Kalocsa Kovács Gergő – Fehér Krisztina (Budapest University of Technology and Economics): The Survey Program of Ernő Foerk on the Türbe of Pécs Nagy Gergely Domonkos (Szent István University, Ybl Miklós Faculty of Architecture and Civil Engineering): Ernő Foerk’s Sacred Buildings
16.40: Closing
YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) 10.2478/jbe-2019-0007
tHe History oF tHe summer surVey oF tHe HunGarian royaL PubLic HiGHer arcHitecturaL scHooL – in tHe mirror oF coLLection resources
Gergely Kovács
Collection’s reference–art historian, Hungarian Academy of Arts, Hungarian Museum of Architecture and Documentation Center of Cultural Heritage Management [email protected]
Abstract: After studying in Budapest and Wien, Ernő Foerk first became an assistant to Imre Steindl at the Royal Joseph’s Polytechnic and later he started teaching at the Hungarian Royal Public Higher Architectural Industrial School. The practice of holiday surveys which is largely based on the experience gained in Wiener Bauhütte in Wien can be captured as a link between these two activities. Foerk’s full teaching activity was followed by the holiday paths he had with his students. These of course were also inextricably linked with the activities of the cultural heritage management at this time; the drawings made at that time were included in the National Committee of Monuments. Processing of the group in question may raise new issues of the history of architecture and scientific history possibly for well- known monuments, sometimes for one person, as well as for a comprehensive look at Foerk’s model which has been previously sporadically examined.
Keywords: holiday surveys, Hungarian Royal Public Higher Architectural Industrial School, Hungarian Royal Joseph’s Polytechnic, National Committee of Monuments, Wiener Bauhütte
1. introduCtion
This paper is based on the recent processing of the drawing material which made in the course of the Hungarian Royal Public Higher Architectural Industrial School (hereinafter: „industrial school”) holiday surveys, currently kept by the Center of Cultural Heritage Management’s storage plan. The collection unit in question includes the students’ surveys – led by Imre Steindl from 1874 to 1897 – plans of the Royal Joseph’s Polytechnic besides the institution under investigation. This work included the accumulation and cataloging of plans, the matching of manuscripts fixed on the spot and clear drawings, as well as researching other sources of public collection – primarily from the National Committee of Monuments’ archive and the Hungarian Museum of Architecture – related to this topic. Previously László Pusztai, [1] András Hadik [2] and Attila Déry [3] had already delineated the scientific outlines of architectural issues inherent in holiday surveys. In the following, we will try to add suggestions based on so far unprocessed source data so far. It is to be noted as a working hypothesis that we presume an organic connection between the holiday surveys of the polytechnic and the industrial school. Therefore, we approach investigation of the latter through the former, to outline the science-historical image of the subject through each link and counterpoint.
YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) 9 2. From Wien to Budapest – The Schmidt traditions
By the character of Ernő Foerk, the surveys of the industrial school point to the direction of the Emperor’s Town. After finishing the Academy of Applied Arts in Budapest in 1888, in 1889 he became a scholarship student of Friedrich von Schmidt at the Academy of Fine Arts in Wien (Akademie der bildenden Künste), [4] where – in collaboration with others Imre Steindl, Frigyes Schulek and Ferenc Schulcz – organized a self-formation circle [5] named Wiener Bauhütte around the master in 1862 and which Foerk was also a member. [6] In essence the holiday surveys of the polytechnic began as the latter’s domestic implementation in the circle of Steindl’s students, who had been involved in this activity between organized frames since 1878, as the Association of Polytechnic’s Architect Students. [7]
Picture 1. Vajdahunyad, castle. Closed balcony next to the chapel. (Wiener Bauhütte, 1867. MMA, MÉM–MDK, Tervtár, ltsz. K 11720)
Foerk came to this agent when becoming the assistant of Steindl at the university in 1893, [8] and then in 1895–1896 he participated in the holiday surveys of Gyulafehérvár, Szászbogács and Prázsmár. Later, during the outsourcing organized by the industrial school, he used his experiences gained at the time. While in Prázsmár and Bogács he writes in his journal entry of 16 June 1916 that „the recordings are the same as the 20-year-old recordings of the Polytechnic which I guided as an assistant. Only the recording of the fort is missing.” [9] Foerk continued the Steindl tradition as a teacher of the industrial school and the holiday surveys. It is no coincidence that in his commemorative speech at the twenty-fifth anniversary of the master’s death, Foerk placed a particular emphasis on his teaching activities, especially for the „survey paths”, in which his students „have even more share in […] the wealth of his experiences.” [10] Tradition which is still in existence until the Wiener Bauhütte has never been worn out. One of the reasons for this is that Lajos Schodits, [11] who held the post of director of the institution between 1918 and 1933, [12] was a Steindl disciple, and in 1894 and 1896 [13] he also participated in the summer survey of the Polytechnic’s students in Árvaváralja. [14] In other words, this practice was not unknown either.
10 YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) Picture 2. Lajos, Schodits: Árva, castle. The facade of lower castle. (Joseph’s Polytechnic, 1894. MMA, MÉM–MDK, Tervtár, ltsz. R 30563)
3. The comparison of the Royal Joseph’s Polytechnic’s and the higher architectural industrial schoo’s summer surveys
The most important common point of the polytechnic’s and the industrial school’s holiday surveys is the connection to the institutional system of the cultural heritage management. Almost all of the surveys supervised by Steindl and in many instances, led by Foerk – directly or indirectly – were ordered and partly financed by the National Committee of Monuments [15] (for example Muzsna, Berethalom, Prázsmár, Szászbogács). Imre Steindl, thrilled by the success of the survey of Prázsmár in the previous year, at the meeting of the committe on 26 July 1875, asked 3300 florins for himself and his eight students to take an excursion to the mining towns in Upper Hungary. [16] In 1911, Ernő Foerk did likewise: he asked for a 1200 crown support to carry out a monumental survey of Medgyes and its surroundings with his ten third year disciples. [17]
Picture 3. József, Csonzadlák: Muzsna, evangelical fortified church. South facade. (Hungarian Royal Public Higher Architectural Industrial School, 1911. MMA, MÉM–MDK, Tervtár, ltsz. R 32043)
YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) 11 This is how the survey of the evangelical fortified church in Muzsna as the first holiday took place in the same year. It is important to note that Foerk would have been a member of the National Committee of Monuments for a half year now, [18] so at the meetings of the Committe he was able to lobby for the financing of these surveys at the same level as Steindl had been able to do. As another common point, it should be mentioned that, similarly to the publication of brochures which contain stone prints made in the Wiener Bauhütte’s survey paths with the same title as the self-formation circle, [19] Steindl’s first student surveys were also published in the form of a volume of twenty-one plates, the Hungarian Monuments I. [20] in 1878. The material of the holiday surveys carried out by the industrial school for about three decades from 1911 was published in a total of twelve volumes between 1912 and 1942, [21] and these publications are also regularly reported on various specialist journals (Archeological Announcer, Journal of Hungarian Engineers’ and Architects’ Association, Building Industry-Building Art etc.). „All of these buildings are shown in their original entirety, with their distinctive details, and even with a particular representation of some of their fixtures. As much as the choice of truly typical buildings is correct, the drawing’s elaboration is so careful and meaningful too. Professor Foerk has also proved his excellent pedagogical capability this time!” [22] – wrote László Éber in connection with the volume presenting the Transylvanian churches in 1912. It should be noted, in the meantime, that the differences between the two teachers are also reflected in the sources. At the committee’s meeting on 13 June 1876, Steindl urged the financial support of the continuation of the monument-survey in Upper Hungary. He asked to pay 120 florins for his assistant, 105 florins for five of his more advanced students, while 75 florins for five of his less advanced students. [23] In his latter gesture there is a kind of performance orientation but Foerk did not use this kind of differentiation for the survey in Muzsna. He asked for a 5 crown daily allowance for all ten students, and he did not yet employ an assistant. [24] Participants of the visit came from his third-year students as opposed to surveys of the polytechnic in which usually four- and five-year students, ie. gradutes participated. Another major difference is that during the first surveys of the polytechnic some students of the Hungarian Royal State Drawing and Drawing Teacher School (János Linde or Jenő Wallachy) also participated. The latter’s monumental and architectural interest is evidenced by the fact that he exhibited his drawing depicting The main wall of the town hall in Luzern in the exhibition organized by his own educational institution in 1874. [25] The students of the drawing school mostly documented the altars, the fabrics and the goldsmith’s works of the surveyed church so drawing the plans needed a different kind of drawing skills. By contrast, students from other institutions did not participate in the industrial school’s holiday surveys. Thus, this documentation material provides a more uniform picture and it can rightly be assumed that the paths organized by Foerk provided the builder-students with a more complex experience in the field of monument survey. Jenő Gyárfás was the student of the drawing school who had participated in the course of students surveys and then as a painter he received the greatest appreciation among them because with his painting entitled Call to Tetime he won the Grand Prize of the Fine Arts Association in 1881, [26] as well as at the National Exhibition in 1885 his documentation drawings which were made during the Steindl-led surveys were also exhibited. [27] Let’s mention here that one of the students of the industrial school, Károly Gráf, also participated at the Spring Exhibition of the Budapest Kunsthalle in 1913 with his watercolor entitled by The gothic church in Berethalom which made during the holiday survey in the previous year. [28]
12 YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) Picture 4. Jenő, Wallachy: Besztercebánya, roman catholic parish church. Gothic altar cross. (Joseph’s Polytechnic–State Drawing and Drawing Teacher School, 1875. MMA, MÉM–MDK, Tervtár, ltsz. R 30855)
Of course, the holiday surveys of the industrial school were primarily funded by the Ministry of Commerce whose first assignment tended to the documentation of the churches in Szászkézd, Szászfehéregyháza, Nagykapus and Riomfalva. True, the drawings ordered by the ministry – after publication of their reproduction – were also included in the National Committee of Monuments’ storage plan. The relationship with the office, partly communicated and maintained by Foerk’s character, had a significant influence on the direction and subject of the holiday survey paths, as obviously they were arranged for such buildings which were not taken up until then. No wonder because there were only a very small number of architects at the beginning of the twentieth century in the committee’s professional apparatuses. The survey work carried out by the students came at the right time. In addition, this lack of complementarity was complemented by the practical experience gained by the students. The hegemony of the National Committee of Monuments as principal and the resulting selection logic prevailed primarily in the case of the polytechnic’s student surveys. Here is a single example to support this. In his answer to Steindl’s admission during the above- mentioned commission meeting of 1876, the rapporteur of the committee, Imre Henszlmann stated that „Only one of the Steindl teacher’s dual aims is closely related to our committee; the Minister of Honour should therefore be asked to cover the expenses of the students of the polytechnic and the sample education students half of the cost of these institutes.” [29] And that was Henszlmann who, two years later, wrote in a record to Ágoston Trefort, Minister of Religion and Public Education that the „Hungarian Temporary Committee of Monuments
YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) 13 has not yet drawings about the Romanesque styled church of Ják which is a great pearl of our Hungarian monuments […] Imre Steindl, a teacher and a member of the commission should be entrusted with the survey and drawing of the church and for whom would still be a teacher assistant and five graduate students. [30] Nevertheless, it seems to be that for some reason Steindl and Foerk may have managed to gradually expand this seemingly limited margin of maneuver and, to some extent, shape the direction of the surveys. On 20 May 1883, the former proposed to the National Committee of Monuments a survey of certain monuments of Spiš. Two days later, the committee at its meeting noted that „it has got survey drawings of Spiš and Abaúj counties’ monuments so it would be more useful to make the excursion elsewhere, namely to the region of Besztercze.” [31] However, Steindl promised to make more accurate drawings than the existing ones and to draw the attention of his students to the surveyed monuments that had not surveyed until then. Thus, he got his original idea through the committee and organized the departure of 1883 in Lőcse, Késmárk and Szepeshely. As we have seen, like his former role model Foerk also had a full say of where and what purpose to organize survey paths because in 1911 he himself proposed the survey of the Saxon fortified churches in Transylvania, ie of a monument-group which in several cases was at risk of total destruction at that time and for which less attention was paid to the cultural heritage management. It is illustrative from this point of view Gyula Forster’s letter which was written to Ernő Foerk on 30 April 1916 and in which he states that in the future a greater emphasis will be placed on the discovery and preservation in addition to the monuments „maintained by the state” to the other types of the monuments for example which have local significance. [32] Perhaps it is not by chance that Foerk devoted the sixth holiday survey to the mapping of Turkish monuments in Hungary the next year and the seventh to the architecture of the Hungarian village. In addition, the master published the scientific results of their departures to research the Turkish buildings in the form of an independent volume; [33] as well giving lecture entitled by The Turkish large mosques and turbes in Hungary as the sixth part of the series of lectures launched by the National Committe of Monuments in the autumn of 1925. [34] With regard to how the personal ideas of Steindl and Foerk as an architect and a teacher shaped the holiday surveys two other important factors should be highlighted. On the one hand, it is an inescapable fact from the point of view of science history that, although to a certain extent the 1910s surveys supervised by the Schmidt-schüler Foerk were influenced by the historicizing attitude from the previous century, [35] the departures headed by Steindl nevertheless did not only document medieval monuments. It is true that all- round documentations have not been made about complete modern buildings, however late- renaissance and Baroque details of some medieval churches such as the stallum of the castle church in Kremnica, [36] a Roccoco gold plated copper chalice from the „Slovak church” in Selmecbánya, [37] or the Paradise Fence in the cathedral of Gyulafehérvár [38] were drawn. The Foerk-led surveys of the industrial school went even further in this area since in 1913 they were extended to the Rococco style Máriássy Castle of Márkusfalva and from 1915 onward to the Baroque and classicist late Baroque buildings of Budapest. In many cases these drawings are extremely important somewhat unique visual sources of monuments that have since been destroyed or have been radically rebuilt. An example of this is Lipót Gőb, baker’s house with its pigtail facade that once stood under 25 Margaret Boulevard, built about 1800 and demolished in 1942; the Three Rabbits Barrack under 69 Main Street, where today the headquarters of the Constitutional Protection Office is located; furthermore the old town tower („Truncated Tower”) in Dés which was a part of a Romanesque church became a ruin to the 18th century and was blown up by the Romanian authorities on 8 November 1938. [39]
14 YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) Picture 5. János, Sárosdy: Budapest, 25 Margaret Boulevard. The main facade. (Hungarian Royal Public Higher Architectural Industrial Scool 1915. MMA, MÉM–MDK, Tervtár, ltsz. R 10778)
However another factor is connected to the supervising teacher’s personal influence. In many cases it can detected that Steindl – based on the recordings – almost immediately made a purist- oriented restoration plan about the church surveyed by his students. His drawings remained from 1876 referring to the Franciscan lower town church in Szeged, [40] and from 1878 to the former Benedictine abbey church in Ják. [41] The largest but unfinished reconstruction plan based on student surveys was made in 1898 on the cathedral of Gyulafehérvár: among other things it would have covered the western towers with a Gothic helmet and a construction for a four-tier tower. A similar phenomenon can also be seen in relation to the industrial school’s departures. In 1912 Foerk assessed the Lutheran fortified church in Berethalom with his students and in the same year he was commissioned by the local church to partially restore the building. Then due to lack of resources the work became stuck for two years but in 1914, when the parish hoped to receive the National Committee of Monuments’ financial support, with the resumption Foerk was assigned again. [43] The situation was reversed in the case of the Máriássy Castle in Márkusfalva as well as the Reformed church in Dés whose vault reconstruction was discussed by the commission in 1912, [44] until on 22 February 1913 it asked Foerk again to carry out the necessary preparatory works. [45] This is why the teacher organized the next holiday survey in Dés that summer. His reconstruction plans of 1914 were drawn on the light prints which where made by his pupils the previous year. The methods used in the polytechnic’s and in the industrial school’s surveys are essentially the same. The on-the-spot manuals are sketches usually made by pencil on larger sketchbook’s – later turn out – pages. The cleared survey plans were recorded on paper then on tracing-paper initially in pen and later in black ink. In connection with the two phases of the work it should be mentioned that at the National Committee of Monuments’ regular meeting on 22 February 1913 Foerk pushed for some extra renumeration for his students because the submitted drawings – evidently – were not elaborated during the recording but afterwards. [46]
YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) 15 Picture 6. Henrik, Stiaszny: Group portrait in front of the calvinist church in Dés. (Hungarian Royal Public Higher Architectural Industrial Scool , 1913. MMA, MÉM–MDK, Magyar Építészeti Múzeum)
Moreover in his address pleading the survey of the monuments in Medgyes he explains that a building can only be put up shortly after being shot accurately and reliaby, „and only by the one who took it”. [47] Through coupling of the manuals and the cleared drawings, as well as examining the signatures of the papers it can be stated that – although there has certainly been a significant progress in the matter compared to the polytechnic’s material [48] – the directive set by Foerk has not been fully implemented in about half of the cases. The ground-plans, sections and facades, each with dimensions and sometimes with a detailed drawing, are usually on separate sheets. Obtaining the details in many cases is more realistic, more accurate and more elaborate on the survey plans of the industrial school. Their place in science history can be most expressively designated by the development observed in the documentation of floral ornaments. We have to point out that photographic documents have been made on the assessed buildings from the very first departure. This is evidenced by the album of 1911 showing the photos of the fortified church in Muzsna, [49] as well as Henrik Stiaszny’s records of 1913 documented the Reformated church in Dés. [50] Furthermore, they have prepared for the on-site research of the building by collecting written resources. We know an attachment to the mentioned record of Medgyes, [51] in which the most important historical data (the earthquake, the fire, the dates of renovations) of the church of Muzsna are written in Foerk’s handwriting. A similar case can be seen in connection with the student survey conducted by Steindl in the castle of Árva in 1896 which was already supervised by Károly Csányi. On the cover of Miklós Kubinyi’s book entitled The castle of Árva which is preserved in the library of the Museum of Finer Arts in Budapest [52] the words „Károly Csányi 1894” can be read as crossed out.
16 YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) 4. About the students
Finally, let’s say a few words about the later activity of students who participated in the holiday surveys. The list of Steindl’s students – with very few exceptions – seems to reinforce the thesis that in Hungary the most serious architectural orders until the turn of the 19th–20th century were gained by foreign-educated architects. [53] To name just one example to illustrate this: from among the former president and secretary of the Association of Polytechnic’s Architect Students, [54] ie. Géza Trozonyi, after about a decade, and Emil Koderle right after receiving his degree left their architectural career.The same trend applies to builder and architect builder students who worked in the Foerk-led surveys. Their names appear at various points in the contemporary press, for example in the criminal box. In 1920 Jószef Csonzadlák due to counterfeiting received a two year prison sentence, [55] and six years later his forged degree was also discovered. [56] (While in 1911 he took advantage of his same capacity during survey of the fortified church in Muzsna.) Among the participants of the holiday surveys, the most important oeuvre was to be found by József Stippek. Some survey drawings of his legacy, which are composed of hundred items and also preserved in the Documentation Center of Cultural Heritage Management, [57] are the imprints of the drawing skill and the perception learned in the Foerk-school. Stippek’s collection was based partly on his family inheritance, partly on forty-fifty wood statues from the 18th–19th century collected by him, and after his death in 1963 it got into the Hungarian National Museum. [58]
Picture 7. J ózsef, Stippek: Szászkézd, evangelical fortified church. The longitudinal section of the chancel. (Hungarian Royal Public Higher Architectural Industrial Scool, 1912. MMA, MÉM–MDK, Tervtár, ltsz. R 13325)
To highlight another student. Károly Foerk’s signature can be read on many on- site manuals. He is Ernő Foerk’s older son whom the master wrote in his journal entry on 31 December 1911 as follows: „Károly seems to bend to architecture: in Muzsna and in Krasznabéltek he was with us; and in Dobóruszka he assessed the churches to be enlarged with me.” [59] Károly Foerk was later a student of the Hungarian Royal Public Higher Architectural Industrial School. His name is included in the list of students who participated in the holiday survey in the summer of 1913 which targeted the Reformated church in Dés. [60] Shortly thereafter, he was led to the German front of the First World War where on 21 October 1917 „he died a heroic death by an enemy fragment”. [61]
YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) 17 Picture 8. Károly, Foerk: Dés, „Truncated Tower”. Inscription board (1758) on the west facade. (Hungarian Royal Public Higher Architectural Industrial Scool, 1913. MMA, MÉM–MDK, Tervtár, ltsz. R 13241)
5. Summary
In conclusion we would like to emphasize once again that the holiday surveys of the Hungarian Royal Public Higher Architectural Industrial Scool continued the special features of the polytechnic’s student surveys which were rooted in the Wiener Bauhütte’s methodology. With the help of Ernő Foerk this tradition was almost uninterrupted in the Hungarian architect’s education until the middle of the twentieth century. The question is, on the basis of resources, where to precisely locate the science history of Hungarian art. More concretely: can the continuous practice of holiday surveys be interpreted as the influence of Viennese architecture influenced on Hungarian art in the late historicism of the early twentieth century? On this issue, some of the appeals were formulated in some places. According to one thesis of the debate „From the architectural point of view Budapest emancipated from Wien after the Compromise was also strongly associated with the Emperor’s town.”, [62] while the opposite stance states that „Budapest seemed to have lost sight of Wien as a cultural center at the time. […] It is characteristic for example that the greatest Hungarian poet of the century, Endre Ady and the greatest composer, Béla Bartók has not got <
18 YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) REFERENCES
[1] Pusztai L., Foerk Ernő műemlékvédelmi munkásságáról. In: Foerk Ernő (1868–1934) építész emlékkiállítása. Exhibition catalog. Szerk. Pusztai L., Hadik A. Budapest, OMF – Magyar Építészeti Múzeum, 1984, pp. 14–17. [2] Hadik A., Foerk Ernőről és a Magyar Építészeti Múzeumban lévő dokumentumanyagáról, Lapis Angularis, Volume 2 (1998), 17–18. [3] A Magyar Királyi Állami Felső Építő Ipariskola szünidei felvételei 1912–1942. Írta: Foerk E. Előszót írta: Déry A. Budapest: Terc Kiadó, 2002, pp. 1–3. [4] Fleischer Gy., Magyarok a bécsi Képzőművészeti Akadémián, Budapest: Magyar Tudományos Akadémia, 1935, pp. 42. Foerk was Schmidt’s pupil from 1889 until July 1891. Between October 1891 and July 1892 he was a member of Victor Luntz’s masterclass. [5] J. Sisa, Steindl, Schulek und Schulcz – Drei Ungarische Schüler des Wiener Dombaumeisters Friedrich von Schmidt, Mitteilungen der Gesellschaft für Vergleichende Kunstforschung in Wien, Volume 37 (1985), No 3, 1. [6] Sisa J., Magyar építészek külföldi tanulmányai a 19. század második felében, Művészettörténeti Értesítő, Volume 45 (1996), No 1–2, 174. [7] Sisa J.: Steindl Imre, a műemlék-restaurátor. In: Romantikus kastély. Tanulmányok Komárik Dénes tiszteletére. Szerk. Vadas F. Budapest: Hily–Ybl Alapítvány, 2004. [hereinafter: Sisa 2004a] pp. 300. [8] BME Levéltár 9.) Építőmérnöki Kar Dékáni Hivatala 1876–1960, b.) A Mérnök és Építészmérnöki Kar közös kari tanácsülési jegyzőkönyvei 1876–1950, 1. kötet: 1876–1904, 1893/94. [9] Foerk Ernő munkái naplójából kiírva. MMA, MÉM–MDK, Magyar Építészeti Múzeum, without inventory number [w. i. n.]. [10] Foerk E., Steindl Imre emlékezete, A Magyar Mérnök- és Építész-Egylet Közlönye, Volume 61 (1927), 305. [11] Provides a short biographical review: Magyar Életrajzi Lexikon, II. (L–Z) Főszerk. Kenyeres Á. Budapest: Akadémiai Kiadó, 1982. pp. 596. [12] A Magyar Királyi Állami Felső Építő Ipariskola szünidei felvételei 2002. already quoted [a. q.] pp. 2–3. [13] Építő Ipar–Építő Művészet, Volume 55 (1931), 89: in 1894 Schodits obtained his degree in architecture at the Joseph’s Polytechnic (diploma number: 975). Therefore, in 1896 he could certainly have attended as an assistant in the survey in Árva. [14] Manuals which were made during the survey(s) in Árva and signed by Schodits: MMA, MÉM–MDK, Tervtár, inventorynumber [i. n.] R 30543, R 30546, R 30552, R 30557, R 30559, R 30563, R 30568–30569, R 30573–30575, R 30585, R 30597–30598, R 30609–30610, R 30614, R 30634, R 30637, R 30646, R 30660, R 30666. [15] It should be noted that Wiener Bauhütte also operated with central funding, with the support of the Austrian Government, which see: Sisa J.: A Schmidt-iskola Budapesten. In: Az áttörés kora. Bécs és Budapest a historizmus és az avantgárd között (1873–1920). Exhibition catalog. Szerk. F. Dózsa K. Budapest, Budapesti Történeti Múzeum, 2004. [hereinafter: Sisa 2004b] pp. 139. [16] MMA, MÉM–MDK, Tudományos Irattár, MOB iratok, 1875/3. [17] MMA, MÉM–MDK, Tudományos Irattár, Lymbus, Foerk Ernő-hagyaték, i. n. K 2016/5/4. Published: Hadik 1998. a. q. 20–21. [18] MMA, MÉM–MDK, Tudományos Irattár, Lymbus, Foerk Ernő-hagyaték, i. n. K 2015/1. [19] Korompay Gy.: Steindl Imre és Schulek Frigyes alakja a műegyetemi hagyományban. In: Steindl Imre (1839–1902) építész, műegyetemi tanár emlékezete. Conference publication. Szerk. Horváth A. Budapest: Budapesti Műszaki Egyetem, 1989. pp. 13. [20] Magyarországi műemlékek, I. Kiadja: Steindl I. Budapest, 1878. [21] Collected and reedited see: A Magyar Királyi Állami Felső Építő Ipariskola szünidei felvételei 2002. a. q. [22] Éber L., A Budapesti Magyar Királyi Állami Felső Építő-Ipariskola 1912 évi szünidei felvételei, ArcheológiaiÉrtesítő, Volume 33 (1913), 184. [23] MMA, MÉM–MDK, Tudományos Irattár, MOB iratok, 1876/53. [24] This was probably changed later because Foerk named Gyula Schmidt D. as his „co-teacher” in connection with the survey of the Roman Catholic church in Felka, which see: A Magyar Királyi Állami Felső Építő Ipariskola szünidei felvételei 2002. a. q. II/3. [25] A Mintarajztanodától a Képzőművészeti Főiskoláig. Szerk. Blaskóné Majkó K., Szőke A. Budapest: Magyar Képzőművészeti Egyetem, 2002, pp. 80. Kat. 5.
YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) 19 [26] Bernáth M.: Gyárfás Jenő (1857–1925.). In: Magyar művészet 1890–1919, I. Szerk. Németh L. Budapest: Akadémiai Kiadó, 1981, pp. 204; Almási T., Egy festmény genezise és utóélete. Gyárfás Jenő: Tetemrehívás, Arrabona, Volume 37 (1999), 323–336. [27] MMA, MÉM–MDK, Tudományos Irattár, MOB iratok, 1885/38: „Jenő, Gyárfás: „Slovak church” in Selmec ; Jenő, Gyárfás: The sacrarium of church in Zólyom; Jenő, Gyárfás: The chalice of church in Zólyom. [28] Szendrei J., Szentiványi Gy., Magyar képzőművészek lexikona, I, Budapest: Közoktatásügyi Minisztérium, 1915, pp. 594. [29] MMA, MÉM–MDK, Tudományos Irattár, MOB iratok, 1876/53. [30] MMA, MÉM–MDK, Tudományos Irattár, MOB iratok, 1878/55. [31] MMA, MÉM–MDK, Tudományos Irattár, MOB iratok, 1883/36. [32] MMA, MÉM–MDK, Tudományos Irattár, Lymbus, Foerk Ernő-hagyaték, i. n. K 2015/18. [33] Foerk E., A Török emlékek Magyarországon, Budapest: Corvin Nyomda, 1918. (Reedited: Foerk E., Török emlékek Magyarországban, Budapest: TIKA Budapesti Koord. Irodája, 2016.) [34] MMA, MÉM–MDK, Tudományos Irattár, Lymbus, Foerk Ernő-hagyaték, i. n. K 2015/21. [35] At the same time, Foerk made the critique of the purist approach even at the time of the beginning of holiday surveys. In 1912, during his trip to Italy, in a note dated on 2 May he wrote about the cathedral of Orvieto: „The church is now under restoration and has taken away its later movable treasures from it and it does not seem to want to be reinstated because they arealready int he Museo civico. In short, they are purified, pulled on a shoehorn like a lot of historical memories just to be stylistic.”; see: Foerk E., Olasz levelek, Budapest: Corvin Nyomda, 1912. pp. 5. And adds itt o your next day’s note: „For me it was so artistic work the Pantheon or the Colosseum, the S.–Apollinare, the S.–Ambrogio, and the cathedral of Milan or Orvieto, as the Saint Peter Church or Il Gesú in Rome.”; see: Foerk 1912. a. q. 7. [36] Unknown author. Körmöcbánya, r. k. plébániatemplom. A stallum (1620) nézetrajza. Pencil drawing Körmöcbánya, 1875. MMA, MÉM–MDK, Tervtár, i. n. R 31665. [37] Platzer Antal: Selmecbánya, r. k. templom. Rokokó aranyozott réz kehely nézetrajza és részletrajza. Ceruzarajz. Selmecbánya, 1875. MMA, MÉM–MDK, Tervtár, i. n. R 31803. See: A „szentek fuvarosa”. Divald Kornél felső-magyarországi topográfiája és fényképei 1909–1919. Szerk. Bardoly I., Cs. Plank I. Budapest: Országos Műemlékvédelmi Hivatal, 1999, pp. 156: „14. Kehely, aranyozott réz, XVIII. század.” [38] Csányi Károly: Gyulafehérvár, székesegyház. Az ún. Paradicsom-kerítés pillérszobrainak (Ribiczei Katalin és Csiszár Miklós címereit tartó puttófigurák) nézetrajzai. Pencil drawing. Gyulafehérvár, 1896. MMA, MÉM–MDK, Tervtár, i. n. K 4605. [39] Entz G., A dési református templom, Kolozsvár: Erdélyi Múzeum-Egyesület, 1942, pp. 15; Léstyán F., Megszentelt kövek. A középkori erdélyi püspökség templomai, II, Kolozsvár: Gloria Kiadó, 1996, pp. 434–435. [40] Reconstruction plans drawn up by Steindl about the Franciscan lower town church in Szeged in 1876: MMA, MÉM MDK, Tervtár, i. n. R 6515–6525. See: Lukács Zs.: Előzetes beszámoló a Szeged-alsóvárosi ferences kolostor kutatásáról. In: Koldulórendi építészet a középkori Magyarországon. Szerk. Haris A. Budapest: Országos Műemlékvédelmi Hivatal, 1994, pp. 451. [41] Reconstruction plans drawn up by Steindl about the former Benedictine abbey church on Ják in 1878: MMA, MÉM MDK, Tervtár, i. n. R 14325, R 14415, R 14424, R 14510. [42] Reconstruction plans drawn up by Steindl about the cathedral of Gyulafehérvár in 1898: MMA, MÉM–MDK, Tervtár, i.n. K 2195, K 2196, K 2199, K 2201, K 2203, K 2206. Which see: Sisa 2004a a. q. 308. [43] MMA, MÉM–MDK, Tudományos Irattár, MOB iratok, 1914/309. [44] MMA, MÉM–MDK, Tudományos Irattár, MOB iratok, 1913/16. [45] MMA, MÉM–MDK, Tudományos Irattár, MOB iratok, 1913/852. [46] MMA, MÉM–MDK, Tudományos Irattár, MOB iratok, 1913/143. [47] MMA, MÉM–MDK, Tudományos Irattár, Lymbus, Foerk Ernő-hagyaték, i. n. K 2016/5/4. Published: Hadik 1998. a. q. 20–21. [48] See: A budapesti m. kir. állami felső építőipariskola szünidei felvételei az 1912–15. évben, A Magyar Mérnök- és Építész Egylet Közlönye, Volume 51 (1917), 96. [49] MMA, MÉM–MDK, Magyar Építészeti Múzeum, i. n. 70.611–70.628. [50] MMA, MÉM–MDK, Magyar Építészeti Múzeum, i. n. 70.466, 70.507. [51] MMA, MÉM–MDK, Tudományos Irattár, Lymbus, Foerk Ernő-hagyaték, i. n. K 2016/5/4.
20 YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) [52] Kubinyi M., Árva vára: történelmi tanulmány, Budapest: Franklin, 1890. In: Szépművészeti Múzeum, Könyvtár, i. n. 7508. [53] Sisa 1996. a. q. 169. [54] Vasárnapi Újság, Volume 25 (1878), 12. [55] Világ, Volume 11 (1920), No 90, 5. [56] Magyarország, Volume 35 (1928), No 220, 1–2. [57] Stippek’s monument monitoring activity started shortly after the completion of the Hungarian Royal Public Higher Architectural Industrial School. For the first time in October 1923, he first offered the National Committee of Monuments for the survey of certain buildings, suchas the churches of Szentsimony, Hangony, Uraj, Sikátor and Arló; which see: MMA, MÉM–MDK, Tudományos Irattár, MOB iratok, 1923/400. [58] m. d., Stippekék Múzeuma, Népszava, Volume 91 (1963), No 287, 4; Kunszery Gy., Szent Flóriántól–Sztahanovig, Új Ember, Volume 21 (1965), No 43, 2. [59] Foerk Ernő munkái naplójából kiírva. MMA, MÉM–MDK, Magyar Építészeti Múzeum, w. i. n. [60] MMA, MÉM–MDK, Tudományos Irattár, Lymbus, Foerk Ernő-hagyaték, i. n. K 2016/2/2. In addition, in the Foerk legacy of the Hungarian Museum of Architecture there is a black and white group picture with no inventory number in which the figure of Károly Foerk was marked with the subtitle „Karoly”. [61] Foerk Ernő munkái naplójából kiírva. MMA, MÉM–MDK, Magyar Építészeti Múzeum, w. i. n. [62] Sisa 2004b a. q. 137. [63] Gergely A.: Bécs és Budapest az Osztrák–Magyar Monarchiában. In: Az áttörés kora 2004. a. q. pp. 117.
YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) 21 10.2478/jbe-2019-0008
roLe oF surVeyinG durinG reconditioninG oF monuments
András Veöreös 1 1Győr-Moson-Sopron Megyei Kormányhivatal Győri Járási Hivatal Építésügyi és Örökségvédelmi Osztály, Győr Széchenyi István University, Department of History of Architecture and Urban Planning and design Győr [email protected]
Abstract: Ernő Foerk’s most well-known work in architectural circles is certainly the volume published in the reprint edition, which collects the material of the building surveys conducted by the students of the Hungarian Royal Public Higher Architectural Industrial School between 1912-1942. The introduction to each volume shows that he considered to document the buildings as the main task of the surveys - besides their role in education - and thus to serve the Hungarian culture. Architectural surveying is still one of the most important starting points for monument reconditioning. Ideally, the process of monument reconditioning consists of the following steps: Scientific Research - Pre-planning Technical Studies – Compilation of a Planning Program and Planning - Professional Authority Control (getting of building permission) – Building Construction Work and (Fine Art) Restoration - Maintenance. This paper presents the essential role of surveying in this process.
Keywords: monument surveying, architectural surveying, true-to-form surveying
1. arChiteCtural surveying
In 1912, Ernő Foerk designated the service of Hungarian culture as the goal of the survey [1], but later also formulated the documentary and scientific significance of the work. Researchers probably do not need to emphasize the importance of the role of architectural surveying in the process of reconditioning of monuments. However, fifteen years of first-line monumental supervisor experience shows that in everyday practice, a significant number of designers do not recognize the importance of this work, its potential, and do not produce documentation of necessary depth. In the absence of a precise survey plan, the whole process becomes much more difficult: research on the construction history of the building suffers damage, making it more difficult to compile an assets inventory of monuments; starting data necessary for planning the recovery of technical condition as missing; the monument supervisory authority cannot make professional and substantiated decisions, so the permitting process is long-lasting; ultimately insufficient plans are created even damaging the assets of monuments on the basis of which no professional construction work can be done, that is instead of preserving of the assets to be restored their damage or destruction may occur. The architectural survey is the technical drawing documentation of the building’s geometry, the examination of the building, in which we can get a lot of information about the building without any damage.
22 YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) The traditional survey is made in two stages: at site the general plan, all typical ground-plans, sections and facades of the building are drawn in form of free-hand technical drawings. The scale of the manual is about 1:50 in order to all relevant details can be represented. In addition to the drawing elements the manual can contain a lot of other information in text, so it can be considered the primary source of the knowledge about the building. In the second stage, on the basis of the manuals, the scaled technical drawing documentation is drawn or processed in the form of a digital model in a studio. For the traditional survey, the points of the building are defined in relation to each other, so there is no external reference point in this case. An exception is putting down of vertical dimensions, it is worth (in the case of building standing on a sloping ground it is essential) to set a horizontal plane with a level or tubular bubble-level and to measure the points of the building in a vertical point of view in relation to it. Due to the manual nature of the work, accuracy of the survey is a few centimetres, which - in case of manual processing - remains within “line width”, so it is usually sufficient for scientific documentation and further planning. In case if the aim of surveying is primarily to research with scholarly character, it is worth to make a true-to-form survey. In this case each point can be measured to a network (points, axes) independent of the building and the geometry of the building can be put down with much more accuracy. In everyday practice true-to-form survey is made rarely, though it is specified by the current regulation [2]. (The contradiction probably arises from the difference in the use of the concepts by the legislator and the profession.)
Figure 1. Tools of true-to-form survey: a cord-net independent of the building and a skeleton frame of square grade
Due to its high accuracy, a modern, digital model based on a bivariate point distribution can be considered a true-to-form survey, which is made prior to major restorations by architectural studios using modern technology and digital models during planning. Application of the Building Information Model – BIM – for new buildings can be considered common. In addition to the geometry of the building, information on architectural, structural, static and mechanical details can be displayed on the model. In the case of monumental restoration, these can be supplemented with data from the historical research and survey of technical condition.
YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) 23 2. Role of architectural surveying in the process of monumental reconditioning
Ideally, the process of monumental reconditioning consists of the following steps:
1. Scientific research; 2. Technical examinations prior to planning; 3. Setting up a planning program, planning; 4. Professional Authority Control (getting of building permission); 5. Construction work; 6. (Fine art) restoration; 7. Maintenance.
In the following, we are examining what tasks are for each survey.
Scientific research
The aim of the research is to get the history of the building known, to take the values of the monument into account and to establish the preservation of the values The on-the-spot investigation examines the building itself, reveals the relative building order of the parts of the building, and enters the building parts with value of architecture and history of architecture. The on-the-spot research can be supplemented by non-on-the-spot research, i.e. by research in library, record office, archives of plans, files, photos by means of which the history of building can be attached to dates, the history can be made more accurate and known in details as well.
The role of the architectural survey in building historical research is extremely important in several respects. During setting up a surveying plan a thorough, detailed observation of the building is necessary, since the survey technician is contacted twice with every small detail of the building when drawing and measuring. The construction anomalies (fracture, wall thickness change, slotted openings, etc.) can get known during the field work or can be seen on the prepared survey plan, so the drawing documentation itself already contains information about the history of construction and identifies the necessary points of destructive research. For the proper documentation, the locations of planned wall examination can be indicated in the survey plan. Mostly, the survey plan serves as a basis for representing information about the construction history, for making periodizing drawings or conceptual reconstructions showing the building in different states. In addition, the survey plan provides an opportunity to visualize and identify objects in the monument assets inventory - to display additional information directly in case of a digital model. It is important to note that the survey plan represents a building often changed over time at a given point in time, so it is also one of the most effective tools for documenting the momentary state. The drawn documentations recorded in several points of time can show the development history of the building.
24 YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) Figure 2. Representation of assets inventory on the survey plan (Szombathely)
Figure 3. Periodizing ground-plan (Szigliget)
YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) 25 In case of using a true-to-form surveying method the surveying method itself can helt the researcher in discovering historical findings, since by means of the detailed surveying documentation some information of construction history which are not visible in real may get visible. [3]
Figure 4. Early Christian floor reconstructed by means of the results of true-to-form survey on the Santo Rotondo Church in Rome
Technical examinations
The well-founded technical plan can be made on the basis of the results of detailed examinations. The (diagnostic) tests on the condition of a monument can include static, building construction, building physics and wood conservation examinations. The structural survey can be performed by visual inspection, local instrumental testing or laboratory analysis of the sampling. The survey plan is the most suitable for displaying damage and defects in individual building elements. Information displayed in drawings naturally can be supplemented with text data as well.
Figure 5. Condition recording façade drawing indicating defects (Sopron, Móricz Zsigmond Street)
26 YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) In addition, the survey plan can record the results of the building physics examinations such as data regarding to the moisture content of the walls or the state of wooden elements the roof structure.
Figure 6. Representation of control measurement data for wall surface moisture content by marking the height of measurement points above floor level in a survey plan for a restored cellar room (Sopron, Kolostor Street)
Planning program, planning
The planning program formulates the objectives to be achieved for the renovation of the building in text. The planning program is drawn up on the basis of the results of research and preliminary examinations, taking into account the demands of the builder by the designer and the builder. The technical project documentation is prepared on the basis of the planning program. The plan makes concrete proposals for solving technical problems. On the basis of the plan the calculation of the estimated costs can be stated. The planning documentation for the renovation of the building is made in several stages on an increasing scale and with increasing information content: concept plan, sketch design, permitting plan, plan for quotation request, building drawing. The basis of the plans is, of course, in every case the survey plan. Surveying a building is the best method to get it known. In case if the designer personally participates in the survey work getting acquainted with the building, he can also take into evaluate the technical problems, so the part of the design program for the technical restoration can be prepared „in mind’ during the on-the-spot survey. Naturally, the functional design of the building to be restored requires knowledge of the existing floor plan system of the building, the shape and dimensions of the individual rooms, so this part of planning is based on the survey documentation as well.
YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) 27 F
Figure 7. Façade drawing indicating the planned operations (Sopron, Móricz Zsigmond Street)
Professional authority control (getting of building permission)
The control of expertise of the plan is the permitting procedure during which the authority keeps in mind the properties of the building, preservation of its values and the professional interests of the builder. On a monument building, any intervention can be carried out only after the professional control of the heritage protection authority. Depending on the nature of the operation, this can be a building permitting, heritage protection or heritage protection notification procedure. During the procedure, the authority compares the documentation presenting the existing state of the building with the plans of the planned state, based on the on-the-spot inspection or the knowledge of the building. On the basis of the design documentation it can be clearly decided what impacts will be caused on the monument values by the different operations. The authority makes the decision taking them into account, in accordance with the relevant legal requirements.
Construction work
Construction work is an important stage in monument restoration. Basis of this work is the building drawing documentation which is logically based on the survey plan In addition to the usual workpieces the building drawing documentation can include the way to protect the elements to be restored at site and to be restored later and the technical solutions for the renovation of individual building elements. In case of renovation of monument buildings even after the most careful planning there may be cases when modifications have to be made during construction. The building drawings often include modifications subsequently put down on at site, so these pages become important elements of building documentation.
28 YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) Restoration
The term “restoration” refers to an artistic activity performed on the entire monument or on some of its elements with the aim of repairing damaged parts according to technical or aesthetic guidelines. The restoration process has to be planned in advance, based on the damage map which can be represented in detailed survey drawings of the building (part). In addition, the visual and textual presentation of the planned operations as well as the documentation of the performed operation can be recorded on the survey drawings. The drawings in this case require a high degree of precision and fullness of details, typically in a larger scale than usual (M = 1: 20, M = 1: 10); often with the richness of details of the true-to-form survey.
Figure 8. Display of a damage map (Kartause Mauerbach) [4]
Maintenance
Monument restoration work does not end with renovation, old buildings require permanent care and maintenance. Documentation process of the maintenance operation is important for monitoring of the technical condition and monumental values of the building, this purpos is served by the service book specified also by the relevant regulation. The most effective documentation method of the performed operations, repairs is to put them down on the technical plan documentation, i.e. the survey plan of the relevant building.
YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) 29 3. SUMMARY
Summarizing the above it can be stated that the architectural survey made during the monument restorations
• is a part of the historical research on one hand, it is a great help in getting the buildinghistory of the building known; • has an extremely big role in becoming acquainted with the building with the technical point of view, measuring the defects and so it is the base of the planning program of the technical restoration, on the other hand; • thirdly, the geometry of the building is recorded during the survey, so the survey plan is also the basis for the design process; • quarterly documents the current condition of the building, records the building historical information and the assets inventory of the building.
During the cognitive process and analytical work related to a precise survey with the architect’s personal involvement, the planning program of the renovation is largely get developed, so no professional restoration can be imagined without surveying. This article is made with the support of the EFOP-3.6.1-16-2016-00017 projekt: Internationalization, initiatives to establish a new source of researchers and graduates, and development of knowledge and technological transfer as instruments of intelligent specializations at Szechenyi University.
References
[1] Széchenyi Holiday Records 1912-1942. Reprint Edition. Terc Publisher. Budapest. [2] 68/2018 on Rules for the Protection of Cultural Heritage (IV. 9.) Government Decree Annex 12 Part II. A dot. [3] Surveying of the Santo Stefan Church in Rome was finished in 2006. The surveying work was directed by architect Storz and archaeologist Brandenburg. The pattern of the early Christian floor, which has now been destroyed, has been managed to be conceived and reconstructed on the basis of the true-to-form survey of the remaining mortar. [4] Decorated Renders around 1900 in Europe. Bundesdenkmalamt Arbeitshefte zur Baudenkmalpflege Kartause Mauerbach. BDA. Wien. 1999. pp 156.
30 YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) 10.2478/jbe-2019-0009
tHe cooPerAtion oF ernő Foerk and GyuLa sÁndy
Péter Bodó
Museum of Fine Arts, Budapest [email protected]
Abstract: Ernő Foerk and Gyula Sándy made common plans for several competitions. This study intends to show their successful cooperation as well as some of their realized buildings and awarded plans. The buildings and plans are shortly described and analyzed from the aspect of style. At the end of the study all of their common works are listed chronologically.
Keywords: Ernő Foerk, Gyula Sándy, Plan Competitions, Architectural styles
1. prefaCe
The cooperation of Ernő Foerk and Gyula Sándy began when they became colleagues at Hungarian Royal Public Higher Architectural Industrial School. [1] Foerk taught the architectural forms and the history of architecture while Sándy taught the architectural structures. [2] They completed each other very well, so their collaboration was obvious. According to their appointment the cooperation was not compulsory in all cases and they should have worked together only when the circumstances gave ground for it. [3] However the collaboration was so successful that they worked together even in smaller cases. [4] As the most architect pairs they also divided the tasks: Sándy made the ground-plans and the roof structures while Foerk drew the facades. [5] Their architectural style is known in the literature on one hand as simplified Neo-Roman – Neo-Gothic, on the other hand as distribution of Ödön Lechner’s Hungarian Art-Nouveau brick-band style. Their Neo-Gothic stlye consisted of pretty towers and high, steep-sided roofs. Attics with geometric or simplified floral ornaments were often set in front of the roofs. Geometric decorations made of brick can be found even on other parts of the facades and the pilasters, lesenes and arches were also covered by brick. Nevertheless they drew some plans in Venetian Gothic style (Hangya Consumer’s Cooperative Center), Battlemented-Renaissance (Post Palace in Bratislava) Neo-Roman (Eternal Adoration Church), Neo-Baroque (Sáros Bath, Rudas Bath, Savings Bank in Bratislava) and also the Art-Nouveau can be found mainly in the details (Peace Palace in The Hague). Some of their buildings and most important plans can be read in the followings and all their known works can be read at the end of the study.
YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) 2. Buildings
2.1. Postal Palace in Zagreb, 1901-1904
It was one of the first plan competitions for which Foerk and Sándy applied with common work and they won it. The ground plan and the ordering of the building followed the latest principles of its age: the acceptance rooms were settled in two inner-yards covered by glass- roofs for the sake of good lighting. The glass-roofed rooms were pioneers in a postal building in Hungary, such structure was used only in bank offices previously. [6] The building has three floors and the main staircase was settled between the yards. The horizontal feature of the 82 meter-long-facade was balanced by brick bands connecting the window-arches of the first and the second floor. Also the geometrical decorations made of brick (triangles, rectangles, rhombuses) are remarkable and they are settled in the parapets and the cornices. The combination of red brick and light plaster gives some Hungarian Art-Nouveau effect for the building however it is mainly rather Neo-Gothic. The structure of the roofing confirms the Neo-Gothic style: high roofs can be found on the wings and the center is surrounded by two towers. The Western tower was higher with Neo-Gothic peak on the first plan, later the peak was missed because of budget shortage [7] and so it became an Art-Nouveau-like tower. [8] However in the end both towers got the same frusta of pyramid shape with grating on the top.
Zagreb, Postal Palace, 1901-04, Postamúzeum, Inv. No. PM 25-1993-2054, photo: Mór Erdélyi
2.2. Brezno, Tower of Lutheran church, 1903-1906
Foerk and Sándy liked planning towers, so they applied with two plans for competition of the tower of the Lutheran church in Brezno. According to Sándy’s memories they drew the plans separately though after discussing them. [9] Both plans suited their surrounding very well: Sándy’s plan [10] was drawn in renaissance style so it suited the convention of architecture of the region while Foerk’s plan [11] suited the style of the church itself and was Baroque. The latter plan showed onion steeple, open bell-house and richly decoreted gate.
32 YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) The Renessaince plan had a graceful steeple that was set on a sgraffito-decorated tower with semicircular florish-decorated battlement. The Baroque plan won the first prize of the competition while the Renaissance plan was ranked for second. [12] However the leaders of the Church were not agreed which plan should be built, so Sándy offered to combine the advantageous parts of both plans and so create a third one. [13] Sándy was pleased with this opportunity because some of his ideas could be realized in this way. [14] The tower kept the decorated gate and the open bell-house of the Baroque plan as well as the sgraffito decoration and the high graceful steeple of the Renaissance plan. The merge of the two plans could be seen best on the stair-cases: their location on both side of the tower derives from the Baroque plan while their onion steeple came from the Renaissance plan.
Brezno, Lutheran church, 1903-06, photo: Krisztina Bélavári
2.3. Nagykőrös, tower of Calvinist church, 1906-1907
Foerk and Sándy won the plan competition for the new tower of the Calvinist church in Nagykőrös in 1906. The old tower was used also as fire watchtower, but in the course of time the surrounding buildings became higher, so the tower also had to be heightened by about ten meters. [15] The new tower had to contain a room for the observer staff and an ambulatory. Sándy planned the structure of the tower while Foerk drew the plan of the steeple as well as the restauration plans of the originally Gothic tower. The new tower got to be 63.5 meters high and had a roofed ambulatory in the height of 29 meters. [16] The room for the observer staff was situated above this ambulatory and the tower became slightly narrower from here. The staff room was surrounded by an open ambulatory that had a Hungarian-style-cut wooden banister. This technique was familiar in the town as there were several similar wooden headboards in the local cemetery. [17]
YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) 33 The banister was covered by copper layer for the sake of durability and it soon became rusty so its brown colour suited the wooden parts of the tower very well. The architects planned a Baroque steeple over the staff room. Later Sándy taught his experiences that he gained here: the table No. XXVI of his series called Épületszerkezettani mintalapok depicted a very similar steeple to the one in Nagykőrös.
Nagykőrös, Calvinist church, 1906-07, photo: Krisztina Bélavári
2.4. Diósszentpál, Mrs. Tüköry’s mansion, 1904-1905
Widow Mrs. Tüköry (née Paula van Falkenberg) commissioned Foerk and Sándy with planning a mansion on her recently inherited land near Daruvar in spring 1904 due to Jenő Radisich, director of Museum of Applied Arts. [18] Mrs. Tüköry called the land Diósszentpál and it still has this name. The architects drew unique historical-style-plans so they avoided to copy any typical historical styles but also avoided the that time favoured Art-Nouveau. [19] The patterns of the plans were probably the Borgo Medievale castle in Turin that was built for the word exhibition in 1884 [20] as well as the castle of Louis II. Bavarian king in Neuschwanstein. [21] The mansion has two battlemented rampants [22] and an outside situated, tower-like staircase leads onto the larger one. The ground plan of the mansion is centralized: the center of the building is a vast, 9.5 meters sided quadratic hall, that determines even the first floor. [23] The walls of the hall were covered by Neo-Roman decoration and a Neo-Roman fireplace also could be found in it that Mrs. Tüköry bought from the famous furniture factory owner Maximilian Schmidt. [24] The large-sized split semicircular window over the main entrance also must be mentioned that was decorated by a glass-painting showing Saint George.
34 YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) Triest, Plan of Synagogue, 1904, Magyar Építészeti Múzeum, Inv. No. 69.024.216
3. Important plans
3.1. Szeged, plans of the votive church, 1904.
Foerk and Sándy made two plans for the competition of the Votive Church in Szeged. Many years later Foerk became the architect of the church, so it is worth looking at his original plans. One of their plans – entitled Dicsértessék that won third prize on the competition [25] – is a three-aisle Neo-Gothic church. The main facade is determined by a very wide and high tower thickly decorated by gables and the main gate made of orders of arches is situated under it. There is a large-sized rosette above the main gate and all the other pointed arch windows also have tracery. The church has long side-facades in the middle of each there are one-one lower towers, too. The jury praised the coherent rhythm of the inner decoration drawn by Foerk. [26] Their other plan entitled Szebb lesz is also a Neo-Gothic church, but with a pair of towers on the main facade which surround a huge rosette. This plan however had an inadvantageous ground plan: starts with three aisles, but gets two more aisles and even a transept in the middle. [27]
3.2. Triest, plan of synagoge, 1904.
Foerk and Sándy won the second prize on the international competition for the synagogue in Triest but the first prize was not given to anyone in the lack of absolutely proper plan. [28]
YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) 35 Foerk and Sándy used one of Foerk’s earlier plan as a pattern that he and Ferenc Schrömer drew in 1898 for the competition of the synagogue in Leopoldstadt district of Budapest and what was awarded with the first prize. This plan anyway might have based on the structure of the Saint Mark Basilica of Venice, so it was planned for the demands of the assimilated Jews: the ground plan is a stretched Greek cross with a vast quadratic hall in the middle. Aisles surround the hall of the synagogue of Triest from all the four sides, the main entrance is situated on the Western end and the chancel can be found on the Eastern end. The choirs for the women can be found over the main entrance and over the Northern and Southern aisles. [29] The building is covered by a pointed onion dome just like in the plan of the Leopoldstadt synagogue, though it is not such large in size. Lower towers with onion dome can be found on all the four corners of the building. Foerk drew the facade in his typical simplified Neo-Gothic style with brick bands but the dome has orientalistic features as well as Venetian effects so it is adapted to the Italian atmosphere of the town. These plans were exhibited on the Biennale of Venice in 1905. [30]
3.3. The Hauge, Plan of the Peace Palace, 1906.
The competition of the Peace Palace in The Hague was very popular and 216 plans were applied for it. Foerk and Sándy made a common plan that was sorted among the best 16 plans and it was a great success.31 According to the programme of the competition the building had to contain not only the Peace Palace but also a library, so Foerk and Sándy made an H-formed ground plan for the building. The Peace Palace was involved in one of the wings of the H, and the library in the other. Both wings had two floors while the connecting building was only ground-floored though the main entrance was situated there. [32] As the building had to be planned into a park Foerk and Sándy avoided to use not only high towers and domes but also classical colonnades because they fitted rather a building in a city center. [33] Nevertheless they wanted the plans to get considerable look so used high roofing just like they did on their earlier works. Besides a lower tower can be found on the right wing. The facade was drawn basically in Neo-Baroque style but it was richly decorated with Art-Nouveau statues. [34]
3.4. Vienna, Plan of Ministry of War, 1908.
Foerk and Sándy won the third prize on the plan competition of the Ministry of War. [35] Their plan shows a uniquely concepted Neo-Gothic style that can be seen on the upper parts of the facade and the roofing. Its mass system resembles the building of Parliament in Budapest: both the corner projections and the center projection also can be found on it. [36] Furthermore tower-like superstructures are can be found on both wings but the real similarity to the Parliament are the proportions and the situation of the two towers of the center projection. Only the lack of dome is the big difference from the Parliament, instead of what they drew a high roof with arched sides. Foerk and Sándy actually used even domes on the plan that had a similar pointed shape, but they are situated on the corner projections. Due to their honour to Imre Steindl architect of the Parliament in Budapest, it is probable that they deliberately used similar parts on their plan. [37]
36 YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) 4. Summary
The cooperation of Ernő Foerk and Gyula Sándy was very successful. Though only six of their buildings were realized they won several prizes on plan competitions. Most of their plans showed a unique Neo-Gothic style, but they also could adopt their plans to the different circumstances or prescriptions and made Neo-Roman, Battlemented Renaissance or Neo- Baroque plans, too. Despite of the successful collaboration they did not have a common office and at the end of the 1900s Foerk worked more often with Gyula Petrovácz while Sándy made some works with Ferenc Orbán. However their friendship did not break and after the death of Foerk it was Sándy to hold a beautiful speech about him in the Association of Hungarian Engineers and Architects. [38]
5. List of Common Works
1900. Brașov [RO], Enlargement plan of Roman Catholic Grammar School, no prize 1901. Rijeka [HR], plan of The Hungarian Maritime Academy, no prize 1901-Zagreb [HR], Postal Palace, I. prize, built 1902. Bratislava [SK], plan of Postal Palace, no prize 1902. Zagreb, plan of Croatian-Slavonian Credit Bank, bought 1902. Košice [SK], Studio of Young Offender Institution, built 1903. Four plans for settler churches, all are bought 1903-1906. Brezno [SK], tower of Lutheran church, I. and II. prize; their combination is built 1903. Budapest, plan of the Elisabeth Eternal Adoration church, no prize 1903. Békés, Basket Weaver School, built 1903. Nagykanizsa, plan of Grammar School, built 1904. Budapest, plan of the Hangya Consumer’s Cooperative Center, II. prize 1904. Trieste [IT], plan of synagogue, II. prize 1904. Budapest, plan of the Sáros Bath, no prize 1904. Budapest, plan of Rudas Bath, no prize 1904. Szeged, two plans of Votive Church, III. prize; no prize 1904. Bratislava [SK], plan of Savings Bank, II. prize 1904. Dioš [HR], Tüköry-mansion, built 1905. Budapest, plan of the Ministry of Culture, no prize 1906. Nagykőrös, tower of Calvinist church, I. prize, built 1906. Palić [SRB], plan of bath buildings, III. prize 1906. The Hague [NL], plan of the Peace Palace, no prize 1906. Bratislava [SK], plan of the Redout, built 1907. Budapest, plan of a business center, no prize 1908. Vienna [AT], plan of the Ministry of War, III. prize 1908. Újpest, plan of the Boarding School of the Hungarian Railways, no prize 1909. Arad [RO], plan of the Cultural Palace, no prize 1909. Sárospatak, plan of the State Boarding School of Teachers, bought 1911. Budapest, Ideal plan of the Kálvin Square, bought 1913. Sofia [BG], plan of the Palace of Justice, II. prize
YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) 37 6. bibliography
Bakos János – Kiss Antalné – Kovács Gergelyné (ed.), Postaépítészet Magyarországon. Budapest: Távközlési Könyvkiadó, 1992. Déry Attila – Merényi Ferenc, Magyar Építészet 1867-1945. Budapest: Urbino, 2000. Hadik András: Foerk Ernőről és a Magyar Építészeti Múzeumban lévő dokumentumanyagáról. Lapis Angularis II. Források a Magyar Építészeti Múzeum gyűjteményéből, Budapest: Magyar Építészeti Múzeum. 1998. Gerle János, Századfordulós stílusirányzatok. In: Sisa József – Dora Wiebenson (szerk.), Magyarország építészetének története. Budapest: Vince Kiadó, 1998. Kelényi György, Franz Anton Hillebrandt (1719-1797), Budapest: Akadémiai Kiadó, 1976. Kolbenheyer Gyula (szerk.), A Budapesti M. Kir. Állami Felső Építő Ipariskola értesítője az 1899/1900. iskolai évről, Budapest. 1900. Kolbenheyer Gyula (szerk.), A Budapesti M. Kir. Állami Felső Építő Ipariskola értesítője az 1911/1912. iskolai évről, Budapest. 1912. Sándy Gyula, Hogyan lettem és hogyan voltam én templom-építő, -tervező és művezető építész? Lapis Angularis VI. Források a Magyar Építészeti Múzeum gyűjteményéből, Budapest: Magyar Építészeti Múzeum. 2005.
REFERENCES
[1] Foerk was nominated teacher in 1898 and Sándy in 1899 by the Minister of Trade. Építő Ipar 22 (1898) No. 36. pp. 229. és Építő Ipar 23 (1899) No. 37. pp. 276. [2] Kolbenheyer Gyula (ed.), A Budapesti M. Kir. Állami Felső Építő Ipariskola értesítője az 1899/1900. iskolai évről, Budapest. 1900. pp. 26. [3] Gyula Sándy, Hogyan lettem és hogyan voltam én templom-építő, -tervező és művezető építész? Lapis Angularis VI. Források a Magyar Építészeti Múzeum gyűjteményéből, Budapest: Magyar Építészeti Múzeum. 2005. pp. 205. [4] János Bobula mentioned that it seemed Foerk and Sándy had made a commercial appointment because they work even in small plans together which they could have done separately. Bobula’s evoking cause for it must have been the plans of the tower of the Lutheran church in Brezno that were exhibited on the Spring Show in the Art Hall in 1904. Bobula later affirms that he regards both of them as talented artist but he thinks such cooperation deprives the artwork of individuality. János Bobula, Tavaszi tárlat a Műcsarnokban. In: Budapesti Építészeti Szemle 13 (1904), 7. szám, 94. [5] András Hadik: Foerk Ernőről és a Magyar Építészeti Múzeumban lévő dokumentumanyagáról. Lapis Angularis II. Források a Magyar Építészeti Múzeum gyűjteményéből, Budapest: Magyar Építészeti Múzeum. 1998. pp. 14. [6] Építő Ipar 27 (1903) No. 15. pp. 95. [7] Építő Ipar 27 (1903) No. 15. pp. 95. [8] Postamúzeum, In. No.: D22-401.0, D22-401.1, D22-401.2 [9] Sándy 2005. pp. 211. [10] Magyar Építészeti Múzeum és Műemlékvédelmi Dokumentációs Központ (further MÉM MDK), Ernő Foerk legacy, Inv. No.: 69.024.346. [11] MÉM MDK, Ernő Foerk legacy, Inv. No.: 69.024.347. [12] Magyar Pályázatok 1 (1903) No. 11. pp. 29-30. [13] MÉM MDK, Ernő Foerk legacy, Inv. No.: 69.024.432. [14] Sándy 2005. pp. 212. [15] Sándy 2005. pp. 214. [16] MÉM MDK. Ernő Foerk legacy, Inv. No.: 69.024.380 [17] Sándy 2005. pp. 214. [18] Sándy 2005. pp. 88.
38 YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) [19] Magyar Mérnök és Építész Egylet Közlönye 39 (1905). No. 12. pp. 501. [20] And Mrs. Tüköry knew it very well. [21] Sándy 2005. pp. 88-89. [22] MÉM MDK. Gyula Sándy legacy. Inv. No.: 2002.10.10.3. [23] Sándy 2005. pp. 89. And MÉM MDK Ernő Foerk legacy, Inv. No.: 91.09.5.1. [24] Sándy 2005. pp. 89. [25] The first prize was not awarded to anyone because there were not any really proper plans. Magyar Pályázatok 4 (1906) No. 10. pp. 4. [26] Építő Ipar 28 (1904) No. 33. pp. 239. [27] Magyar Pályázatok 4 (1906) No. 10 .pp. 18-19. The jury remonstrated that this plan does not satisfy all the presciptions of the programme. Magyar Pályázatok 4 (1906) No. 10. pp. 26. [28] However the common plan of the Viennese achitects Ernst Lindner – Theodor Schreier was also awarded with second prize. Sándy 2005. pp. 207. [29] MÉM MDK. Ernő Foerk legacy. Inv. No.: 69.462.1; Photo Storage 70.410 fot. sz. [30] Magyar Mérnök- és Építész Egylet Közlönye. 39 (1905) No. 2. pp. 34. [31] Magyar Mérnök és Építész Egylet Közlönye 41 (1907) No. XI-XII. pp. 301. [32] Építő Ipar 31 (1907) No. 17. pp. 161. [33] Építő Ipar 31 (1907) No. 17. pp. 163. [34] Magyar Mérnök és Építész Egylet Közlönye 41 (1907) No. XI-XII. pp. 306. [35] Sándy 2005. pp. 112. [36] MÉM MDK. Gyula Sándy legacy, Inv. No.: 2002.10.11. [37] Foerk was Steindl’s assisstant for several years. András Hadik 1998. pp. 13. [38] The performance was held on 1st April 1935. MÉM MDK. Gyula Sándy documents, box No. 3, folder No.78.
YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) 39 10.2478/jbe-2019-0010
ernő Foerk AnD gyulA SánDy’S tüköry mansion in dioŠ, croatia: GeneaLoGy oF arcHitecturaL and styListic Features
Boris Dundović
Institute of Art History, Zagreb, Croatia [email protected]
Abstract: Tüköry Mansion in Dioš (Diósszentpál), Croatia, was designed by architects Ernő Foerk and Gyula Sándy in 1904. It is situated near the Central Slavonian town of Končanica and in close proximity of Daruvar, on an estate that belonged to Tüköry family. The late-historicist country house was commissioned by Paula von Falkenberg, a widow of Alajos Tüköry de Algyest, as a permanent residence for her and her three children. It was built in the eclectic late-historicist style of fin-de-siècle Hungary, highly inspired by the late-mediaeval art and architecture of northern Italy. Those stylistic influences were strongly manifested in the architectural design of the mansion, but even more its great hall, the focal point of its layout, designed in 1904–05. Based on both archival and terrain research, this paper aims to determine the main factors of cultural and architectural identity of the mansion by elucidating its history and stylistic genealogy.
Keywords: Daruvar, manor house, cultural history, late-historicist eclecticism, mediaeval motifs, great hall
1. introduCtion
Tüköry Mansion in Dioš (Hun. Diósszentpál) is a rare example of Hungarian country house building from the beginning of the 20th century on the territory of Croatia. The late-historicist country house, adorned with elements from turn-of-the-century Hungarian stylistic tendencies, was built in 1904 according to designs by Ernő Foerk and Gyula Sándy, architects and professors from Budapest. It was the managerial centre of the estate of Paula von Falkenberg (1868–1949), daughter of the Prince of the German county of Sayn- Wittgenstein-Sayn and widow of Alajos Tüköry de Algyest. The mansion was planned as a grand house set in an arcadian environment. Located on a plateau above the fishponds along the Ilova River, the architecture of the castle-like mansion blends harmoniously with the hilly and forested bucolic landscape of Končanica and Daruvar. The architecturally elaborate Tüköry Mansion (Figure 1) is a detached building with an intricate spatial syntax and layout mechanism, enriched with sophisticated technical solutions, such as the modern load-bearing system and an imposing roof structure. The main residential part is composed of a two storey high great hall, connected both to the daytime living area of the ground floor and to the bedrooms on the upper floor.
0 YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) The adjacent servants’ wing spreads to the west from the residential area. The architectural equipment of the interior, its rich wall paintings, and stained glass in the central hall were all patterned upon the modern craftsmanship and Gesamtkunstwerk [1] tendencies ofthe period.
Figure 1. Tüköry Mansion in Dioš around 1910, view from the south [2]
As is the case with most of the Croatian country houses in the twentieth century, Tüköry Mansion lost most of its wider estate and was fated to inadequate use and poor management, which resulted in a menacingly poor condition of the building, calling for urgent action. By the beginning of the 21st century, the architectural and cultural history of the mansion was long forgotten, and its connections to Hungarian fin-de-siècle architects and their tendencies were left unexplored. However, based on the authors’ research conducted from 2014 to 2018, the Croatian Conservation Institute completed the interdisciplinary study on the architectural and cultural history of Tüköry Mansion, as well as detailed architectural survey of its existing state [3]. These activities were carried out in accordance with the established methods of built heritage documentation and provided the valorisation and guidelines to the concluding presentation of the mansion, regardless of the purpose or user it may serve in the future. Yet, even with the completion of all preparatory work, the reconstruction and restoration work have not been undertaken, as the mansion still waits for a suitable investor. This paper presents an overview of the comprehensive research of architectural and stylistic features of Tüköry Mansion. These features resulted from the remarkable symbiotic combination of Ernő Foerk and Gyula Sándy’s architectural and artistic languages, enriched with valuable input of the mansion’s commissioner Paula von Falkenberg. This paper aims to focus on the visual and spatial language of the mansion, and to highlight the mechanisms through which those elements work together to write its architectural and artistic narrative.
2. Cultural Setting and Factors of Identity
Dioš is a village that has culturally and historically gravitated towards the town of Daruvar, an urban focal point of Central Slavonia. In ancient times, Daruvar was a Roman settlement founded on thermal springs and called Aquae Balissae. It was a part of the municipium Iasorum, an area with predominantly Illyrian population.
YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) 41 However, the original ancient historical layer of the town was obscured by centuries of mediaeval oblivion, and it only resurfaced in the mid-eighteenth century with the Janković family, when the wider area became their seigniorial estate. At that time, the Roman layer of Daruvar (former market-town of Podborje) started to re- emerge in the form of numerous archaeological findings. In the 19th century, when antiquity and archaeology gained a lot of scientific interest, those findings drew many archaeologists’ attention to Central Slavonia. While many archaeological artefacts discovered in the area were sent to various museums and other scientific institutions, several of them even ended up as built-in interior decoration of the Janković Manor in Daruvar, a grand country house built by count Antun Janković from 1771 to 1777 [4]. In the course of history, Janković family established a strong historical and cultural presence both in Hungary and Croatia. Their many estates were located from Balaton Lake in the north to the river Sava in the south. They had a great impact on the cultural, economic and social development of the region, regardless of present-day borders, and their contribution to the industrial, traffic and urban development of the region is evident even today. One merely needs to glance at the map of the Austro-Hungarian railway system to notice that in the 19th century, Daruvar became an intensively functional urban node, strongly connecting its entire rural area to Budapest [5]. Jankovićs resided in Daruvar until 1879, when count Julije Janković sold the whole estate to Magdolna Lechner, a Hungarian widow. Her daughter Antónia Lechner married Sándor Tüköry de Algyest, a nobleman from Budapest. Starting with him, the dynasty of Tükörys managed Central Slavonian estates for the next four decades [6]. During the last two decades of the 19th century, the Tüköry family continued the intensive economic and cultural development of Daruvar and its surrounding area. One of the most active members of the family was Alajos Tüköry (1854–1903), son of Sándor and Antónia, who was several times elected as a representative in the Croatian Parliament in Zagreb [7]. In 1888, he married Paula von Falkenberg – unlawful daughter of the German Prince of Sayn- Wittgenstein-Sayn – with whom he had four children: Pál (died being only four years of age), Melitta, Boris, and Lívia. After Alajos’ death on 18th April 1903, Paula von Falkenberg and the children inherited the northernmost parts of the Tüköry estate, which is the present-day municipality of Končanica. In spring 1904, Paula von Falkenberg decided to build a country house as a new home for her and her three children, which would serve as the managerial centre of their estate. A small forested hill south of Ilova River, with several vineyards on its hilltops and orchards on its slopes, proved to be an idyllic pastoral scene for the new mansion. It was in close proximity of Šuplja Lipa village, which had a train station, and the location was not too far from their fishponds, whose building began in 1903. Paula von Falkenberg consulted art historian Jenő Radisics, director of the Museum of Applied Arts in Budapest, who referred her to Ernő Foerk and Gyula Sándy, two already established young architects he deemed suitable for such a task [8]. Moreover, that year, another design by Foerk and Sándy saw its realisation in Croatia – the palace of the Post and Telegraph Administration Office in Zagreb [9]. Evoking the recognisable elements of castellated architecture, Foerk and Sándy designed a mansion that was neither a villa nor a hunting lodge, but a genuine manor house in which the family resided both in winter and summer months [11]. The first preliminary design from 1904, drawn by Ernő Foerk, was titled Studie zu einem Herrenhaus (Study for a Manor House), and it depicted the ground floor plan together with the north elevation of the future mansion (Figure 2). Sándy’s journal reveals that the layout was devised by Sándy, while Foerk designed the architectural appearance of the façades [8].
42 YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) Figure 2. Preliminary design for Tüköry Mansion / „Study for a Manor House” (1904), ground-floor plan and north elevation [10]
The architects conceived the mansion as a Neo-Romanesque burgstyle manor [12]. Its overall volume is divided into two main parts: the two-storey-high representative dwelling of with a square layout, and the servants’ wing enclosing a yard on the west side of the mansion. The main entrance is placed on the south façade, overlooking the vehicle drive and park. The central part of the layout is a great hall, 9,5 metres wide and 9 metres high, and capped with a barrel vault made of reinforced concrete. Originally, its main feature was a grand oak staircase, which no longer exists, that led to one of the two galleries overlooking the great hall from the upper storey. The galleries were integral parts of a corridor that encompassed the great hall and served as horizontal communication between the sleeping quarters and other private rooms. On the ground-floor level, encircling the great hall were salons, a large dining room, a children’s dining room and a smoking lounge [13]. A guest apartment and a guest room flanked the main entrance from both sides, and the servants’ corridor extends along the west wall of the great hall, leading to the servants’ wing. The concept of the layout is clearly visible in the design of the elevations through the distinction in height between the representative part and servants’ wing, as well as in the position of the great hall. However, the principal architectural element of the silhouette is not the elaborate mansard roof covering the representative part with the great hall, but a large castellated tower positioned on the north-east corner of Tüköry Mansion.
YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) 43 The tower contains an additional room on its third storey, and a terrace on the top, where the battlement serves as a fence. The terrace is approached via a spiral-staircase bartizan. The preliminary design of the tower in Dioš is (with some minor alterations) identical to the corner tower of the General Post Office on Krisztina Boulevard in Budapest, designed by Gyula Sándy in 1920s [14, 15]. In the final realisation of the Tüköry Mansion, however, the tower was modelled after the roccas of Lombardy, with simple rectangular-shaped merlons and red brick, a signature element of Foerk and Sándy’s façades. The tower resembles the late-mediaeval architecture of northern Italy, featuring ornaments very similar to those on the façades of the Mediaeval Castle (Borgo Medioevale) in Turin, which was built for the General Italian Exposition in 1884 and which doubtlessly inspired numerous other Foerk’s and Sándy’s designs. In addition, the entire roof composition is enriched with several turrets, which provide the country house with a startling silhouette. It is hardly surprising that leading Hungarian architecture historians tend to classify Sándy and Foerk’s stylistic inclinations under the “castellated provincial Rennaisance of Upper Hungary” (Hun. felvidéki pártázatos reneszánsz) [16].
Figure 3. Detailed design for the great hall of Tüköry Mansion (January 1905), the west and north walls [17]
3. The Hearth of the Mansion
During the building of Tüköry Mansion, the architects and the investor devoted great attention to architectural and artistic details of the interior. With the construction of walls was already in progress, Foerk and Sándy worked on detailed drawings of the interior, specifically the great hall, designed as a central room of the mansion. The great hall was conceived as a sala baronale – originally a large and rectangular room that served as a semi-public administrative centre of local life and estate, a common feature of northern Italian stately architecture. It is also reminiscent of a closed central courtyard (cortille), which was another common feature of northern Italian castelli. In Tüköry Mansion the great hall was the most representative room and a central hub leading to both representative and service tracts. Naturally, this warranted special architectural and artistic treatment, and great attention was directed even to the smallest of details.
44 YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) A substantial architectural element of the great hall was the grand, representative oak staircase. It was situated along the west wall of the room, and led to one of the second-storey galleries. The staircase was composed of three flights of stairs: two flights descending along the west wall in continuation, axially interrupted by a landing, with a winder on the lower end leading to a third, lavishly decorated bottom flight of stairs. The bottom flight is connected to the higher flights with a landing that contained a bench on its outer side facing the room. Under the staircase were two barrel-vaulted niches – a lower central niche furnished with a pair of decorative benches identical to the one at the bottom of the stairs, and a higher niche with a small door leading to the servants’ wing. The decoration of the railing, articulated with a row of openings reminiscent of Gothic tracery, was identical to the railing on the balconies of the second-storey galleries that survived to this day. In January 1905, Foerk and Sándy made a detailed design of the north and west wall in the great hall, in scale 1:20 (Figure 3). In the central axis of the northern wall, between the two gallery balconies, the drawing shows a large decorative fireplace in the style of marble fireplaces of the Carrara region in Italy. During the designing process, Paula von Falkenberg informed the architects that she had been offered a “white marble fireplace originating from a mediaeval Italian castle” by Miksa Schmidt, well-known furniture designer and seller of the antiquities in Budapest. Before completing the purchase, she asked that Foerk and Sándy come to see the fireplace in Schmidt’s workshop, upon which they became aware that the fireplace was in reality a guileful copy by a very crafty stonemason. Not wanting to risk a lawsuit, the architects agreed between them not to expose their doubts to Paula von Falkenberg, especially as the fireplace fit perfectly in their design. Sándy and Foerk’s doubts were confirmed several years later, when an identical fireplace was sold by Miksa Schmidt to the wife of Leo Lánczy, Director of the Hungarian Commercial Bank [18]. Today, the fragments of the fireplace from the Tüköry Mansion are kept in the Janković Manor in Daruvar, as part of the town museum collection.
Figure 4 a) Detailed design for the double door in the great hall of Tüköry Mansion (presumably 1905) [19]; b) Ernő Foerk’s design for a wardrobe in the Hungarian Parliament building (around 1900) [20]
YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) 45 Among the project documentation of the wooden elements, there is a detailed drawing of one of the double oak doors in the great hall in scale 1:10, which also contains the design for parapet-high wall panels (Figure 4.a). The doors of the great hall are adorned with stylized foliate and geometric ornaments. The frame with a brattishing on the top is very similar to Ernő Foerk’s design for a wardrobe in the Hungarian Parliament, which he drew around 1900 when he worked in Imre Steindl’s studio (Figure 4.b). A detailed design for the great hall by Foerk and Sándy dating from January 1905 includes the first preliminary concept for wall paintings. The paintings were envisioned as alternating patterns of crests and quatrefoils with zoomorphic motifs. Another detailed drawing, published by the architects in 1905 [21], shows the north wall of the room with two alternating stripes – one with animal motifs in squared frames and the other with a continuing foliate acanthus motif. As the paintings on the north and south walls are partially preserved to this day, we know that they were eventually realised as a sequence of four alternating decorative stripes: the first with the continuing Romanesque interlace, the second with the labarum symbol in squared frames, the third with a continuing motif of grapes and vines, and the fourth consisting of a cross with four roses in squared frames. An additional continuing interlaced stripe follows the semi- circular outline of the barrel vault. The north and south walls, on the other hand, contained a pattern similar to that on the detailed drawing from January 1905. The pattern contained two variants of alternating lily shapes and quatrefoil frames with four different zoomorphic motifs: a lion, a pigeon, a gryphon, and a crested bird. There are two archival photographs that depict the original state of wall paintings in the great hall (Figure 5), but their exact dimensions and colours were determined by restoration probes.
Figure 5. The original state of the great hall in Tüköry Mansion (around 1905) [22]
Several additional motifs were preserved at the base of the barrel vault on the south wall of the hall. The base of the vault is (only decoratively) placed on simple corbels, upon which there is a interlaced pattern with a decorative frieze – a sequence of alternating red and blue crest-like frames. Blue frames are reserved for motifs depicting an acanthus plant in a vase, and red frames contain individually designed scenes from the mediaeval bestiary. The aesthetic and formal vocabulary of the animal motifs is noticeably similar to the motifs of several northern Italian well heads (also fonts or pozzos) dating from the 8th to 12th century, acquired by the Museum of Fine Arts in Budapest in the 1880s (Figure 6). What is more, motifs similar to those on the fonts in the Museum can be found on the decorative plastic of the great hall – the built-in frames outlining the opening of the lower staircase niche (present in the mansion today), and around the servants’ door in the higher niche (fragments found in Daruvar and Bjelovar town museums). The bill for the stonemasonry work was sent in August 1905, and signed by Gyula Král from Budapest [23].
46 YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) Figure 6 a) Alternating red and blue crest-like frames with animal and plant motifs at the base of the barrel vault in Tüköry Mansion [24]; b) a mediaeval font at the Museum of Fine Arts in Budapest [25]
The east wall of the room, with doors to the terrace, also has a central architectural element – a large tripartite lunette formed as a thermal (Diocletian) window. In 1905 the lunette was artistically enriched with a stained-glass work depicting St Michael the Archangel battling Satan (depicted as a dragon), which is today a unique example of such representation in Croatian secular architecture. Visually, the motif of the dragon is analogous to the one on the capital of the Votive Church in Szeged (Frigyes Schulek and Ernő Foerk, 1913-1932) which was designed by István Tóth and carved by Béla Seenger [26]. However, the stained-glass window in Dioš shows characteristics of the work of Imre Zsellér, who was mentored by Miksa Róth and who had at that time started his own practice in Thököly út, not far from the technical college where Foerk taught. Besides, in his work for Gyula Petrovácz (with whom Ernő Foerk collaborated in 1907–11) in the years that followed, Zsellér made several other comparable stained-glass windows depicting St Michael fighting the dragon. Following exhaustive research of archival documentation, combined with results of terrain research of the mansion carried out in July 2018, it was possible to reconstruct the original design of the architectural plastic and the wall paintings of the great hall with high precision (Figure 7). All the factors of identity and artistic influences are known – from the historic forms that evoke mediaeval Lombardy, to specific materials and decorations influenced by the Arts & Crafts and Art Nouveau.
YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) 47 Figure 7. The reconstructed original state of the great hall in Tüköry Mansion: architectural and s culptural elements of the west and north walls (up) and wall paintings with the stained-glass window on the east and south walls (down) [3]
4. Contextual Disintegration of Architectural Narrative
The untouched nature of the location called for such a country house where the surrounding environment would become inherent to its architectural concept. For that reason, one of the most important compositional elements of Tüköry Mansion is its eastern terrace (Figure 8). It is designed as an exterior extension of the great hall which opens toward the surrounding park and forest. Furthermore, it also contains something of the stylistic narrative present in the great hall, albeit with lesser intensity. As most Italian cortilles, it had a water well. The terrace fence was adorned with a sculpture of a “Venetian” lion placed on a pair of Byzantium-styled columns [8]. Paula von Falkenberg even applied several archaeological artefacts on the outer wall of the corner tower (aforementioned rocca). Unfortunately, only the lion sculpture still exists today, preserved in the spa complex of Daruvar. For Paula von Falkenberg, the building of Tüköry Mansion was a process of rewriting her family’s history. By naming the location Diósszentpál, she dedicated the place to her prematurely deceased son Pál. Furthermore, a plate installed on the façade read: “God bless this house built by the widow of Alajos Tüköry, born Paula Falkenberg, in memory of her husband in 1904” [27]. Ernő Foerk and Gyula Sándy also planned to build a chapel mausoleum in the surrounding park, but the design never saw its realisation [28]. The fable-like motifs of decorative elements resonated with Paula von Falkenberg’s desired family narrative. However, a year after the project was finished, she remarried to Gyula Pekár and soon sold the mansion, together with the surrounding estates.
48 YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) After the end of the First World War, the turbulent national, social, and political situation on the territory of the former empire left the majority of the country houses to oblivion and decay, which almost completely erased the cultural presence of the Tüköry family from the area of Daruvar and Končanica. From the War onward, the visual and stylistic elements of the Tüköry Mansion so craftily incorporated by Ernő Foerk and Gyula Sándy, as well as the archaeological artefacts carefully curated by Paula von Falkenberg, were inopportunely emptied of meaning and significance. Only at the end of the twentieth century has the mansion started to evoke public interest and awareness of its significance, calling for exhaustive conservation research in order to reinstate the knowledge of its history.
Figure 8. Tüköry Mansion, east elevation with the terrace: a) detailed architectural survey of the current state [29]; b) photograph of the original state [22]
5. Conclusion
As a result of oblivion and continuous (if inadequate) use, Tüköry Mansion preserved most of its initial overall architectural appearance. As one of the youngest Slavonian country houses, its historical data is largely preserved and can serve to present some of its original historical layers. Pending additional professional deliberation upon sufficient models of architectural presentation and revitalisation, Tüköry Mansion awaits a new purpose, suitable for the present- day economy and appropriate for the local community. As a first step towards that goal, this paper showcases the in-depth research of architectural and cultural history of the mansion, which is essential in recognising and implementing suitable and efficient models of active use [30]. It presents the initial comprehensive architectural and stylistic genealogy, which serves as a basis for further reconstruction and restoration endeavours. The conclusions are based upon activities carried out by the Croatian Conservation Institute in 2017 and 2018. The detailed architectural survey and the conservation-restoration study are a result of a close collaborative effort of Croatian and Hungarian institutions and researchers, which will hopefully continue in realisation phases that are yet to come.
YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) 49 Acknowledgements
The first results of the author’s research of Tüköry Mansion were presented in his master thesis “Revitalisation of Tüköry Mansion in Dioš: A Conceptual Design of the Village and Its Country House Complex” at the Univesity of Zagreb, Faculty of Architecture, in 2016 (mentored by Prof. Mladen Obad Šćitaroci, Ph.D., F.C.A.). However, a larger part of the research was conducted at the Croatian Conservation Institute in Zagreb in 2018. The author is immensely thankful to colleagues Borka Milković and Bernarda Ratančić from the Institute for their guidance, contribution and consultation in the preparation of the study. The author also cordially thanks Eszter Baldavári from the Hungarian Museum of Architecture in Budapest for kind support in this research.
references
[1] A Gesamtkunstwerk is a total work of art which embraces many art forms. It was the aesthetic ideal of the nineteenth and early twentieth centuries, particularly in the Arts and Crafts tendencies of the period. In architecture, it includes architectural design of a building, together with designs for sculptures, paintworks, accessories, furnishings, and landscape. [2] A postcard from the author’s archive. [3] Dundović, B., Milković, B., Ratančić, B., Končanica, Dvorac Dioš (Marijin dvor): Elaborat konzervatorsko- -restauratorskih istraživanja, Zagreb: Hrvatski restauratorski zavod, 2018. [4] szabo, Gj., Iz prošlosti Daruvara i okolice, Narodna starina, Volume 11 (1932), No 28, 79–98. [5] Dundović, B., Obad Šćitaroci, M., Bojanić Obad Šćitaroci, B., Revitalisation of Country Houses Along the Route ‘Tracing the Steps of Counts Jankovich’: Guidelines for Nodes of Functional Intensities, Cultural Heritage – Possibilities for Spatial and Economic Development [ed. Obad Šćitaroci, M.], Zagreb: University of Zagreb, Faculty of Architecture, 2015, pp. 114–119. [6] simkó, G., Túl a Dráván, Nagy-Károly és vidéke, Volume 16 (1900), No 28, 1–2. [7] karaula, Ž., Prilog za poznavanje povijesti vlastelinske obitelji Tüköry de Algyest u Daruvaru tijekom druge polovice 19. i početkom 20. stoljeća, Zbornik Janković, Volume 2, 76–92. [8] sándy, Gy., Hogyan lettem és hogyan voltam én templom-építő, -tervező és művezető építész?, Lapis angularis VI (Források a Magyar Építészeti Múzeum gyűjteményéből) [eds. Fehérvári, Z., Hadik, A., Prakfalvi, E., Zászkaliczky, Zs.], Budapest: Magyar Építészeti Múzeum, 2005, p. 88. [9] Dundović, B., The Palace of the Post and Telegraph Administration Office in Jurišićeva Street, Zagreb; Architectural and Stylistic Features, Prostor, Volume 24 (2016), No 1, 14–31. [10] Hungarian Museum of Architecture, inv. no. 91.09.5.1. [11] Foerk, E., Sándy, Gy., A Tüköry-kastély Diósszentpálon, A Magyar Mérnök és Építész Egylet Közlonye, Volume 39 (1905), No 12, 501–505. [12] Dundović, B., Obad Šćitaroci, M., Bojanić Obad Šćitaroci, B., Prolegomenon to the Comparison of Stylistic Features of Hungarian and Croatian Manor Houses in Historicism, Prostor, Volume 20, No 2, 352–367. [13] obad Šćitaroci, M., Bojanić Obad Šćitaroci, B., Manors and Gardens in Croatia: Slavonia – from Zagreb to Vukovar, Zagreb: Šćitaroci, 1998, pp. 122–125. [14] sisa, J., Kastélyépítészet és kastélykultúra Magyarországon: A historizmus kora, Budapest: Vince Kiadó, 2007, p. 270. [15] Fehérvári, Z., Prakfalvi, E., A budai Postapalota, Ars hungarica, Volume 41 (2015), No 1, 48–63. [16] Gerle, J., Kovács, A., Makovecz, I., A századforduló magyar építészete, Budapest: Szépirodalmi Könyvkiadó, 1990. [17] Hungarian Museum of Architecture, inv. no. 2002.10.10.6. [18] sándy, Gy., work cited in note 8 above, p. 89. [19] Hungarian Museum of Architecture, inv. no. 2002.10.10.7. [20] sisa, J., Steindl Imre (Az építészet mesterei), Budapest: Holnap Kiado, 2005, p. 145.
50 YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) [21] Foerk, E., Sándy, Gy., work cited in note 10 above, p. 504. [22] Hungarian Museum of Architecture, Gyula Sándy’s bequest, Tüköry Mansion, interior photographs of the great hall. [23] Hungarian Museum of Architecture, Gyula Sándy’s bequest, box no. 1, folder no. 86. [24] Photograph taken by the author in 2017. [25] Museum of Fine Arts, Budapest, Collection of Old Sculptures, inv. no. 59.13. [26] ybl, E., A szegedi Templom-tér épületeinek iparművészeti értékei, Magyar Iparművészet, Volume 35 (1932), No 1–2, 8–25. [27] schejbal, B., Dvorac Dioš ili Marijin dvor, Hrvatske šume, Volume 9 (2005), No 108, 36–37. [28] Foerk, E., Sándy, Gy., work cited in note 10 above, p. 505. [29] Vektra d.o.o., Dioš, Dvorac Dioš: Arhitektonska snimka postojećeg stanja, Varaždin: Vektra, 2018. [30] Dundović, B., Obad Šćitaroci, M., Sisa, J., Revitalisation Models for Central European Country Houses, Cultural Urban Heritage: Development, Learning and Landscape Strategies [eds. Obad Šćitaroci, M., Bojanić Obad Šćitaroci, B., Mrđa, A.], Cham: Springer, 2019, pp. 443–455.
YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) 51 10.2478/jbe-2019-0011
two ParaLLeL LiFe PatHs: aLadÁr árkAy AnD ernő Foerk
Aurél Benárd
Szent István University Ybl Miklós Faculty of Architecture and Civil Engineering Institute of Architecture, Budapest, Hungary [email protected]
Abstract: Architects Aladár Árkay and Ernő Foerk crossed the path reasonable few times, even though their course of life were parallel. Not only the place, but also the date of their birth were quite close. This fact will be the starting point to compare the two architects’ career. Keywords: Árkay, Foerk, church architecture, Historicism, Art Nouveau, Modern
1. their masters
Aladár Árkay and Ernő Foerk were born in Timisoara in 1868. Árkay on February 1 (died on February 2 1932), Foerk on February 3 (died January 26 1936). This seems a fateful coincidence and the parallels do not end there, even though next year Sándor Árkay and his family moved to Pest and they lose contact to Timisoara. [1] Both started their career with a strong artistic motive. While the two days older Árkay was obsessed with painting, Foerk was attracted to sculpture. Vienna, the Imperial City, became a reference point in their professional life - Foerk was studying there, Árkay was working as a construction supervisor for the studio of the celebrated Viennese theatre architects Fellner & Helmer. The two different minded architects they worked at determine their further professional progress. Foerk is in the employ of Imre Steindl, a rather purist architect whose design style turns from Neo-Renaissance to Neo-Gothic. Foerk participates in the design of the Parliament Building in Budapest. Meanwhile Árkay is working with Alajos Hauszmann at the construction of the Royal Palace in Buda, also a building representing authority. Hauszmann’s workstyle is rather experimental. His building style developed from Neo-Renaissance to Art Nouveau, his work reflects the completely new, almost revolutionary concept of architecture at the end of the 19th century. At that time, the expressions of architecture used to be adopted from the historical architecture, in an academic way. Although there have been attempts to create a new style for a „modern” architecture (e.g., favourite examples of mine are the form-and-structure experiments of Viollet le Duc), but this long-sought modern style could only evolve at the end of the century in cultures belonging to the West. Hauszmann recognized the potential of this new architecture and might have give encouragement to Árkay. I do not see this openness in Steind’s work, and this conservative approach characterised later on Foerk’s design attitude. However, the various approach has not to be considered as a difference in the professional quality of Hauszmann and Steindl. Currently we more appreciate the individual performance, the analytical approach, the personalities looking for new ways - but we need to relate and rely
2 YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) on our past as well. It is more a difference in habit; obviously, also the reason for the of Foerk’s and Árkay’s different choice of workplace at the beginning of their career.
2. THE WAY TO THE OWN ARCHITECTURE PRACTICE
In the light of the foregoing Aladár Árkay is an experimenting architect. Although at Hauszmann’s office and later in the studio of his father in law, Mór Kallina he is still working in Neo-Renaissance style, he is not left untouched by the architecture of Ödön Lechner. At the turn of the century he is designing an ensemble of two buildings at the corner of Dózsa György út - Andrássy út in Budapest (1905); one of them, the villa of Babochay displays the characteristics of Lechner’s Hungarian Art Nouveau. (This building was reconstructed in the forties by Lajos Kozma in a completely different style). However, he was also influenced by the Wiener Werkstätte and the National Romanticism in Finland, thus of the Hungarian Art Nouveau, in particular the work of the Group of the Young led by Károly Kós. Árkay’s highly sophisticated building, the Fasori Reformed Church markedly reflects this impact; buit in 1913 - the year when Ernő Foerk took over the design of the Szeged Votive Church from Frigyes Schulek. It is worth to take a moment at the Fasori Reformed Church - Árkay’s early, emblematic work of high complexity. While its form is a Byzantine (greek cross and a dome), its ornamental decoration is primarily connected to the Wiener Werkstätte; the main facade is linked to the idea of Finnish national romantic style. The church’s rectangular tower contributes to this dissonancy. It looks oversized to the building and plays clearly a different tone. The vertically structured facade and the retracted upper storey recall the Italian San Marco Campanile in Venice. Schulek and Foerk used the same analogy to design the towers of the Votive Church of Szeged; however, the towers here are more organically connected.
Figure 1. Fasori Reformed Church Budapest (Photo: Klein, Rudolf)
As lecturer at the Magyar Királyi Állami Felső Építő Ipariskola (Hungarian Royal Public Higher Architectural Industrial School) in Budapest, Foerk lead a survey of monuments from the Renaissance time in Upper Hungary (Felvidék - today in Slovakia) and Transylvania (Erdély - today in Romania). [2] In 1918, he makes a study trip visiting mainly orthodox monasteries in Montenegro.
YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) 53 3. POSTWAR CRISIS
The end of World War I leave the remnant of the former monarchy in a profound crisis. The construction of the Votive Church in Szeged get stock. Architects are struggling to find any job; Árkay is also in crisis. A reflection of this period might be seen in the design of the Mohács Votive Church made by Árkay, which is a domed church in Byzantine – Historicizing style. The key element of the three-level dome forms the Hungarian crown with the oblique cross at its apex. Such a direct, loud, almost brilliant display of the symbol is not suspected to be Árkay’s intention - the name of the client, Dr. Gyula Zichy, Archbishop of Kalocsa, appears in large letters on the plan. Also characteristic for its age is the so called Small Church at Városmajor (Városmajori Kistemplom) built in 1922-23. The population of the capital was dynamically growing because the massive move-in of people escaping from the displaced areas – and this gave also the necessity for the construction of the church. Árkay recalls the medieval church architecture, with a link to the National Romanticism in Finland; but at the same time, he design a church dedicated to the vernacular architecture of Transylvania, an area displaced as result of the Treaty of Trianon. The Small Church at Városmajor was built 15 years after the church in Zebegény designed by the architects Károly Kós and Béla Jánszky.
4. THE WESTERN EUROPEAN TOUR
In 1925 Aladár Árkay goes on a study trip - later and in the opposite direction then Foerk. It is a Western European tour – he visits among others Vienna, Germany, the Netherlands, Belgium and France. He reports about his travel, experiences and thoughts in several articles. [3] He introduce a very broad spectrum of architecture from the Art Nouveau through the German Expressionism and reports enthusiastically on architectural ideas of the followers of Frank Lloyd Wright and the radical appearance of the Classic Modern. He first illustrates the change of the world with examples from the fine arts; he analyses works of German expressionist sculptors, such as Max Beckmann and Wilhelm Lehmbruck. The Town Hall in Mohács or the Church in Győr Gyárváros (east part of the city Győr) designed by Árkay demostrate the impact of the representatives of the Expressionist Architecture like the vaguely Expressionist concrete Lindenhaus, Berlin-Kreuzberg (1912-13) by P. Zimmerreimer and O. R. Salvisberg. Árkay visits the newly built row of Rue du Cubisme in Brussels-Koekelberg by the architect Victor Bourgeois [4], who later design the Weissenhof Siedlung Belgium in Stuttgart (1922). The Netherlands architecture has a big impact on Árkay – interestingly there is not any note about any of the churches here, although the church architecture of the Modern is rooted in the Netherlands (St Hubertus church, Maastrich) [4]. However, in France he is fascinated by the church in Raincy; this masterpiece of the concrete Gothic by Auguste Perret.
5. THE ARCHITECTS OF CHURCHES
While Árkay is following the new ideas with great interest, Foerk is building in the spirit of the 19th century, a medieval builder like (Bauhütte). Shortly after the Votive Church of Szeged was dedicated (1930), the so-called Great Church at Városmajor (Városmajori Nagytemplom) was built - by Aladár Árkay and his son Bertalan (1931-33) – as Aladár Árkay died in 1932 Bertalan has to complete.
54 YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) Without his father’s openness, this church of Behrens’s expressionist style and forms of Italian Rationalism would not have been constructed. Mihály, the son of Ernő Foerk also become an architect; his father is delighted about his son’s interest. But Mihály falls on the front in the World War I. Gyula Rimanóczy, the designer of the Franciscan Church in Pasarét is welcoming the design of the Great Church at Városmajor with enthusiasm. However later, Rimanóczy’s design is strongly opposed by Gyula Petrovácz, who is a permanent co-worker of Foerk’s at their ecclesiastical assignments. [5] Based on Petrovácz’s his opinion about Árkay’s Great Church is conceivable dismissive. Although Foerk might not have been neither as impulsive as his colleague, nor a public figure yet this affair is a good indication of the difference in professional attitude of Árkay and Foerk and the contrast of their way of life.
6. CONCLUSION (POST SCRIPTUM)
Finally, a late parallel: Aladár Árkay’s son, Bertalan also built several churches, even in his declining period, after the World War II. At these works we can discover motifs, details as if he were paying tribute to his father’s work or remembering on their common work. From his late works, the Parish Church of Hort is outstanding. Its eastern facade is the gable wall of the rectangle sanctuary. On the gable a rounded central window is surrounded by seven smaller circular windows. This motif is that we see at the gables of the cross nave of the Szeged Votive Church [6] [7], and later on the main facade of the Roman Catholic Churches in Vállaj and in Fajsz. The central window at the Parish Church in Szeged is even shaped like a rose window. This early type of rose windows, such as at Limburg an der Lahn or Chartres have normally eight smaller circular windows surrounding the larger central one. However, this seven surrounding circular windows I have ever seen at works of Ernő Foerk and Bertalan Árkay’s church in Hort. This motif could be conceived of as a gesture of religious love and faith to a former colleague.
Figure 2. Parish Church Hort, Sanctuary (Author’s photo)
YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) 55 REFERENCES
[1] Dercsényi, Balázs. Árkay Aladár. Budapest: Akadémiai Kiadó, 1967. [2] Foerk, Ernő, [szerk.]. A Magyar Királyi Állami Felső Építő Ipariskola Szünidei Felvételei (reprint). Budapest: Terc Kft., 2002. [3] Árkay, Aladár. Építő formák a világháború után. Kő- és műkő architektúra. Temetőművészeti, szobrászati és építészeti haviszemle, 13, 1926..: pp 2-4. [4] Strauven, Iwan. Victor Bourgeois 1897-1962. Modernity, tradition & neutrality. Rotterdam : Nai010 uitgevers, 2018. [4] Pamer Nóra: Magyar építészet a két világháború között Műszaki könyvkiadó Budapest, 1986, p 132.. [5] Csaba, Rezső. A pasaréti templom és a szovjet stílus, Építőmunka. 1933., vol 6-7.., pp.: 102- 106 [6] Az O.M.F. Magyar Építészeti Múzeumának kiállítása Foerk Ernő (1868-1934) építész műveiből, ed.: András, Hadik, László, Pusztai, OMF Budapest, 1984. Figure 22. Szeged Fogadalmi templom kiviteli terve, 1904. Kat: 67. p 35., Figure 20. Budapest, Szent Imre templom és kollégium terve 1910. Kat: 60. p 31. [7] Farbakyné Deklava Lilla: Schulek Frigyes Holnap Kiadó Budapest, 2017, pp 180-181.
56 YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) 10.2478/jbe-2019-0012
From tHe Foundation stone to tHe catHedraL: arcHitecture oF tHe VotiVe cHurcH oF szeGed
Eszter Baldavári1
1Hungarian Museum of Architecture and Monument Protection Documentation Center, Budapest, Hungary [email protected], [email protected]
Abstract: After the flood has demolished the largest part of Szeged the citizens decided to build a Votive church dedicated to Virgin Mary as a symbol of Hungarian national identit. After the opening design tender finally Ernő Foerk was assigned as architect to design the new church. During the years numerous events stucked the construction like from the question of the designer person, the breaking out of the World War I. till the finding of a medieval tower inside the walls of the former church. We can have a deeper glimpse into the details of the story of the architecture due to Foerk’s diary is held in the Hungarian Museum of Architecture.
Keywords: architecture, Votive church, Cathedral, Dömötör tower, Ernő Foerk, Szeged, Hungary, introduCtion – the history of the researCh
About the Cathedral of Szeged, the most papers were written by the historian István Zombori whose essays are supplemented by the paper of József Varga. The art historian András Hadik dealt with Ernő Foerk’s architecture in depth who prepared the Scientific Documentation for Monument Protection in 2013 as well. [1] The author of this paper researched the Votive Church of Szeged between 2013 and 2015 during the reconstruction of the building as the curator of the permanent exhibition in the undercroft of the Cathedral. [2] We have recently gained access to plenty of new information from the typewritten copy of Ernő Foerk’s manuscript diary kept in the Hungarian Museum of Architecture which serves as the core of this paper. [3] the open arChiteCture tender of the votive ChurCh
The open design tender of the Votive church of Szeged was announced in 1903. [4] A specific style were not determined but it was requested that the building should be historicist, and only Hungarian materials and industrial products should be used. [5] A first prize was not awarded in the competition because there was no recommendable one among the tenders submitted. The second prize was awarded to Sándor Aigner’s and Károly Rainer’s plan with the code-word ʺPaxʺ, who designed only four side-altars in place of six.
YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) The third prize was awarded to Ernő Foerk’s [6] and Gyula Sándy’s plans called „Dicsértessék”. [7] All plans were exhibited in the Museum of Szeged for two weeks then between 11 and 25 August 1904 it could be seen in the Museum of Applied Arts in Budapest put on exhibition by the Association of Hungarian Engineers and Builders. The statement of the general assembly of Szeged permitted the demolition of the former Saint Demetrius church with the reservation to save the monumental details. The next year at the general assembly (13 November 1908) the mayor György Lázár suggested assigning the design tender of the church and its interior directly to he popular architect Frigyes Schulek. Hence the Committee for the Construction of the Votive Church of Szeged got in contact with Frigyes Schulek who, in line with the official statement, started designing the building on 25 November 1908. According to Foerk’s diary entry from 3 December 1908 kept in the Hungarian Museum of Architecture Frigyes Schulek should have not assumed this role as he was a jury member of the tender under the terms of the new policy of architecture tenders. [8] The design contract was signed on 23 May 1909 with Frigyes Schulek who showed the first sketches to the Committee on 6 December 1909. The Committee accepted the plans with the reservation of expanding the side-aisles and supplementing them with side-chapels. Afterwards Schulek marked the accurate site of construction. However, a year turned out to be too short time for the design process. Also, as the deadline was approaching, the budget rose to almost twice as much as the previously permitted amount. As a result, a new contract was drawn up on 3 December 1911 with the amount mentioned above, and the restriction that if Schulek were to become unable to work, the obligation and responsibility for accomplishing the assignment would be inherited by his son János Schulek. Afterwards, Frigyes Schulek prepared a reduced version of the plans with a shorter and narrower nave as well as a smaller dome and towers. The mayor of Szeged informed Schulek about the permission of the Committee and asked him to commission the building contractors to start laying the foundation of the church. However, the architect unexpectedly terminated the contract with reference to his old age. As he wrote about it seven years after the design tender, he was about to reach his eighties so undertaking the completion of this great building would have been overly bold of him. [9]
ERNŐ FOERK’S DESIGN OF THE CHURCH
After Schulek’s resignation, the mayor of Szeged made an effort to assign János Schulek but he set very high financial conditions. This way, deeming these conditions impossible to accept, the Committee recommended a new person, the architect Ernő Foerk. According to his diary he regarded Schulek’s plans quite ‘dry’ and worse than the first sketches. He assumed only these had been drawn by Schulek himself and every other detail by his son. He started to prepare new plans because he felt the need to redesign the former ones. As he said, he did not want to work in Schulek’s shadow. [10] According to the mayor György Lázár’s letter mentioned in the diary Foerk was officially commissioned on 5 January 1913. [11] He showed his plans to the Committee on 18 March 1913 in which he made some modifications to certain details. The towers were pulled back by 2-3 meters, the main entrance became more ornamented by golden mosaic and marble, the Patrona Hungariae sculpture was placed above it (which was placed too high on Schulek’s plans) and a great rose window was placed on the façade. The dome became lower and less emphasized, the towers higher and more richly decorated, and a double concrete structure was applied for the cover of the nave.
58 YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) The interior of the church was decorated by mosaics and paintings and the votive purpose materialises in a marble relief. The tower tops would have been octagonal, but the Committee insisted on Schulek’s version of the towers. The execution plans and the budget were prepared by April 1913 and approved by the Committee even if not every modification had been verified by then. The last holy mass was held on 13 July 1913 at the high altar of the former Saint Demetrius church then the demolition was started in order to create room for the new church.
THE CONSTRUCTION BEGINS
The Committee first ordered the demolition of the buildings near the downtown church. Then, on 22 July, the demolition works of the sanctuary that was blocking the way commenced, and the church was transformed in a way to enable temporary use. The local Ottovay and Winkler construction company was commissioned with the construction works on 30 June 1913. The foundation was marked on 2 August, and it began to be laid on 4 August. Ernő Foerk’s deputy Gyula Petrovácz was entrusted with controlling the progress on site, while Foerk himself drew up new parts of the plan week by week. This is how Foerk wrote about this period in his diary: „The votive church is progressing well. The committee has accepted my redrawn plans to serve as a basis for the construction, so now I have the opportunity to create something good and beautiful. And we have started indeed, and now we are already above ground level. Next year, I hope, we’ll reach straight. The local press colours everything in their own taste, eager to impress those hungry for a sensation. It’s not that I would mind; I know what I want and what I am able to accomplish. At the moment, off-prints of the plan are already being made for the journal Építő Ipar (i.e. ’Construction Industry’), so that I could finally give an account of my work.” [12] At the same time, he does not fail to mention Schulek in his diary: „In the evening, Schulek asked me about Szeged. He was lied to.” [13] „The newspapers in Szeged mention him, and there he seems to be saying completely different things than in person. Apparently, his son John incites him.” [14] In 1914, Foerk was faced with a surprise, namely that the Committee used Schulek’s plans as a basis for the creating the building’s mass. „The town council has decided that this construction has to strictly proceed by Schulek’s plans – what idiots! It is only now that they realise? When we’re already above ground level and the stonemasons have been commissioned?” [15] The Committee meeting’s minutes give us an account of how Foerk, in his ‘plea’, presented his versions of the plans again, resulting from the fact that the Committee did not approve of the towers’ simple design. He gave a richer design to these as, owing to his observations in Italy, he understood that the greyer air of Hungary demanded the towers to be more ornate in order to achieve a stronger impression. Besides, he did not think Schulek’s simple reinforced concrete structure would suffice, since the church was to be heated during winter. That is why he chose a double concrete ceiling. Ten days later the Committee approved Foerk’s plans again, and he presented his studies for the tower as well, so on 1 April the construction of the walls could commence. [16] Work progressed at a great speed, and on 21 June 1914 the foundation stone was laid. [17] However, on 27 July 1914 work was forced to cease due to the outbreak of World War I. The walls of the naves and sanctuaries were completed until the height of the dwarf colonnade, the towers until the second floor; still, on the façade, only the foundations were finished. “The votive church stands there as if abandoned in panic; arches, tracery, stone placements left unfinished, pieces of marble covered by rubbish.” [18]
YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) 59 THE CONSTRUCTION RESTARTS
The thought of restarting the construction was proposed in 1921 when the Committee – founded in 1882 – was refounded and decided to assign Ernő Foerk to plan the process for continuing construction. In an unexpected turn of events, the Bishop of Csanád was expelled from Timişoara, the center of the Diocese of Csanád, so he brought his seat over to Szeged in 1923. Construction could recommence in 1923 under the direction of Ernő Foerk, Gyula Petrovácz and István Ottovay who had previously returned from the war. [19] The carved inscription on the stone ribbon of the towers, taken from the second national anthem of Hungary titled ’Appeal’, mark the exact point where the construction process had stalled earlier: ʺIt cannot be that all in vain so many hearts have bled 1914-1918. [20] The Tree Topping Ceremony was held on 16 September 1923, the nave and the walls of the apse were ready by October and the roof has been started as well. The cross of the crossing dome was placed on 30 August 1924. The Holy Cross altar of the transept was completed on 25 December 1924 so the first mass could be held at Christmas. The last mass was held in the former Saint Demetrius church [21] at Christmas Eve and on the same day the first mass was held in the new church by the Bishop Glattfelder. According to a citizen: ʺThere was a moment when the two churches were of equal height. The new one was built until a certain height and the former one was demolished until a certain depth. The new was being raised while the old was being torn down and then parted from each other forever. However, it was a great moment when the two buildings lived together for a while then the former one gave over its function to the new one in 1925.” [22]
THE DÖMÖTÖR TOWER IS REVEALED
During the construction of the Votive church the demolition of the baroque style Saint Demetrius church was in progress in 1925. Before the start of the demolition, the director of the town’s museum, Ferenc Móra initiated that Károly Cs. Sebestyén could serve as supervisor of the work. [23] The nave was demolished by dynamite, and the tower was to be torn down in a similar way but finally it was pulled down by mattock on Cs. Sebestyén’s requests because the building was surrounded by houses. During the work the archaeologist Cs. Sebestyén noticed an octagonal shape of walls inside the tower of the former church [24] so he informed the Hungarian National Committee of Monuments. On observing the walls, the experts confirmed that the find was truly astonishing. [25] They appealed for a protected status for the monument, then the Committee of Monuments assigned Ernő Foerk and Károly Cs. Sebestyén to design the reconstruction plans of the medieval tower. The demolished upper story and the roof were finally reconstructed and a door has been put into shape in the western wall. The ground floor has become a baptistery in 1930 decorated with frescoes painted by Vilmos Aba Novák [26], the baptismal font made of limestone and red brass prepared by Károly Weichinger. Later the Minister for Culture, Count Kuno von Klebelsberg shared his interesting idea with the Bishop Glattfelder. As Saint Emeric of Hungary impersonated the ideal young man both morally and in his way of life, he would have wanted to prepare a dovecote on the highest floor of the Dömötör tower called ’The Doves of Saint Emeric’. As he described it, due to the numerous small windows the Dömötör tower would be the perfect place for a dovecote with various kinds of doves, at the same time avoiding directly following Venice’s example. [27]
60 YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) TOWARDS COMPLETION
On 26 November 1925, the tower facing the river Tisza received its cross on the top; on 27 March 1926, the other tower as well. At Easter in 1927, Ernő Foerk began to draw up the plans for interior design. A significant amount of masonry work was required; these were entrusted to Gyula Král’s company in Budapest and Béla Seenger’s company; the altar was to be constructed by Sándor Auer in Szeged, while the pulpit was to be created by the company János Fischer & Sons. The altar of the Holy Cross was mainly made of plaster, and its artificial marbling was done by Alajos Schóber, as well as that of the inside of the church walls. The metal parts of the altar were created by János Stadt. Three out of the twelve altars of the church were created according to Ernő Foerk’s plans, namely the high altar, St Gellért’s altar and the altar of the Holy Cross. The St Ladislaus, the St Stephen as well as the St Demetrius altars were built according to the plans of Béla Ohmann, between 1937 and 1939. As their style follows the Roman school, they distinctly set themselves apart from all other sculptures; still, they enrich them with their considerable artistic value. [28] Ernő Foerk drew up the plans for the ciborium, the works of which were completed in 1930. [29] It is worth noting that the bishop donated 70,000 Hungarian pengős, a full year’s personal income for the completion of the altar. We might say that the highest quality sculpture in the Votive Church of Szeged is the plaster statue by János Fadrusz, created in 1891 as an examination work on completing his studies in Vienna. [30] Legend has it that he had to tie himself to the cross and have himself photographed, so that he could use the photographs to complete the statue. He donated a plaster copy to the Szeged Fine Arts Association for the new church [31], but this received its rightful place only in 1979. The masonry works on the façade were designed by the sculptor István Tóth; the north side entrance, ‘the Gate of War’ was carved by Károly Danó, according to the plans of Ernő Foerk, while the white marble relief depicting the story of the flood in Szeged was made by the sculptor János Taiszer. The mosaic image in the sanctuary was designed by the renowned Székely artist Ferenc Márton [32] and made by Imre Zsellér’s company. This is a monumental, 89.57 square-metre glass mosaic in the Byzantine style, depicting the Holy Trinity. During its design it might have been by similar works of art in Italy, since the artist, on his journey to Rome in 1924, studied the Old Christian mosaic depictions in Santa Maria Maggiore and Santa Maria in Trastevere. [33] When the mock-up, made by Ferenc Márton and stored in the Hungarian Museum of Architecture, was cleaned, the original design was revealed under the new parts; the pediment above, the two upholstery-like elements under the two main figures, and the two kneeling figures with halo on the sides, holding the hem of the others’ mantles. The Virgin Mary’s mosaic image in the sanctuary was designed by Károly Reischl, and created by Imre Zsellér. The figural part of the interior painting was created by the painter Sándor Muhits, according to Foerk’s plans; while the ornamental painting was done by Ottó Beszédes and his son László. [34] The interior space is enriched by the Neo-Roman architectonic elements, the Byzantine-style mosaics and figural paintings, as well as László Patay’s expressive paintings. [35] The goldsmith’s works were partly done by Nándor Heksch and Lujza Boga master goldsmiths [36], e.g. the bronze gate of the main entrance, the chandeliers and the candelabra. From these, the two eleven-light candelabra can still be seen in the church in the original form. Their designs are stored in the Hungarian Museum of Architecture, as well as that of the glass window by Miksa Róth of the sanctuary depicting four saints (St Joseph, St Peter, St Paul and St John the Baptist).
YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) 61 The glass window depicting St John of Nepomuk in the wall of the sanctuary was created by Imre Zsellér in the late 1920s, as well as the three-part Mary window with the row of windows on top in the left apse of the transept containing St Gellért’s altar, and the St Mary window in the side apse of the transept’s left part. The rose window on the organ’s choir on the main façade depicts Szeged’s coat-of-arms, surrounded by those of Hungary, the countries of the Hungarian Crown and the kings of Hungary. The swell box was created according to Ernő Foerk’s plans by the Angster factory in Pécs. [37] During World War II, the whole organ was dismantled and stored in the undercroft where, unfortunately, it was rendered useless by storing. Europe’s second largest organ [38] received a whole set of new manuals in 2002, which was created by the Organ Building Factory in Pécs, according to the plans of Johann Peter Trummel.
THE INAUGURATION CEREMONY
Even if, due to the economic crisis brought on by the Great Depression, the decoration of the interior was not finished completely, and the paintings and the mosaics of the dome, the plinth of the side-altars, the organ of the crypt, the benches, the confessionals were still incomplete, the church was ready to perform its sacred function. The 900th anniversary of the Diocese of Csanád and the 50th anniversary of the pledge to construct the building were approaching so the consecration ceremony was scheduled for October 1930. The Bishop Gyula Glattfelder consecrated the Votive church and Cathedral of Our Lady on 24 October 1930 at 7am in Szeged. The first mass was held at 10am that day and the liturgy was led by the Papal Legate Angelo Rotta. Afterwards, by his worship, the new mayor of Szeged Szilveszter Somogyi offered the city to the Sacred Heart of Jesus. On the same day the relic of Saint Gerard of Csanád was brought from Murano by procession, which was donated to the church of Szeged by the Patriarch of Venice – and was placed in the altar of the church. [39] In addition, the seat of the Diocese, the Seminary of Szeged and some university buildings were built around Cathedral Square, all designed by Béla Rerrich. These were consecrated by the Bishop Glattfelder as well. On 25 October, a piece of music titled ’The Szeged Mass’ was performed, composed by Ernő Dohnányi on the occasion of the consecration. [40] Then the National Pantheon was formally opened and the capstone for the Royal Hungarian Franz Joseph University was placed.
THE MYSTERIOUS SOUNDING-BOARD
There is a plan of the tribune of the Votive church (February, 1930) lying among the documents of Foerk’s heritage in the Hungarian Museum of Architecture on which there is an interesting leaf-shape sounding-board. According to the description of the plan it should be made of embossed gilded red brass. Aladár Mandola mentions that because of the inappropriate acoustic of the church a brass leaf sound-board is needed to be applied above the tribune to transmit the voice as the bishop requested. [41] Ernő Foerk also mentioned in his diary that the sounding-board had been in progress on 29 November 1930. Most fortunately, on some contemporary postcards the sound-board is visible even if it was applied for a few months.
62 YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) The sounding-leaf-board must not have been popular with the citizens because the Bishop Glattfelder informed Foerk about his dissatisfaction due to its malfunctioning as well as its unartistic appearance and asked him to remove it. [42] After the sounding-board was removed a better one was never applied.
CONCLUSION
Even numerous essays and books were published about the history of the Votive Church of Szeged, his diary, was found recently during the relocation of the Hungarian Museum of Architecture and Monument Protection Documentation Center, shed light on a plenty of circumstances in connection with the building itself. In the memoir we can get to know about Ernő Foerk’s relationship with the well-known architect, Frigyes Schulek, and with his designer partner, Gyula Petrovácz. Moreover, it can be known when and how many times he visited to Szeged to inspect the construction and about what artistic ideas he debated with the Bishop Gyula Glattfelder. Due to the lines of this diary some parts of the history of the Catherdal can be clear such as the exact dates of the process and inauguration and how much Ernő Foerk was satisfied with the appreciation for the most important building in his career.
REFERENCES
[1] Hadik, A.,Fehérvári, Z.,Szeged, Fogadalmi templom, Scientific Documentation for Monument Protection Budapest, 2013. [2] The art objects of the permanent exhibition belong to the The Episcopal Museum and Treasury of Szeged-Csanád. The art historians and restorers of the Museum of Applied Arts and the colleagues of the Hungarian Castle Project Ltd took part in the organisation of this exhibiton. Hereby I would like to thank them for their work. [3] This presentation was also held in Szeged on 22 November 2018 at the conference commemorating Ernő Foerk and Gyula Glattfelder at the Ferenc Gál College. This paper can be read in Hungarian in the publication of the Department. [4] The jury of the tender consisted of György Lázár, the mayor of Szeged, Endre Gaál, Sándor Ivánkovits, Géza Jászay, Pál Kótay, Ferenc Pálffy, Frigyes Stelczel, Mihály Tóth and Ferenc Varga, Frigyes Schulek and Győző Czigler, teachers of the Technical University of Budapest, Kamill Fittler the director of the Academy of Arts and Crafts. [5] A szegedi fogadalmi templom, Magyar Építőművészet 1930. XXX. 7-8. [6] Foerk signed in his plans as „Förk”. According to his diary (1905) he changed his name Förk to Foerk because the name of his family has mistyped many times. [7] Antal Hofhauser’s I.N.R.I. code-word plans were recommended for purchasing and László Gyalus’s O.A.M.D.G., Lajos Ybl’s Patrona Hungariae and the code-words: Deo, Czentrális, Dóm, Szent Erzsébet and 1879. Finally the city of Szeged has purchased only Hofhauser’s and Gyalus’. Antal Robelly prepared the technical revision of the plans of the tender. [8] ʺIncredible news: the Committee does not want to give the commission to Aigner but the former jury member, Frigyes Schulek. Exactly these days the new policy of design tenders has been published. According to the Bulletin a former jury member is not allowed to have a commission neither directly nor indirectly.” [9] Varga, J.,Adatok a szegedi Fogadalmi templom építéstörténetéhez, Móra Ferenc Múzeum Évkönyve, 1972/73-1., Szeged, 1974, pp.9. [10] 4 February 1913, Foerk diary, HMA [11] pp.56., Foerk diary, HMA [12] November 1913, Foerk diary, HMApp.57. [13] 19 February 1914,Foerk diary, HMApp.60. [14] 5 March 1914, Foerk diary, HMApp.60. [15] 8 March 1914, Foerk diary, HMApp.60. [16] The official reports of the Committee for the Construction of the Votive Church of Szeged, HMA
YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) 63 [17] ʺI inaugurated the celebration, we took the print of the foundation into the foundation stone”,Foerk diary, HMApp.62. [18] 19 May 1915, Foerk diary, HMApp.64. [19] 17 August 1923, ʺBoard meeting accepted the sculptures and arching planned for this year, the dome and the crypt for next year”, Foerk diary, HMApp.83. [20] A szegedi dóm. Különlenyomat a „Csanád Egyházmegye Jubileumi Évkönyve 1980” c. műből. (Off-print of the book of Cathedral of Szeged) Szeged, 1980 [21] 25 December 1924, ʺThe transept of the church in Szeged has assigned to worship. The consecration was at Christmas but I did not take part in it not to be far from my family.ʺ, Foerk diary, HMA,pp.86. [22] Mandola, A., A szegedi Fogadalmi templom. Szeged, 1930, pp.17. [23] 13 December 1924, Foerk diary, HMA,pp.86. [24] Cs. Sebestyén, K.,A szegedi Szent Demeter templom, Ásatások a szegedi Templom téren. Szeged, 1931, pp.205-212. [25] The Hungarian National Committee of Monuments entrusted Kálmán Lux and Vilmos Schneller with the revision on 28 March 1925, Hungarian Museum of Architecture and Monument Protection Documentation Center – HPDC (later MPDC), Tudományos irattár, MOB iratok 86/1925. [26] He was awarded a golden medal at the exhibition of ecclesiastical arts in Padova in 1932. [27] Kuno Klebelsberg and Gyula Glattfelder correspondence, 1931, Szeged, Szeged-Csanádi Püspöki Levéltár [28] Hadik, A.,Szeged, Fogadalmi templom és Demeter-torony, Tájak, korok, múzeumok kiskönyvtára, Budapest, 2001, pp.13. [29] 11 December 1924, ʺEverything is all right, we will meet the deadline. We are about to construct the towers. ʺFoerk diary, HMA, pp.86. [30] He is awarded the Grand Prix of the Association of Fine Arts at the Winter Salon of the Art Gallery in 1892. [31] The No. 712/1925 document of the Episcopal authority of Csanád about the purchase of János Fadrusz’s Crucifix sculpture, Correspondences of Szeged, Ernő Foerk’s heritage, HMA [32] He received a degree in 1907 at the Hungarian University of Fine Arts as an art teacher. His masters were Bertalan Székely and Pál Szinyei Merse. [33] Zombori, I., A szegedi dóm „nemzeti” festője: Márton Ferenc,A Móra Ferenc Múzeum Évkönyve: Studia Historica 12., Szeged, 2009, pp.228. [34] Szőnyi, O. dr., A szegedi Fogadalmi templom, Magyar Iparművészet 1932. 1-2., pp.27. [35] Zombori, I., A szegedi dóm ornamentális díszítőfestése, A szegedi Dóm ornamentális díszítőfestése, 1930, pp.123. [36] Bartháné Boga, I., A szegedi Szőriné Boga Lujza ötvös-iparművész életműve. Szeged, 2013. pp.23. [37] Komáromi, S., Angster és fiai orgona –és harmóniumgyára (Pécs) és a család története, Nemzeti és etnikai kisebbségek története. 2003, pp.525-527. [38] Zombori, I., A Fogadalmi templomtól a püspöki székesegyházig, Móra Ferenc Múzeum Évkönyve: Studia Historica 8., Szeged, 2005, pp.407. [39] Felszentelési ünnepség, Délmagyarország 1930. október 22., Szeged-Csanádi Püspöki Levéltár, Szeged [40] Ernő Dohnányi composed his fifty-minute-long musical composition consisting of ten movements titled Missa In Dedicatione Ecclesiae. [41] Mandola, 1930, pp.21. [52] 26th May 1931, Gyula Glattfelder’s and Ernő Foerk’s correspondence, Ernő Foerk’s heritage, HMA
64 YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) 10.2478/jbe-2019-0013
concerning ernő Foerk’S DocuMentAtion oF Historic monuments and aPPLied arts actiVities
András Hadik
Before discussing the two areas of activity of the versatile architect Ernő Foerk, it is worthwhile to illuminate his family background and his early studies. Ernő Tivadar Foerk [1] (Ernst Theodor Förk) was born on February 3, 1868 in the centre of the Banat region, in the rapidly developing Timisoara (today Timişoara-Romania). Foerk’s father, Karl Gustav Förk, was born in Altenburg, Saxony in 1815 [2]. He received a thorough education, but after his father’s death he was forced to interrupt his studies, and undertook employment at the court printing house in his hometown. As an assistant - in Sweden and Norway, and then Germany, he “graduated” from his journey as an apprentice. In 1850 he arrived in Vienna. In 1852 he was invited to become a business manager at Márk Hazay’s printing house in Timişoara. He soon moved to the State Printing House, and in 1857, together with the Steger printing house, purchased the Beichel family press. In 1858 he received Austrian citizenship and then civil rights in Timişoara. In 1868 they founded the Neue Temesvarer Zeitung. From 1871 he became the sole owner of the printing press. Förk edited the German calendar, was the responsible publisher of Temesvarer Wochenblatt and Der Sammler (The Collector), in which many of his stories and poems appeared. Among others, Südungarische Ackerbau-Zeitung, the Südungarische Lloyd, the Südungarische Bote, and the Timisoara Newsletter were produced at Förk’s Press. He was president of the Printers’ Aid Association of the town, which was the first such organization in Hungary and was also a member of the city council for several years. Ernő Foerk (according to his autobiography [3] written in a third person, “… because of the worsening economic conditions, his unconscious companion and his left-handed business manager, he had to give up his vineyard, his house, and even his printing house, and worked as an asistant in his own printing house.” [4] Károly Gusztáv Förk died on October 5, 1884. In the abovementioned resume, the architect writes that his drawing ability is a parental heritage, - his father engraved the letters and clichés himself, and his mother copied the fancy drawings of the time. His mother Mary Piffl came from Landskron in Northeastern Bohemia (Lanškroun, Czech Republic) and arrived in Timisoara with her parents around 1860. Her father, Adolf Piffl, was a book salesman. One relative pursued a career in the church: Friedrich Piffl (1864-1932) finished his career as the Archbishop of Vienna (1913). Foerk’s first drawing-related memory was that he drew on the floor sliding crawling on his knees. In his father’s printing press he learnt to make lithography, posters, became familiar with bookbinding, and learned mirror writing while making business cards. After completing his elementary school, Foerk studied at the private school of Franz Weiszner in 1878, then at the Timisoara Public Industrial School [5], where he already studied technical drawing and art history, and drew here for the first time after a plaster pattern. The director of the industrial school, Árpád Varjassy, was able to assess his talent because Foerk was awarded the city scholarship of 250 Florins to continue his studies in the capital.
YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) His father could not finance it at that time, because he was bankrupt. Foerk arrived in Budapest in September 1884 and presented his drawings to the director of the middle school, Károly Hegedűs [6]. When the Director recognised his talent, he advised him to apply to the School of Applied Arts and ask for permission from his hometown. Permission arrived in two month’s and he enrolled in the school’s sculpture section. Meanwhile, his father dies and Foerk does not have enough money to go home to the funeral. Lajos Mátrai [7], Foerk’s sculpture teacher, had studied in Vienna, Paris and Munich and taught at the School of Applied Arts from 1880 onwards. He was influenced greatly by Albert Schickedanz, architect, painter and applied artist [8], designer of the Art Gallery, the Museum of Fine Arts and later planner of the Millennium Monument and succeeded in drawing his student’s interest towards architecture. Some of his drawings made during his studies at the School of Applied Arts have been preserved in the Foerk legacy at the Hungarian Museum of Architecture: a plaster study of a goat from 1886, a male nude from 1887-88, a female nude from 1886, and a watercolor of a Renaissance fountain from 1888. After graduating from the School of Applied Arts, he spent one year in the office of architect József Pucher [9], where he gained insight into the practical work of the architect’s office. He prepared the design of a gothic chapel in 1899 (main facade, facade, longitudinal section, cross-section) [10]. Probably Schikedanz encouraged and helped Foerk apply for the “King’s Scholarship” to continue his studies. He received his scholarship and continued his studies at the Academy of Fine Arts in Vienna from the autumn of 1889.
Attendance at the Friedrich Schmidt Master School in Vienna 1889-1892
Foerk’s meeting with Monument Protection
For Foerk, three years at the Vienna Academy of Fine Arts meant a decisive life cycle and experience. After the rapidly developing Timisoara and Budapest, the imperial city and the richness of its cultural life could have had a great impact on the young student. He was equally impressed by Professor Schmidt’s individuality, art, and artistic approach, although at the mid- term of his studies, the master died (January 23, 1891) Friedrich Schmidt was born on October 23, 1825, in Frickenhofen (Würtemberg) [11] near Stuttgart. After completing the School of Sciences (1838), he studied at the Royal Industrial School in Stuttgart between 1840 and 1843, where Johann Matthäus Mauch (1792-1856), a former Berliner associate of Karl Friedrich Schinkel, taught the history of architecture. In 1843, Master Zwirner invited him assist in the construction of the Cologne Cathedral, where he worked as a stonemason. In 1848 he graduated from a stone carving and masonry master examination, and in 1855 in Berlin a masters degree. He is granted noble rank by Friedrich Wilhelm IV the Prussian King, and in 1856 he is appointed as the Inspector of the Cologne Cathedral. Later on, he is so proud of his Cologne work that, when he received a Baronic title in 1886, he included in his coat of arms his stone carving symbol used in Cologne. He worked for Vienna since 1854 (Austrian Veteran Memorial in Bensberg, near Cologne, the third prize-winning design for the Vienna Votive Church), and was invited as Professor at the then Academy of Fine Arts of the Habsburg Empire in Milan. Although he was well received there (he knew some Italian), this position was soon taken away by history. During the Austro- Piedmont-France war, Milan was captured by the French-Piedmont troops, and he left Vienna after the Austrian defeat at Solferino. He was appointed Professor at the Academy of Fine Arts in Vienna on November 1, 1859, and later he was rector three times in the 1870s. In 1864 he
66 YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) received Austrian citizenship, from 1865 he was the chief Councillor of Construction, from 1866 to 1870 he was a member of the Vienna City Council, in 1883 he became an honorary citizen of Vienna and from 1888 he was a member of the Upper House. Schmidt was an architectural designer from 1847 onwards. Until 1858, this activity was centred on the Rhine, mainly churches. The first building in Vienna was the Neo-Gothic Academic High School on Beethovenplatz (1862-66). In 1863, Stephansdom’s “Dombaumeister” worked on numerous variations for the restoration of this monumental building based on purist principles. One of his main works is the Neo-Gothic City Hall in Vienna, commissioned as the first prize winner of an international competition in 1869. The construction takes place between 1873 and 1883, but the interior design and equipment are only completed in 1888. Designed in 1873, the Neo-Renaissance Arcade Houses on both sides of the Town Hall are being built by 1882. From 1882 to 1886, the one-time Imperial Foundation House was constructed on the Ringstrasse, which also houses a chapel where it was customary to pray for 386 victims of the Ringtheater burnt down in 1882. From 1886 he lives in a city apartment next to the villa in the Dornbach district. From 1874 to his death he plans and rebuilds the Abbey of Closterneuburg. Schmidt also received foreign commissions, eg he rebuilt the Main Post Office in Basel (1877- 1880), and planned and built Baron Wrangel’s castle in Kiev from 1879 to 1887. In Zagreb, Croatia, together with his German student who had moved to Zagreb, Hermann Bollé, Schmidt planned the neo-Renaissance building of the National Museum (1876-1884), and renovates the cathedral (1874-1885) and the Saint Mark’s Church (1875-1882) Among the unimplemented plans in historic Hungary, one should mention the Holy Trinity column (1859) designed for Pest-Buda, a Protestant church of a non-deterministic character (around 1880), and the tomb of Albert Pákh at the Kerepesi cemetery (1868). In 1867 he designed the restoration of the Vajdahunyad Castle (Hunedoara-Romania) (1867-68), the family graveyard of the Apponyi family in Eberhard (Malinovo, today Slovakia) (1871). From 1872 to 1879 he restored the medieval church of Lébény, and in 1872 a residential building at No. 9 Vörösmarty Street in Pest. The most well-known building in Hungary is the Purist reconstruction of the Pécs dome (1882-1891). Through his architectural and monumental restoration activities, he became an unquestionable professional philanthropist throughout Central Europe, yet he also gained great influence through his teaching. His love for subject matter and his fascinating personality fascinated his disciples, many for life. Schmidt taught medieval styles, not in lengthy and tiring lectures, but in practical design. (This method was taken over by Imre Steindl at the Budapest University of Technology). The personal relationship and co-operation advocated the method and atmosphere of the 20th century master schools. Summer (occasionally mid-term) study tours, and common programs were an integral part of education. In 1862, architect students established their self-education association, which in 1864 became named Wiener Bauhütte (Vienna Building Alcove), remembering the medieval building organisations, and they elected Professor Schmidt as honorary president [12]. Since then, this organization has published holiday recordings, ie building surveys. Schmidt’s disciples were mainly from the German-speaking regions, or they came from the Empire (the Austro-Hungarian Monarchy). Ferenc Schulcz, a favourite student who died at a young age, Imre Steindl, and later gave a job to Foerk, Schulek Frigyes, Elder Ferenc Schömer, with whom Foerk won first prize at the Lipótváros Synagogue, Sándor Aigner, Antal Hofhauser, Sándor Mezey and Kálmán Stornó, or Gusztáv Petschacher, an Austrian, settled in Budapest all came from Hungary. Friedrich Schmidt exerted a great influence on Foerk, which, on the one hand, manifested itself in his architecture, basically on the basis of Historicism, although sometimes he strayed in the direction of the Secession. At the completion of the Votive Church in Szeged, Foerk was proud to be also called the “Dombaumeister”. For competitions he often chose
YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) 67 Schmidt’s favorite Latin password: Saxa locuuntur [13] - The stones speak. The practice of holiday monumental surveys was later used during the work of the Hungarian Royal Public Higher Architectural Industrial School, ie he continued the Viennese tradition here, and he also knew that publishing the materials motivated his students. A design of a Renaissance pavilion [14] in Vienna from 1890 can be found in the Foerk Legacy of the Hungarian Museum of Architecture as well as the plan of a Gothic church [15] also from 1890, the design of a neo-Romanesque tomb [16], a plan in Romanesque style with a campanile [17] and a church plan in Gothic style [18] from 1891. The Budapest Historical Museum (Kiscell Museum) features Foerk’s designs from 1892: a monumental neo-Renaissance spa [19] complex with a regular rectangular plot surrounded by a single-storey building with an open-air swimming pool and a large dome-covered spa, or a neo-Romanesque Pantheon dome [20]. Foerk received three different academic awards for his beautifully drawn and coloured drawings. From the records of the Vienna Academy it turns out that Foerk rented rooms in the IX. district Severingasse 3 as a first year student, then between 1890 and 92 in the VIII. District Kochgasse 25 (1st floor Apt. 8). The Hungarian Museum of Architecture contains a lazy watercolor (1889) entitled “The Main Cave of the Hungarian Band of the K.K.” Foerk, F.Lővy, Frank and Jankov (ics?), who have to be identified by the research, are included in this picture. From his sketches of monuments, the drawing of the parish church in Iglau ( Jihlava, Moravia), the two details of the Upper Austrian Imbach church ( tower, side-aisle window), restored by Schmidt and the details of the St. Altmann memorial of the founder of the the Benedictine abbey church and monastery in Göttweig, all from 1890. The Art Academy of Vienna (Kupferstichkabinett) also holds 11 survey drawings by Foerk. Two of these depict Göttweig tombs, and three of them were made in Krems on the Danube: one of a group of urban houses, another the painted gothic ribs (Ill. 1) [21] inside the former Dominican church (first picture) and one of the pillar capitals of the “fruit store” (Ill.2) [22]. The remainder are of the medieval church of Trebitsch (Třebič) in Moravia and its details. Also the details of a small town Moravian church from 1891, - the portal and its carvings - are presented in four nicely drawn pages of the Hungarian Museum of Architecture. There are also three sketches of Craiova (1891 - Wallachia), two of which represent the tower and iron gate of St John’s Church, and one of a beautiful, columned stove. There is also a fine drawing of the medieval dome of Gelnhausen [23] near Frankfurt am Main from this year. Foerk’s survey drawings show good observation and compositional skills as well as excellent drawing skills.
1. Krems, painted ribs of a former Dominican church
68 YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) 2. Krems, the Column capitals of the “Fruit Store”, 1890
Foerk’s Applied Arts activities
As we have already mentioned in the introduction, Foerk learned a lot from his father’s press in the field of applied graphics. He later developed his skills at the School of Applied Arts. Probably in the ‘90s (after 1892), two versions of the design for a “Receipt”, include one with a Rococo border [24] for the text. More interesting is the version in which the frame is created by asymmetric visual architecture [25] (or furniture). (Ill. 3) The acronym on the left side solves the mystery for the customer - the two versions were created for the Hungarian Royal Applied Arts Society, characterised by historicist views. In 1898 Foerk also participated in a stamp competition. At the turn of the century, three poster designs [26] made for the Museum of Applied Arts “Modern Art” Exhibition invite visitors to the exhibit. (Ill.4)
3. The design of the “Receipt” for the Society of Applied Arts, 1890s
YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) 69 These show the strong influence of Art Nouveau and the knowledge of new artistic processes. While the art of the Secession is rarely seen in Foerk’s architecture, he is more eclectic in his craftwork. Foerk also makes cover designs, eg. In 1901, Károly Lyka edited Művészet (Art), and is especially interesting for a series of books (Great Hungarian Writers). On one of them, a floral motif [27] with a stylized folk floral pattern appears, similar to that used in a parliamentary furniture design. (Ill. 5) The János Arany volume’s cover is a secessionist solution of a dynamic, asymmetric tree motif. (Ill. 6) [28]. From 1892 to 1902, Foerk worked in the Steindl office for the interior design of the Houses of Parliament. This created the opportunity to use the lessons learned so far in many areas of the Applied Arts. Foerk participated in the design of the decorative painting of the building, which he puts to great use in his later work (eg. in the case of the Votive Church of Szeged). He designed several pieces of furniture for the bulding, eg. The Prime Minister’s desk, decorated with Zsolnay ceramics, will be executed by Endre Thék’s furniture factory according to his plans. (The furniture found in the warehouse was restored in the early 2000s). The Parliament’s furniture is more traditional, but later Foerk also produces Art Nouveau furniture designs. An interesting wardrobe design is traditional in mass, but in its painting we can already feel the liberation effect of Art Nouveau. (Ill.7). He also makes plans for metal furniture. The Art Nouveau-style letterbox design, designs for clocks (standing and wall clocks) and jewellery testify to an affinity with metalwork. Special Art Nouveau Hairpins from 1901 (Ill. 8), Chandeliers (eg for Parliament) [29] and Churches or the Steindl Guild attest to good taste. Foerk designed a badge, stamp and bell for the Steindl Guild. During his career he also designed curtains [30] and a flag [31].
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4. Design of an exhibition poster of the Museum of Applied Arts in 1898
70 YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) This article aims to show the terrain of Ernő Foerk, a versatile architect. During his academic studies in Vienna, the architect became familiar with the principles of modern monument protection of that time, and with the architecture of the different ages, which he later used as a regular member of the National Committee for Monuments and was transplanted into Hungarian practice during the holiday surveys at the Higher School. At the same time, his knowledge of his father’s office in Timisoara, at the School of Applied Arts and at the Vienna Academy were utilised in his work as a versatile applied artist. For him, architecture was formulated as „Gesamtkunst”, a total art. Foerk’s importance can be further clarified by further research.
5. Book Series (Great Hungarian Writers) cover design early 1900s
6. Book Series (Great Hungarian Writers), Early 1900s
YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) 71 7. Cabinet design 1900 k. 8. Sketches, including plans for hairpins 1901.
REFERENCES
[1] He writes his surname in 1904 in this form. [2] István Berkeszi: The History of Book Printing and Newspaper Literature in Timisoara, Historical and Archeological Notice in Timisoara, 1899. I-II. booklet. I am grateful to Ilona Mikósik, the art historian of the Banat Museum (Muzeul Banatului) in Timisoara, who sent me the publication. [3] The typed text is owned by the family [4] Foerk’s Diary (MÉM) entry, month 1913. [5] His certificates are at the BTM Kiscelli Museum. [6] Károly Hegedűs mechanical engineer (Szatmárnémeti 1849-Budapest 1925) graduated from the Technical University in Budapest. Between 1876 and 78 he studied industrial education in England, France, Germany and Switzerland on behalf of the government. He organized the middle school (since 1879) and the director of the Technological Industry Museum since 1884. Hungarian commercial and industrial principal director of the 1900 Paris World Expo, court advisor. Author of engineering and vocational education. [7] Lajos György Mátrai (Pest 1850- Budapest 1906), his main works: the tomb of Miklós Izsó in the Kerepesi cemetery, Pál Vásárhelyi (Szeged), István Széchenyi (Sopron), Károly Kisfaludy (Győr), the tombs of Gáspár Károli (Gönc) [8] Albert Schickedanz (Biala , today Bielsko-Biała-Poland 1846- Budapest 1915) [9] József Pucher architect (1836-1904) [10] Hungarian Museum of Architecture, Foerk legacy [11] Dr. Peter Haiko, Dr. Renata Kassal Mikula (editors): Friedrich von Schmidt (1825-1891) Ein gotischer Rationalist, Historisches Museum der Stadt Wien (exhibition catalogue) 1991
72 YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) [12] József Sisa: Imre Steindl Holnap Press, Budapest 2005 p. 13 [13] Scmidt’s tombstone, made by Victor Luntz, reads according to his last wish: „Saxa locuuntur. Here Friedrich Schmidt, a German stonemason, rests in God.” Cat Dr. Peter Haiko, Dr. Renata Kassal-Mikula. Friedrich Schmidt. Vienna, 1991 p.79 [14] Inv. no. 69.024.701 [15] Inv. no. 69.024.757 [16] Inv. no. 69.024.217 [17] Inv. no. 69.024.339 [18] Inv. no. 69 024.625 [19] Inv. no. 69 207.2 [20] Inv. no. 69.211.1 [20] Inv. no. 20/104/25 752 [22] Inv. no. 20/104/25753 [23] Inv. no. 69.024.692 [24] Inv. no. 69.228.4/2 [25] Inv. no. ltsz.69.228. 4/1 [26] Inv. no. 69.228. 4/5-7 dated to 1898 according to Foerk’s diary. [27] Inv. no. 69.228.1/6 Published in the Steindl monograph by József Sisa. [28] Inv. no. 69.228.1/3 [29] in the collection of chandeliers of Parliament there is an example which uses uses Hungarian floral motifs. Dorottya Andrássy The History of Parliament’s Construction Bp. 2018. p. [30] Foerk’s Diary January 16, 1898 [31] Flag of the National League of War Cripples 1932.
YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) 73 10.2478/jbe-2019-0014
tHe turn-oF-tHe-century monument Protection Practice in LiGHt oF ernő FoerkS’S Work
Viktor Rozmann1
1Institute of Architecture, Szent István University, Budapest, Hungary [email protected]
Abstract: Present paper is about Ernő Foerk’s several architectural works which involved monument preservation. Questions about the theory and practice of monument preservation are surveyed, focusing on restoration and reconstruction in Hungary in the marked period.
Keywords: Ernő Foerk, National Committee of Monuments, history of monument protection, reconstruction, restoration, monuments introduCtion
As a practicing architect, Ernő Foerk’s monument preservation work included reconstruction apart from excavations, measuring and survey. Some representative examples from this segment of his work are introduced below. The projects are not only reflecting Foerk’s mindset, but also the approach of monument preservation of his time. From 1911 until his death, he was a regular member of the National Committee of Monuments. He worked in a controversial era, when the modern attitude in the theory of monument protection was increasing, but at the same time the historicist and purist methodology still lived. breZno
The Lutheran parish of Brezno (Hun: Breznóbánya) commissioned an architectural tender to design a bell tower adjacent to the existing Baroque church. Gyula Sándy together with Foerk prepared two plans for the competition, which contained the new design of the facade adjacent to the turret. One of the plans shows a Baroque style tower with stone-made, dome-like steeple, open-door bell and ornamented gate. The other is Renaissance style, with battlements of the Upper Hungary (Hun: Felvidék) and rich sgraffito decoration. A staircase with an onion dome next to the tower leads to the choir loft. With these plans, they won both the first and the second prizes out of the 13 submissions. There was even a debate among the church leaders about which plan to implement. As a solution, the architects proposed to combine the best solutions from the plans into a third design. According to Peter Bodo’s research [1], in case of this tender, they deviated from their usual working method and worked separately on the two versions. The Baroque plan is mainly Foerk’s
YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) work, while the Renaissance version was drawn by Sándy. On the Baroque submission sheets (currently in the Hungarian Museum of Architecture’s Foerk Legacy), both of their signatures can be found, as well as on the coloured construction plans. Its design has a monumental effect, where Foerk applies the Baroque forms confidently.
TWO CHAPELS IN ÓBUDA
The following year, he prepared a much smaller-scale plan to modify the St. Donat Chapel in Óbuda (now a district of the capital city, formerly a separated town). The Baroque chapel was built on the hillside planted with vines, adjacent to the Farkastorki street in 1781. Today, the chapel is still showing the state of 1905 (Figure 1).
Figure 1. Foerk’s plan for restoration of St. Donat Chapel in Óbuda, 1905 [5]
Foerk amplified the Baroque element of the chapel. He designed an angular fronton with curved top and volutes instead of the original, plain one. He also replaced the simple, but well- proportioned, slender bell tower with a more articular Baroque structure. Although the task seems almost insignificant, he did not overlook the minor details: he enlarged the window on the side-façade and extended it with a more prominent belt frame, replaced the sawed corselet of the patio to stone in front of the chapel, added a sweeping wall to the right side of the façade which ends in a volute. On this wall, a semi-circular, notched, metal sheet roof is placed, under which a Madonna picture and a prie-dieu can be found. Instead of the simple gate, he designed an ornamented, open, wrought iron one referring to the ripe Baroque style. Foerk’s power of design, and the desire to do grew greatly beyond the dimensions of a simple vineyard votive chapel, which can be clearly perceived on such details, as the drawing of the gate and fronton, picturing the pigeon of Holy Spirit appearing in radial frame decorated with flowers. A somewhat more moderate, but equally sophisticated designer attitude is shown in case of the small-scale Holy Blood Chapel of Óbuda, Kiscell Calvary, which plans he completed in 1910. The stations of the cross begin adjacent to the former Trinitarian monastery, ending at
YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) 75 this chapel built in 1822. The new façade was designed by Foerk in 1910. The building burned down in the 1980’s, then renovated in a simplified manner. If the original drawing of the main and side facades are compared to the archive photos, it can be concluded, that Foerk’s plans were realised here, unlike in case of the St Donat Chapel. The previous state of the chapel is unknown, but the plans show that Foerk’s attention extended to every detail. Here also, the middle of the curved and angular fronton, the sunk, festooned main motif can be found. Above the saddle, the powerful and detailed bell tower is placed.
NAGYKŐRÖS
A significantly larger task was the remodelling of the Nagykőrös Calvinist Church tower. The fire alarm service was transferred here from the guard tower in 1890 due to its larger height. The medieval church tower was previously stuck by lighting, thus the steeple was replaced in 1758 with an octagonal, onion-shaped roof covered by red shingles. This old, damaged 18th century steeple was to be replaced in the design contest commissioned by the parish in 1906. The design of Ernő Foerk and Gyula Sándy came out as winner of the tender with their plan named ‘Rooster’. The calling for the tender stated that the new tower should remain suitable for the fire alarm service. Their plan heightened the tower by 9 metres, added pinnacles to the buttresses, and a round balcony. Keeping the form of the previous octagonal, Baroque steeple, they designed a large, two-storey superstructure including the four cornered, arched fire alarm balcony, with pinnacles and copper coating (Figure 2). The original plan in the end was built with some simplifications: the pinnacles were spared, but a second, open patio level was added. The architecture and the volume of the new turret seems to exceed the dimensions of the turn- of-the-century Alföld (lowland of Hungary) settlement, being the tallest building in the county even today.
Figure 2. Foerk and Sándy’s tender plan called ‘Rooster’ for reconstruction of Calcinist Church tower in Nagykőrös, 1906 [5]
76 YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) BELTIUG
An even greater intervention happened in case of the medieval church of Beltiug (Hun: Krasznabéltek), which was extensively reconstructed and enlarged between 1911-13 by Foerk’s plans (Figure 3). The details of the medieval architectural history of the church is known from the results of wall excavations carried out in the remaining parts of the building in 2011.[2] The medieval appearance of the church is shown on a pre-1862 illustration.[3] On that picture, the pre-reconstruction floor plan and south façade can be perceived. In the aforementioned Foerk Legacy, the drawing of the tower in its 1911 state can be found, picturing an onion steeple in place of the previous pyramidal form, which is probably added after the 1862 fire.
Figure 3. Section of the tower and western façade survey of Beltiug Church before reconstruction and enlarging, 1911 [5]
Figure 4. Foerk’s plan for reconstruction and enlarging Beltiug Church, 1911 [5]
YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) 77 During the reconstruction, according to Foerk’s plan, the medieval church’s aisle was almost completely demolished, replaced by a new aisle with North-South axis, thus perpendicular to the original shape. The only remaining part is a short section of the western side of the original building. The sanctuary was also preserved, now used as an eastern side chapel. Apart from the new ledge, and except one remaining window, which was not walled up, the sanctuary is in its original form. (Szilárd Papp, who has studied the original, pre-reconstruction drawing draws attention to the fact that the main ledge of the sanctuary is still illustrated as its probably original, medieval form, from which we can conclude that Foerk designed the new ledge for the sanctuary [3]) The medieval tower of the church also remained, but its exterior was partially modified. The corner buttresses received pinnacles, the gothic arched windows of the bell were elongated by tearing down the parapets, and also, Foerk replaced the former, simple, grading framed with nested arched gate. He designed a spirelet onto the axis of the roof of the new aisle and the original sanctuary. (Figure 4) The in-style modification of the church was without any scientific and research basis, thus the final result is misleading.
SZEGED
A smaller scale, but more significant monument preservation works was the reconstruction of the St Demeter Tower in Szeged. The demolition of the church was overlooked by Károly Cs. Sebestyén, as the delegate of the City Museum. In his earliest report about the finding of the medieval tower remains, the in-style rebuilding of the third window line was mentioned [4]. Sebestyén himself also made drawings about the reconstruction of the tower, which are essentially agreeing with Foerk’s plan. A report from the construction states that chosen stone remains from the collection of Museum’s Lapidarium palace should be utilized, an ossuary to be created in the underground part of the tower, and also the ground level to be built as a chapel. The tower was thus restored by the plans of Foerk, parallel to the construction of the dome. The third floor was partially reconstructed from original bricks. At this time, the western entrance gate, the secondary sited stone lamb were placed. Additionally, a Horthy monument was put on the north side, which since had been demolished. In a letter dated August 1926, Sebestyén complained to Foerk and the MOB (National Commission of Monuments; Hun: Műemlékek Országos Bizottsága), that the reconstruction of the tower is going differently from his plans [5]. In the response letter of the MOB, the official statement concerning the monument restoration/reconstruction is worded: ‘The Commission has, of course, taken the principle that the monuments should preferably been preserved in their original form. And, even if in case of the tower in Szeged, an exception is made, it is only apparent. The case of the tower is, that the original shape is unknown. (…) In these circumstances, the aesthetic aspect of the issue is more important compared to the aspect of historicity, which in any way cannot be definitely clarified without any doubt.’ Although the previous shape of the third row of windows is not known, its structure was based in some sort of hypothesis and could be considered as reconstruction, as part of the rebuilding of a previously existing building.
ÓCSA
A pre-existing condition or a reference to it have though not always been a condition for a tower to be heightened. The Calvinist Church of Ócsa have initiated the elevation of the Premonstratensians monastery (13th century) towers, or the construction of a crossing tower
78 YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) already before the World War 1. Based on results of the thorough research of the building, it is most likely, that the church has never had a three-story tower [6].
Figure 5. Probably the very first sketch of heightening of towers of Cavinist Church of Ócsa, around 1922 [5]
With the restoration of the church started in 1921, the question was re-launched, and was debated in a MOB session. Otto Sztehló, an architect of the MOB proposed the construction of the crossing tower (Figure 6), while István Möller (another monument preservation expert architect, member of MOB) suggested the heightening of the western towers with wooden structure. Foerk opposed the latter, as in his opinion, it would result in a foreign, German character (Figure 5). He instead recommended that the towers be elevated by stone or even bricks. In the end, the Commission favoured the rise of the tower by stone or bricks. In the finished, detailed plans, Foerk decided to build them of stone. The construction work, including the interior renovation was completed in 1924. Concerning the heightening of the Ócsa church towers, István Möller articulated, that ‘a newelement should not be included in the historical part if the monument and the old structure should not be continued by repeating the old forms. The capital of the columns should remain in their present state, even the layer of lime should not be scraped off. All new layers of stoned masonry should be marked with the ‘F’ as Facsimile (replica) sign and the year of placement.’[7]
Figure 6. Another plan for the restoration of Calvinist Church in Ócsa: sketch of a crossing tower and heightening of towers, around 1922 [5]
YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) 79 POPRAD
Theory and practice however, like some many times, are separated in the works of Foerk. As an example, he proposed a similar solution for the enlargement of the Poprad Roman Catholic Church, that he did in case of Krasznabéltek, detailed above. He designed three variations for the extension of the small, two-aisle church with façade tower. The three versions differ only in detail. The basic concept of all three design variants is that he tears down of the northern and southern walls, the entrance hall and the choir loft of the original aisle, and extends the remaining parts with a new sanctuary from the north, a new part of aisle and entrance hall from the south (Figure 7). This makes a side chapel from the existing sanctuary. All three versions integrates the bell tower standing separately in the south, into the main volume. Also, all variants uses filigree, but richly decorated spirelet on the roof, in axis of the old sanctuary and tower (Figure 8). He changes the shape of the steeple, designed Gothic style windows with tracery and nested arched portal as entrance. He covered the new aisle with Gothic rib vaults.
Figure 7. Foerk’s plan for reconstruction of Poprad Roman Catholic Church, version № 3, 1915 [5]
Figure 8. Foerk’s plan for reconstruction of Poprad Roman Catholic Church, longitudinal section, 1915 (source: Hungarian Museum of Architecture’s Foerk Legacy without inventory number)
80 YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) The detail of the plans and the large number of drawing sheets imply a real assignment, the realisation most certainly prevented by the World War 1. The enlargement plan with serious demolitions liberally overlooking the interior painting of the church, which was already known in Foerk’s time. conclusion
The plan of the above Krasznabéltek and Poprad church enlargement was not a unique idea of the time. In the first three decade of the 20th century, such requests were constantly on the MOB agenda [8]. Following the period of the great and spectacular reconstructions, applications of multiple medieval village churches were on the Commission’s table. The boldness of the solutions presented above can be explained by the fact that in that time, the medieval origins of a church itself was not sufficient reason to become protected monument. It should be noted however, that among the eight buildings introduced above, five was listed in the Gerecze heritage list of 1905 [9]. The exceptions are the Breznóbánya Baroque church and the two Óbuda chapels. Although the modern approach to the monument protection had been increasingly strengthened during the presidency of Baron Gyula Forster (1906-1922), in the work of Foerk, who was a Friedrich von Schmidt (architect, worked in late 19th century in Vienna; his last work was the restoration of the cathedral in Pécs in Hungary; he was teacher of young Foerk) disciple, the purist and historicist tendencies of the turn-of-the-century continued to live. In case of monument reconstructions, he did not hesitate to use his architectural qualities to design in-style. He sought to realize an ideal design, the sometimes damaged, truncated reality of the building itself, formed by historical process did not tie his hands. He regarded the existing building as raw material, and tried to mend, to improve, elevate it to the European standard of construction to the best of his knowledge. In the light of his above presented plans, it is sometimes difficult to decide, whether he was more a study scientist, or a creative artist during working. Just two years after Tibor Gerevich (art historian, president of MOB between 1934-1949. During his presidency strengthened the modern attitudes in monument preservation) received the MOB presidential seat, Foerk departed from the ranks of the living, as seemingly symbolic change of an era. references
[1] bodó Péter: Sándy Gyula építészete 1914-ig. Szakdolgozat. Piliscsaba, 2010 [2] Terdik Szilveszter: A krasznabélteki és az erdődi templom újjáépítése a XVIII. században. Online source: http:// byzantinohungarica.hu/sites/default/files/_18-Terdik_Szilveszter.pdf (Last downloaded: 2019.01.04.) [3] Papp Szilárd: Krasznabéltek, római katolikus templom. Online source: http://www.temple-tour.eu/files/50/szinopszis_ hu.pdf (Last downloaded: 2019. 01. 04.) [4] Cs. Sebestyén Károly: A szegedi Szent Demeter templom bontása. Dolgozatok. Szeged, 1925 [5] Hungarian Museum of Architecture’s Foerk Legacy (Hun: Magyar Építészeti Múzeum, MÉM) without inventory number [6] Lukács Zsuzsa – Juan Cabello – Csengel Péter: Az ócsai premontrei prépostság kutatása. in: Műemlékvédelmi Szemle. szerk: Dvorszky Hedvig – F. Mentényi Klára. 1991/1. Budapest, Országos Műemléki Felügyelőség, p. 16-19. [7] Granasztóiné Győrffy Katalin: A Műemlékek Országos Bizottságának tevékenysége a trianoni békekötés után (1920-1934). in: A magyar műemlékvédelem korszakai. Tanulmányok. szerk: Bardoly István – Haris Andrea. Országos Műemlékvédelmi Hivatal, 1996. p. 160-161. [8] Granasztóiné Győrffy Katalin’s work cited above [9] Gerecze Péter: A műemlékek helyrajzi jegyzéke és irodalma. Magyarország Műemlékei, 2. 1906.; Gerecze Péter: Magyarország régi falképeinek jegyzéke és irodalma. Magyarország Műemlékei, 1. 1905. 485–550.; (Péter Gerecze noted preservation professional, member of MOB)
YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) 81 10.2478/jbe-2019-0015
ernő Foerk AnD tHe MeDievAl catHedraLs oF kaLocsa
Béla Zsolt Szakács
Department of Art History, Pázmány Péter Catholic University, Budapest, Hungary [email protected]
Abstract: The restoration of the Baroque cathedral of Kalocsa was led by Ernő Foerk between 1907 and 1912. During these years the facades of the church were renewed, a Neo-Baroque ambulatory was added, and excavations were carried out within the sanctuary and in front of the south facade. Based on these excavations, Ernő Foerk published theoretical reconstructions of the first and second medieval cathedrals and criticised the results of the previous research, conducted by Imre Henszlmann. Foerk, being also a scholar of the history of architecture, based his results on analogies. This paper intends to point out the elements which are outdated in the reconstruction of Foerk and his methodology that is still relevant.
Keywords: Kalocsa, Ernő Foerk, restoration of historic buildings, Ottonian architecture, Gothic architecture
Ernő Foerk, together with Gyula Petrovácz, built and renewed a number of churches in the territory of the Archbishopric of Kalocsa after 1905. [1] The commissioner was Archbishop Gyula Városy, leading the archdiocese of Kalocsa between 1905 and 1910. Városy was a learned scholar, active as the archivist of the archdiocese from 1875 and leading the library of the archbishopric after 1878. [2] As such, he also compiled a study on Astrik, the first archbishop of Kalocsa in Latin. [3] Obviously, his interest towards the past of the archdiocese and the person of Astrik was still vivid during the period when he served as archbishop of Kalocsa. On the initiative of Gyula Városy, the cathedral of Kalocsa was restored between 1907 and 1911 by Ernő Foerk and Gyula Petrovácz, spending 330.000 Austro-Hungarian Crowns. [4] The Archbishop commissioned Foerk in August of 1906. [5] Foerk submitted the restoration plans in the next summer; [6] however, there were debates on the subject within the chapter which caused delays. [7] In early 1908 the plans were submitted to the National Committee of Historic Monuments (Műemlékek Országos Bizottsága), [8] which decided positively by the end of this year. [9] Foerk received the final commission for detailed restoration plans in September 1909 [10] which were ready by March 1910 when the actual works have been started. [11] The restored cathedral was benedicted on 4th October 1911. [12] During the restoration, the aim was to return to the Baroque state of the cathedral. The western façade was cleaned, the coat of arms of the original builder, Archbishop Gábor Patachich (1733- 1745) was moved to one stores up, replacing it by the relief of the Holy Virgin, title saint of the cathedral, to whom Saint Stephen, first king of Hungary (997-1038) offers his royal crown, brought to Hungary by Archbishop Astrik. More important changes were done in the chancel. The Neo-Romanesque high altar, commissioned by Arhcbishop József Kunszt (1852-1866), was replaced by a Neo-Baroque baldachin, The original Baroque façade of the chancel proved to be too simple therefore a new ambulatory was built between the two original sacristies. This addition was built on the fundaments of the ambulatory of the medieval cathedral.
2 YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) Within the choir, a new archbishopric crypt was established in 1910, serving up to now as the burial site of the leaders of the archdiocese. During the building of the new crypt, archaeological investigations were also done. A red marble sarcophagus was found with a male skeleton and bishopric insignia inside. [13] For Enrő Foerk it was evident that he found the tomb of Archbishop Astrik from the eleventh century, and there are recent attempts to follow this hypothesis based on recent scientific methods. [14] For our purpose, it is more important that around the tomb the fundaments of the first cathedrals were revealed. Before 1910, there were no excavations within the building. In 1869, Imre Henszlmann carried out archaeological research outside of the church with the permission and support of Archbishop Lajos Haynald (1867-1891). [15] Although never excavating within the building, Henszlmann reconstructed the first cathedral as a single-nave building with as semi-circular apse, and pairs of tower at the east and at the west. Large remains of the western towers were identified by Henszlmann during his research.
Figure 1. Kalocsa I and II according to the reconstruction of Imre Henszlmann
The researches of Ernő Foerk verified the hypothesis of Henszlmann regarding the semi- circular apse, however, contradicted to his other assumptions. According to Foerk, the nave was three-aisled, and instead of western towers, it had an atrium and a narthex. [16] His ideas originate from an architecture historical conception. Replacing the bizarre four- tower reconstruction of Henszlmann, Foerk applied the well-known architectural type of the three-aisled Early Christian basilica with an atrium.
Figure 2. Kalocsa I according to the excavations of Ernő Foerk
YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) 83 The reconstruction drawing published by Foerk, however, is problematic. First of all, the proportions of the atrium are strange: this is a rectangular space instead of the usual quadrate format, providing practically no space for the uncovered courtyard. Moreover, there is and architectural detail discovered during the excavation (and indicted in the archaeological ground plan), a fragment of a wall on the south side of the atrium, which is missing from the reconstruction drawing.
Figure 3. Kalocsa I according to the reconstruction of Ernő Foerk
Thus, the reconstructions of Henszlmann and Foerk seem to be radically different for the first sight. However, projecting the two ground plans above each other, it turns out that in reality they discovered the same fragment but interpreted them differently. [17] The major difference between the two drawings is the axis: according to Foerk, the axis of the first cathedral was closer to the regular east-west axis. Consequently, what Henszlmann interpreted as the wall of the nave, was regarded by Foerk as the wall of the southern aisle. Similarly, the fragments of the narthex and atrium of Foerk are identical with those of Henszlmann’s western complex. Revealing this, we can see now the original purpose of the wall fragment on the south side eliminated by Foerk: this is a section of the south tower of Henszlmann. Thus, opposed to the original intentions of Foerk, his excavations verified the results of Henszlmann.
Figure 4. The relationship of the ground plans of Henszlman and Foerk
84 YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) Obviously, the problem can be solved only with a new excavation. Connected to the recent restorations of the cathedral of Kalocsa, there are new excavations carried out since 2014 within and around the church. In the year 2014 the excavations were led by Gergely Buzás in the interior, the results of which is indicated in his drawing. [18] This drawing supports the single- nave concept and takes over the suggestions of Henszlmann regarding the south-east addition as well as the western parts. We must know that in 2017-18 there were new excavations at the western side of the first cathedral, however, the results have not been published yet. Thus, according to our present knowledge, the first cathedral of Kalocsa was a single-nave building with a semi-circular apse. There were additional rooms on both sides of the chancel, of which the southern one was already identified by Henszlmann (also accepted by Buzás), while the northern one is proved by a wall fragment found by Foerk (but missing from the drawing of Buzás). [19] On the west, a complex architectural structure was added maybe somewhat later (the chronology has not been clarified yet [20]): a space, divided from the nave, was flanked by additional rooms from the south and the north, while west of it an open entrance hall and pair of towers can be identified. This description fits world by world to the second phase of the church of St Pantaleon of Cologne, dating from around 1000, which was the burial place of Empress Theophanu, the widow of Otto II and mother of Otto III. [21] I do not state that there was a direct connection between Cologne and Kalocsa (although it cannot be excluded) but it seems to be evident that the cathedral of Kalocsa followed an architectural type well-known in Ottonian architecture.
Figure 5. The ground plan of St Pantaleon II in Cologne
During his researches, Ernő Foerk was also dealing with the second medieval cathedral of Kalocsa. [22] Its perimeter walls have already been discovered by Henszlmann. According to the reconstruction of Foerk, this building followed the bound system (gebundenes System) with alternating supports. It had a transept with an apse and an ambulatory with radiating chapels, all of them with semi-circular forms. The reconstruction drawings of Foerk represent a typical Romanesque church with a crossing tower, portals decorated with jambs, rose windows and small round turrets.
YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) 85 Figure 6. Kalocsa II according to the reconstruction of Enrő Foerk
Foerk pointed out that the closest analogy of this ground plan can be found in South-Western France in the Benedictine priory church of Avesnières (now part of Laval town), where on the site of an earlier church, the still standing building dates from the twelfths century. The similarity is so obvious that Foerk suggested direct connection. According to his assumption, the master of this church, built in 1140-47, must have participated in the crusader army of King Louis VII of France, which passed Hungary in 1148. Thus the knowledge of the French architect could have been used in Kalocsa, too.
Figure 7. The ground plan and eastern view of the priory church of Avesnières
The similarity is really breath-taking; however, this results from the fact that the reconstructions of Foerk are in fact based on the church of Avesnières. It is less important for us that the French building is the result of a longer creation process and only the eastern parts date form around 1140 while the transept is from 1170, the nave being drastically restored at the end of the nineteenth century. [23] It is more significant to underline that the reconstruction of Foerk was intentionally invented against the ideas of Henszlmann. According to the assumption of Henszlmann, the second cathedral of Kalocsa was built in the first half of the thirteenth century commissioned by Archbishop Ugrin (1219-1241). Opposed to this suggestion, Foerk established again an architectural historical conception. With the semi-circular forms of the apses and ambulatory and with the bound system he classified the building as typically Romanesque.
86 YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) He also drew the conclusions: if a church with ambulatory was built in Hungary around 1150, then it is earlier than anything in Germany where the first ambulatory was applied at the St Godehard of Hildesheim, finished in 1172. [24] It seems that this concept of Foerk is outdated, too. According to recent scholarship, the polygonal apse and ambulatory is more probable. [25] This has been proven by the newest excavations. It became evident that the polygonal walls of the Baroque apse are standing on the medieval fundaments, its pilasters replacing the medieval responds. This detail has an important consequence: polygonal apses with semi-circular radiating chapels are known from Early Gothic churches. This is in accordance with the stone carvings which prove the connections of Kalocsa with such important Early Gothic architectural centres of Hungary as Esztergom, the Cistercian Abbey of Pilis or the Abbey of Vértesszentkereszt. Based on this observation, the dating of the second cathedral Kalocsa should be moved to the early thirteenth century, in the period of Archbishop Berthold (1206-1219, brother-in-law of King Andrew II) or Archbishop Ugrin.
Figure 8. Kalocsa II according to the reconstruction of Ernő Marosi
What is the final conclusion of all these observations? Ernő Foerk was a learned architect, an architectus doctus, dealing professionally with the history of architecture. This is proved by his publication activity, including the monography of the cathedrals of Kalocsa printed in 1915, [26] the analysis of the architectural types of Romanesque churches of Hungary from 1926 [27] or the overview of the history of Hungarian architecture dating from 1929. [28] Foerk rightly criticised the old, outdated conceptions of Imre Henszlmann, formulated a half century before. According to Henszlmann, Hungarian architecture followed Germany and France but only with 50 or 100 years delay. Opposed to this idea, Foerk compared Hungarian churches to the contemporaneous buildings and argued that their prototypes can be found in Italy (as that of the first, Early Christian type cathedral) or in France (as that of the second cathedral). Even in this case Hungary must have preceded Germany. Although according to our present knowledge, none of the hypotheses of Foerk can be accepted, since the first cathedral followed Ottonian models while the second was built in Early Gothic style at the beginning of the thirteenth century. Nevertheless, he was right in his general perception. Monuments of Hungarian architecture should be compared to architectural tendencies of their own age, revealing their real significance. That is clear in the case of Kalocsa and Foerk correctly realized its significance. The first cathedral is comparable to the most modern imperial buildings of the leading power of Europe while the second cathedral was the first and only Early Gothic cathedral in East Central Europe, which was followed only a century later.
YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) 87 references
[1] Foerk, E., Petrovácz, Gy., A kalocsai érseki főegyházmegye újabb templomépítkezései 1907-1911, Kalocsa: Élet Ny., 1912.
[2] Magyar katolikus lexikon XIV. (Titel–Veszk). General ed. Diós, I.; ed. Viczián, J., Budapest: Szent István Társulat,
2009, http://lexikon.katolikus.hu/V/V%C3%A1rosy.html
[3] Városy, Gy., Astricus sedi suae Colocensi servatus, Kalocsa, 1879
[4] Foerk, E., A kalocsai székesegyház, Magyarország Műemlékei IV (1915), 43-70. [5] Diary of Ernő Foerk (a type-written copy is available in the Hungarian Architectural Museum), 31., 02/08/1906. Foerk visited the Archbishop in September personally and started to measure the cathedral with Petrovácz, ibidem, 20- 23/09/1906. I wish to express my gratitude to Eszter Baldaváry and the Museum for their help during my research. [6] Diary, op. cit. 34., 26/07/1907. [7] Diary, op. cit. 35., 31/12/1907. [8] Diary, op. cit. 36., 28/02/1908. [9] Some modifications were discussed between Frigyes Schulek and Ernő Foerk. Diary, op. cit. 38., 28-29/12/1908. The minutes were verified by Foerk on 15/01/1909. [10] Diary, op. cit. 40., 29/09/1909. [11] Diary, op. cit. 42., 1-/03/1910. On 28 March Foerk travelled to Kalocsa where the works have been started on 29/03/1910. [12] Diary, op. cit. 49., 4/10/1911. Archbishop Városy died in the previous year therefore the festive mass was celebrated by the new archbishop, János Csernoch (1911-1913).
[13] Foerk, E., A kalocsai Szt.-Istvánkori székesegyház érseki sírja, Archaeologiai Értesítő 31 (1911), 19-33.
[14] Buzás, G., A kalocsai érseskír azonosítása. Archaeologia – Altum Castrum 2014. http://pannonhalma70-74.gportal.hu/ portal/pannonhalma70-74/upload/251068_1397808574_08875.pdf. The majority of previous research regarded the tomb as that of Archbishop Saul (1192-1201).
[15] Henszlmann, I, Die Grabungen des Erzbischof von Kalocsa Dr. Ludwig Haynald, Leipzig, 1873; cf.. László, G. M.,
Henszlmann Imre és a kalocsai székesegyház 1869-es régészeti feltárása, in: Kalocsa történetéből. Ed. Koszta, L., Kalocsa: Kalocsa Város Önkormányzata, 2000, 75-95.
[16] Foerk op.cit. 1915, 49-51.
[17] For the comparison of the two ground plans, see László op.cit. 92. and Szakács, B. Zs., Az államalapítás korának építészete Magyarországon, Műemlékvédelem 44 (2000), 67-74.: 68.
[18] Tóth, E., Buzás, G., Magyar építészet I. . A rómaiaktól Buda elfoglalásáig, Budapest: Kossuth, 2016, 58.
[19] Foerk op.cit. 1915, 50, fig. 71.
[20] This part of the building is dated to the second third of the 11th century by Buzás op.cit. 2016, 58.
[21] Kosch, C., Überlegungen zu vorromanischen Westwerken und ihrer in der Stauferzeit veränderten Gestalt und Funktion
(Ausgehend von St. Pantaleon in Köln), in: Kunst und Liturgie im Mittelalter. Ed. Bock, N. et al. (Römisches Jahrbuch der Bibliotheca Hertziana, Beiheft 33), München: Hirmer, 1999/2000, 101-120.
[22] Foerk op.cit. 1915, 51-62. [23] Prieuré de bénédictines, église paroissiale Notre-Dame, basilique Notre-Dame-d’Avénières, notice no IA53000047, Base Mérimée, Ministère français de la Culture, http://www2.culture.gouv.fr/public/mistral/merimee_fr?ACTION= CHERCHER&FIELD_1=REF&VALUE_1=IA53000047; Basilique Notre Dame d’Avesnières, Diocèse de Laval, http://archive.wikiwix.com/cache/?url=http%3A%2F%2Fwww.diocese-laval.fr%2Fparoisses%2Fla-trinite-avesnieres- cordeliers%2Fet-aussi%2F4552-decouvrez-la-basilique-notre-dame-d-avesnieres.html; https://commons.wikimedia.org/ wiki/File:Plan_basilique_Avesni%C3%A8res.svg
[24] Foerk op.cit. 1915, 56.
[25] Marosi, E., A második kalocsai székesegyház néhány művészettörténeti kérdése, in: Kalocsa történetéből.
Ed. Koszta, L., Kalocsa: Kalocsa Város Önkormányzata, 2000, 51-68.; Takács, I., Egy eltűnt katedrális nyomában –
Újabb töredékek a 13. századi kalocsai székesegyházból, in: A középkori Dél-Alföld és Szer. Ed. Kollár, T., Szeged: Csongrád Megyei Levéltár, 2000, 305-336.
[26] Foerk op.cit. 1915.
[27] Foerk, E., Árpádkori templomaink típusai, A Magyar Mérnök- és Építész-Egylet Közlönyének Havi Füzetei 3 (1926), 113-127.
[28] Foerk, E., A magyar építőművészet rövid története, Kecskemét: edition of the author, 1929.
88 YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) 10.2478/jbe-2019-0016
tHe Survey ProgrAM oF ernő Foerk on tHe türbe oF Pécs
Gergő Máté Kovács,1 Krisztina Fehér2
1PhD student, Department of History of Architecture and Monument Preservation, Budapest University of Technology and Economics, Budapest, Hungary [email protected]
2 PhD student, Department of History of Architecture and Monument Preservation, Budapest University of Technology and Economics, Budapest, Hungary [email protected]
Abstract: Ernő Foerk (1868-1934) born 150 years ago has significant oeuvre in the field of monument preservation and architectural education. As professor, one of his achievements was the organisation of summer survey camps named as ‘szünidei felvételek’ (vacation records) which was also accessible in published form. In the year of 1917 under his supervision, his students have surveyed all the scored Ottoman monuments of Hungary. In the following year these survey drawings were published with a brief summary of the history of Ottoman architecture in the territory of Hungary. Our paper is to submit the general circumstances of the Ottoman survey program supervised by Ernő Foerk with its historical background and the analysis of the methodology of the survey by the example of the türbe of Pécs.
Keywords: History of Ottoman Architecture, Hungarian-Turkish Architectural Relations, türbe of Idris Baba, monument survey, methodology
1. INTRODUCTION
Strongly inspired by the approach of Friedrich Schmidt and Imre Steindl, Foerk has started his career at Joseph Polytechnicum, and at Building Industry Academy (Építőipariskola), which has later become the Hungarian Royal Public Higher Architectural Industrial School (Budapest Magyar Királyi Állami Felső Építőipari Iskola). At the same time in 1911 he became the member of the National Committee of Monuments (Műemlékek Országos Bizottsága, MOB) [1]. His most significant publication works had close connection to his educational activity presenting the survey of several historical monuments. From the year of 1912, the Hungarian Royal Public Higher Architectural Industrial School announced the so-called ’Vacation Surveys‘ for its students with the supervision of Foerk. In 1912 and 1914, the summer surveys were organised in Transylvania, and in 1913 in Northern Hungary [2]. Between 17-29th June 1917 supported by the Hungarian state and the MOB, Foerk supervised a study-tour with the aim of surveying and the Ottoman buildings in Bács, Pécs and Szigetvár. Ottó Szőnyi has also participated in the journey as an architect of the MOB. In 17th September 1917, Foerk noted in his diary that the text of the ‘Turkish Booklet is ready’ as a summary of his studies [3].
YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) 9 This work published by Foerk was not the first catalogue which mentioned the Ottoman buildings of Hungary, since the research of several scholars had already covered the subject of Ottoman artefacts from the 17th century [4]. In 1855, a list of the monuments of Buda prepared by the Lieutenancy of Buda and edited by Antal Auguszt, has already mentioned the tomb of Gül Baba. Besides, in the same year, a summary of the Ottoman buildings was published in Vasárnapi Újság [5]. In 1867, during the official visit of Sultan Abdülaziz, the doctor of Császár Bath, Franz Xaver Linzbauer, as well as Lajos Némethy also published a summary of the Ottoman buildings of Buda [6], and the Péter Gerecze’s inventory of historical monuments in 1906 included Ottoman heritage [7]. Besides these scholars, Foerk was the first architect to research this topic in a wider range, enriching the aspects with an architectural point of view, with the aim of covering the whole country, and moreover evaluating it in a wider context [8]. Before the description of his works on the Ottoman buildings, firstly the brief historical background of his survey shall be taken stock of.
2. THE SURVEY PROGRAM OF ERNŐ FORK ACCORDING TO THE ASPECT OF THE HUNGARIAN – TURKISH RELATIONS OF THE AGE
Foerk has supervised and managed the survey of the Ottoman buildings with the aim of its scientific research, however, the introduction of the collection contains interpretation in an ideological way. The introduction begins with the definition of his task as the activity of the Turks in Hungary used to be adjudged according to military aspects - as Foerk writes-therefore, the cultural aspect also has to be emphasized. However, Foerk describes the additional aim of this activity as “supplying justice to our closest relative of genus’ [9], since where “they have settled, a new culture has been planted’ which ‘differed from the civilisation of the Western nations in appearance, but supplied equivalent to the people of the conquered provinces’. Therefore, the Turanian interpretation is visible in his introduction, which is a general feature of the similar works of the age. The political relations of the end of the 18th century resulted a more suggestive European interest on the art and architecture located in the East. Despite its complex and varied features, this romantic interest and unique perception of the age can be covered with the term of ‘Orientalism’. Since the Ottoman Empire has covered the significant part of the aforementioned territory, the artistic and architectural artefacts oftentimes refer to the art in the Ottoman lands. The same period the Ottoman Empire and the Austro-Hungarian Monarchy has been faced with similar political situations, and approaches. Among the various pan (pangermanic, panamerican, panslavic) movements, Hungarians were also tend to research their hypothetical origins. It was also manifested in researching the common cultural and architectural heritage, which was toned with political and ideological aspects resulting from Turanism [10], referring to Inner-Asia; mainly, to the nations of Turkic origin [11]. In Hungary, the institutionalised appearance of Turanian ideology was officiating under the name of the ‘Hungarian Turanian Society’. The partnership of ‘Tahsil-i Sanayi Cemiyeti’ (Industrial Education Association) in Istanbul also supported young engineers to apply for short-term scholarships in Hungary. Moreover, the issue of the students came to the territory of Hungary for education was officially declared by the circular on the Duties of the Oriental Culture Centre and the education of Turkish youths placed in Hungarian Schools, which was launched in 25th August 1916 [12]. During the period, 7 Turkish students were studying at the Hungarian Royal Public Higher Architectural Industrial School , which was recorded in the 1917/18 year Report of the institution. They were: Abdurrahim Ali (class: I a), Ali Djevat (I b), Ismael Kemali (I b), Mustafa Sahin (I b), Kiamil Mehmed (II a), Nuri Muammer (II a) and
90 YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) Rüstem Semih (II a) [13]. However, two students have left the institution, and in the 1918/19 academic year continued their education in the Royal Joseph Polytechnicum - one of them was Semih Rüstem, according to his course book [14]. The three Turkish students, who participated at the surveying programs were Mehmet Kamil and Mustafa Sahin and Semih Rüstem [15]. Besides the survey program in the territory of Hungary, Foerk has participated study tours in the Balkans. The tours were organised officially by the Hungarian Academy of Sciences. The main organiser was Pál Teleki, who was the essential member of the Turanian Society’s vice- presidency. One tour was organised directly after the survey trip of Foerk with his students, between 24-27th September 1917 [16]. He travelled to Albania and Serbia. About the journey, one report exist which was addressed to the Hungarian Academy of Sciences [17]. Also, a booklet was published with the title of ‘Balkan Letters’ [18]. His second journey was held after the finishing of the book of the Ottoman buildings’, and the aforementioned presentation of the survey. This journey began on 22nd March 1918, and the location was in Serbia, from Belgrade to Uzice [19]. The result of the Ottoman buildings’ survey program as well as the activity of the Turkish students, has received the attention of the diplomatic representatives of the Ottoman Empire, since counsellor general Ahmet Hikmet and Abdüllatif efendi has visited the Academy in March 1918. The official visit has been recorded in the aforementioned yearbook of the institute [20]. The occasion of the visit was probably the presentation of the Ottoman survey program by Ernő Foerk. According to the diary of Foerk, it was on 13th March 1918 [21].
3. THE OTTOMAN BUILDINGS RECORDED BY ERNŐ FOERK AND HIS STUDENTS
The survey program contained 20 buildings and details from various cities of Hungary (Budapest, Eger, Érd, Pécs, Szigetvár, Bács, Temesvár), both the northern and southern territories and Transylvania. (Figure 1) The drawings were made by 2nd and 3rd year students of the Academy. (See: Appendix) The claim of the effort for completeness has been appeared in the fact, that Professor Ignác Kúnos, the eminent scholar of the Ottoman language and Turkish literature was also involved to the survey works. Some Ottoman inscriptions on the tombstones [22] in Temesvár were registered by Semih Rüstem, who could write in Ottoman, and was translated to Hungarian by Kúnos. It expresses the interdisciplinarity of his program. As an introduction, a summary text was also published written by Foerk, which submits a brief functional typology of the Ottoman buildings. Despite the Turanian ideological aspect of the interpretation, the text attempts to evaluate the age according to the architectural values which has been created by the Ottomans. Also express the fact of the low amount of constructions –‘stagnation’ as he describes- which is explained the continuous wartime and struggles, and also the frequent change of high-level officers - namely the beylerbeys [23]. The value of the work of Foerk was to supply primary architectural resources and database not only for the monument preservation works, but also to educate and transmit the importance of the detailed survey of the buildings for the next generation. And the uniqueness was, that the subject of this education was the building group of Ottoman architecture in Hungary. Moreover, not only the monument preservation was educated according to this program, but this architectural period was inserted to the education of architectural history. In 1929, Foerk publishes the book with the title of ‘The Brief History of the Hungarian Building Art upon Hungarian Monuments’ [24]. This work publishes summaries of 8 architectural periods with examples illustrated also with his own surveys. The aim of the volume is both the education of the architectural history in Hungary prior to monument preservation.
YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) 91 Figure 1. The participants of the survey trip in front of the türbe of Pécs, the main gate of the castle of Szigetvár and the mausoleum of the Zsolnay family in Pécs, in the year of 1917. On the photos we can see Ernő Foerk as well as the three Turkish students wearing fez, source: Archive of Gyula Forster National Heritage and Asset Management Centre)
The book, which is concerned with the Roman, Ancient Christian, Romanesque, Gothic, Renaissance, Baroque architecture and the building culture of the 19th Century devotes a chapter with 10 pages for the Ottoman (according to the denomination of Foerk: Turkish) Architecture in Hungary. There were previous examples, that architectural summaries publish the aforementioned age systematically. However, the significance of the work is, that Foerk adds the Hungarian Ottoman architecture to a book with the general purpose of the education of architectural history. Both his schoolbook, and the survey book, a functional typology is introduced, which contained baths, wells, praying buildings, dervish monasteries and “funeral chapels” (mausolea). Besides the fact that this functional typology can be detailed according to the person of the founder or the building construction, building technology, the typology of Foerk was accurate according to the age.
Figure 2. Survey drawing sketch of the türbe in Belgrade by Ernő Foerk drawn
92 YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) on 26th September 1917, source: MMA MÉM MDK Archives 3/19., 67. The elaboration of the work of Foerk escalates on research of analogues, which fact is expressed in his diary definitely. During his study tour to the Balkans, Foerk surveys Ottoman buildings in Albania and Serbia [25]. Observing his survey sketch made about the türbe in Belgrade, we can see his careful work. The plan and facade are both surveyed - moreover the material of the roof covering is marked. Some details, e.g. the profile of the door is recorded. However, Foerk also recorded the historical interior of the building. On the drawing the ritual coffin in the interior (sanduka) and the two candle holders (șamdan) are recorded. (Figure 2) These object might be only furniture, however in the building type of mausolea (türbe) these are essential functional elements for the complexity of the buildings, therefore it is important to be recorded. Especially the direction of the sanduka, which refers to the direction of the tomb under the surface, since the sanduka traditionally parallel to the tomb. Consequently, in this case the survey method of Foerk is accurate. During the past century, since the survey program, several modifications were made on the buildings- moreover, in some cases the further researches carried out new information on the original function [26]. In the following paragraphs, on the example of the türbe in the city of Pécs, the modifications of the building and the methodology of the survey will be analysed.
4. THE TÜRBE OF IDRIS BABA IN PÉCS
Figure 3. The türbe of Idris Baba in Pécs. South-western and South-eastern view, source: authors’ photos, 2018)
The octagonal planned funeral memorial building – mausoleum – covered with a hemisphere dome built on the grave of Idris baba is located on the North-western part of Pécs [27]. (Figure 3) The building is one of the two, still standing türbe building in the territory of Hungary [28]. Despite the fact that the plan and space structure of the building is adequate to the classical, 15-17 Century Ottoman türbes, the used material represent a provincial feature [29]. The walls are constructed by inhomogeneous stone material. The building has two rows of windows. The dome is covered with ceramics. These three features differ from the other, still standing Ottoman mausoleum, the türbe of Gül Baba, and more typical in the Balkans, as we can see on Foerk’s survey about the türbe in Belgrade. (Figure 2) The original entrance was on the opposite façade to the qibla. Following the Ottoman period, the buildings which were newly erected during the era were mainly vanished. Those buildings which have been remained and visible nowadays,
YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) 93 mainly became private property – or the property of the Jesuit order. The building which was created around the 1600s, became the chapel of the Jesuits around 1690s. Therefore, many modifications were made on them according to functional necessities, as it has happened with the türbe of Idris Baba. Between 1793-1903 the building has functioned as the gunpowder- store of the city. Since 1903 the türbe was the chapel of the children’s hospital. In 1913, István Möller made reconstruction works. The survey program of Ernő Foerk was the first, coherent architectural drawn survey on the building, 4 years following the works of István Möller. In 1942, Gyula Gosztonyi made drawings about the building. Between 1960-61, general archaeological excavations, surveys were made under the leadership of the architect Ferenc Erdei and archaeologists Győző Gerő and Mária Sándor [30]. This was followed by the restoration of the building according to the reconstruction plans of Károly Ferenczy with the aim of submitting its Ottoman conditions [31]. In our present days, the building becomes actual again, since during the last years, discussions have been started about a new restoration project in the near future [32].
4.1 The Description and Methodology of the Survey Drawing Supervised by Ernő Foerk
By the analysis of Foerk’s survey methods, the influence of his professors and colleagues is to be taken into consideration. As the student of the Vienna master-builder, Friedrich von Schmidt and later the colleague and assistant of Imre Steindl, the essential role of monument survey in Foerk’s education was obvious. [33] The methodology of monuments survey has changed quickly through generations. The typical method of the Wiener Bauhütte (led by Schmidt) and the ‘Műegyetemi Építészhallgatók Egyesülete’ (led by Steindl) in the 19th century tended to follow sophisticated artistic features while the drawings of high standard graphics certainly represented a professional knowledge of the structural system of the historical buildings. (Figure 4)
Figure 4. Examples of the drawings of the Wiener Bauhütte, of ’Magyarországi Műemlékek’ by the ‘Műegyetemi Építészhallgatók Egyesülete’ and surveys supervised by Foerk, source: Plan Collection of BME Department of History of Architecture and Monument Preservation, no.102945, 102545, 103767.
However, the purist logic has frequently ignored any modifications of later periods aside from the Middle Ages, thus the survey drawings generally shown a quasi-reconstruction of the building, in other words, an ideal medieval form. In this manner, the geometry and the details of the drawings are highly questionable, hardly showing the real status of the buildings.
94 YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) Being the successor of Steindl’s generation, such as István Möller, Gyula Wälder, Kálmán Lux or Károly Csányi, Foerk’s survey methods have been different from the traditions of the Wiener Bauhütte. As one of Foerk’s colleague in the MOB, Möller has worked out a method arguing with purist principles, by evaluating and accurately documenting each sign of all historical periods. Möller’s survey method has been more practical, serving as the foundation of further restauration works. Foerk however was more likely to follow the traditional principles, that the students of the Wiener Bauhütte and the ‘Műegyetemi Építészhallgatók Egyesülete’ applied. His students’ survey drawings tended to be schematic and in certain details different from the reality, while great efforts have been focused on the aesthetic and graphic quality. The layout inscriptions, titles and dating also has been uniformed and designed, similarly to the 19th-century drawings. (Figure 4) The survey of the türbe of Idris Baba in Pécs from 1917 also follow these features. (Figure 5) The drawings that have been made by Foerk’s student, János Sinogli, [34] serve as important sources regarding the colourful history of the building. Two plans, three sections and the western elevation of the octagonal türbe have been documented. (Figure 5) As one of the most important circumstances of the survey can be mentioned that the türbe was renovated by István Möller four years earlier in 1913 by the order of the MOB [35]. The building has been formerly used as powder tower since 1793 when all its windows and doors were walled up and covered while a new door was opened on the South-eastern façade. [36] Möller has investigated the building and by removing the coating he discovered the traces of the original openings. [37] As the first door from the Ottoman period had been changed for a new stone portal of pointed arch in the 17th century, Möller has identified the building, by mistake, as a Gothic chapel, later modified as an Ottoman türbe. [38] With the intention of collecting all Ottoman monuments of Hungary, Foerk and his students’ survey of 1917 has documented the status of the building right after Möller’s renovation and before any other later modification.
Figure 5. Survey drawings of the türbe of Idris Baba in Pécs. Drawn by János Sinogli, supervised by Ernő Foerk in 1917. Source: Foerk, E. Török emlékek Magyarországban. [Turkish Relics in Hungary] In: A Magyar Királyi Állami Felső Építő Ipariskola Szünidei Felvételei 1912- 1942. Reprint kiadás. [The Vacation Records of Hungarian Royal Public Higher Architectural Industrial School 1912-1942. Reprint Edition.], Budapest, TERC, 2002. 18-20.
4.2 The Comparison of the Current Conditions and the Survey Drawing Supervised by Ernő Foerk
Aside from their documentary value, the drawings have to be regarded with meticulous criticism. Although several latter changes were worked out during the 20th century, comparing the surveys with the current status of the facades, significant anomalies can be detected. The case of the traces of the Ottoman portal can be considered as the most curious.
YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) 95 In Sinogli’s drawings no signs of the original door can be found, however it was certainly discovered by Möller, with notable brick remains marking its original position and rough dimensions. (Figure 6) The lack of these signs in the texture of the North-western wall in the drawings is more noticeable in regard to the theme of the survey program of the year focusing on Ottoman buildings.
Figure 6. Drawing of the North-western façade by Sinogli, supervised by Foerk in 1917 and the current status of the façade (MMA MÉM MDK Plan collection 13213/a, photo and survey drawing of the authors, 2015)
The accurate form of some lintels represents another significant anomaly. Namely in the case of the blind lintel (of a walled up window) of ogee arch in the South-western façade and the upper window of reduced dimensions with a semi-circular lintel in the South-eastern façade, both have been drawn with pointed arch. All these imprecisions confirm that the methodology of the surveys that Foerk has guided were closer to the traditions of the former generations, as similar anomalies also can be detected in the drawings of the Wiener Bauhütte or the edition of ‘Magyarországi Műemlékek’, where sometimes more attention was focused on the overview, the medieval features and the ideal construction of the building than on the exhaustive representation of the correct form of all details. [39]
5. CONCLUSION
The survey program of the Ottoman buildings in the territory of Hungary organised and supervised by Ernő Foerk was not the first catalogue which mentioned the Ottoman buildings of Hungary. However, Foerk was the first architect who researched this topic in a wider range, and an interdisciplinary way, enriching the aspects with an architectural point of view, with the aim of covering the whole country. The survey program surveyed 20 buildings and details from various cities of Hungary made by 2nd and 3rd year students of the Hungarian Royal Public Higher Architectural Industrial School. The value of the work of Foerk was to supply primary architectural resources and database not only for the monument preservation works, but also for education. Both this survey book, and a schoolbook based on his surveys introduced a functional typology based on his surveys. However, he had the intention to research analogues, since during his study tour to the Balkans, Foerk survey Ottoman buildings in Albania and Serbia. This program submitted the first, coherent architectural drawn survey on the türbe of Idris Baba in Pécs 4 years following the restoration works of István Möller, documenting the status of the building right after Möller’s renovation and before any other later modification. Aside from their documentary value, the drawings have to be regarded with meticulous criticism,
96 YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) since the methodology of the surveys were closer to the traditions of the former generations. Similar anomalies also can be detected in the drawings of the Wiener Bauhütte or the edition of ‘Magyarországi Műemlékek’, where sometimes more attention was focused on the overview and the ideal construction of the building than on the exhaustive representation of the correct form of all details. His work also contains an ideological interpretation of Turanism which is not unprecedented in the early 20th century. During the period, 7 Turkish students were studying at his institution, and 3 of them (Mehmet Kamil, Mustafa Sahin and Semih Rüstem) participated at the surveying programs. Moreover, the students and the program received the attention of the diplomatic representatives of the Ottoman Empire in March 1918. Besides the Turanian ideological aspect of the interpretation, and the anomalies of the methodology his work attempts to evaluate the age according to the architectural values which has been created by the Ottomans in the territory of Hungary.
Acknowledgments
We are grateful to Pál Ritoók for his help during our research at the Archives of Hungarian Museum of Architecture and Monument Preservation Documentation Centre (Magyar Építészeti Múzeum és Műemlékvédelmi Dokumentációs Központ, MMA MÉM MDK) Archives. We would like to express our thankfulness having the opportunity to research at the Plan Collection of BME Department of History of Architecture and Monument Preservation. In addition, we are indebted to Gergely Domonkos Nagy for the possibility of participating in the international conference organised for the anniversary of the birth of Ernő Foerk at Szent István University, Ybl Miklós Faculty of Architecture and Civil Engineering.
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YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) 97 [7.] Gerecze, P. Magyarország műemlékei [Monuments of Hungary], Vol 2. Budapest: Hornyánszky, 1906. [8.] Besides the fact that many researches and monographies were made on the Ottoman buildings in Hungary, the next summaries, which directly follows the work of Foerk and contain both survey drawings and archival researches were published in the 1970s-1980 by the Turkish scholar, Ekrem Hakkı Ayverdi and his colleagues, (See: Ayverdi, E. H., Avrupa’da Osmanlı Mimârî Eserleri. Romanya, Macaristan I. [Ottoman Architectural Monuments in Europe. Romania, Hungary I.], İstanbul: İstanbul Fetih Cemiyeti, 1977.) and on the Hungarian side, by Győző Gerő and József Molnár. (Molnár, J. A török világ emlékei Magyarországon. Budapest: Corvina, 1976.; Gerő, Gy.. Az oszmán-török építészet Magyarországon. (Dzsámik, türbék, fürdők). Művészettörténeti füzetek 12. kötet. Budapest, 1980.) [9.] Foerk, E. Török emlékek Magyarországban. [Turkish Relics in Hungary] In: A Magyar Királyi Állami Felső Építő Ipariskola Szünidei Felvételei 1912-1942. Reprint kiadás. [The Vacation Records of Hungarian Royal Public Higher Architectural Industrial School 1912-1942. Reprint Edition.], Budapest, TERC, 2002. 1. [10.] Oláh, P. „A török és a magyar turanizmus kapcsolata a 20. század első felében.” [The Relationship of the Turkish and Hungarian Turanism in the First Half of the 20th Century], Keletkutatás, 2012 spring.; Ablonczy, B. Keletre, magyar! A magyar turanizmus története. [To East, Hungarian! The History of Hungarian Turanism. Budapest: Jaffa, 2016. [11.] The architects working within the ideology of Turanism used Eastern, Central Asian, sometimes Islamic motifs on their works, as we can see on the Museum of Applied Arts designed by Ödön Lechner and Gyula Pártos in Budapest, between 1891-1896, the plans of Historical Hall by Ignác Alpár designed for the Millennial Exhibition competition in 1893. The ‘Hungarian Scientific Institution of Constantinople’ (Konstantinápolyi Magyar Tudományos Intézet) organised scientific, historical research of Byzantine and Ottoman architecture, art history and archaeology, purchasing scholarships for researchers to work in Constantinople. One of the most significant persons who researched at the Institution was the architect Károly Kós (1883-1977), who carried out research not only on the Byzantine and Ottoman architectural heritage of Constantinople but also on the history of its urban development and housing; in this aspect, he emphasised the importance of its preservation. See: Akyürek, G., A Comparative Reading of the Pursuit into the ’East’ for National Expression in Turkish and Hungarian Architecture. In Thirteenth International Congress of Turkish Art, eds.: Ibolya Gerelyes and Géza Dávid, Budapest: Hungarian National Museum, 2009. pp. 59-60.; Kós, K. İstanbul. Şehir Tarihi ve Mimarisi. [Istanbul. Urban History and Architecture]. İstanbul: Yeditepe, 2017. [12.] In Hungarian: 1916. aug. 25. 56.154 VI. B. Körrendelet. A Keleti Kultur-Központ feladata s a magyar iskolákban elhelyezett török ifjak neveléséről. See: the Yearbook of the Academy in the years 1916/17. 65. [13.] Schoditsch, L. A Budapesti M. Kir. Állami Felső Építőipariskola Értesítője az 1917/18. iskolai évről. Huszadik Év. [The Report of the Hungarian Royal Public Higher Architectural Industrial School about the 1917/17 Academic Year. Twentieth Year.] Budapest, 1918. 12-13. [14.] Archives of Budapest University of Technology and Economics, BMEL_EPK_K-17_Szemih_Rusztem, 1918. See: Gümüş, M. D. A Turkish Architect at Technical University of Budapest: Semih Rüstem. Periodica Polytechnica Architecture 46, 1. (2015): 39. th [15.] Semih Rüstem (1898-1946), the important link of the Turkish-Hungarian architectural relations of the early 20 century,has started his education at the first institute for architectural education in the Ottoman Empire: at Sanayi-i Nefise Mektebi (Fine Arts Academy) in Istanbul, after that travelled to Budapest with the support of Turanian Association. He was firstly studied at Hungarian Royal Public Higher Architectural Industrial Schoolaccording to the yearbooks, and participated the survey program - he draw the türbe of Gül Baba in Buda, and the tombstones of Temesvár. In 1918, he continued his education in Royal Joseph Polytechnicum as his course book reports. After returning to Istanbul, between 1929-1933 he worked as freelance architect. As an example, he designed the Adana Slaughterhouse Project and used modernist influenced forms and Ottoman Revivalism, with elements from his experiences of Budapest. The same time, he was instructor at “İstanbul Fine Arts Academy”- as it can be read from his letters wrote to Ernő Foerk. His letters, which he wrote to Ernő Foerk in 1923, were signed in two languages, French and Hungarian, as: Sémihe Rustéme Séfay, Architecte, Professeur, École Imperiale D’Arts et Métiers / Szemih Rusztem Szefai, Építész, Török Császári Felső Építő Ipariskolai Tanár (Semih Rüstem Sefai, Turkish Imperial Higher Construction Trade Academy Instructor). In 1933, Semih Rüstem was appointed to the Ankara Development /Housing Directorate as director. In this position he was an important figure of the Early Republican era of the Turkish Architecture. During the period called the Second National Architectural Movement (Turkish: İkinci Ulusal Mimarlık Akımı), Rüstem worked in the construction of the new republic capital, Ankara, according to the urban plan of German architect, Herman Jansen. In this function, he travelled once more to Hungary: to Szeged, as an article in 1933 reports. Then he described
98 YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) the contemporary development process of the new capital and also remembers to his education in Hungary. See: Magyar, L. Szemih Rüsztem utja a magyar müegyetemtől Ankara közmunkatanácsának igazgatói állásáig [The Way of Semih Rüstem from the Hungarian Polytechnicum until the Director Chair of the Ankara Public Work Directorate]. Délmagyarország, Volume 9 (23rd June 1933), No 140, 4.; Gümüş, M. D. A Turkish Architect at Technical University of Budapest: Semih Rüstem. Periodica Polytechnica Architecture 46, 1. (2015): 38-45. https://doi.org/10.3311/PPar.8205; Aslanoğlu, İ. Erken Cumhuriyet Dönemi Mimarlığı (1923-1938). [The Architecture of the Early Republican Period (1923-1938).] İstanbul: Bilge Kültür Sanat, (1980) 2010.; Bozdoğan, S. Modernizm ve Ulusun İnşası. Erken Cumhuriyet Türkiyesi’nde Mimari Kültür. [Modernism and Nation Building: Turkish Architectural Culture in the Early Republic]. İstanbul: Metis, 2012. The letters of Semih Rüstem wrote in 27th April 1923 can be found in MMA MÉM MDK. [16.] 26th September 1917: Belgrade, 29th September 1917: Üszküb (Skopje), 1st October 1917: Mitrovica, 6th October 1917: Decsán, 7th October 1917: Gyakova (Gjakovë). 9th October 1917: Prizren, 16th October 1917: Szkutari (Skodra), 17th October 1917: Vorra, 20th October 1917: Tirana, 23th October 1917: Skodra, 25th October 1917: Szarajevo (Sarajevo), 27th October 1917: Budapest. [17.] Foerk E. Foerk Ernő építész, a Felső Építő Ipariskola tanára jelentése. [Report of Architect Foerk Ernő, the Lecturer of the Hungarian Royal Public Higher Architectural Industrial School]. MMA MÉM MDK [18.] Foerk E. Balkáni levelek.[Balkan Letters]. Budapest: Korvin Testvérek, 1918. [MMA MÉM MDK] [19.] Vukoszávlyev, Z. Foerk Ernő szerb-ortodox templom-tipológiája. [The Serbian Orthodox Church Typology of Ernő Foerk]. Presented on the Symposium organised for the 150th Anniversary of the birth of Ernő Foerk at Szent István University Miklós Ybl Faculty of Architecture and Civil Engineering, 20th November 2019 [20.] The Yearbook has mentioned them as ‘Achmet Hikmet török főkonzul Ő Exellentiája és Abdul Latif török főpap’ [His Excellency Achmet Hikmet Turkish Consul General and Abdul Latif Turkish ‘Pontifical’] who were ‘excessively interested in the situation of the Turkish youths’. See: Schoditsch, L. A Budapesti M. Kir. Állami Felső Építőipariskola Értesítője az 1917/18. iskolai évről. Huszadik Év. [The Report of the Hungarian Royal Public Higher Architectural Industrial School about the 1917/17 Academic Year. Twentieth Year.] Budapest, 1918. 8. [21.] MMA MÉM MDK Archives, Diary of Ernő Foerk, 73. [22.] Acun, H., Türk Kültüründe Taşlar [Stones in the Turkish Culture], Ankara: Atatürk Kültür Merkezi Yayınları 2014. 16. [23.] Foerk, E. Török emlékek Magyarországban. [Turkish Relics in Hungary] In: A Magyar Királyi Állami Felső Építő Ipariskola Szünidei Felvételei 1912-1942. Reprint kiadás. [The Vacation Records Hungarian Royal Public Higher Architectural Industrial School 1912-1942. Reprint Edition.], Budapest, TERC, 2002. 1. [24.] Foerk E. A magyar építőművészet rövid története: magyar műemlékek nyomán [The Brief History of the Hungarian Building Art upon Hungarian Monuments] Kecskemét, 1929. [25.] MMA MÉM MDK Archives, Diary of Ernő Foerk, 73. [26.] E.g. the rectangular planned, two floored brick building in Szigetvár was named as “ritual church”, however, according to the researches the original function was residential. [27.] Idris Baba belonged to the bektashi order of the dervishes according to the clarification of Balázs Sudár. Sudár, B. A pécsi Idrisz Baba-türbe. [The Türbe of Idris Baba in Pécs], Budapest: Forster Gyula National Heritage and Asset Management Centre, 2013. The identification of the building was made during the early 1900’s according to the records of Ibrahim Pechevi. [28.] The exact amount of the former memorial buildings is still an opened question. According to Ekrem Hakkı Ayverdi, the number of kabrs and türbes are minimum 17. Balázs Sudár imparts 18 for the minimal number of türbes in the territory of Hungary.According to Ekrem Hakkı Ayverdi the number of kabr and türbe buildings are at least 17, according to Balázs Sudár, there was at least 18 türbes in the territory of Hungary, however, this number can be also 22. Ayverdi, E. H., Avrupa’da Osmanlı Mimârî Eserleri. Romanya, Macaristan I. [Ottoman Architectural Monuments in Europe. Romania, Hungary I.], İstanbul: İstanbul Fetih Cemiyeti, 1977. 84.; Sudár, B. A pécsi Idrisz Baba-türbe. [The Türbe of Idris Baba in Pécs], Budapest: Forster Gyula National Heritage and Asset Management Centre, 2013. 39., 70-91. [29.] Kuban, D. Osmanlı Mimarisi [Ottoman Architecture]. İstanbul: Yem, 2007.; Rabb P. ‘We are all servants here!’ Mimar Sinan – architect of the Ottoman Empire”, Periodica Polytechnica Architecture, 44., 1. (2013), pp. 17-37. doi: https://doi.org/10.3311/ PPar.7444.[30.] gerő, Gy. – Sándor, M. Pécs-Idrisz Baba türbe (Nyár utca 8.) Ásatás és épületfeltárás 1960. [Pécs, Türbe of Idris Baba (8. Nyár Street) Excavation and Building Survey 1960.], Forster Gyula National Heritage and Asset Management Centre Plan Archive. Reg. no.: 05461;
YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) 99 [31.] Ferenczy, K. Idrisz Baba türbe. Műemlékhelyreállítás műszaki dokumentációja. [Türbe of Idris Baba. The Technical Documentation of the Monument Preservation], (Országos Műemléki Felügyelőség, 1961.) Forster Gyula National Heritage and Asset Management Centre Plan Archive. Reg. no.: 09349. [32.] The important aim of the new restoration projects is to avoid all the which damages its constructions, to arrange its environment and also to answer some detailed questions which are related to architectural details (e.g. arrangement of interior, covering of floor, construction of the covering of dome, the question of the alem, the size of the windows and parapets, and the question of entrance). [33.] Hajdú, V. – Prakfalvi, E. ed. Lapis Angularis II, Budapest: OMvH Magyar Építészeti Múzeum [Hungarian Architectural Museum], 1998. 17-19. [34.] Foerk, E. Török emlékek Magyarországban. [Turkish Relics in Hungary] In: A Magyar Királyi Állami Felső Építő Ipariskola Szünidei Felvételei 1912-1942. Reprint kiadás. [The Vacation Records Hungarian Royal Public Higher Architectural Industrial School 1912-1942. Reprint Edition.], Budapest, TERC, 2002. 18-20. Between 1914 and 1915, excavations were carried out for the remains of Gül Baba; at the same time, the türbe of Gül Baba was also renovated by István Möller, although this internal and external renovation obliterated much of the detail from previous ages. [35.] Sudár, B. A pécsi Idrisz Baba-türbe. [The Türbe of Idris Baba in Pécs], Budapest: Forster Gyula National Heritage and Asset Management Centre, 2013. 61. [36.] MMA MÉM MDK Archives 303/2 [37.] Sudár, B. A pécsi Idrisz Baba-türbe. [The Türbe of Idris Baba in Pécs], Budapest: Forster Gyula National Heritage and Asset Management Centre, 2013. 61. [38.] Sudár, B. A pécsi Idrisz Baba-türbe. [The Türbe of Idris Baba in Pécs], Budapest: Forster Gyula National Heritage and AssetManagement Centre, 2013. 61.
Appendix: The list of the surveyed Ottoman buildings by Ernő Foerk and his Student
Location Title of drawing Translation Building Drawing type Surveyor student of the title type Acad. Name Year Budapest Buda és Pest The View -gravure- -gravure- Dezső Elsner 3 látképe 1686-ban of Buda and Pest in 1686
Budapest Mecset Pesten. Mosque in Pest. mosque view Károly Barta 3 Fischer von After Fischer Erlach után von Erlach
Budapest Budapest. Budapest. Tomb türbe 2 plans, 1 cross Semih Rüstem 2 Gülbaba sírja. of Gülbaba. section and 1 facade
Pécs Pécs. Jakováli Pécs. Djami djami with 4 plans, 2 cross Gyula Bayer Hasszán Pasa of Yakovali minaret sections, 2 plans and (just initials: dsámija Hasan Pasha details of minaret BGY1917)
Pécs Chasim pascha The Djami of djami with 1 plan, 1 cross Gyula Bayer dsamija Pécsett Khasim Pasha minaret section, 2 facades, in Pécs details (mukarnas) Pécs Pécsi török The Turkish türbe 2 plans, 2 cross János Sinógli 2 sírhely (Turbé.) Tomb of Pécs sections, 1 section, (Turbe) 1 facade
100 YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) Szigetvár Szigetvár The Parish djami 2 plans, 2 cross Sándor Bende 3 plébániatemplom Church of sections, 1 facade and Béla Loksa Szigetvár Szigetvár Szigetvár Szigetvár – details details József 3 – Sztalaktit stalactyte details - munkarnas Merendy III. részletek a from the Roman róm. kath. Catholic church templomból 1:10 Szigetvár Szigetvár Mosque in mosque 1 plan, 2 cross Béla Németh 3 várbeli mecset the Castle of sections, 4 facades, 1 Szigetvár plan of the minaret Szigetvár Szigetvári Ritual church ritual 2 plans, 1 cross Ferenc Schäfer rituális templom of Szigetvár church? section, 1 facade (later identified as residental house) Eger Egri minaré The minaret 3 plans, 1 cross section, József Unger 3 helyreállítva reconstructed 1 facade, details minaret of Eger Érd Török minaré Turkish minaret minaret 3 plans, 1 cross József Merendy 3 section, 1 facade Bács Bács török Ruins of Turkish hamam 2 plans, 2 cross sections Semih Rüstem 2 fürdő romjai Bath in Bács Pécs Részletek a Details in the details details József Merendi 3 Pécsi Városi City Museum Múzeumban of Pécs Bács, Mosómedencék Washing Pools hamam taş József Merendi 3 Szigetvár a Bácsi és from the Baths teknesi Szigetvári from Bács and fürdőkből Szigetvár Buda Török fürdő Turkish Bath ılıca plan and facade Károly Barta 3 Budán Fischer v in Buda after Erlach rajza után the drawing of Fischer v Erlach Budapest Budapesti The Király Bath ılıca 2 plans, 2 cross Mihály Kollár 2 Királyfürdő in Budapest sections, 1 facade Budapest Budapesti The Steam Bath ılıca 2 plans, 2 cross Károly Barta, 3,3,2 Császárfürdő of the Császár sections, details Izsó May, Gőzfürdője Bath in Budapest (mukarnas) József Fischer Budapest A Rudas Fürdő The Rudas Bath ılıca 2 plans, 3 cross Izsó May, Pál 3,3,3 sections, details Schwitzer, (mukarnas) Sándor Bende Temesvár Török sírkövek Turkish mezartaşı 2 facade, details Semih Rüstem 2 tombstones (tombstone) (scripts) (translation: Ignác Kúnos)
YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) 101 10.2478/jbe-2019-0017
ernő Foerk’S SAcreD BuilDingS
Gergely Domonkos Nagy1
1 Institute of Architecture, Ybl Miklós Faculty of Architecture and Civil Engineering, Szent István University, Budapest, Hungary [email protected]
Abstract: The article reviews Ernő Foerk’s career through the perspective of his sacred buildings. Ernő Foerk’s oeuvre accounts for a significant proportion of these works. Most of his accomplished churches were made in a Historicist style with a Latin-cross-shaped plan and facade tower. His designs which remained on paper, however, show a more diverse picture from both spatial and stylistic aspect. A number of plans were marked together with Gyula Petrovácz, however, we should presume Foerk had a more significant role in the artistic formation. In addition to the general historicist language, his works also had unique stylistic features, which were mainly related to the design of towers’ proportions, windows, pediments and spires, and to the use of bricks in facade design.
Keywords: Ernő Foerk, sacred architecture, Historicism, Secession, central space formation introduCtion
Ernő Foerk had a diverse artistic personality, and besides architecture, his work encompasses the fields of applied arts, the monument preservation and even architectural education; after all sacred architecture has undoubtedly a dominant role in his oeuvre. At least twenty-five churches were built according to his plans, and together with the unrealized, the number of sacred works exceeds fifty. When there are so many buildings available, it is possible to ask more comprehensive questions on the basis of an examination of a building group, and thus to evaluate the creative artist. Present article examines Foerk’s work through his sacred architectural works: Can his artistic periods be defined, and are they also periods of different styles? Are there any special features of spatial formation or characteristic elements on his churches?
1. periods of his life
Ernő Foerk’s architectural work covers about four decades. As a result of a closer examination, certain periods can be separated within this. These stages are not the result of some sort of his internal decisions, but of the natural turnings of his lifetime, and of the segment of history he obtained, as it is the case for most people. Five main periods of his creative carrier can be distinguished. The first one is during his scholar years. After graduating from the sculpture department of the Budapest School of Applied Arts, he wanted to move towards architecture, and in 1888 he began to work at the architectural office of József Pucher. One year later he won a royal scholarship to Vienna as a student of Friedrich von Schmidt. In 1892 he returned to Budapest and got a job in Imre Steindl’s office. [1] In these early years, no individually designed and realized
02 YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) buildings were found. Plans as studies, such as a neo-Romanesque church with campanile [2] and a neo-Gothic church designed on the bank of the Béga, from 1891 [3] show, that some of the basic features of his art, which was later incorporated into buildings, were already present in the early years. The next period was the time for design contests and the first major successes. In 1898 and 1899, with Ferenc Schömer, he won the first prize in both the competitions published for planning the Lipótváros synagogue. The synagogue eventually was not built, but since then, Foerk participated numerous architectural design contests and succeeded several times in the following years. (e.g. Breznóbánya and Nagykőrös church towers, Trieste synagogue). Also, in 1898 he received a job at the Hungarian Royal Public Higher Architectural Industrial School, where he worked until his death. [4] In 1905, together with Gyula Petrovácz, he was entrusted with the expansion of the church of Jánoshalma, which was completed in 1906. This was a new turning point in his career. From then until the First World War he had very active years, which resulted numerous buildings. [1] Foerk and Petrovacz were charged one after the other with the construction of smaller or larger parish churches in the diocese of Kalocsa. That was also the time when the Archbishop’s Cathedral was renovated and expanded according to his plan, and in 1913 he began his main work, the Cathedral of Szeged. In addition to further design competitions, he had still time for architectural public life and the launch of summer surveys (from 1912). [5] The time between 1906 and 1914 can be regarded as the zenith of Foerk’s life. This is certainly not only the result of the extraordinary working ability of the 40-year-old architect, but also influenced by the prospering era of Hungary before First World War, giving the profession numerous architectural orders. This very active period was halted by the First World War. As a beginning, the orders started to stagnate, then in the years following the World War, particularly narrow circumstances came, and Foerk had to spend his reserves to maintain his family. In addition to war, the ‘Trianon trauma’ and existential difficulties, private tragedies have also aggravated his situation. Foerk lost his son in the war, who had intended to be an architect. The most arresting heritage of this era are some of his designs remained on paper, that testify exciting space and style experiments. After the war, construction industry began to recover from 1923. From there began Foerk’s last period which lasted until his death. [6] The number of his work was less than before the war, but the projects were much more significant. At the end of this period was the completion of the Szeged Cathedral (1930), and compared to the village churches the scale and demand of these works were quite different. This period contains for example the plans for the church of Angyalföld-Tripolis or the Salesians’ church in Szombathely, or the renovation of the Romanesque church of Ócsa.
2. Stylistic characteristics
It would be tempting to combine stylistic features with the creative periods outlined above. Some stylistic tendencies can be observed on the works that has been built. Although Foerk is defined as an architect of Historicism, which is not far from the truth, there was clearly an art nouveau line in his art before the war, as well as a rise of Modernist phenomena at the dawn of his life. However, if we look at all of his plans and sketches, it can be said that there were features and formal elements that followed Foerk’s entire career. The final version of the plans were mostly influenced by the taste of the customers and the current spirit of the era. In architecture for Foerk, style was a central issue. This is evidenced by his journal records criticizing his contemporaries, for example, through the aspect of the authentic use of style. [6]
YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) 103 Still it often happened, that during the planning of a church, he used different style variations without significant change in the spatial form. Although this seems to contradict the central role of style choice, it is very characteristic way of thinking in Historicism. A good example of the above is the Basilica of Saint Quirinus in Szombathely, where he made various plans in neo-Romanesque [7], neo-Baroque style [8], as well as one leading to Modernism with brick façade [9], and finally an Early Christian-style church.
Figure 1. Various plans to the Basilica of Saint Quirinus in Szombathely [8, 9, 7]
This, after all, should not be a surprise: Foerk as an architect educated in Historicism was in cozy relation with almost every European style. We can find Romanesque, Gothic and Baroque pieces between the churches as well as Renaissance, Byzantine, Art Nouveau and Modernist elements.
Figure 2. Secessionist design of an altar in Tompa [10]
104 YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) Due to the dominance of historizing works, perhaps his Secessionist designs are least known, although many of them were made around 1910. Between them, there are Lechner- like, absolutely Secessionist pieces of art (church of Tompa or the Kossuth-mausoleum plan [4]). Other concepts show the impact of the vernacular branch of Hungarian Art Nouveau, which can be labeled with Károly Kós’s name (eg. the plans of the chapel of Izbég [1] and the church of Zenta [4]), and the effect of Viennese Secession can also be noticed. In the latter case, parallels can be found especially with the architecture of Joseph Maria Olbrich. The staggered arches of the facade of the church named with a „brick” sign in 1902 [1] (surviving on the windows of some historicistic towers, for example in Vállaj or Fajsz), the pediments bounded by complex concave lines (eg. on the tower of Bácsföldvár church or on a plan made in 1912 without a placemark [11]), or one of the design variants of the church of St. Imre in Budapest (1910) [12], especially the gate, the pediments, or chessboard-like decorations all exemplify this connection.
Figure 3. Plan of the Szent Imre church’s facade [12]
At the end of his life, he planned three more notable churches that were realized. Among many of their common features, it should be highlighted, that although at first they seem to have a Historicistic style, they have many elements of Modernism in their details. Perhaps that is why the main historical archetype of their space formation are the Early-Christian basilicas of Rome. This is not only due to their ideologically easily verifiable reminiscences, but because their coffered reinforced concrete slabs were thus “sold” as citation of churches covered with wooden ceiling. Representative churches of the second millennium were covered by vaults, which would have been controversial either with reinforced concrete or with a traditional structure, so the Early Christian forms were a way out of this problem. They presented a way to reference authentically a historical prelude, and to apply a modern structure the same time. In addition, the character of Modernism appeared not only in the use of reinforced concrete flat ceilings in these works, but also in details such as unornamented, rectangular openings or puritan, geometric, flat decoration.
YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) 105 In spite of the various stylistic experiments listed so far, we can find some featuring characteristics of Foerk that run through almost the entire oeuvre and come up regularly. The most well-known of these is the use of bricks that have been mentioned frequently in connection with the common works with Gyula Sándy. Undoubtedly it is characteristic of Foerk, although does not appear on all of his works. Usually, brick was used to form lesenes with arch frieze together with plaster surfaces, but also appears as a material for the entire facade. It was an excellent tool in his hands for the reduced use of historic styling. Special features of his brick architecture are tall pyramidal spires, which are horizontally divided by white stone bands. These kind of spires can be found on the churches of Szeged, Budapest-Angyalföld and Budapest-Törökőr, but the form already appears on the sketches before the war. [13] However, his village churches – obviously because of their costs – did not use such a steeple. The most typical form of these latter is the needle spire with triangular pediments and four pinnacles on the corners (eg. churches of Tiszakálmánfalva, Tavankút, Óbecse, Baja-Kiscsávoly). Elements often used in his art were also the rose-window similar to the style of the Quattrocento in northern Italy, or the simpler round and oval windows, the gable detailed with dwarf-galleries, the pediments bounded by complex concave curved lines, and the triple sectioned tower windows. His neo-Romanesque church designs can be cited as an example of a lifelong accompanying thought. From his student years beginning in 1891, a plan already exists [2], where the facade of the church has three axis, with three semicircular openings at the bottom, three twin windows above it, then a rose window, and finally a triangular gable with dwarf gallery. Sideward it is complemented by a campanile with tall conical spire and four small pinnacles, below them stands a triple, semicircular twin window and a round clock. The essentially same elements of this composition, with minor changes, appear in later plans, such as on one of the church of Temesvár (Timisoara) variants in 1912 [14], the plans of the Szeged Cathedral [4] and the church of Rezső Square in 1914, or on one of the first designs of the façade of the church in Újpest-Tripolis in 1928. [15]
Figure 4. Neo-Romanesque church designs: study (1891) [2], Temesvár (1912) [14] and Szeged (1914) [4]
Perhaps the most exciting feature of Foerk’s individual style is shown, when he deviated from the traditional proportions. It was this, which could give an individual taste to his buildings,
106 YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) even though he was conservative even in its own era with his Historicistic style. Unusual proportions were typically characterized by a greater emphasis on the tower(s), or dome. He readily modified both height and latitude. The above is already evident in his early works: the Pantheon’s plan of 1890 [4] or the plan of the 1898 Synagogue both have a huge dome, several neo-Gothic church designs have a grandiose tower in the central axis of the main façade (eg. [16], [17]), and they all have unusually small lateral spaces. One of the most characteristic changes in the case of his main masterpiece, the cathedral Szeged, compared to Frigyes Schulek’s plan [18], was also the fact that he made the proportion of the towers and the nave more contrasting. Unusual proportions appeared not only in the volume, but also in other details, for example openings. In the example of the towers of Óbecse, Bajmok, Tompa and many other village churches, the proportions of the semi-circular bell window was elongated compared to the commonly used form since the Baroque style.
Figure 5. Neo-Gothic church façade (1903) [16]
3. The designer partner
Foerk did not make most of his building plans alone. This was the case with his sacral buildings also, where in several times Gyula Petrovácz was his partner. Gyula Petrovácz was nine years younger than Foerk, but they began to teach at the Hungarian Royal Public Higher Architectural Industrial School almost the same time. [19] From 1905, a number of village churches built in the area of the Kalocsa diocese were their common projects, but they made plans together in other areas too. The question is, how the work was divided between them, and how much the plans can be considered as Foerk’s artistic results. The exact answer could surely only be given by Foerk or Petrovacz, but they are no longer able do so. Thus, we can create assumptions from plans, Foerk’s diary records and analysis of realized joint and independent works.
YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) 107 Basicly Foerk seems to have played a greater role in artistic shaping and facade design than Petrovácz. Usually Petrovácz’s signature is on the floor plans, while Foerk’s on the facades. Of course, a building plan must be coordinated in every detail, but it shows that the parts that require greater artistic sophistication and better drawing skills usually went to Foerk. From the biographical data Petrovácz is depicted to be an ambitious man, who was able to get the job done and organized. From 1907 he was a technical advisor and the artistic instructor of the Kalocsa diocese [19], and he gained many projects by this position, which he shared with Foerk for more efficient work. Foerk was a much more modest, reserved man who was far from careerist, although he wrote about it bitterly in his diary when he saw meritless people pressing themselves. [6] On the one hand Foerk had to maintain his family and therefore he could sometimes have been forced to get to work, then again he really liked designing churches. Because of these reasons, their co-operation, though it was not conflict-free, stood up until Foerk’s death. In 1910, Ernő Foerk made a plan for an altar to Zirc [20], which was practically copied with modest modifications by Petrovácz in 1924 [21]. Petrovácz signed himself as designer of this altar plan of the Dunapataj Convent. The few changes rather decreased the freshness of the forming than they improved. Gyula Petrovácz’s signature is also on all of the pages of the design of the church in Budapest-Törökőr. At the same time, besides the facades, Ernő Foerk’s long-known monogram can be found [22], so the drawing was certainly made by Foerk, but Petrovácz „sold it”. These examples show that sometimes behind the name of Petrovácz were actually Foerk’s thoughts. We don’t know of any reverse cases.
Figure 6. Foerk’s altar design to Zirc [20] and Petrovacz’s one to Dunapataj [21]
4. Forming of space
In terms of Foerk’s realized churches, the type of latin-cross shaped layout with a tower on the western side is clearly dominant. The crossing sometimes received special accent with a ridge turret (eg. churches of Jánoshalma, Bajmok, Tompa, Vállaj and Tavankút), or a dome in the case of the Szeged Cathedral. Somewhere, the transept is almost aligned with the straight contour of the nave (eg. Vállaj, Fajsz). In the case of some more modest churches, there was no transept, and a simple longitudinal shape with a tower and sanctuary was built (eg. Tiszakálmánfalva, Szuhakálló, Oromhegyes).
108 YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) These space shapes in the Roman Catholic Church have a long tradition. We can say that these churches were built on the basis of the old, well-known “recipe”, in which we can more likely look for the needs and conservatism of the customers rather than the decision of Foerk and Petrovácz. We are mistaken if we assume, on the basis of the relative uniformity of the built works, that Foerk was an unimaginable architect. If we analyze his plans and sketches about unrealized churches and chapels, we find a much more colorful picture: besides longitudinal churches, Foerk had designed several central spaces too. Sometimes these plans have ingenious style elements also. According to the traditions of architectural history, mainly his memorial sacred building- plans were centrally arranged. These could be simple, archetypal forms, where architectural inventions lied more in the mass formation and detailing of the superstructure. The bold, Secessionist draft of the Kossuth-Mausoleum (1901) [4], the monument of the Heroes (1922) [23], which is a squaring space vaulted by a dome with pendentives, a pyramid-like, monolithic block, or several Greek cross-plan variants designed for the cemetery chapel in Pusztaborsód in 1924 [24] are such examples. However, he also produced more complex central-plan designs. The plans of the first synagogue in Lipótváros and Trieste can be mentioned here, [4] but one of the most interesting works is the World War Votive Church planned in 1915. [25] It has a round, central layout extended in the main directions with larger semicircular apse-enclosed side-spaces, and with trefoiled chapels in diagonal directions. It can be characterized by a very clear structure. In the floor plan, two concentric circles provide the frame of the structure, reinforced by eight transverse walls. On the outside of the mass, the buttressing ribs are clearly visible. The outside surface of the dome has coffered proportioning, the tambur is surrounded by concave curved pillars. However, despite the use of reinforced concrete material and forms in the turn of the century style, the building - as usually in Foerk’s works - shows historical reminiscences. Ultimately this votive church is a paraphrase of the Venetian Santa Maria della Salute in reinforced concrete.
Figure 7. World War Votive Church (1915) [25]
YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) 109 The plans of the church of Temesvár-Józsefváros (Timisoara) are interesting, because their variants were designed in different styles and with different space forms. There is a Latin- cross formed between them, with a crossing dome similar to the Szeged Cathedral, [14] also a cross-in-square plan with seven domes [26] and a plan of Renaissance central layout [27] and Baroque style [28]. The latter is a central, octagonal space with a round dome, expanded in eight directions.
Figure 8. Sketch of the church of Temesvár-Józsefváros in Baroque style [28]
The unrealized plans, of course, include not only central, but also Latin-cross shaped churches, similar to the built ones (eg. Kalocsa-Eperföld parish church [29]). In some cases the emphasis of the crossing is much bolder compared to the realized churches. For example, the plan made for Rezső Square (Budapest) in 1914 shows an octagonal crossing tower, similar to that of Szeged, and a huge neo-Baroque dome designed for the renovation of the parish church in Óbuda. [30]
CONCLUSION
In the diverse oeuvre of Ernő Foerk, the planning of sacred buildings played an important role. He often worked together with Gyula Petrovácz, and it is difficult to distinguish exactly the extent of their participation in their joint work. It can be assumed that in most cases we can attribute a significant role to Foerk in the artistic formation. The style of his works is dominated by Historicism and a kind of conservatism, but that does not mean that he has not had different attempts, either in the direction of Secession or in the use of certain Modernist structures. In spite of the traditional style choices, his architecture has its own distinctive features, such as unusual proportions, spires with four turrets, and the use of brick on facades. On the erected works, the Latin-cross layout with facade tower is dominant. In addition, he also planned a number of central space sacral buildings, but these were not realized. Foerk had many plans on paper. We receive a misleading picture of the artist’s personality if we only want to judge through the built buildings, because many plans of Foerk remained on paper. The unrealized designs and their variants sometimes carry the most inventive artistic ideas, and are thus indispensable to create of a complex image of Foerk, for which research still has a lot to contribute to.
110 YBL JOURNAL OF BUILT ENVIRONMENT Vol. 7 Issue 2 (2019) References
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