Transsylvania Nostra Journal

The Conservation of a Mediaeval House in Cluj-Napoca The article may be found on pages 25-45. YEAR XIV. · 53RD ISSUE ANUL XIV. · NUMĂRUL 53 Conservarea unei case medievale din Cluj-Napoca XIV. ÉVFOLYAM · 53. SZÁM Articolul se poate citi în paginile 25-45.

Egy középkori ház helyreállítása Kolozsváron BUILT HERITAGE A cikk a 25–45. oldalakon olvasható. PATRIMONIU CONSTRUIT ÉPÍTETT ÖRÖKSÉG At the 55th anniversary of the establishment of ICOMOS, the article offers an overview of the way in which the principles and recommendations formulated in the Charters and other doctrinal texts elaborated by the pres- tigious institution are reflected in the current Romanian practice. In this context, the article focuses on the issue of the preservation of historical towns and urban areas, representing – in the vision of the key ICOMOS documents – the expressions of certain local cultural identities and the testimonies of the diversity of universal heritage. (Rodica CRIªAN)

La aniversarea a 55 de ani de la constituirea ICOMOS, articolul propune o trecere în revistă a felului în care principiile ºi recomandările formulate în Carte ºi alte documente doctrinare elaborate de prestigioasa instituþie îºi găsesc reflectarea în practica românească actuală. În acest context, articolul se concentrează asupra problematicii conservării oraºelor ºi zonelor urbane istorice, reprezentând – în viziunea documentelor ICOMOS de referinþă – expresii ale unor identităþi culturale locale ºi mărturii ale diversităþii patrimoniului universal. (Rodica CRIªAN)

Az ICOMOS létrejöttének 55 éves évfordulójához érve, a cikk összefoglalót nyújt arról, hogy miként tükröződnek a nagy elismerésnek örvendő in- tézmény által kiadott Kartákban és egyéb dokumentumokban megfogalmazott elvek és javaslatok a jelenlegi román gyakorlatban. A megadott kontextusban a cikk a történeti városok és városközpontok megőrzésének kérdéskörére összpontosít, amelyek – az ICOMOS alapdokumentumaiban megfogalmazott szemlélet szerint – bizonyos helyi kulturális identitások megnyilvánulásait, valamint az egyetemes örökség változatosságának bizonyságtételét képviselik. (CRIªAN Rodica)

n Front cover photo: Panel tile with Italian garland and central rosette, 16th century © Árpád FURU, 2018 n Back cover photo: Gothic chamfered arch and staircase © Xénia FURU, 2018 n Fotografie copertă I: Cahlă placă cu ghirlandă italiană și rozetă centrală, secolul al XVI-lea © Árpád FURU, 2018 n Fotografie copertă IV: Arc gotic cu muchia teșită și intrare la etaj © Xénia FURU, 2018 n Első fedél képe: Kályhacsempe olasz koszorúval és központi rozettával, XVI. század © FURU Árpád, 2018 n Hátsó fedél képe: Gótikus élszedéses ív és feljárat © FURU Xénia, 2018 VÁKÁR Enikő 1 | Greetings *** Preambul *** Köszöntõ

ZOMBOR Szabolcs 2 | Gacsályi református templom Egy ICOMOS-díjas műemlék újjászületése The Calvinist Church in Gacsály The Rebirth of an ICOMOS-awardee Historic Building

Andreea MILEA 14 | Promenada Aiudului Studiu de caz al începuturilor parcurilor publice urbane transilvănene The Aiud Promenade Case Study of the Beginnings of Transylvanian Urban Public Parks

FURU Xénia – FURU Árpád 25 | Egy középkori ház helyreállítása Kolozsváron Az unitárius püspöki háztól a Vallásszabadság házáig The Conservation of a Mediaeval House in Cluj-Napoca From Unitarian Episcopal Residence to the House of Religious Freedom

Felix MARCU – Zsolt CSÓK – Valentin-Sebastian DAN – Bogdan FODOR 46 | Metode de conservare, punere în valoare ºi protecþie a ruinelor cetăþii medievale din Bologa Preservation, Enhancement, and Protection Methods for the Ruins of the Mediaeval Castle in Bologa

Oana Ancuþa BUZURĂ 58 | Conectând trecutul pentru viitor Importanþa proiectării instalaþiilor electrice în cadrul proceselor de „re” pentru patrimoniul cultural Connecting the Past for the Future The Importance of Electrical Systems Design in the “Re-” Processes for Cultural Heritage

Financed by / Finanțat de / Támogató:

Támogató a Romániai Magyar Demokrata Szövetség és a Communitas Alapítvány. n Editor in chief / Redactor şef / Főszerkesztő: SZABÓ Bálint n Subeditor in chief / Redactor şef adjunct / Főszerkesztő-helyettes: Vasile MITREA n Editorial Committee / Colegiul de redacţie / Szerkesztőbizottság: BENCZÉDI Sándor (RO), Rodica CRIŞAN (RO), Hanna DERER (RO), Miloš DRDÁCZKÝ (CZ), Octavian GHEORGHIU (RO), FEJÉRDY Tamás (HU), KIRIZSÁN Imola (RO), KOVÁCS András (RO), Christoph MACHAT (DE), Daniela MARCU ISTRATE (RO), MIHÁLY Ferenc (RO),Paul NIEDERMAIER (RO), Virgil POP (RO), Liliana ROŞIU (RO) n Collaborators / Colaboratori / Közreműködők: ANDRÁS Zselyke, Ana COŞOVEANU, EKE Zsuzsanna, INCZE Éva, Ioana RUS, SZÁSZ Auguszta, WEISZ Attila n Layout Design / Concepţia grafică / Grafikai szerkesztés: IDEA PLUS n Layout editor / Tehnoredactare / Tördelés: TIPOTÉKA n Editorial general secretary: VÁKÁR Enikő n Editorial coordinator: MAGÓ Beatrix n Contact: [email protected] n Publisher / Editura / Kiadó: SC. Utilitas SRL. Str. Breaza nr. 14, Cluj-Napoca, 400253 RO, Tel: 40-264-435489, e-mail: office@utilitas. ro n Publishing-house / Tipografia / Nyomda: Colorprint, Zalău n The articles do not reflect in all cases the standpoint of the Transsylvania Nostra Journal. The articles' content and the quality of the images fall under the authors' responsibility. n Articolele autorilor nu reflectă în fiecare caz punctul de vedere al revistei Transsylvania Nostra. Responsabilitatea pentru conţinutul articolelor şi calitatea imaginilor revine autorilor. n A szerzők cikkei nem minden esetben tükrözik a Transsylvania Nostra folyóirat álláspontját. A cikkek tartalmáért és az illusztrációk minőségéért a szerző felel. n All rights reserved. The Journal may not be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the publishers. 2020 © Fundaţia Transsylvania Nostra n CNCS B granted journal / Revistă cotată categoria CNCS B / CNCS B minősítéssel ellátott folyóirat n ISSN-L 1842-5631, ISSN 1842-5631 (print), ISSN 2344-5084 (on-line) n n GREETINGS n PREAMBUL n KÖSZÖNTŐ

n This year, the sudden onset of the pan- n În acest an, răspândirea bruscă a pan- n Az idei évben a hirtelen elterjedt vi- demic has caught all sectors of the econ- demiei a afectat în mod neaºteptat toate lágjárvány váratlanul érintett minden omy unawares, and our editorial staff is sectoarele economiei, nefiind o excepþie gazdasági ágazatot, ezalól nem kivétel no exception. Despite the fact that the nici redacþia noastră. În ciuda faptului a szerkesztőségünk sem. Annak ellenére, publishing activity itself was not affected că activitate editorială propriu-zisă nu a hogy magát a kiadói munkát nem befo- to such an extent, the already stagnating fost afectată într-o măsură atât de mare, lyásolta olyan nagy mértékben, az ele- distribution has stopped almost entirely distribuþia deja stagnantă a fost oprită ve akadozó terjesztés most szinte leállt, or has been transferred to the online me- aproape complet sau transferată în me- vagy átértékelődőtt az online közegbe. dium. The most important task of both diul online. Cea mai importantă sarcină Mind a tudományos, mind az irodalmi scholarly and literary publishing is to a activităþii editoriale academice ºi lite- kiadói munkának legfontosabb feladata, put the work written by the author at the rare este de a pune opera scrisă de autor hogy a szerző által megírt művet olvas- readership’s disposal, which is provided la dispoziþia cititorilor, ceea ce este asigu- hatóvá tegye az olvasóközönsége szá- by the editors of Transsylvania Nostra in rată de redactorii revistei Transsylvania mára, amelyet a Transsylvania Nostra two languages, via the original text and Nostra în două limbi, cea originală ºi o szerkesztői két nyelven biztosítanak, its translation in a global language. As limbă de circulaþie internaþională. Deoa- az eredeti nyelven, valamint egy nem- until now this activity has taken place rece această activitate s-a desfăºurat ºi zetközelig használt nyelven. Mivel ez a largely in the online sphere, the work până acum în mare parte în sfera online, tevékenység eddig is nagyrészt az online could continue according to the usual ea s-a putut continua conform programu- szférában zajlott, a munka folytatódha- schedule. Also due to funding opportuni- lui obiºnuit. Inclusiv datorită posibilităþi- tott a megszokott menetrend szerint. Az ties, we are able to ensure the journal’s lor de finanþare, putem asigura calitatea idei évben a pályázati lehetőségeknek is scientific quality this year as well. In ac- ºtiinþifică a revistei ºi în acest an. În con- köszönhetően, a folyóirat tudományos cordance with our decision to maintain formitate cu decizia noastră de a menþine színvonalát továbbra is biztosítani tud- distribution, the articles published in the distribuþia, pe perioada acestei crize toa- juk. A terjesztés fenntartására meghozott Transsylvania Nostra journal will be ful- te articole publicate în revista Transsyl- döntésünk értelmében, amíg a válság- ly available on our website for the length vania Nostra vor fi disponibile online pe helyzet fennáll, addig a Transsylvania of the crisis. site-ul nostru. Nostra folyóiratban megjelent cikkek tel- The current issue is devoted to general Numărul actual este dedicat unor pro- jes terjedelmét online elérhetővé tesszük aspects related to historic building con- bleme generale legate de protecþia mo- a honlapunkon. servation, including completed, highly numentelor istorice, astfel include lu- Jelen lapszámunkat az általános mű- successful conservation works, as well crări de restaurare finalizate, de mare emlékvédelmi kérdések boncolgatásá- as ongoing interventions that gave rise succes, precum ºi intervenþii în desfăºu- nak szenteltük, amelyben helyet kaptak to testing new methods and describing rare, unde s-au putut testa noi metode, befejezett, nagy sikernek örvendő hely- the results. At the same time, we recom- prezentându-se rezultatele acestora. În reállítási munkálatok, valamint olyan mend our article on a fashionable histor- acelaºi timp, recomandăm cititorilor ar- megkezdett beavatkozások, amelyek új ic promenade, which was also used for ticolul nostru legat de o promenadă isto- módszerek tesztelésének eredményeit social gatherings, as well as an article rică utilizată ºi pentru întruniri publice, írják le. Ugyanakkor az olvasóközönség on the importance of technical designs precum ºi un articol despre importanþa figyelmébe ajánljuk egy társasági össze- concerning electrical installations for in- proiectelor tehnice de instalaþii electrice jövetelekre is szolgáló, divatos történeti terventions on historic buildings. în cadrul intervenþiilor auspra monu- sétányról szóló cikkünket, valamint a In the second issue of this year, which mentelor istorice. műemlék épületeken zajló, a villamos celebrates the 55th anniversary of the În cel de-al doilea număr al acestui an, beavatkozáshoz szükséges műszaki ter- establishment of ICOMOS in Warsaw, cu ocazia împlinirii a 55 de ani de la con- vek fontosságát hangsúlyozó cikket. those interested will be able to read stituirea ICOMOS la Varºovia, cei intere- Az idei második lapszámban az ICOMOS about the role of non-governmental or- saþi vor putea citi despre rolul organizaþii- varsói alapításának 55. évfordulója alkal- ganisations active within the country’s lor neguvernamentale din þară, precum ºi mából a hazai és nemzetközi civil szer- borders or internationally, including cele internaþionale, inclusiv despre rolul vezetek szerepéről olvashatnak majd az their role in preserving built heritage lor în păstrarea bunurilor de patrimoniu érdeklődők, kitérve a civil szervezeteknek assets in the 21st century. The third issue construit în secolul XXI. Cel de-al treilea az épített örökségi javak megőrzésében approaches the topic of preservation, număr abordează problematica păstră- játszott szerepére a XXI. században. A 3. renovation and use of industrial herit- rii, renovării ºi utilizării patrimoniului lapszám az ipari örökség megőrzésének, age. In the fourth issue, in preparation industrial. În cel de-al patrulea număr, felújításának és hasznosításának kérdés- for the 20th edition of the TUSNAD Con- în pregătirea celei de-a 20-a ediþii a Con- körét járja körül. A 4. lapszámban a 20. ference, we are planning a jubilee is- ferinþei TUSNAD, ne-am propus publi- TUSNAD konferencia ülésszakára készül- sue of the conference, with articles that carea unei ediþii jubiliare a conferinþei, ve, ennek jubileumi kiadását tervezzük a summarise both the conservation of unde se vor putea citi sinteze privind atât folyóiratban, ahol összefoglalót olvashat- historic buildings and the evolutionary restaurarea monumentelor istorice, cât ºi nak mind a műemlékek helyreállításáról, trends of conferences dedicated to his- tendinþele evoluþiei conferinþelor dedicate mind a műemlékes konferenciák átala- toric buildings in light of the experienc- monumentelor în lumina experienþelor kulási tendenciájáról az elmúlt 20 év ta- es of the past 20 years. din ultimii 20 de ani. pasztalatainak tükrében. The editors of the journal wish all our Redactorii revistei doresc tuturor cititori- A folyóirat szerkesztői hasznos időtöltést readers a useful pastime! lor lectură plăcută! kívánnak minden kedves olvasónak!

Enikő VÁKÁR Enikő VÁKÁR VÁKÁR Enikő editorial general secretary secretar general de redacþie szerkesztőségi főtitkár

2020 | 01 1 n OVERVIEW n RAPORT n JELENTÉS

n ZOMBOR Szabolcs1

The Calvinist Church Gacsályi református templom in Gacsály THE REBIRTH OF AN ICOMOS-AWARDEE EGY ICOMOS-DÍJAS MŰEMLÉK ÚJJÁSZÜLETÉSE HISTORIC BUILDING

n Kivonat: Gacsály község református temploma a Felső-Tisza-vidék n Abstract: The Calvinist Church in egyik legszebb középkori műemléke. Átfogó műemléki helyreállítása – kö- Gacsály is one of the most beautiful mediaeval historic buildings of the Upper zel 10 évnyi előkészítő munka után – 2015-ben készült el. A helyreállítást Tisza Region. Its comprehensive historic az ICOMOS Magyar Nemzeti Bizottsága 2019-ben ICOMOS-díjban része- building conservation intervention was sítette. A cikk szerzője a kivitelezési munkálatok projektvezetője volt. A completed in 2015, after nearly 10 years korlátozott terjedelem miatt, a tanulmány a helyreállítás részletes bemu- of preparatory work. The conservation was granted the ICOMOS Award in 2019 tatását mellőzve, a díj laudációjában kizárólag a külön kiemelt részterü- by the Hungarian National Committee of letek ismertetésére szorítkozik. ICOMOS. The author of the article was the project manager of the execution works. n Kulcsszavak: Gacsály, református templom, műemlékvédelem, hely- Due to its limited length, the article is con- fined to describing the areas specifically reállítás, ICOMOS-díj highlighted in the award laudation, without going into a detailed description of the conservation.

Bevezetés n Keywords: Gacsály, Calvinist church, historic building conservation, conservation works, ICOMOS Award n Tündérmező – ahogy MÓRICZ Zsigmond nevezte a Felső-Tisza-vidé- ket. „Az országnak ez a legtávolabbi része, az egész országnak legcsodá- latosabb darabja: a történelmi Magyarországnak utolsó tündéri mezeje.” Introduction 2019. április 11-én levelet kaptunk az ICOMOS Magyar Nemzeti Bi- n The fairy tale land, as Zsigmond MÓRICZ zottságtól: „Örömmel értesítjük, hogy 2019-ben, az ICOMOS Díjbizottság called the Upper Tisza Region: „The most javaslatára, az ICOMOS Magyar Nemzeti Bizottsága a gacsályi reformá- remote region of the country is the most tus templom helyreállítását ICOMOS-Díjjal ismeri el” – szólt az elekt- marvellous part of the entire country: the ronikus levél szövege. A díj odaítélésének rövid indoklása ez volt: „Az last fairy tale land of historical Hungary.” We received a letter from the Hun- ICOMOS Magyar Nemzeti Bizottsága ICOMOS-Díjban részesíti a gacsá- garian National Committee of ICOMOS lyi református templom helyreállítását, amely gondos kutatáson alapult, on April 11, 2019. “We are honoured to megőrizte a száz éve lezajlott felújítás értékeit is, és belső kialakítása új inform you that, upon the recommenda- egységet hozott létre az újonnan feltárt és megőrzött részletek felhaszná- tion of the ICOMOS Awards Committee, the Hungarian National Committee of lásával”. Ezzel a levéllel egy több száz éves történet végére került pont ICOMOS will grant the conservation (1. kép). of the Calvinist Church in Gacsály an Az ezredforduló környékén OLTAI Péter építész barátommal éppen ICOMOS Award in 2019.” – read the let- a nemesborzovai harangtorony visszaépítésének lehetetlennek tűnő ter. The brief motivation for the award said: “The Hungarian National Committee vállalkozásán dolgoztunk (1971-ben a Szentendrei Szabadtéri Múzeum- of ICOMOS grants the ICOMOS Award for ba szállították, 2001-re a másolatát visszaépítettük az eredeti helyére), the conservation of the Calvinist Church in amikor elvetődtünk Gacsályba. Hogy véletlenül fékeztünk-e le a temp- Gacsály, which was carried out based on careful research, has preserved the values lomnál, vagy invitáltak bennünket, már nem emlékszem. Az első benyo- of the hundred-year-old renovation, and its másom az volt, hogy milyen tekintélyes temploma van ennek a kis kö- interior design has created a homogeneity zösségnek! Emlékszem, szörnyű állapotok uralkodtak. A templomtérbe that uses both the newly discovered and belépve mindenhol műanyag fóliaterítéseket láttunk, mert a belső térbe the preserved details.” This letter ended a several hundred-year-old story. (Photo 1). befolyó esővíz ellen így védekeztek. A betonpadló és a falak kizöldültek Around the turn of the millennium, a mohától. Abban az időszakban létezett olyan állami pályázat, amellyel we were working with my architect friend, kis pénzeket lehetett nyerni állagmegóvásra, kutatásra, projekt-előkészí- Péter OLTAI, on the seemingly impossible tésre. Péterrel eldöntöttük, hogy beleállunk a dologba, és kézbe vesszük endeavour to rebuild the belfry of Nemes-

1 General manager at Zombor and Co. Ltd, 1 Építési főmérnők, Zombor és Társai Kft, Magyarország. Hungary.

2 2020 | 01 n OVERVIEW n RAPORT n JELENTÉS

borzova (transported to the Szentendre Open Air Museum in 1971, its copy being rebuilt on its original site in 2001), when we arrived at Gacsály. We cannot remember whether we stopped by the church by chance or we were invited there. We were astonished by the majestic church of this small community! We remember the ter- rible state it was in. Entering the church, we noticed everywhere the nylon foil laid down as they protected the interior against the rainwater that was dripping in. The concrete floor and the walls were green with moss. At that time, there was a government tender, for which one could sub- mit small projects for small amounts of money used for preservation, research, and project preparation purposes. We decided with Péter that we would get involved and take the fate of the church into our own hands. And this is the moment from which we count the more than 10 years that even- tually led to the complete conservation of the church. After several attempts, the con- gregation won a smaller amount of money for survey plans and the historic building research, and in 2006, Juan CABELLO and Zoltán SIMON led the comprehensive research that gave indispensable reference points to the conservation works that followed.

A brief history of Gacsály n The first written document about the settlement dates back to 1264, the name being a toponym derived from a simple personal name (Gottschall – God’s servant), which refers to the relatively early establishment of the settlement. The monastery built in the second third of the 11th century on royal property was presumably bestowed at the beginning of the 13th century as a royal donation on the main branch of the GUT- KELED clan, whose members acquired further estates in Szatmár in the second half of the 13th century and beginning of the 14th century. The first owner was Pelbárt (II) comes, who died without any offspring, but had left a part of his estates n 1. kép: Nyugati homlokzat © KENÉZ Ica to his distant relatives already during his n Photo 1. Western elevation © Ica KENÉZ lifetime, while the other part passed back to the crown. After Pelbárt’s death around 1280, the settlement became property of a templom sorsát. Innen számítjuk azt a több mint 10 évet, amely végül a Michael I, son of Tiba II. Michael I is last templom teljes helyreállításáig vezetett. A felmérési tervek elkészítésére mentioned in 1295. At the beginning of the 14th century, the village is mentioned as és a műemléki kutatások elvégzésére többszöri próbálkozásra egy kisebb his son’s estate. The son of Michael I, Ellős összeget nyert az egyházközség, 2006-ban Juan CABELLO és SIMON (1280-1341), who was the founder of the Zoltán vezetésével elindulhatott az az átfogó műemléki kutatás, amely a GACSÁLYI family, was also vicecomes of későbbi helyreállításhoz elengedhetetlen támpontokat adott. Szatmár in the early 14th century. Accord- ing to the charters delivered in the mid-14th century, the village was already owned by the family members called GACSÁLYI, but Gacsály település rövid története it is also likely that Ellős established his estate court here, where the church con- n A település első írásos említése 1264-ből való, az elnevezés puszta secrated to Saint Ladislaus was certainly személynévből képzett helynév (Gottschall – Isten szolgája), mely tény a built before 1332. The Calvinist Church in Gacsály and the Catholic Church in Zajta hely viszonylag korai megtelepedésére utal. A XI. század második har- stand out among the churches erected by madában épült, fejedelmi udvarhelyen létrehozott monostor feltehetően the GUTKELED clan, being the most beau- a XIII. század elején, királyi adományként került a GUTKELED nemzet- tiful historic buildings in the Erdőhát Re- ség főágához, akik további szatmári birtokaikat a XIII. század második gion of Szatmár.

2020 | 01 3 n OVERVIEW n RAPORT n JELENTÉS felében és a XIV. század elején szerezték meg. Első tulajdonosa (II.) Pel- bárt comes volt, aki utód nélkül halt meg, de még életében birtokai egy részét távoli rokonainak ajándékozta, egy része pedig visszaszállhatott a királyra. Pelbárt 1280 körüli halála után a település birtokosaként II. Tiba fiát, I. Miklóst említik. I. Miklósról 1295-ben olvashatunk utoljá- ra. A XIV. század elején a falut már fiának birtokaként tartják számon. I. Miklós fia, Ellős (1280–1341) volt a GACSÁLYI család megalapítója, aki a XIV. század elején szatmári alispán is volt. A XIV. század köze- pén született oklevelek tanúbizonysága szerint a települést az ekkor már GACSÁLYI előnévvel szereplő családtagok birtokolják, de az is feltéte- lezhető, hogy Ellős itt rendezte be uradalmi központját, ahol 1332 előtt biztosan megépült a feltehetően Szent Lászlónak felajánlott templom. A GUTKELED nemzetség által emelt templomok közül kiemelkedik a ga- csályi református templom és a zajtai római katolikus templom, amelyek a szatmári Erdőhát legszebb műemlékei.

A templom rövid helyreállítás-története n Gacsály temploma a XIV. század elején egyhajós, egyenes szentély- záródású épület volt. Ebből az első periódusból csupán a torony és a templomhajó nyugati falának északi szakasza maradt fenn. A XVI. szá- zad második felében a megtartott román kori toronyhoz a korábbinál n 1. ábra: SHULCZ Ferenc rajza (1868) tágasabb templom épült, sokszög-záródású, támpilléres, boltozott szen- n Figure 1. Drawing by Ferenc SHULCZ (1868) téllyel és sekrestyével. Ebbe a templomba készült a ma is meglévő rene- szánsz pasztofórium is. Ezt tekinthetjük a templom második periódu- sának. 1717-ben tatár csapatok dúlták fel a megye településeit, köztük A brief history of the church’s Csengersimát és Gacsályt is. Az 1717-es tatár betörés következtében a restorations templom súlyosan megsérült, és az 1734-ben kezdődő helyreállításával n At the beginning of the 14th century, the csak 1759-re végeznek. Déli fala, a szentély egy része újjáépült, és a tel- church in Gacsály was an aisleless building jes templom festett, kazettás mennyezetet kapott, amely akkor a térség with a rectangular apse. Only the tower and egyik legnagyobb famennyezete volt a maga 172 táblájával. A XVIII. szá- the northern section of the nave’s western wall survive from this first period. In the zadban történt helyreállítást tekintjük a templom harmadik periódusá- second half of the 14th century, a larger church was built to the preserved Roman- esque tower, featuring a polygonal, vaulted choir with buttresses, as well as a sacristy. The Renaissance tabernacle, still visible today, was created for this very church. This is considered to be the second period of the church’s history. In 1717, Tatar troops dev- astated the villages of the county, among them Csengersima and Gacsály as well. The 1717 Tatar invasion seriously damaged the church, and the restoration works that started in 1734 were completed only in 1759. The southern wall and a part of the choir were rebuilt, and the whole church was given a painted, coffered ceiling that was one of the largest ceilings in the area, featuring 172 coffers. The works completed in the 18th century are considered to be the third period of the church’s history. This state is captured by Flóris RÓMER in his 1864 sketches and notes (Photo 2) and by Ferenc SHULCZ in his 1868 drawings (Figure1). The restoration works performed between 1902 and 1911 were ordered by the National Committee of Monuments and led by Gyula FORSTER, based on the designs of Ottó SZTEHLO (Figure 2). The state funded the works with 2000 crowns, which was not an important amount. However, n 2. kép: Részletek RÓMER Flóris jegyzőkönyvéből (1864) it was almost unprecedented at that time n Photo 2. Pages from the notes of Flóris RÓMER (1864) that state aid should be granted for the restoration of a village church. This resulted

4 2020 | 01 n OVERVIEW n RAPORT n JELENTÉS

n 2. ábra: SZTEHLO Ottó átalakítási terve (1911) n Figure 2. Restoration design by Ottó SZTEHLO (1911)

in the church’s fourth period, which is still nak, ezt az állapotot örökítik meg RÓMER Flóris 1864-ben készült jegy- visible today. Péter OLTAI was the archi- zetei és vázlatai (2. kép), valamint SHULCZ Ferenc 1868-ban készült tectural designer of the latter conservation. rajzai is (1. ábra). Az 1902 és 1911 közti felújítást a FORSTER Gyula által “This renovation respected the image of the vezetett Műemlékek Országos Bizottsága (MOB) végeztette, SZTEHLO building created one hundred years ago, essentially retaining the volume, elevation, Ottó tervei szerint (2. ábra). A hivatal a helyreállításhoz 2000 korona and roof, this time with tile roofing, but at támogatást nyújtott, amely bár nem volt túl nagy összeg, de abban az the same time several earlier details were időben szinte egyedülállónak számított, hogy egy vidéki templom hely- displayed.”– read the laudation of the ICO- reállítása állami támogatásból valósuljon meg. Ekkor alakult ki az épü- MOS Award, and then it continued: “a thin plaster coating runs on the masonry, ren- let negyedik periódusa, amelyet ma is látunk. A legújabb helyreállítás dering the traces of earlier periods readable. tervezője OLTAI Péter építész volt. „Ez a felújítás tiszteletben tartotta The southern wall now displays a Gothic a száz évvel ezelőtt kialakult képet, lényegében megmaradt a tömeg, window. The interior received a new brick a homlokzat és – az ezúttal cserépfedésű – tetőidom, ugyanakkor több flooring, and the former floor level was restored under the gallery. The ground plan korábbi részlet is bemutathatóvá vált” – olvashatjuk az ICOMOS-díj of the first period was outlined on the nave laudációjában, amely így folytatódik: „a falakon felületkövető vékony floor. The slab was raised to its former lev- vakolat készült, amely olvashatóvá teszi a régebbi periódusok nyomait. el. Some of the built-in secondary remains have been removed, and the exhibition A déli falon lehetővé vált egy gótikus ablak bemutatása. A belsőben új compiled from these can be seen under téglaburkolat készült, a karzat alatt visszaállt az egykori padlószint. A the gallery. Upon the current conservation, hajó padlójában jelölték a templom első periódusának alaprajzát. A fö- only 46 coffers could be kept from the orig- dém egykori szintjére emelkedett fel. A feltárt másodlagosan beépített inal 1759 ceiling made up of 172 coffers, which were incorporated into the new cof- maradványok egy részét kibontották, az ezekből összeállított kiállítás a fered ceiling in an ingenious manner.” karzat alatt tekinthető meg. Az eredetileg 172 táblából álló, 1759-ben ké-

2020 | 01 5 n OVERVIEW n RAPORT n JELENTÉS szült mennyezetből a mostani helyreállításkor már csak 46 kazetta volt megtartható, amelyeket szellemes módon foglaltak bele az új kazettás mennyezetbe”.

Épületkutatás-összefoglaló n Egy megalapozott műemléki helyreállítás elengedhetetlen része az alapos és mindenre kiterjedő műemléki kutatás. Ez a munkarész tör- téneti-művészettörténeti kutatásból és a helyszínen végzett régészeti feltárásokból áll. A gacsályi templom műemléki kutatásai két ütemben készültek: a kivitelezést megelőző kutatások 2006–2010 között, míg a kivitelezés közben végzett vizsgálatok 2014-ben. A kutatómunkát Juan CABELLO és SIMON Zoltán régészek végezték. A műemléki kutatás eredményei megfelelő támpontot adtak az épület történeti periódusainak (3. kép) hiteles megkülönböztetésére és bemuta- tására (falakon, padlóban), a középkori járószintek meghatározására (torony- és karzatalj), a tetősíkok és épülettömegek pontosítására. A helyszí- nen végzett kutatómunka két részből állt: a falakon végzett kutatásokból n 3. kép: Műemléki tábla. Juan CABELLO és SIMON (belső tér és homlokzat), valamint kutatóárkok húzásával a padló alatti Zoltán műemléki kutatásai alapján készített kutatási képletek vizsgálatából (korábbi alapozások, padlószintek). alaprajz az egyes építési periódusok szemléltetésével © KENÉZ Ica n Photo 3. Monument plate. Layout based on the Első periódus: research carried out by Juan CABELLO and Zoltán A legelső templomnak csupán a tornya, valamint a toronyhoz csat- SIMON, highlighting the construction periods © Ica KENÉZ lakozó nyugati hajófal északi szakasza maradt fenn. A kutatás során viszont sikerült feltárni a hajó északnyugati és délkeleti sarkait támasztó, átlós támpillérek alapozásait, valamint a szentély déli falának alapozási Building research–summary szakaszait. A kutatás során megállapítást nyert, hogy a későbbi bővítés miatt nemcsak az első periódusú templom hajójának és szentélyének fel- n A thorough and comprehensive historic menő falait bontották el, hanem az alapozások nagy részét is kiszedték. building research is an essential part of a well-founded historic building conserva- Azonban az előkerült régészeti jelenségek elég támpontot szolgáltattak tion. This part of the work consists of his- arra, hogy az első épület alaprajzi elrendezését elméletileg rekonstruálni torical and art historical research, as well lehessen. A hajó és szentély magasságát és az ablaknyílások elrendezé- as on-site archaeological excavations. The sét azonban nem sikerült tisztázni. Ennek ellenére elmondható, hogy investigations on the church in Gacsály were carried out in two stages: the research Gacsály első templomát valamikor a XIV. század első harmadában (még prior to the implementation was performed 1332 előtt) az oklevelekben GACSÁLYINAK is nevezett Ellős építtette. between 2006 and 2010, while the investigations during the implementation in 2014. The research was carried out by archaeol- Második periódus: ogists Juan CABELLO and Zoltán SIMON. Ahogy azt már korábban említettem, az első periódus templomának The outcome of the historic building re- hajóját és szentélyét elbontották. Helyén egy új, a korábbinál hosszabb és search offered appropriate reference points szélesebb templomot emeltek. Az új hajó keleti végéhez egy diadalívvel for a genuine differentiation and presentation (on the walls and floors) of the elválasztott, a nyolcszög három oldalával záródó, kissé aszimmetrikus buildings’ historic periods (Photo 3), the szentélyt építettek. A szentély sarkait, valamint a hajó nyugati sarkait establishment of the mediaeval floor levels támpillérekkel erősítették meg. A szentély északi oldalához sekrestye (under the tower and gallery), the identifi- csatlakozott. Ha volt is déli kapuja ennek a későbbi templomnak, azt nem cation of the roof angles and of the building’s volume. The on-site research had two lehetett igazolni (az első periódusnál sem). A templom második periódu- parts: the building archaeology research sának ablakairól sem lehetett hiteles információkat nyerni, valószínű, (interior and elevation) and the trial trench- hogy a hajó déli falában három, a szentély déli falában kettő, délkeleti es for analysing the states under the floor falában pedig egy ablak lehetett. Annyi bizonyos, hogy ezek az ablakok (earlier foundations and floor levels). rézsűs kávával rendelkező, valószínűleg csúcsívben záródó, osztott kő- First period: keretes nyílások voltak, azonban magasságuk és pontos szélességük nem Only the tower and the northern sec- ismert. A kutatás során csupán egyetlen részlet, a hajó délnyugati ablaka tion of the western nave wall to which it was attached have survived from the first nyugati kőbélletének kétharmada volt feltárható, a falazatból pedig elő- church. However, the research managed to került az egyik ablakosztó töredéke. A második periódusú templomnak, reveal the foundations of the diagonal but- hasonlóan az épület első periódusához, szintén volt nyugati karzata, de tresses supporting the nave’s north-western a hajó újjáépítésével ezt is átépítették, szélesítették. A szentélyt kőbor- and south-eastern corners, as well as the foundation sections of the apse’s southern dás boltozat fedte, mely trapézorrú bordákból állt. Ekkor készült a szen- wall. The research also revealed that due télyben látható kőkeretes szentségtartó, mely késő gótikus stílusjegyeket to the later enlargement works, not only

6 2020 | 01 n OVERVIEW n RAPORT n JELENTÉS the walls of the first period nave and apse hordoz. A templom falainak belső oldalát sárgásfehér meszelésű, kanál- had been dismantled, but also an important háttal felvitt vakolat borította. A torony emeleti nyílásának kávájában part of the foundations had been removed. However, the archaeological features that lévő évszámok alapján ez a vakolat volt látható 1569-ben, de még a XVII. had been discovered provided sufficient század első felében is. A kutatások során a homlokzatokon eredeti vako- basis for a theoretical reconstruction of the lat nem került elő. first building’s layout. Nevertheless, they did not manage to establish and clarify the height of the nave and of the apse, nor the Harmadik periódus: position of the windows. In spite of this, we A templom a XVII. században már a reformátusok kezén volt, amit can state that the first church in Gacsály az 1600-as évek első feléből származó egyházi edények is bizonyítanak, th was built around the first third of the 14 valamint az 1697-ben született egyházlátogatási jegyzőkönyv is, amely a century (before 1332) by Ellős, also called GACSÁLYI in the charters. gacsályi templomot „Calvinistae administrant” jelzővel illeti. Az újabb építkezést olyan esemény kényszerítette ki, amely az épület addigi ál- Second period: lapotát komolyan megváltoztatta. 1717-ben tatár csapatok dúlták fel a As mentioned before, the nave and apse of the first church had been dismantled. It megye néhány települését, köztük Csengersimát és Gacsályt is. A súlyo- was replaced by a longer and wider church. san sérült templom szó szerinti újjáépítése 1734-ben kezdődött, de csak A somewhat asymmetric choir with a po- 1759-re tudták befejezni. A famennyezet is ebben a periódusban készült, lygonal (three sides of an octagon) ending és valószínűleg ekkor kerülhettek a falakba az elpusztult gótikus temp- was built to the nave’s eastern side, separated by a triumphal arch. The corners of lom faragott kövei is. Az ekkor kialakult állapotokat dokumentálják RÓ- the choir, as well as the western corners MER Flóris 1864-ben készült jegyzetei és vázlatai, valamint SCHULCZ of the nave, were consolidated with but- Ferenc 1868-ban készített rajza. A templom SZTEHLO Ottó tervei alap- tresses. A sacristy was built to the choir’s ján történt utolsó átépítése 1902-ben kezdődött és 1911-ben fejeződött be. northern side. It could not be as curtained whether this later church had a southern A 2014–2015-ben történt átfogó műemléki helyreállítás a SZTEHLO portal (same as in its first period). We do Ottó által tervezett állapotokat megtartva (negyedik periódus), de a ko- not have any genuine information about rábbi periódusokat bemutatva készült el OLTAI Péter tervei alapján. A the second church’s windows either; it kutatások befejeztével a kutatást végző szakemberek rajzos falnézeteket probably had three windows on the nave’s southern wall, two on the choir’s southern készítettek, melyen bejelölték azokat a határokat, amelyek az egyes épí- wall, and one on the south-eastern wall. tési periódusokat meghatározzák. Négy periódust rögzítettek: R (román), It is certain that these had splayed stone G (gótikus), B (barokk) és M (modern). A kutatást összegző rajzok alap- frames with mullions, probably terminat- ed in pointed arches, however, their height ján készültek el az építészeti tervek, melyek pontosan meghatározták az and exact width are unknown. During the egyes periódusok didaktikus elválasztásának módját. A vakolt felüle- research only one fragment, i.e. two-thirds teken a román kori részek vékony habarcsdörzsölést kaptak, a gótikus of the western stone splay of the nave’s szakaszokat durva kanálhátas vakolással, míg a barokk és a modern ki- south-western window was discovered, and a mullion fragment was found in the egészítéseket simított vakolattal jelezte az építész. A torony keleti hom- masonry. The second period church, simi- lokzatán bemutatásra került az egykor volt tetősík lenyomata, a templom larly to the first period of the building, also új téglapadlójában, eltérő méretű és színű téglával be lettek mutatva az had a western gallery, but it was rebuilt első periódus falai, a szentélyben szemléltetésre kerültek az egykor volt and enlarged alongside with the rebuilding of the nave. The choir was covered with a boltozatindítások, az egykor volt diadalív fallenyomatai, valamint be lett stone-ribbed vault, consisting of ribs with mutatva a legutóbbi mennyezet szintje. A torony- és karzatalj padlója az trapezoidal ends. This is the time when the eredeti középkori járószintre lett visszasüllyesztve. stone-framed tabernacle was made, which can be seen in the choir, bearing late Gothic stylistic features. The interior walls of the church were covered with a plaster that Másodlagos kőanyagok, kőrestaurálás was applied roughly with the back of the trowel and then white washed in a yellow- n A műemléki topográfia a templom építőanyagára vonatkozóan az aláb- ish-white hue. According to the dates found bi megállapítást teszi: „anyaga tégla”. A műemléki kutatások során, a va- on the splay of one of the tower’s upper floor windows, this plaster was visible in kolatok leverését követően azonban bebizonyosodott, hogy a templom 1569, and also in the first part of the 17th falaiba másodlagosan felhasznált faragott köveket is beépítettek. Ez a century. During the research, no original „jelenség” különösen az északi hajófal keleti végén és a déli hajófalban plaster was found on the elevations. volt megfigyelhető (4. kép). De a templom padlója alól is került ki olyan Third period: levéldísz-motívumos faragott kő, egykor volt falpillérfejezet, amely a ré- The church was already a Calvin- gészek szerint biztosan nem sorolható a templom egyetlen építési perió- th ist house of worship in the 17 century, dusához sem. Jogosan vetődött fel a kérdés: honnan és mikor kerültek a proven by the ecclesiastical vessels dating back to the first half of the 1600s and by templomba ezek a másodlagos kövek? the protocols drafted on the occasion of the A jelenség magyarázatára két elmélet született. Az épület kutatói szerint 1697 visitation, mentioning the church in a második építési periódusban a templom falai nemcsak téglából épültek, Gacsály as “Calvinistae administrant”. An hanem számos olyan faragványt is felhasználtak az építkezés során, ame- event that seriously changed the building’s state led to new construction works. lyet egy másik épület bontásából nyertek ki. A fellelt nagy alakú kváderek, In 1717 Tatar troops ravaged several set- szárkövek, a falpillér lábazata és törzsének rétegkövei feltehetőleg az alig

2020 | 01 7 n OVERVIEW n RAPORT n JELENTÉS

tlements in the county, amongst which Csengersima and Gacsály, too. The reconstruction proper of the seriously damaged church started in 1734, but ended only in 1759. The wooden ceiling was built in this period, and the carved stones of the damaged Gothic church may have been built into the new walls at this same time. Flóris RÓMER documented the new state in his notes and sketches from1864, and so did Ferenc SCHULCZ in his drawing from 1868. The last modification of the church, based on the designs of Ottó SZTEHLO, started in 1902 and ended in 1911. The 2014-2015 comprehensive historic building conservation was carried out based on the designs of Péter OLTAI, preserving the state designed by Ottó SZTEHLO (fourth period), but still presenting the earlier periods. At the end of the research, the professionals prepared drawings of the walls, on which they marked the boundaries n 4. kép: Másodlagosan beépített középkori faragott kövek az északi hajófalban © ZOMBOR Szabolcs that define each construction period. They n Photo 4. Mediaeval carved stones placed in secondary position in the northern nave wall recorded four periods: R (Romanesque), © Szabolcs ZOMBOR G (Gothic), B (Baroque), and M (Modern). The architectural designs were drawn up on the basis of the drawings summarising 2 kilométerre lévő Császló egykori monostorából származhatnak. A talán the research, which precisely defined the bencésekkel benépesített császlói monostorról tudható, hogy valamikor didactic separation of the individual peri- a XII. század végén alapította a KÁTA nemzetség. Első említése 1341-ből ods. The architect marked the Romanesque ismert, amikor már csak helynévként emlékeznek meg róla. Az 1930-as fragments with a thin plaster coating, the Gothic fragments were plastered rough- években, a mai császlói református templom padozatának cseréjekor, a ly with the back of the trowel, while the felszín alól előkerült nagy alakú faragványokat NÉMETH Péter kutató a Baroque and the Modern additions were monostor faragványaiként azonosította. A gacsályi templom kőrestaurátori smoothly plastered. On the eastern eleva- kutatásainak során KOVÁCS István restaurátor a fenti megállapítással kap- tion of the tower, the imprint of the former roof was presented, in the new brick floor csolatban némi ellenvéleményt fogalmazott meg. Szerinte amellett, hogy a of the church, the walls of the first period XIII. században épült és a középkorban elpusztult császlói monostor kövei were showcased with bricks of a different lennének a falban, csupán három érv szól. Az egyik, hogy a monostor a size and colour, the former vault springers and the wall imprints of the former trium- szomszédban volt, a másik, hogy a helyben talált támpillér (falpillér) sarok- phal arch were presented in the choir, as levél-díszítése miatt XIII. századi kőfaragványnak tekinthető, a harmadik well as the last ceiling level. The floor of érv, hogy a szentély északkeleti támpillérének déli sarkán sarokelem helyett the tower and vault was lowered back to its egy futóelem volt beépítve. A kőrestaurátor szerint a falazatokból kiemelt original mediaeval level. 18 db kőfaragvány (5. kép) egyike sem Árpád-kori, és ilyen korú követ a Secondary stone material, stone falazatokban sem fedeztek fel. A falakban lévő faragványok kőanyagban conservation (szemcsés horzsaköves riolittufa) és stilárisan is egységesek, szinte a teljes templom kőszerkezete megtalálható bennük. A lábazati párkány profilja n The historic building topography makes nagyon hasonlít a kölcsei református templom lábazati párkányához, az the following statement regarding the church’s building material: “its material is viszont nehezen képzelhető el, hogy az is másodlagos helyzetű lenne, és brick”. However, during the historic build- Császlóról vitték volna oda. Az egykori déli kapu élszedett jobb szárköve ing research, after the plaster was stripped, a jelenlegi déli bejárat melletti támpillérbe volt befalazva. Az egykori di- it was found that secondary, reused carved adalív két oldalán rézsűbe metszett, íves horonnyal díszített kövei a déli stones were also built into the walls. This “phenomenon” was noticed in particular at homlokzat középső ablaka alól kerültek ki. A korábbi ablakok kőelemei az the eastern end of the northern nave wall északi és a nyugati falakba voltak beépítve. Az egykor volt szentélyboltozat and at the southern nave wall (Photo 4). But gyámjait a középkorban beszámozták, és illesztési felületükbe bekarcolták underneath the church floor the archaeol- a poligonális szentély alaprajzi vetületének adott szakaszát. A hat darab ogists have also found a carved stone featuring a leaf motif, a former pilaster capital, szentélyboltozat-részletből három darab kiemelésre került, három darab which, according to them, cannot be attrib- helye pedig ismert. A szentély délkeleti sarkában még a boltozatgyám fész- uted to any of the church’s construction ke is előkerült. A kőrestaurátor szerint a templom alaprajzára vetítve való- periods. The question was rightly raised: színűleg kiderül, hogy a falakban fellelt boltozati elemek ehhez a templom- where from and when was the stone material brought to the church? hoz készültek, és a kőfaragványok felhasználásával még az egykori boltozat Two theories were developed to explain virtuális rekonstrukciója is elkészíthető lenne. A legfontosabb érv, amely a the phenomenon. According to the build- „császlói elmélettel” szembehelyezkedik az, hogy a templomhajó déli hom- ing’s researchers, during the second construction period, the walls of the church lokzatának nyugati végén megtalált részleges ablak könyöklője és rézsűs were not only made of brick, but a large béllete in situ helyzetben, középkori falszövetben, az eredeti helyén volt. number of carvings obtained from the dem-

8 2020 | 01 n OVERVIEW n RAPORT n JELENTÉS

olition of other buildings were also used. The large-scale ashlars, jambs, the pilaster’s base, and the stones of its shaft probably came from the old monastery of Császló, only 2 km away. The Császló monastery, possibly inhabited by Benedictine monks, is known to have dated back to the end of the 12th century, having been founded by the KÁTA clan. It was first mentioned in 1341, when it was already only referred to as a toponym. In the 1930s, when the flooring of the Calvinist Church in Császló was replaced, the large carved stone blocks found below the surface were identified by researcher Péter NÉMETH as the carvings of the monastery. During the research on the stone pieces in the church in Gacsály, restorer István KOVÁCS worded a coun- terargument in connection with the above statement. In his opinion, there are only three arguments in support for the idea that the carvings came from the Császló monas- n 5. kép: Falszövetből kiemelt, másodlagos faragott középkori kövek © ZOMBOR Szabolcs tery, built in the 13th century and destroyed n Photo 5. Mediaeval carved stones placed in secondary position, removed from the masonry in the Middle Ages. The first was that the © Szabolcs ZOMBOR monastery was nearby, the other that the leaf ornament on the buttress (pilaster) found on site lead to the idea that it had been carved in the 13th century, and the A fentiek miatt KOVÁCS István úgy gondolta, hogy a megtalált kőanyagok third argument was that instead of a corner egyetlen gótikus periódus termékei voltak (XVI. század), és kifejezetten eh- ornament, a moulding was built in at the hez a templomhoz készülhettek. southern corner of the choir’s north-eastern A kiemelt faragott kövekről gondos felmérési dokumentáció született. buttress. According to the stone restorer, none of the 18 pieces of carved stone re- Tekintettel arra, hogy a déli homlokzaton fellelt gótikus ablak bizonyos moved from the masonry (Photo 5) were részei in situ kerültek elő, felvetődött az igény ennek az ablaknak a részle- from the Arpadian period, and he did not ges rekonstrukciójára. Ennek érdekében a meglévő falazatokból 9 db, egy- find any stone pieces from those times in kori gótikus ablakokhoz tartozó kőfaragványt emeltek ki. Előkerült egy the masonry. The stone carvings in the walls are homogeneous in matter (grained könyöklőrézsű jobb oldali eleme (a 9. északkeleti támpillérből), egy bélle- rhyolitic tuff) and style; they display almost tívelem (a 8. északkeleti támpillérből), hat darab bélletrézsűelem (a temp- the entire stone structure of the church. lomhajó nyugati és északi falából). Az ablak bal szárai eredeti helyzetben The base moulding’s profile resembles the one in the Calvinist Church in Kölcse, but voltak (második periódus), jobb szára másodlagos helyzetben (üveg be- it is highly unlikely that the latter is also fogadására kialakított horonnyal befelé) a harmadik periódusban épült in a secondary position, and that it would falszövetben volt. Az ablak kutatása során ismertté vált, hogy feltehető- have been transferred from Császló as well. leg a XVIII. században (harmadik periódus) az ablak bal oldalának felső The right-handside, chamfered jamb of the former southern portal was walled up in elemeit és a jobb szárat kibontották, az ablakot kelet felé szélesítették, the buttress by the current southern en- lefelé kibontották, könyöklőjét jóval lejjebb képezték ki. A kibontott jobb trance. The stones of the former triumphal oldali kőelemeket fordítva visszatéve, másodlagosan hasznosították. Az arch, bevelled on both sides and decorated új ablak vállmagassága is lejjebb került. A bal oldali kőelemeket a helyü- with scotia mouldings, were discovered under the middle window of the southern kön hagyták, de a könyöklőrézsű visszafordulását és a bélletprofil kiálló elevation. The stone elements of the earlier részeit lefaragták. Az ablakhoz tartozó mérműtöredék és osztósudár nem windows were built into the northern and került elő, de az ablak bizonyosan kétosztatú volt. A déli ablak rekonst- western walls. The corbels of the former rukciója in situ kövekből, a falszövetből kiemelt másodlagos kövekből és choir vault were numbered in the Middle Ages, and the joining surfaces featured the a hiányzó elemek modern (műkő) kiegészítéseiből készülhetett el (6. kép). given section of the polygonal ending’s lay- A falszerkezetekből kiemelt faragott kövekről részletes felmérés, kőkon- out projection. Of the six choir vault frag- szignáció készült. Ezt megelőzően el kellett döntenünk, hogy mely köveket ments, three were removed and three were ítéljük kiemelésre alkalmasnak, azaz mely kövek azok, amelyek felhasz- identified. In the choir’s south-eastern corner,even the corbel’s former position was nálásával értelmezhető rekonstrukciók készíthetők. A déli gótikus ablak identified in the masonry. In the stone re- rekonstrukcióját korábban már említettük. Ehhez 3 db in situ követ és 6 db storer’s opinion, if projected on the church kiemelt másodlagos követ használtunk fel (erre a célra 9 db követ emeltünk layout, it could be revealed that the vault elements discovered in the walls were made ki a falazatból). A maradék kövekből a karzataljban 3 db installáció készül- for this very church, and the former vault hetett el. Ezek az installációk a templomhoz egykor tartozó kőelemekből can be reconstructed virtually by using the készültek. Acéltartókra felszerelve bemutatunk 3 db faragott boltozatvállat carved stone elements. The most important (a 12., 13., 15. jelű kövekből), egy részleges boltozatrekonstrukciót (7. kép) argument against the “Császló-theory” is that the window fragment’s sill and splayed boltvállal és bordákkal (a 16., 17., 19. jelű kövekből) és egy kétosztatú góti- jamb discovered at the western end of the kus ablak részleges rekonstrukcióját (a 10., 11., 18. és 21. jelű kövekből). A nave’s southern elevation were in situ po- kiemelt, de fel nem használt köveket a templomkertben állítottuk ki.

2020 | 01 9 n OVERVIEW n RAPORT n JELENTÉS

sition in the mediaeval masonry, in their original place. Due to the above, István KOVÁCS considered that the discovered stone material was the product of a single Gothic phase (16th century), made for this very church. The discovered stone carvings were thoroughly documented. Given that some parts of the Gothic window on the southern elevation were found in situ, the need for the partial reconstruction of this window arose. For this purpose, 9 pieces of carved stone, formerly parts of Gothic windows, were removed from the wall. They also discovered the right-hand side element of a splayed sill (from the 9th north-eastern buttress), one splayed intrados element (from the 8th north-eastern buttress), and six splayed jamb elements (from the western and northern wall of the nave). The left-handside jamb elements of the window were in their original position (the second period), its right jamb was in a secondary position (featuring a groove for glass panes on the inside), in a masonry section built during the third period. During the window’s research it was n 6. kép: A déli homlokzat részlete a rekonstruált n 7. kép: A kőboltozat részleges revealed that, presumably in the 18th cen- gótikus ablakkal © ZOMBOR Szabolcs rekonstrukciója © VIRÁNYI Zsolt tury (the third period), the top elements of n Photo 6. Detail of the southern elevation, featuring the n Photo 7. Partial reconstruction of the the window’s left-hand side, as well as its reconstructed Gothic window © Szabolcs ZOMBOR stone vault © Zsolt VIRÁNYI right jamb were dismantled, the window was broadened to the east, was dismantled downwards, and it got a new sill, po- Famennyezet sitioned much lower than originally. The removed right-hand side stone elements were repositioned inversely, being used n Az eredetileg 172 kazettából álló famennyezet 1759-ben készült el, in a secondary position. The springline amely a környék legnagyobb mennyezete volt, messze felülmúlva a csen- of the new window was also lowered. The geri, csengersimai és gyügyei társait is. A kazetták ornamentális motívu- left-hand side elements remained in place, mai az itáliai reneszánsz hatását őrzik. Készítőjének nevét nem ismerjük, but the reversal of the splayed sill and the jutting elements of the splay profile were de szinte biztos, hogy a técsői, de inkább a sonkádi (1766) famennye- removed. The tracery fragment of the win- zetekkel hozható kapcsolatba. A templom többek között éppen annak a dow and the mullion were not discovered, még fennmaradt mennyezetnek köszönheti XX. század eleji helyreállí- although the window frame was certainly tását, amelyből akkor még 72 táblát sikerült megmenteni. Az 1902–1911 divided by a mullion. The southern window was reconstructed from in situ stones, között folyó helyreállítás során az MOB álláspontja egy 1911-ben da- secondary stones from the masonry, and tált feljegyzés szerint: „a templom régi festett famennyezete a templom artificial stone additions for the missing egyetlen oly része, melynek fenntartását műemléki szempontból feltétle- parts (Photo 6). nül szükségesnek határoztuk, és csak ennek eredeti helyén leendő fenn- A detailed survey of the carved stones removed from the wall structures, and a tartására engedélyezett a 2000 korona állami segély”. Az akkori hely- stone collection were made. Prior to that, reállítást vezető SZTEHLO Ottó 1911. december 19-én írt jelentéséből we had to decide which stones we would tudjuk, hogy „a mennyezet elkészült, és a régi mennyezetdeszkákból, a like to display, that is, which stones can be used to make meaningful reconstructions. mennyire épen felhasználhatók voltak, felszögeztettek és kereteztettek. The reconstruction of the southern Goth- Így készült a szentélyben egy 32 casettából álló egyenközény, a hajó- ic window has already been mentioned. ban […] 40 casettából”. Tehát akkor 72 kazettát sikerült megmenteniük. For this, we used 3 in situ stones and 6 1959–1960-ban a templom tetőszerkezete megújult, ekkor ismét le kel- removed, secondary stones (we removed 9 stones from the wall for this purpose). lett bontani a korábban helyreállított mennyezeti táblákat. A korábbi 72 From the rest of the stones, we created 3 táblából a tetőfelújítást követően csupán 46-ot helyeztek vissza új, kékre displays under the gallery. These were festett fakeretekbe: 24-et a hajóba, 16-ot a szentélybe és 6-ot az egykor assembled from the stone elements that volt diadalív vonalába. Amikor 2000 környékén először láttam a templo- formerly belonged to the church. We displayed 3 carved vault springers mounted mot, ez a kép fogadott. Egy archív fotó tanúbizonysága szerint az eredeti on steel supports (stones marked no. 12, 13, mennyezet 5–6 m hosszú, 2-3 db fenyődeszkából összeenyvezett táblá- and 15), a partial vault reconstruction (Pho- ból állt (8. kép), amelyekre 4-4 kazettát festettek fel, valószínűleg enyves to 7) featuring a springer and ribs (stones kötőanyagú festékkel. A kazetták alapszíne fehér, a színes virágorna- marked no. 16, 17, and 19) and the partial reconstruction of a Gothic window with a mentikával díszített hosszúkás mezőket négyszögletes fekete keretvonal mullion (stones marked no. 10, 11, 18, and veszi körül. A liliomos, olaszkoszorús, tulipános, szőlőtöves motívumok 21). The removed but unused stones were többször előfordulnak, de ennek ellenére minden kazetta festése más. Az put on display in the churchyard.

10 2020 | 01 n OVERVIEW n RAPORT n JELENTÉS

The wooden ceiling n The wooden ceiling made up originally from 172 coffers was completed in 1759, and was the largest in the area, eclipsing its peers in Csenger, Csengersima, and Gyügye. The ornamental motifs of the coffers reflect the influence of the Italian Renaissance. The craftsman’s name is unknown, but it is almost certainly connected to the wooden ceilings in Técső, or rather Sonkád (1766). The church owes its restoration in the early 20th century to this very ceiling, from which 72 coffers could be saved at the time. During the 1902-1911 intervention, the standpoint of the Hungarian National Committee of Monuments, recorded in 1911, read: “the old painted wooden ceiling of the church is the only part of the building, which we deem absolutely necessary to be preserved from a historic building standpoint, and the 2000-crown state aid is granted only for its on-site preservation”. Ottó SZTE- HLO, leading the restoration works wrote on December 19, 1911 that “the ceiling is ready, and the old ceiling boards were nailed and framed, in as much they were entirely re- n 8. kép: Az 1902–1911 között lebontott famennyezettáblák. Forster Gyula Nemzeti Örökségvédelmi usable. This is how we made the 32-coffer és Vagyongazdálkodási Központ fotótára, F 10894 parallelogram in the choir and the 40-coffer n Photo 8. Coffers of the wooden ceiling dismantled between 1902 and 1911. Gyula Forster National one in the nave”. Thus, they managed to pre- Centre for Cultural Heritage Management – Photo archive, F 10894 serve 72 coffers. Between 1959 and 1960, the church’s roof structure was repaired, and that is why they had to dismantle the ceiling coffers that had been restored earlier. From the eredeti méretű mennyezeti táblákat a XX. század eleji helyreállításkor earlier 72 coffers only 46 were re-positioned külön-külön kazettákra szétfűrészelték, az így szétválasztott mennyezeti after the repairs, in new, blue frames: 24 in the nave, 16 in the choir, and 6 in line with mezőkből visszamaradt kazetták mérete kétféle lett: a nagyobbak 125×74 the former triumphal arch. When we first saw cm-esek, a kisebbek 105×70 cm méretűek. the church around the year 2000, this was the A megmaradt mennyezet elemeinek restaurálása 2015 júliusában kez- picture that we were greeted by. According to dődött. Első lépésben a deszkák XVIII. századi festett felületeinek kon- an archival photograph, the original ceiling was made of 2-3 pine boards of 5 to 6 m in zerválása történt meg. Ezt követően a letisztított és konzervált deszkák length, glued together (Photo 8), each holding egymáshoz ragasztását végezték el úgy, hogy a korábban meghatározott 4 coffers, probably painted with glue-based kétféle kazettaméret (125×74 cm és 105×74 cm) kialakuljon. A hiány- paint. The background of the coffers was zó részeket borovi fenyőből készített fakiegészítésekkel pótolták, majd white; the long fields adorned with colourful floral motifs were framed with a black line. a mechanikai és száradási sérüléseket (repedések, szeglyukak, kisebb The motifs of the lily, the wreath, the tulip, fahiányok) vizes bázisú fakiegészítő anyaggal javították. Ezután követ- and the vine were recurrent, but still, each kezett az új felületek színkiegészítése és a festett felületek helyreállítása, coffer was painted differently. During the majd védőlakkozása. A helyreállítás során a korábbi vakolt mennyezet rehabilitation works at the beginning of the 20th century, the original-sized ceiling panels helyett visszaépült a kötőgerendákra függesztett új kazettás famennye- were sawed into separate coffers, and thus zet, melynek kazettaméretei úgy lettek meghatározva, hogy a kétféle the obtained coffers were of different sizes: méretű, restaurált mennyezeti táblák az építésztervek szerint utólag el- the large ones were 125×74 cm and the small ones, 105×70 cm. helyezhetők legyenek. A restaurálást követően a mennyezeti táblák az Conservation works started on the re- új kazettás famennyezetbe vissza lettek helyezve, a visszahelyezés sor- maining ceiling elements in July 2015. The rendjének meghatározásához a lebontás előtti állapotot vették figyelem- first step was to preserve the painted surfaces be, tehát egykor a szentélyben, hajóban vagy a diadalív vonalában lévő dating back to the 18th century. The cleaned and preserved boards were then glued togeth- kazetták a visszahelyezést követően is egy csoportba kerültek (9. kép). er to form the two previously defined coffer sizes (125×74 cm and 105×74 cm). The missing parts were completed with pine wood, af- Összegzés ter which the mechanical and drying damages (cracks, nail holes, minor wood defects) were n Szabolcs-Szatmár-Bereg megye területén több mint 80 középkori ere- repaired with a water-based wood filler. This was followed by inpainting the new surfaces, detű templom található. Ebből mintegy 50 épület részben vagy egészben as well as the conservation and varnishing of máig hordozza középkori örökségét: tömegeit, részleteit, falfestéseit (10. the painted surfaces. During the conservation, kép). Ezek a templomok döntően a páratlan természeti és épített örök- a new coffered wooden ceiling was built, sus- séget magában foglaló Felső-Tisza-vidéken állnak. Az elmúlt évtizedek- pended from the tie-beams, replacing the former plastered ceiling. The coffer dimensions ben a történelmi egyházak és Magyarország kormánya nagy hangsúlyt were determined in such a way as to allow fektettek arra, hogy ez a páratlan szépségű épületkincs megújuljon. A

2020 | 01 11 n OVERVIEW n RAPORT n JELENTÉS

n 9. kép: Templombelső a helyreállított kazettás famennyezettel © KENÉZ Ica n Photo 9. Interior featuring the conserved coffered ceiling © Ica KENÉZ

2009-ben létrejött Középkori templomok útja küldetése, hogy a Felső-Ti- sza-vidék egyházi műemléki örökségét a turizmus számára feltárja. Ezt for the subsequent insertion of the conserved ceiling coffers, of different sizes, in accordance a törekvést idegenvezetéssel szervezett, tematikus kerékpáros és buszos with the architectural design. After the con- túrákkal, szakmai előadásokkal, vándorkiállításokkal és tudományos servation, the coffers were reinserted into the igényességű kiadványokkal segítik. Az útvonal 2017-ben elnyerte Ma- new coffered wooden ceiling; the order of their gyarország legígéretesebb kulturális úticélja címet az Európai Bizottság reinsertion was determined by their position prior to dismantling, so that the coffers former- által kiírt „European Destinations of Excellence” (EDEN), azaz a „Kiváló ly located in the choir, nave, or triumphal arch Európai Desztinációk” pályázaton. were grouped together (Photo9).

Conclusions Bibliográfia/Bibliography n There are more than 80 mediaeval church- *** Forster Gyula Nemzeti Örökségvédelmi és Vagyongazdálkodási es in Szabolcs-Szatmár-Bereg County. From n these, about 50 buildings feature partially or Központ fotótára /Gyula Forster National Centre for Cultural Heri- entirely their mediaeval heritage: volumes, tage Management, photo archives. details, murals (Photo 10). Nearly all these n CABELLO, Juan & SIMON Zoltán. 2006. A gacsályi ref. templom churches are located in the Upper Tisza Re- gion, featuring a unique natural and archi- kutatása. Tudományos dokumentáció. Budapest, KÖH Tervtár. tectural heritage. In the past decades, the n GILYÉN Nándor & TOMBOR Ilona. 1986. Gacsály. In: Szabolcs-Szat- historical churches and the Government of már megye műemlékei I., szerk. ENTZ Géza, 407–411. Budapest: Hungary have focused greatly on the renova- Akadémiai Kiadó. tion of this marvellous architectural heritage. The mission of the project Route of Medieval n KISS Margit. 2015. Gacsály református templom famennyezet ka- Churches, established in 2009, is to reveal the zetták restaurálása. Záródokumentáció. Budapest. ecclesiastic heritage in the Upper Tisza Re- n KOVÁCS István. 2014. Gacsály református templom. Hajó déli hom- gion and open it to tourism. This endeavour lokzat: nyugati ablak rekonstrukciója. Kőrestaurátori beszámoló. is supported by organised and guided bicycle and bus trips, presentations, travelling exhi- Miskolc. bitions, and scientific publications. The route n VÁRADY József. 1991. Tiszántúl református templomai II. Borsodi was awarded the title of most promising cul- Református Egyházmegye: Debrecen. tural destination in Hungary by the European Commission in the call for projects titled “Eu- ropean Destinations of Excellence” (EDEN).

12 2020 | 01 n OVERVIEW n RAPORT n JELENTÉS

n 10. kép: Délkeleti homlokzat © KENÉZ Ica n Photo 10. South-eastern elevation © Ica KENÉZ

Staff Stáblista: n Architectural designer: OLTAI Péter; Historic building conservation church n Építész tervező: OLTAI Péter, egyházkerületi műemléki taná- councillor: GÉCZY Csaba; General contrac- csos: GÉCZY Csaba, generálkivitelező: Zombor Csoport, műemléki tor: Zombor and Co. Ltd; Researchers and kutatók, régészet: SIMON Zoltán, NÉMETH Péter és Juan Alberto archaeologists: SIMON Zoltán, NÉMETH CABELLO, műemléki felügyelő: NAGY Tibor, műszaki ellenőr: SZA- Péter & Juan Alberto CABELLO; Historic building conservation supervisor: NAGY Ti- LÓKI Mihály, felelős műszaki vezető: SZATMÁRI István, pályázati bor; Technical inspector: SZALÓKI Mihály; projektmenedzser: FÁBIÁN Ákos, projektvezető: ZOMBOR Szabolcs, Technical manager: SZATMÁRI István; építésvezető: GYURKOVICS Tamás, műszaki előkészítés és admi- Tendering project manager: FÁBIÁN Ákos; nisztráció: TÓTH Mária, ARANYÁSZ-PANKOTAI Marietta és VITÁ- Project manager: ZOMBOR Szabolcs; Build- ing site manager: GYURKOVICS Tamás; LI Viktor, kőrestaurálás: KOVÁCS István, farestaurálás: KISS Margit, Technical preparation and administration: falkép-restaurátorok: PINTÉR Attila és KISTERENYEI Ervin, műem- TÓTH Mária, ARANYÁSZ-PANKOTAI léki építőmesteri munkák: SZABÓ Balázs, műemléki felületképzések: Marietta & VITÁLI Viktor; Stone conserva- HANUSI Sándor, ácsmunkák, tetőfedés és famennyezet: SZABÓ Zol- tion: KOVÁCS István; Wood conservation: KISS Margit; Mural conservation: PINTÉR tán és SZABÓ Béla, toronyfedés és bádogosmunkák: KURPÉ Attila és Attila & KISTERENYEI Ervin; Historic JÁSZAI Róbert, műemléki asztalos munkák: ALAGI István, villany- building masonry works: SZABÓ Balázs; szerelés: POLGÁR Bertalan, lakatosmunkák: NÉMETH István, kiállí- Historic building finishes: HANUSI Sán- dor; Carpentry, roofing, and wooden ceil- tási installációk: Középkori templomok útja / The Route of Medieval ing: SZABÓ Zoltán & SZABÓ Béla; Tower Churches, BALOGH András és DEÁK Attila, üvegezés: GILIGA Erika roofing and tinsmith metal works: KURPÉ és GILIGA Ferenc, utólagos falszigetelés: DÉR István, fotó: KENÉZ Ica. Attila & JÁSZAI Róbert; Historic building joinery: ALAGI István; Electrical fittings: POLGÁR Bertalan; Locksmith: NÉMETH István; Exhibition displays: Route of Medi- aeval Churches, BALOGH András & DEÁK Attila; Glassworks: GILIGA Erika & GILIGA Ferenc; Wall insulation: DÉR István; Pho- tos: KENÉZ Ica.

2020 | 01 13 n HISTORICAL GARDENS n GRĂDINI ISTORICE n TÖRTÉNETI KERTEK

n Andreea MILEA1

Promenada Aiudului The Aiud Promenade STUDIU DE CAZ AL ÎNCEPUTURILOR CASE STUDY OF THE BEGINNINGS OF PARCURILOR PUBLICE URBANE TRANSILVĂNENE TRANSYLVANIAN URBAN PUBLIC PARKS

n Rezumat: Inspirat de cercetarea doctorală, în curs de desfăºurare, a au- n Abstract: Inspired by the author’s ongoing toarei – „Începuturile parcurilor publice urbane transilvănene” –, articolul doctoral research – “The Beginnings of Tran- sylvanian Urban Public Parks” –, the present îºi propune să identifice spaţiile publice plantate, folosite pentru agrement, article aims to identify the planted public ale Aiudului în perioada caracteristică formării parcurilor publice urbane spaces of Aiud, used for leisure, in the time transilvănene. Accentul cade asupra aºa-numitei Promenade / Sétatér (în period characteristic for the development of limba maghiară, în epocă), în prezent Parcul Municipal Aiud, amenaja- Transylvanian urban public parks. The em- phasis is placed on the so-called Promenade re cu caracteristici tipice primelor parcuri publice urbane, nu doar tran- / Sétatér (in Hungarian, term used at the silvănene ci, la modul general, europene.Articolul începe cu încadrarea time), currently the Aiud Municipal Park, an problematicii apariţiei parcurilor publice urbane în contextul general euro- ensemble with traits specific for the first public urban parks, not only in Transylvania, but pean, respectiv specific transilvănean; continuă cu date istorice ºi urbanis- also generally in Europe. The article begins by tice relevante pentru evoluţia Aiudului; identifică (în epocă) ºi analizează framing the topic of the emergence of urban spaţiile publice plantate folosite pentru agrement ale oraºului, prezentând public parks in the general European context, aspecte de detaliu despre formarea ºi devenirea promenadei (parcul oraºu- respectively the specific Transylvanian one; it continues with historical and urban planning lui). Concluziile articolului încearcă să semnaleze atât validitatea, în acest data relevant for the development of Aiud; it caz, a modelului european de integrare a spaţiilor plantate în mediul ur- identifies (within the period) and analyses the ban, cât ºi particularităţile locale ale acestui proces. town’s planted public spaces used for leisure, presenting detailed aspects on the formation and development of the promenade (the town’s n Cuvinte cheie: parc istoric, parc public urban, spaţiu public, Transilvania park). The article’s conclusions try to highlight both the validity, in this case, of the European model of integrating planted spaces within the urban environment, as well as the local par- Apariţia parcurilor publice urbane ticularities of this process. în contextul general european, n Keywords: historic park, urban public park, public space, Transylvania respectiv specific transilvănean n Perioada caracteristică instalării parcurilor publice în mediul urban eu- The emergence of urban ropean se suprapune, în general, unui interval de timp destul de larg, care public parks, within the general începe cu secolul al XVII-lea ºi se încheie odată cu cel de-al Doilea Război European context, respectively the specific Transylvanian one Mondial.2 Teritoriul transilvănean nu face excepţie, dar parcurile nu au amploarea sau gradul de rafinare al amenajărilor pe care le găsim în alte n The period characteristic for the estab- părţi ale Europei. lishment of public parks in the European De-a lungul perioadei amintite, parcul public urban european se con- urban environment is superposed, generally, over a relatively long time interval, stituie pornind de la unele forme premergătoare de existenţă a spaţiilor beginning with the 17th century and end- publice plantate, fie ele situate în interiorul oraºului, pe limita constituită ing with World War II.2 Transylvania is a acestuia sau imediat în afara limitei oraºului. Astfel de spaţii sunt: câm- purile suburbane, fortificaţiile apropriate în scopul destinderii ºi prome- 1 Architect, PhD, Technical University of Cluj- Napoca, Romania. th 1 Architect, PhD, Universitatea Tehnică din Cluj-Napoca, România. 2 During the 17 century, the outdated caracter of the towns’ fortifications became apparent. 2 Pe parcursul secolului al XVII-lea este conºtientizat caracterul vetust al fortificaţiilor Thus, they were often taken over as prom- oraºelor, acestea fiind adesea apropriate ca spaţii de promenadă. După cel de-al Doilea enade spaces. After World War II, the urban Război Mondial modelul urbanistic de integrare a spaţiilor plantate publice în oraºe model of integrating public planted spaces se modifică: oraºul este perceput adesea ca „o vastă grădină urbană plină de clădiri within the towns was modified: the town is often perceived as “a spacious urban garden obiect” (în traducerea autoarei) „a spacious urban garden filled with object buildings” filled with object buildings” (GRAVES 2006). (GRAVES 2006). Vezi ºi articolul Andreei MILEA (2018). Also see Andreea MILEA's article (2018).

14 2020 | 01 n HISTORICAL GARDENS n GRĂDINI ISTORICE n TÖRTÉNETI KERTEK

n Foto 1. Ortofotografia orașului Aiud (2020) cu menționarea câtorva dintre clădirile reprezentative și marcarea spațiilor publice plantate discutate: a) biserica reformată, b) biserica romano-catolică, c) primăria, d) Colegiul Național Bethlen Gábor, e) Școala Gimnazială „Ovidiu Hulea”, f) Colegiul Tehnic Aiud, g) gara, 1) malurile râului Aiudu de Sus, 2) cetatea, 3) piața (în prezent, Piața Cuza Vodă, cu excepția laturii sudice care poartă denumirea de Piața Consiliul Europei), 4) traseu cu panoramă asupra orașului, 5) strada Bethlen Gábor, 6) Parcul Municipal Aiud, 7) porțiuni de spațiu verde public de factură recentă © GoogleEarth, CNES/Airbus © Andreea MILEA n Photo 1. Orthophoto of Aiud (2020), with the mention of some of its representative buildings and the indication of the discussed planted public spaces: a) Calvinist Church, b) Roman Catholic Church, c) Town Hall, d) Bethlen Gábor National College, e) “Ovidiu Hulea” Gymnasium, f) Aiud Technical College, g) railway station, 1) the banks of the Aiudu de Sus River, 2) the fortification, 3) the square (currently Cuza Voda Square, except the southern side, which bears the name of the Council of Europe Square), 4) a route with a view over the city, 5) Bethlen Gábor Street, 6) Aiud Municipal Park, 7) portions of recently planted public spaces © GoogleEarth, CNES / Airbus © Andreea MILEA

nadei, pieţele ºi străzile plantate, parcurile private deschise condiţionat no exception to this, but the parks do not către public, urmate într-un final, de parcul public urban constituit ca have the dimensions or refinement of the designs found in other parts of Europe. atare. El va coexista de-a lungul timpului, aºa cum o face ºi astăzi, cu toate During the mentioned period, the Eu- formele de spaţii publice plantate, premergătoare apariţiei sale (KOSTOF ropean urban public park is developed 2005, 164-172; MILEA 2018). from certain pre-existing forms of plant- La sfârºitul perioadei caracteristice instalării parcurilor publice în me- ed public spaces, either within the town, 3 on its existing limits, or right outside the diul urban, în Transilvania existau 49 aºezări urbane, proeminente, fie- town’s limits. Such spaces are suburban care în felul său, prin întindere, complexitate, număr de locuitori, dotări fields, fortifications appropriated for the (TEODORESCU & CONSTANTINESCU 1935, 38-39, 50-51): 8 municipii,4 purpose of relaxation and promenade, 15 comune urbane reºedinţe,5 respectiv 26 comune urbane nereºedinţe.6 planted squares and streets, private parks conditionally opened to the public, and Dintre acestea, o bună parte îºi amenajaseră deja parcuri publice urba- finally followed by the urban public park ne propriu-zise: Aiud, Arad, Baia Mare, Bistriţa, Blaj, Braºov, Caranse- established as such. It coexisted over time, beº, Cluj [Cluj-Napoca], Dej, Deva, Dicio-Sân-Martin [Târnăveni], Făgăraº, as it does today, with all forms of planted Gherla, Hunedoara, Lipova, Lugoj, Odorhei [Odorheiu Secuiesc], Oradea, public spaces that existed prior to its emergence (KOSTOF 2005, 164-172; MILEA Oraviţa, Orăºtie, Orºova, Reghin, Satu Mare, Sebeº, Sfântu Gheorghe, 2018). Sighet [Sighetu Marmaţiei], Sighiºoara, Târgu-Săcuesc [Târgu Secuiesc], At the end of the period characteristic for the establishment of public parks with- 3 Transilvania înţeleasă în sensul său larg, cuprinzând regiunile istorice Transilvania, in the urban environment, in Transylva- Criºana, Maramureº ºi Banat. nia3 there were 49 urban settlements, each 4 Arad, Braºov, Cluj, Oradea, Satu Mare, Sibiu, Târgu Mureº, Timiºoara (TEODORESCU prominent in its own way through size, & CONSTANTINESCU 1935, 38-39, 50-51). complexity, number of inhabitants, facil- 5 Alba Iulia, Bistriţa, Blaj, Dej, Deva, Făgăraº, Lugoj, Miercurea Ciuc, Odorhei, Oraviţa, Sfântu ities (TEODORESCU & CONSTANTINES- Gheorghe, Sighet, Sighiºoara, Turda, Zalău (TEODORESCU & CONSTANTINESCU 1935, 38-39, 50-51). 6 Abrud, Aiud, Baia Mare, Baia Sprie, Beiuº, Caransebeº, Carei, Dicio-Sân-Martin, Dumbră- veni, Gheorgheni, Gherla, Haţeg, Huedin, Hunedoara, Lipova, Mediaº, Năsăud, Orăºtie, 3 Transylvania understood in its broad sense, encompassing the historical regions of Tran- Orºova, Petroºani, Reºiţa, Reghin, Salonta, Sebeº, ªimleu Silvaniei, Târgu Săcuesc sylvania, Criºana, Maramureº, and Banat. (TEODORESCU & CONSTANTINESCU 1935, 38-39, 50-51).

2020 | 01 15 n HISTORICAL GARDENS n GRĂDINI ISTORICE n TÖRTÉNETI KERTEK

CU 1935, 38-39, 50-51): 8 municipia,4 15 county capital urban localities,5 respectively 26 non-county capital urban localities.6 Of these, a good part had already established proper public parks: Aiud, Arad, Baia Mare, Bistriþa, Blaj, Braºov, Caransebeº, Cluj [Cluj-Napoca], Dej, Deva, Dicio-Sân-Martin [Târnăveni], Făgăraº, Gherla, Hunedoara, Lipova, Lugoj, Odor- hei [Odorheiu Secuiesc], Oradea, Oraviþa, Orăºtie, Orºova, Reghin, Satu Mare, Sebeº, Sfântu Gheorghe, Sighet [Sighetu Mar- maþiei], Sighiºoara, Târgu-Săcuesc [Târgu Secuiesc], Timiºoara, Turda. The other urban settlements continued to attribute the role of urban public park to other types of planted spaces (MILEA 2019, 4-5). The common traits of the first proper urban public parks are: the peripheral po- n Fig. 1. Reprezentarea Aiudului (N:Enyed) în prima ridicare topografică militară a Imperiului sition, the irregular shape, and the largely Habsburgic (1763-1787). Zona viitorului parc este reprezentată (de către autoare) cu linie albă free landscape design, adapted to the to- © Österreichisches Staatsarchiv, Arcanum Adatbázis Kft., 2020 pography and inspired by the landscaped n Figure 1. Representation of Aiud (N:Enyed) in the 1st Military Survey of the Habsburg Empire style. (1763-1787). The area of the future park is represented (by the author) with a white line © Österreichisches Staatsarchiv, Arcanum Adatbázis Kft., 2020 Historical and urban planning data relevant for the development of Aiud Timiºoara, Turda. Celelalte aºezări urbane atribuiau în continuare altor tipuri de spaţii plantate rolul de parcuri publice urbane (MILEA 2019, 4-5). n The study of Aiud in the context of the Caracteristici comune primelor parcuri publice urbane propriu-zise beginnings of Transylvanian urban public sunt: poziţia periferică, forma neregulată ºi amenajarea în mare parte libe- parks is relevant both for the presence, within the settlement, of some of the preceding ră, adaptată topografiei, inspirată de stilul peisager. types of planted public spaces, as well as for its park, with characteristics typical for the first proper urban public parks. Date istorice și urbanistice relevante Aiud is situated within the Aiud Hills, at an elevation of 260 m, to the right of pentru evoluţia Aiudului the Mureº Valley and to the left of the Aiudu de Sus River (GHINEA 1996, 23, n Studierea Aiudului în contextul problematicii începuturilor parcurilor 24). The town was founded in the 11th to 12th centuries, the characteristic shape of publice urbane transilvănene este relevantă atât pentru prezenţa câtorva its centre being outlined once the Saxon dintre formele premergătoare de existenţă a spaţiilor publice plantate în population had settled here. Its fortifica- cadrul său, cât ºi pentru parcul său, cu caracteristici tipice primelor par- tion was built in the 13th century and, for a 7 curi publice urbane propriu-zise. better defence, was surrounded by a moat (HANTZ LÁM 2011, 10). The town devel- Aiudul este situat în zona Dealurilor Aiudului, la 260 m altitudine, pe oped around the fortification, most prob- dreapta văii Mureºului ºi pe stânga râului Aiudu de Sus (GHINEA 1996, ably first to the east (13th century), then 23, 24). Bazele oraºului sunt puse în secolele XI-XII, forma caracteristică to the north (starting with the 14th centu- a centrului său conturându-se odată cu stabilirea coloniºtilor saºi. În se- ry), west, and finally to the south (during the 14th century), crossing the Aiudu de 7 colul al XIII-lea este construită cetatea ºi înconjurată cu un ºanţ cu apă Sus River (NIEDERMAIER 2016, 182-184, pentru o mai bună apărare (HANTZ LÁM 2011, 10). Oraºul s-a dezvoltat 318-322, 361-362). Mentioned in a 14th cen- în jurul cetăţii, cel mai probabil constituindu-se mai întâi spre est (se- tury charter, Aiud (Hun. – Nagyenyed, colul al XIII-lea), apoi spre nord (începutul secolului al XIV-lea), vest ºi, Ger. – Grossenyed, Strassburg) enjoyed at that time the privilege of a Transylva- într-un final, spre sud (pe parcursul secolului al XIV-lea), traversând râul Aiudu de Sus (NIEDERMAIER 2016, 182-184, 318-322, 361-362). Amintit 4 Arad, Braºov, Cluj, Oradea, Satu Mare, Sibiu, într-o diplomă din secolul al XIV-lea, Aiudul (magh. Nagyenyed, germ. Târgu Mureº, Timiºoara (TEODORESCU & CONSTANTINESCU 1935, 38-39, 50-51). Grossenyed, Strassburg) se bucura pe atunci de privilegiile scaunelor să- 5 Alba Iulia, Bistriþa, Blaj, Dej, Deva, Făgăraº, seºti (HANTZ LÁM 2011, 10). Aºezarea este atestată documentar în 1462 Lugoj, Miercurea Ciuc, Odorhei, Oraviþa, Sfântu Gheorghe, Sighet, Sighiºoara, Turda, ca oppidum (SUCIU 1967-1968, 28). La sfârºitul secolului al XV-lea este Zalău (TEODORESCU & CONSTANTINESCU construită biserica reformată în mijlocul incintei cetăţii. În 1613, prin- 1935, 38-39, 50-51). 6 Abrud, Aiud, Baia Mare, Baia Sprie, Beiuº, cipele Gabriel BETHLEN adresează cetăţenilor Aiudului o scrisoare de Caransebeº, Carei, Dicio-Sân-Martin, Dumbră privilegii, statutând ca surse a prosperităţii acestora industria artizanală veni, Gheorgheni, Gherla, Haþeg, Huedin, Hunedoara, Lipova, Mediaº, Năsăud, Orăºtie, ºi viticultura (HANTZ LÁM 2011, 10). În 1662, printr-un decret al lui Orºova, Petroºani, Reºiþa, Reghin, Salonta, Sebeº, ªimleu Silvaniei, Târgu Săcuesc (TEO- Mihai APAFI I, este înfiinţat colegiul, ca urmare a distrugerii celui din DORESCU & CONSTANTINESCU 1935, 38-39, 50-51). 7 The moat continued to exist until the 18th 7 ªanţul persistă până în secolul al XVIII-lea, reprezentat fiind ºi în prima ridicare century, being also shown in the First Military topografică militară a Imperiului Habsburgic (1763-1787). Survey of the Habsburg Empire (1763-1787).

16 2020 | 01 n HISTORICAL GARDENS n GRĂDINI ISTORICE n TÖRTÉNETI KERTEK

nian Saxon Seat (HANTZ LÁM 2011, 10). The settlement is documented in 1462 as an oppidum (SUCIU 1967-1968, 28). The Calvinist church in the centre of the fortification’s enclosure was built at the end of the 15th century. In 1613, Prince Gabriel BETHLEN issued to the citizens of Aiud a letter of privileges, citing the crafts and viticulture as the sources of their prosper- ity (HANTZ LÁM 2011, 10). In 1662, the college was established by a decree of Mi- chael I APAFI, following the destruction of the one in Alba Iulia, established 40 years prior by Gabriel BETHLEN.8 The Student’s Monument on Chapel Hill, subsequently integrated into the town’s park, was erected in 1796, in memory of the college students who had fallen in the 1704 battles with the Habsburg army. In 1833 the Casi- no was opened in the town hall building. n Fig. 2. Reprezentarea Aiudului (Nagy-Enyed / Aiudu) în cea de-a doua ridicare topografică militară Between 1865 and 1875 the Royal State a Imperiului Austriac (1806-1869). Zona viitorului parc este reprezentată (de către autoare) cu linie School for girls was built.9 In 1873, the albă © Österreichisches Staatsarchiv, Arcanum Adatbázis Kft., 2020 Transylvanian railway network reached n Figure 2. Representation of Aiud (Nagy-Enyed / Aiudu) in the 2nd Military Survey of the Austrian the vicinity of the town.10 In the summer Empire (1806-1869). The area of the future park is represented (by the author) with a white line of 1882, a swimming pool was opened11 © Österreichisches Staatsarchiv, Arcanum Adatbázis Kft., 2020 at the initiative of Mayor Gyula KOVÁCS and of Dániel ZEYK, built according to 8 the designs of Kálmán PÓKA. The Alba Alba Iulia, înfiinţat cu 40 de ani urmă de Gabriel BETHLEN. În 1796 County Hall was built between 1885 and este ridicat Monumentul Studenţilor pe Dealul Capelei, integrat ulterior 1887.12 In 1897, when László VARRÓ was în parcul oraºului, în memoria studenţilor colegiului, căzuţi în luptele din mayor, black locust trees were planted 1704 cu armata habsburgică. În 1833 este deschis Cazinoul în clădirea pri- along the roads. In 1929, the new admin- 9 istrative division of Romania moved the măriei. Între 1865-1875 este construită ºcoala regală de stat pentru fete. county centre to Alba Iulia (HANTZ LÁM În 1873, reţeaua feroviară transilvăneană ajunge în apropierea oraºului.10 2011, 10-25). Thus, at the end of the peri- În vara anului 1882 este deschisă o piscină,11 din iniţiativa primarului od characteristic of the establishment of Gyula KOVÁCS ºi lui Dániel ZEYK, construită după planurile lui Kálmán public parks in the urban environment, 12 Aiud, as a district centre, had the status of PÓKA. Între 1885-1887 este construită Prefectura comitatului Alba. În urban locality, non-capital of Alba Coun- 1897, pe când era primar László VARRÓ, sunt plantaţi arbori de salcâm ty, the capital of which was the urban lo- de-a lungul drumurilor. În 1929, noua diviziune administrativă a Români- cality Alba Iulia (HANTZ LÁM 2011, 25; TEODORESCU & CONSTANTINESCU ei mută centrul judeţului la Alba Iulia (HANTZ LÁM 2011, 10-25). Astfel, 1935, 38-39, 50-51). In 1950, the buildings la sfârºitul perioadei caracteristice instalării parcurilor publice în mediul attached to the fortification walls were de- urban, Aiudul, ca centru raional (centru de plasă), avea statut de comună molished (HANTZ LÁM 2011, 27). urbană nereºedinţă a judeţului Alba, a cărui reºedinţă era comuna urbană Alba Iulia (HANTZ LÁM 2011, 25; TEODORESCU & CONSTANTINESCU The identification and analysis 1935, 38-39, 50-51). În 1950 sunt demolate clădirile ataºate zidului cetăţii of planted public spaces in Aiud used for leisure (HANTZ LÁM 2011, 27). n Most of the identified spaces were found in postcard collections, such as the one Identificarea și analiza spaţiilor publice owned by the “Lucian Blaga” Central Uni- versity Library in Cluj-Napoca (BCU) or plantate folosite pentru agrement ale Aiudului

n Cele mai multe dintre spaţiile identificate au fost reperate în colec- 8 From its foundation until 1859, the college ţii de ilustrate, cum este cea a Bibliotecii Centrale Universitare „Lucian was considered an academic institution with Blaga” din Cluj-Napoca (BCU) sau cea accesibilă pe platforma online three faculties: philology, law, and theology. After the faculties were moved to Cluj in 1869, respectively in 1895, the Bethlen Gábor Col- lege was considered a gymnasium [secondary school – ed. note]. In 1948, following na- 8 De la înfiinţare şi până în 1859, colegiul a fost considerat instituţie de rang academic tionalisation, the college lost its domains and material base, and its Calvinist confessional cu trei facultăţi: filologie, drept ºi teologie. După mutarea facultăţilor la Cluj în 1869, character was suspended. In 1993 it was re- respectiv 1895, Colegiul Bethlen Gábor a fost considerat gimnaziu superior. În 1948, named Bethlen Gábor College, functioning as în urma naţionalizării, colegiul îşi pierde domeniile şi baza materială, iar caracterul national college [secondary school – ed. note]. confesional reformat i-a fost suspendat. În anul 1993 a fost redenumit Colegiul Bethlen 9 At present, the “Ovidiu Hulea” Gymnasium [secondary school - ed. note]. Gábor, în prezent funcţionând ca şi colegiu naţional. 10 However, the train station was built only in 9 În prezent, ºcoala Gimnazială „Ovidiu Hulea”. 1912, at a great distance from the centre, with- 10 Totuºi, clădirea gării a fost ridicată abia în 1912, la distanţă mare de centru, fără out significant urban connections with it. conexiuni semnificative din punct de vedere urbanistic cu acesta. 11 Unidentified. 12 Currently, the Aiud Technical College [secon- 11 Neidentificată. dary school - ed. note]. 12 În prezent, Colegiul Tehnic Aiud.

2020 | 01 17 n HISTORICAL GARDENS n GRĂDINI ISTORICE n TÖRTÉNETI KERTEK

the one accessible on the Hungaricana13 online platform. Some spaces have been confirmed or added to the list by consult- ing other sources. With the identification of the sites, some toponymic variants could be recorded. Thus, the following types of planted public spaces were identified (Photo 1): 1. fields used for recreation: – the slope of Őrhegy Hill14, stretch- ing to the north, north-west of the National College and Bethlen Gábor Street, respectively of a part of Ghe- orghe Doja Street15 – the banks of the Aiudu de Sus River, without any landscaping 2. fortifications appropriated / arranged as promenades: – the town fortification n Fig. 3. Reprezentarea Aiudului (Nagy Enyed / Aiud) în cea de-a treia ridicare topografică militară a 3. designed / redesigned squares: Austro-Ungariei (1869-1887). Zona parcului este reprezentată (de către autoare) cu linie albă – Main Square / Főtér16 / Republicii © Österreichisches Staatsarchiv, Arcanum Adatbázis Kft., 2020 Square17 / Cuza Voda Square together n Figure 3. Representation of Aiud (Nagy Enyed / Aiud) in the 3rd Military Survey of Austria-Hungary with the Council of Europe Square18 (1869-1887). The area of the park is represented (by the author) with a white line 4. designed / redesigned streets: © Österreichisches Staatsarchiv, Arcanum Adatbázis Kft., 2020 – Kollégium utca19 / Bethlen Gábor Street20

13 5. public gardens / parks: Hungaricana. Unele spaţii s-au confirmat sau s-au adăugat prin consul- – Sétatér [The Promenade]21 / the Mu- tarea altor surse. Odată cu identificarea amplasamentelor, au putut fi con- nicipal Park22 semnate ºi unele variante toponimice. The extra-urban fields were of course Astfel, următoarele tipuri de spaţii publice plantate au fost identificate used, as in most settlements, for both leisure in nature and utilitarian purposes, (foto 1): including gathering wild edible plants 1.câmpuri folosite pentru agrement: (VITA 1994, 44-46). All three historical – versantul dealului Őrhegy14, desfăºurat la nord, nord-vest faţă de Co- military surveys (Figures 1-3) indicate legiul Naţional ºi strada Bethlen Gábor, respectiv faţă de o parte din ascending routes on the Őrhegy Hill, the southern slopes of which had a beautiful 15 strada Gheorghe Doja view over the town, with two different ob- – malurile neamenajate ale râului Aiudu de Sus servation points. Two of these are consist- 2. fortificaţii apropriate / amenajate ca promenade: ently captured in postcards from the late 19th or early 20th century: a first observa- – cetatea tion point along the diagonal starting from 3. pieţe amenajate / reamenajate: the inner corner of the college courtyard, – Piaţa principală / Főtér16 / Piaţa Republicii17 / Piaţa Cuza Vodă împre- and a second observation point further ună cu Piaţa Consiliului Europei18 east (Photo 2). At the end of the 19th century, the college students were in the habit of 4. străzi amenajate / reamenajate: climbing the Őrhegy with lanterns on the – Kollégium utca19 / strada Bethlen Gábor20 evening of April 30 and giving a serenade 5. grădini / parcuri publice: to the town (HANTZ LÁM 2011, 20). – Sétatér [Promenada]21 / Parcul municipal22 The banks of the Aiudu de Sus River do not seem to have been landscaped dur- Câmpurile extraurbane erau desigur folosite, ca în majoritatea aºezări- ing the studied period, other than to facil- lor, atât pentru agrementul în natură cât ºi în scop utilitar, inclusiv pentru itate the access to the river for utilitarian recoltarea plantelor sălbatice comestibile (VITA 1994, 44-46). Toate cele purposes and to stabilise the banks. Next trei ridicări topografice militare istorice (fig. 1-3) semnalează trasee de ur- cuº pe Őrhegy, ale cărui poale sudice constituiau o zonă de belvedere asu- 13 Hungaricana (online platform for the presentation of Hungarian cultural heritage), 13 Hungaricana (platformă online de prezentare a patrimoniului cultural maghiar), accessed in February 2020 at https://hungaricana.hu/en. accesată în februarie 2020 la https://hungaricana.hu/en. 14 Name recorded in postcard collections (BCU: 14 Denumire consemnată în colecţiile de ilustrate (BCU: AIUD; Hungaricana: Aiud/ AIUD; Hungaricana: Aiud/NAGYENYED). NAGYENYED). Dealul Capelei. Chapel Hill. 15 Denumiri actuale. 15 Current names. 16 Names recorded in postcard collections (BCU: 16 Denumiri consemnate în colecţiile de ilustrate (BCU: AIUD; Hungaricana: Aiud/ AIUD; Hungaricana: Aiud/NAGYENYED). NAGYENYED). 17 Name recorded subsequently to the period 17 Denumire ulterioară perioadei de interes, identificată în colecţiile de ilustrate (BCU: of interest, identified in postcard collec- AIUD; Hungaricana: Aiud/NAGYENYED). tions (BCU: AIUD; Hungaricana: Aiud/NA- GYENYED). 18 Denumiri actuale. 18 Current names. 19 Denumire consemnată de Paul NIEDERMAIER (2016, 182-183). 19 Name recorded by Paul NIEDERMAIER (2016, 20 Denumire actuală. 182-183). 21 Denumire consemnată în colecţiile de ilustrate (BCU: AIUD; Hungaricana: Aiud/ 20 Current name. 21 Name recorded in postcard collections (BCU: NAGYENYED). AIUD; Hungaricana: Aiud/NAGYENYED). 22 Denumire actuală. 22 Current name.

18 2020 | 01 n HISTORICAL GARDENS n GRĂDINI ISTORICE n TÖRTÉNETI KERTEK

n Foto. 2. Ilustrată de la sfârșitul secolului al XIX-lea sau începutul secolului al XX-lea, înfățișând vederea panoramică a orașului de pe traseul de promenadă de la poalele dealului Őrhegy © Biblioteca Centrală Universitară „Lucian Blaga” n Photo 2. Postcard from the end of the 19th or the beginning of the 20th century, showing the panoramic view of the town from the promenade route at the foot of the Őrhegy Hill © “Lucian Blaga” Central University Library

pra oraºului, cu două puncte diferite de observaţie. Două dintre acestea to the former County Hall23 the river was sunt în mod consecvent surprinse în ilustratele de la sfârºitul secolului partially embanked, and wooden fences al XIX-lea sau începutul secolului al XX-lea: un prim punct de observaţie were laid along the streets following its course to protect passers-by from acci- de-a lungul diagonalei pornind din colţul interior al curţii colegiului, ºi dents (Photo 3). Between these fences and un al doilea punct de observaţie mai spre est (foto 2). La sfârºitul secolului the riverbed, an average vegetation devel- al XIX-lea, studenţii colegiului aveau obiceiul să urce cu felinare pe Őrhe- oped and, at times, steps were arranged for gy în seara zilei de 30 aprilie ºi să dea acolo o serenadă închinată oraºului access to the water. The mediaeval fortification, around (HANTZ LÁM 2011, 20). which the town developed, still survives Malurile râului Aiudu de Sus nu par să fi fost amenajate, în perioada today. The fortification was surrounded studiată, altfel decât pentru înlesnirea accesului la râu în scop utilitar ºi by a moat, identifiable in the town’s rep- pentru stabilizarea malurilor. În dreptul fostei Prefecturi,23 malurile erau resentations until the second half of the 18th century. However, the disappearance parţial îndiguite ºi îngrădiri de lemn erau dispuse de-a lungul străzilor of the moat did not generate an appropri- ce urmau cursul râului pentru a feri trecătorii de accidente (foto 3). Între ation of the fortification’s route as a prom- aceste îngrădiri ºi albia râului se dezvolta o vegetaţie medie ºi, pe alocuri, enade space, as we might have expected trepte erau dispuse pentru accesul la apă. based on the model of other European towns, but it led to the “lining” of the walls, towards the square, with small buildings. They lasted until 1950, when they were demolished in order to control the image of the urban space and to capitalise on the image of the fortification. Thus, if there was a route around the fortification, it was not an explicit promenade, but a utilitarian one related to the functionality of the square. With the clearing of the fortification walls, the space received minimal landscaping, without consistent changes in the route through the square or the functionality of the square. The presence of plants within the fortification walls is rather accidental, as it cannot claim elaborate garden arrangements (Photo 4). The main square formed around the fortification as a complex system of spaces. Its northern, eastern, and southern sides were united under the name of Főtér / Hauptplatz / Main Square, while the west- n Foto. 3. Ilustrată de la sfârșitul secolului al XIX-lea sau începutul secolului al XX-lea, înfățișând ern side was known as Buzapiacz / Grain malurile râului Aiudu de Sus în dreptul Prefecturii (actualul Colegiu Tehnic) © Biblioteca Centrală market (NIEDERMAIER 2016, 182-183). Its Universitară „Lucian Blaga” th th spatiality did not allow for the delimita- n Photo 3. Postcard from the end of the 19 or the beginning of the 20 century, showing the banks tion of consistent areas separated by circu- of the Aiudu de Sus River next to the County Hall (currently the Technical College) © “Lucian Blaga” Central University Library 23 Casa judeþiană / Prefectura (judeþului Alba) / Vármegyeháza / Alsófehér(vár)megye székhá- 23 Casa judeţiană / Prefectura (judeţului Alba) / Vármegyeháza / Alsófehér(vár)megye za / Alsó Fehérmegye székháza (currently 14 székháza / Alsó Fehérmegye székháza (în prezent, strada Ion Creangă 14, Colegiul Tehnic Ion Creangă Street, Aiud Technical College). Names recorded in postcard collections (BCU: Aiud). Denumiri consemnate în colecţiile de ilustrate (BCU: AIUD; Hungaricana: Aiud/ AIUD; Hungaricana: Aiud/NAGYENYED). NAGYENYED).

2020 | 01 19 n HISTORICAL GARDENS n GRĂDINI ISTORICE n TÖRTÉNETI KERTEK

Fortificaţiile cetăţii medievale, în jurul căreia s-a dezvoltat oraºul, su- pravieţuiesc ºi astăzi. Cetatea era înconjurată cu un ºanţ cu apă, identifi- cabil în reprezentările oraºului până în cea de-a doua jumătate a secolului al XVIII-lea. Dispariţia ºanţului nu a generat însă o apropriere a traseului fortificaţiilor ca spaţiu de promenadă, după cum ne-am putea aºtepta după modelul altor oraºe europene, ci a condus la „căptuºirea” zidurilor, spre piaţă, cu construcţii de mică dimensiune. Acestea au rezistat până în anul 1950, când au fost demolate în scopul controlării imaginii spaţiului urban ºi a valorificării imaginii cetăţii. Astfel, dacă în jurul cetăţii ºi forti- ficaţiilor sale a existat un traseu, el nu a fost unul explicit de promenadă, ci cel utilitar legat de funcţionalitatea pieţei. Odată cu degajarea zidurilor cetăţii, spaţiul eliberat a primit amenajări peisagistice minimale, fără modificări consistente ale traseului de parcurs prin piaţă sau ale funcţio- nalităţii pieţei. Prezenţa plantaţiilor în interiorul cetăţii este mai degrabă accidentală, neputând avea pretenţia unor amenajări elaborate de grădină (foto 4). Piaţa principală s-a format în jurul cetăţii ca un sistem complex de spa- ţii. Laturile sale nordică, estică ºi sudică erau reunite sub denumirea de Főtér / Hauptplatz / Piaţa principală, în timp ce latura vestică era cunos- cută drept Buzapiacz / Târgul de grâne (NIEDERMAIER 2016, 182-183). Spaţialitatea sa nu a prea permis delimitarea de zone consistente separate de circulaţie: piaţa se desfăºoară ca un inel în jurul cetăţii, lărgindu-se pe alocuri, ca o succesiune de spaţii oarecum triunghiulare. Astfel, prime- n Foto. 4. Ilustrată de la mijlocul secolului al XX-lea, le amenajări plantate au constat în mod firesc în aliniamente de arbori, înfățișând spațiul interior al cetății © Biblioteca 24 Centrală Universitară „Lucian Blaga” atestate a fi fost realizate la sfârºitul secolului al XIX-lea. În prima parte n Photo 4. Postcard from the middle of the 20th a secolului al XX-lea, suprafeţele mai consistente ale pieţei, pe latura sa century, showing the interior of the fortification © estică, primesc plantaţii cu rol de separare a traseelor de circulaţie, fără să “Lucian Blaga” Central University Library poată deveni, datorită dimensiunilor lor reduse, promenade consistente (foto 6-12). Odată cu alinierea pieţei cu arbori, ºi drumurile mai importante primesc acelaºi tip de amenajare. Merită amintită situaţia particulară a străzii Bethlen Gábor care, pornind din dreptul colegiului făcea parte din traseul de urcuº pe Őrhegy ºi de acces la parcul oraºului, dobândind astfel, odată cu plantarea arborilor, veleităţi de adevărată promenadă (foto 5, 13).

n Foto. 6. Ilustrată de la începutul secolului al XX-lea, înfățișând piața orașului la nord de cetate, în n Foto. 5. Ilustrată de la sfârșitul secolului al XIX sau dreptul Colegiului Bethlen Gábor © Biblioteca Centrală Universitară „Lucian Blaga” începutul secolului al XX-lea, înfățișând Colegiul Bethlen n Photo 6. Postcard from the beginning of the 20th century, showing the town square to the north of Gábor și începutul străzii Bethlen Gábor în piața orașului the fortification, next to the Bethlen Gábor College © “Lucian Blaga” Central University Library © Biblioteca Centrală Universitară „Lucian Blaga” n Photo 5. Postcard from the end of the 19th or the beginning of the 20th century, showing the Bethlen Gábor College and the beginning of Bethlen Gábor Street in the town square © “Lucian Blaga” Central University Library 24 În 1897, pe când era primar László VARRÓ, sunt plantaţi arbori de salcâm.

20 2020 | 01 n HISTORICAL GARDENS n GRĂDINI ISTORICE n TÖRTÉNETI KERTEK

7. 8.

9. 10.

11. 12.

n Foto 7. Ilustrată de la sfârșitul secolului al XIX sau începutul secolului al XX-lea, înfățișând piața orașului la nord de cetate, în dreptul primăriei © Biblioteca Centrală Universitară „Lucian Blaga” n Foto 8. Ilustrată de la sfârșitul secolului al XIX sau începutul secolului al XX-lea, înfățișând aripa sudică a pieței orașului (în prezent mobilată cu catedrala ortodoxă, a cărei construcție a început în 1935 și s-a încheiat în 1974) © Biblioteca Centrală Universitară „Lucian Blaga” n Foto 9. Ilustrată de la sfârșitul secolului al XIX-lea sau începutul secolului al XX-lea, înfățișând piața orașului la est de cetate; în stânga imaginii se remarcă biserica romano-catolică, iar în dreapta imaginii biserica reformată din cetate © Biblioteca Centrală Universitară „Lucian Blaga” n Foto 10. Ilustrată de la începutul secolului al XX-lea, înfățișând piața orașului la est de cetate, cu amenajări plantate © Biblioteca Centrală Universitară „Lucian Blaga” n Foto 11. Ilustrată de la începutul secolului al XX-lea, înfățișând piața orașului la vest de cetate, în dreptul școlii primare de stat (în prezent, Școala Gimnazială „Ovidiu Hulea”) © Biblioteca Centrală Universitară „Lucian Blaga” n Foto 12. Ilustrată de la sfârșitul secolului al XIX-lea sau începutul secolului al XX-lea, înfățișând piața orașului la sud de cetate; în centrul imaginii se remarcă biserica reformată din cetate © Biblioteca Centrală Universitară „Lucian Blaga” n Photo. 7. Postcard from the end of the 19th or the beginning of the 20th century, showing the town square to the north of the fortification, next to the Town Hall © “Lucian Blaga” Central University Library n Photo 8. Postcard from the end of the 19th or the beginning of the 20th century, showing the southern side of the town square (currently furnished with the building of the Orthodox Cathedral, which was started in 1935 and finished in 1974) © “Lucian Blaga” Central University Library n Photo 9. Postcard from the end of the 19th or the beginning of the 20th century, showing the town square to the east of the fortification; the Roman-Catholic Church is seen in the left side of the image, and in the right side the Calvinist Church in the fortification © “Lucian Blaga” Central University Library n Photo 10. Postcard from the beginning of the 20th century, showing the town square to the east of the fortification, with planted elements © “Lucian Blaga” Central University Library n Photo 11. Postcard from the beginning of the 20th century, showing the town square to the west of the fortification, next to the state primary school (currently the “Ovidiu Hulea” Gymnasium) © “Lucian Blaga” Central University Library n Photo 12. Postcard from the end of the 19th or the beginning of the 20th century, showing the town square to the south of the fortification; the Calvinist Church in the fortification is seen in the postcard’s centre © “Lucian Blaga” Central University Library

2020 | 01 21 n HISTORICAL GARDENS n GRĂDINI ISTORICE n TÖRTÉNETI KERTEK

Promenada / parcul orașului n Prima ºi cea de-a doua ridicare topografică militară a Imperiului Habs- burgic, respectiv a Imperiului Austriac (1763-1787, respectiv 1806-1869) prezintă ca fiind liber de amenajări terenul pe care ulterior s-a amenajat promenada. Terenul apare delimitat ºi cu alei trasate abia în cea de-a treia ridicare topografică militară a Austro-Ungariei (1869-1887), într-o formă care s-a păstrat în mare măsură până în zilele noastre. La momentul constituirii parcului, terenul se afla la limita nordică a aºezării, iar forma sa neregulată era determinată parţial de drumurile care îl mărgineau (la vest, sud-est ºi nord, actualele străzi Gheorghe Doja, Be- thlen Gábor ºi Făget), parţial de limitele proprietăţilor adiacente (la nord- est, generându-se ulterior un drum între parc ºi acestea). Totodată, parcul se afla pe unul din vechile trasee de urcuº pe Őrhegy, traseu folosit pentru plimbare sau drumeţie, vizibil în toate cele trei ridi- cări topografice militare istorice. Traseul se ramifica din strada Bethlen Gábor în dreptul intrării în parcul pe care îl întâlnea la începutul urcuºu- lui, în zona poalelor estice ale dealului Őrhegy (foto 13). Forma planimetrică neregulată a parcului aminteºte de un triunghi, având latura lungă rotunjită larg prin adaptarea la relief, mergând oarecum pe conturul curbelor de nivel (fig. 4).

n Fig. 4. Reconstituirea amenajării parcului: a) strada Bethlen Gábor, b) strada Gheorghe Doja, c) strada Făget, d) drum adiacent parcului pentru accesul la proprietățile situate spre est, 1) acces principal din strada Bethlen Gábor, 2) aleea principală, 3) piațeta cu Monumentul Studenților, 4) alee secundară. Cu linie punctată: alei recente © Andreea MILEA n Figure 4. Reconstruction of the park’s landscaping: a) Bethlen Gábor Street, b) Gheorghe Doja Street, c) Făget Street, d) road adjacent to the park for access to the properties located to the east, 1) main access from Bethlen Gábor Street, 2) main alley, 3) square with the Students’ Monument, 4) secondary alley. With a dotted line: recent alleys © Andreea MILEA

lation: the square unfolds as a ring around the fortification, widening at times, as a succession of somewhat triangular spaces. Thus, the first planted elements consisted naturally of tree alignments, attested to have been created at the end of the 19th century.24 In the first part of the 20th cen- n Foto. 13. Ilustrată de la sfârșitul secolului al XIX-lea sau începutul secolului al XX-lea, înfățișând tury, the larger areas of the square, on its piața orașului la nord de cetate și strada Bethlen Gábor pornind din dreptul colegiului și ajungând eastern side, received plantations with the în dreptul terenului viitorului parc © Biblioteca Centrală Universitară „Lucian Blaga” role of separating circulation lanes, with- n Photo 13. Postcard from the end of the 19th or the beginning of the 20th century, showing the out being able to become consistent prom- town square tonorth of the citadel and the Bethlen Gábor Street, starting in front of the college and enades, due to their reduced dimensions reaching the terrain of the future park © “Lucian Blaga” Central University Library (Photos 6-12). Once the square was lined with trees, the more important roads also received the Vârful ascuţit, îndreptat spre oraº, al parcului găzduia accesul, de unde same type of treatment. The special case of o alee principală curbilinie traversa întregul parc în lungul său, înche- Bethlen Gábor Street is worth mentioning, which, starting next to the college, was indu-se la capătul opus, unde se conecta din nou la drumurile alătura- part of the ascending route to the Őrhegy te. Pentru pieton, aleea parcului reprezenta astfel, pentru o porţiune de Hill and of the access to the town’s park, drum, o alternativă faţă de traseul comun (actuala stradă Gheorghe Doja). thus it had the ambition of being a real Accesul în parc era doar pietonal. promenade (Photos 5 and 13). Suprafaţa parcului nu era una mare (cca. 3 ha), aºa încât nici amena- jările nu erau deosebit de elaborate. În apropierea centrului de greutate al 24 In 1897, when László VARRÓ was mayor, black locust trees were planted.

22 2020 | 01 n HISTORICAL GARDENS n GRĂDINI ISTORICE n TÖRTÉNETI KERTEK

The Promenade / The Town’s Park n The 1st and 2nd Military Surveys of the Habsburg, respectively Austrian Empire (1763-1787, respectively 1806-1869) show the land on which the promenade was later laid out as being free of any landscaping elements. The land appears delimited by alleys only in the 3rd Military Survey of Austria-Hungary (1869-1887), with a shape that was largely preserved until today. At the time the park was created, the land was on the northern limit of the settlement, its irregular shape being partly determined by the roads that bordered it (to the west, south-east, and north, the present the Gheorghe Doja, Bethlen Gábor, and Făget Streets), partly by the limits of the neighbouring properties (to the north- east, a road between them and the park being created later). n Foto. 14. Ilustrată de la sfârșitul secolului al XIX-lea sau începutul secolului al XX-lea, înfățișând At the same time, the park was on one piațeta parcului, cu Monumentul Studenților © Biblioteca Centrală Universitară „Lucian Blaga” of the old hiking trails on Őrhegy Hill, a n Photo 14. Postcard from the end of the 19th or the beginning of the 20th century, showing the route used for walking or hiking, visible park’s square, with the Students’ Monument © “Lucian Blaga” Central University Library in all three historical military surveys. The route branches off from Bethlen Gábor Street at the entrance to the park, at the beginning of the ascent, in the area of the suprafeţei parcului se afla o piaţetă circulară în mijlocul căreia era dispus eastern foothills of Őrhegy (Photo 13). The irregular shape of the park’s lay- Monumentul Studenţilor (foto 14). Marginile piaţetei erau aliniate cu ban- out resembles a triangle, with the long side chete lungi de lemn. O alee transversală relativ scurtă conecta aleea prin- widely rounded by adapting to the ter- cipală cu latura estică a parcului. Parcul era împrejmuit, putând fi accesat rain, somewhat following the level curves doar la capetele aleii principale ºi la capătul estic al aleii transversale. (Figure 4). The sharp angle of the park, facing Împrejmuirea consta din gard viu des ºi de înălţime mare, iar porţile de the town, housed the access, from where intrare se înfăţiºau sub forma unor construcţii de lemn destul de elabo- a curved main alley crossed the entire rate. Principalele spaţii ale parcului (piaţeta ºi aleea principală) puteau fi park in its length, finishing at the opposite end, where it connected again to the iluminate pe timp de seară. De o parte ºi de cealaltă a aleii principale erau nearby roads. For the pedestrians, the dispuºi arbori în aliniament, iar peluzele desfăºurate între aleea principa- park’s alley represented thus, for a section lă ºi limitele parcului erau populate cu arbori ºi arbuºti dispuºi neregulat. of the way, an alternative to the common În timp, oraºul s-a dezvoltat în jurul parcului, îndeosebi spre est ºi route (the current Gheorghe Doja Street). The access to the park was limited to pe- nord, aºa încât poziţia amenajării ţi-a pierdut caracterul periferic. destrians. The area of the park was not a large one (approx. 3 ha), so the landscaping elements Concluzii where not especially elaborate either. Near the gravity centre of the park’s area was a n Fără să fie un oraº de mare complexitate, Aiudul a parcurs etape tipice circular square with the Students’ Monu- ment placed in its centre (Photo 14). The pentru integrarea spaţiilor plantate în mediul urban, asemenea altor oraºe edges of the square were lined with long transilvănene ºi europene. wooden benches. A relatively short trans- Nevoia de destindere ºi agrement în natură a fost satisfăcută iniţial versal alley connected the main alley with prin accederea împrejurimilor oraºului, cum ar fi pe traseele de urcuº pe the eastern side of the park. The park was enclosed, being accessible only at the ends dealul Őrhegy, care ofereau ºi vederi de ansamblu asupra oraºului. Lipsa of the main alley and at the eastern end fortificaţiilor ca limită concretă a oraºului a permis ca accederea teritoriu- of the transversal alley. The enclosure was lui învecinat să fie directă ºi frecventă, atât pentru drumeţii cât ºi în scop made of dense and tall hedgerows, and the utilitar pentru recoltarea de plante sălbatice comestibile. Malurile râului entrance gates were elaborate wooden constructions. The main spaces of the park Aiudu de Sus, traversând oraºul ºi fiind în mare parte prezente în spaţiul (the square and the main alley) could be public nu au primit totuºi amenajări de promenadă, fiind apropriate în illuminated in the evenings. Both sides of cea mai mare parte în scop utilitar ºi primind amenajări de stabilizare ºi the main alley were lined with trees, and the lawns between the main alley and the pentru siguranţa trecătorilor. park limits were populated with irregular- Cetatea Aiudului cu fortificaţiile sale, situată în piaţa principală a ly placed trees and shrubs. oraºului ºi nucleu al formării sale, nu a generat spaţii plantate relevante Over time, the town developed around în imediata sa proximitate în perioada caracteristică instalării acestora în the park, especially to the east and north, so that the site of the park lost its periph- mediul urban. Dimensiunea mică a traseului fortificaţiilor (cca. 350 m) nu eral character. a avut capacitatea de a genera un parcurs de promenadă relevant, acesta asimilându-se parcurgerii pieţei, dezvoltată de jur împrejurul cetăţii. Mai

2020 | 01 23 n HISTORICAL GARDENS n GRĂDINI ISTORICE n TÖRTÉNETI KERTEK mult, acoperirea fortificaţiilor cu clădiri, demolate abia în 1950, a condus Conclusions de fapt la absenţa fortificaţiilor din spaţiul public al oraºului. Degajarea n târzie a fortificaţiilor a fost însoţită totuºi de valorificarea peisagistică a Without being a greatly complex town, Aiud went through the typical stages for perimetrului, perceput în continuare ca făcând parte din piaţă ºi nu ca un the integration of planted spaces within spaţiu de sine stătător. the urban area, similarly to other Europe- Plantarea zonelor mai largi ale pieţei începe de dinainte de demolarea an and Transylvanian towns. The need for relaxation and leisure in clădirilor care se sprijineau de fortificaţii. Totuºi, aceste spaţii plantate nature was initially satisfied by accessing ale pieţei nu sunt unele ample, neputând fi apropriate propriu-zis pentru the town’s surroundings, such as the as- destindere ºi promenadă. Situate în mijlocul spaţiului ca elemente de se- cending route to Őrhegy Hill, which also parare a circulaţiei, ele contribuie la ambianţa generală, fără a modifica offered panoramic views over the town. The lack of fortifications as a clear limit substanţial modul de folosire a pieţei. of the town allowed the access to the sur- Atât piaţa cât ºi străzile principale ale oraºului primesc aliniamente de roundings to be direct and frequent, both arbori. Niciuna dintre străzile Aiudului nu a devenit mai mult de atât din for hiking and for utilitarian purposes, to punct de vedere al amenajării peisagistice. Totuºi, un loc aparte îl ocupă gather edible wild plants. The banks of Ai- udu de Sus River, crossing the town and strada Bethlen Gábor, a cărei funcţie de promenadă a fost amplificată de being largely present in the public space, suprapunerea sa pe traseul de urcuº pe Őrhegy ºi de accedere la parcul were never landscaped as a promenade, oraºului. being used most of the time for utilitarian Parcul oraºului, format în a doua jumătate a secolului al XIX-lea, pre- purposes and developed for stability and the protection of the passers-by. zintă caracteristici tipice primelor parcuri publice urbane create ca atare: The Aiud Fortification with its walls, poziţia periferică, forma neregulată ºi amenajarea în mare parte liberă, placed in the central square of the town adaptată topografiei, inspirată de stilul peisager. and the nucleus of its formation, did not generate relevant planted spaces in its immediate vicinity in the period characteristic for their establishment in urban Bibliografie/Bibliography areas. The reduced dimensions of the fortifications’ course (approx. 350 m) did not n *** BCU–Biblioteca Centrală Universitară „Lucian Blaga”din Cluj have the capacity to generate a relevant Napoca, colecţia de ilustrate [“Lucian Blaga” Central University Li- promenade course, being assimilated to crossing the square, developed around the brary in Cluj-Napoca, postcard collection]: AIUD. fortification. Moreover, the fact that the n *** Hungaricana, colecţia de ilustrate [Hungaricana, postcard collec- fortifications were covered by buildings, tion]: Aiud/NAGYENYED. https://gallery.hungaricana.hu (accesat în demolished only in 1950, actually led to februarie 2020). the fortification missing from the public space of the town. The late clearing of the n GHINEA, Dan. 1996. Enciclopedia geografică a României.Vol. 1. Bu- fortification was however accompanied by cureºti: Editura Enciclopedică. using the perimeter for landscaping pur- n HANTZ LÁM Irén. 2011. Nagyenyed Szóban-Képben: város az Őrhe- poses, still perceived as part of the square gy alatt, Cluj-Napoca: Stúdium. and not as a stand-alone space. Planting the wider areas of the square n GRAVES, Michael. 2006. Introduction: The Figural City. In Town began before the buildings that leaned Spaces, by Rob KRIER, 6-7. Basel–Berlin–Boston: Birkhäuser – Pub- against the fortifications were demolished. lishers for Architecture. Still, these planted spaces of the square n KOSTOF, Spiro. 2005. The City Assembled: The Elements of Urban are not large ones and it was not possible to use them for actual leisure and prom- Form Through History. New York: Thames & Hudson. enade. Placed in the centre of the space, n MILEA, Andreea. 2018. Începuturile parcurilor publice urbane tran- as elements separating circulation flows, silvănene. The Beginnings of Transylvanian Public Urban Parks. they contribute to the general atmosphere, without modifying substantially the way Transsylvania Nostra 1: 48-54. in which the square was used. n MILEA, Andreea, „Spaţii plantate în oraºele transilvănene”, referat Both the square and the main streets doctoral, ªcoala Doctorală a IOSUD UTCN, septembrie 2019. of the town receive tree alignments. None n NIEDERMAIER, Paul. 2016. Geneza oraºelor medievale în Transilva- of the streets in Aiud ever became more than that from the point of view of land- nia. Bucureºti: Editura Academiei Române. scaping. Still, a special place is occupied n SUCIU, Coriolan. 1967-1968. Dicţionar istoric al localităţilor din by Bethlen Gábor Street, with its prome- Transilvania. Vol. I. Iaºi: Editura Academiei Republicii Socialiste nade function, which was doubled by the România. fact that it was a part of the ascending route to the Őrhegy Hill and the access to n TEODORESCU, Constantin & Nicolae A. CONSTANTINESCU. 1935. the town’s park. Atlas geografic, istoric, economic ºi statistic. Braºov: Institutul Carto- The town park, formed in the second grafic „UNIREA”. half of the 19th century, has typical traits VITA Zsigmond. 1994. Tápláléknövények gyűjtögetése Nagyenyed for the first urban public parks created as n such: the peripheral position, the irregular környékén. In Népismereti dolgozatok 1994, szerk. KÓS Károly & FA- shape, and the largely free design, adapted RAGÓ József, 44-46. Bukarest: Kriterion Könyvkiadó. to the topography and inspired from the landscaped style.

24 2020 | 01 n OVERVIEW n RAPORT n JELENTÉS

n FURU Xénia n FURU Árpád1

The Conservation Egy középkori ház helyreállítása of a Mediaeval House in Cluj-Napoca Kolozsváron FROM UNITARIAN EPISCOPAL AZ UNITÁRIUS PÜSPÖKI HÁZTÓL RESIDENCE TO THE HOUSE OF RELIGIOUS FREEDOM A VALLÁSSZABADSÁG HÁZÁIG

n Abstract: The article presents the process n Kivonat: A cikk a kolozsvári unitárius püspöki rezidencia épületén el- and solutions of the conservation works végzett helyreállítás folyamatát és megoldásait mutatja be, amely során carried out on the Unitarian episcopal res- idency in Cluj-Napoca, through which after a ház több évszázados zárt, privát rezidenciákra jellemző használat után many centuries of use as a private residence, a jövőben közösségi térként szolgál tovább. A középkori eredetű és az év- the house will serve as a community area in századok során többször átépített épület kihívást jelentett a kutatók, ter- the future. The building with mediaeval ori- vezők és kivitelezők számára, egyrészt a tulajdonos által meghatározott gins and transformed several times throughout the centuries presented a challenge for funkcionális, másrészt a ház műemléki státusából fakadó szakmai-etikai the researchers, designers, and contractors követelmények következtében. A ház történetének és beavatkozás előtti ál- alike, which arose partly through the func- lapotának bemutatását követően a cikk az épület néhány karakterisztikus tional requirements defined by the owner részének helyreállításakor alkalmazott megoldásokat részletezi. and partly via the professional-ethical requirements ensuing from the house’s status as a historic building. Following an overview n Kulcsszavak: műemlék, helyreállítás, rezidencia, középkori, gótikus, of the house’s history and condition prior reneszánsz, barokk, empire, püspöki ház, Vallásszabadság háza, Kolozsvár to the intervention, the article presents the solutions applied at certain distinct parts of the building. n Az unitárius püspöki rezidencia épülete Kolozsvár egyik legjelentősebb, n Keywords: historic building, conserva- gótikus részleteket őrző polgárháza, melyet az évszázadok során többször tion, residence, mediaeval, Gothic, Renais- sance, Baroque, Empire, episcopal residence, bővítettek, átalakítottak. Kora, egyes építészeti elemei és megoldásai, a ka- House of Religious Freedom, Cluj-Napoca pualj ívei, az utcai portál az óvári Mátyás-szülőházhoz sokban hasonlító épületről tanúskodik. 2009-ben, tekintettel az épület állapotára, döntés született a felújításáról. A helyreállítás közel egy évtizedes hossza utal a n The building once hosting the Unitari- an episcopal residence is one of the most folyamat összetettségére, a szakmai kihívások bonyolultságára, a finan- significant townhouses preserving Gothic szírozás nehézségeire. 2018 júliusában megnyithatta kapuit Kolozsvár új details in Cluj-Napoca, which was enlarged középülete, a Vallásszabadság háza, amely önnön építészeti értékeinek and transformed several times throughout bemutatásán túl, lehetőséget teremt a magyar unitárius egyház tárgyi és the centuries. Its age, some of its architectural details and solutions, the arches in its szellemi örökségének megismertetésére, és vonzó helyszínt biztosít szá- gateway, and its street portal bear a resem- mos kulturális és közéleti rendezvénynek, eseménynek. blance to the house known as the birthplace of King Matthias I of Hungary located in the old town. In 2009, due to the building’s A helyreállítás szakaszairól condition, it was decided that its conservation would be initiated. The almost dec- ade-long period of conservation indicates n A ház helyreállítása több szakaszban, több lépcsőben, változó koncep- the complexity of the process, the intricacy ció és finanszírozási perspektíva mentén valósult meg. of the arising professional challenges, and Elsőként 2009-ben az egyház építészeti tanácsadója arra kapott meg- the difficulties related to financing. Final- ly, in July 2018, a new public building, the bízást, hogy készítse el az épület felmérését és egy olyan témavázlatot, amely megvizsgálja a ház emeleti helységeinek vegyes, püspöki reziden- 1 Xénia FURU, architect, historic building con- cia és reprezentációs fogadóhelyiségek céljaira történő hasznosítását. servation specialist, architectural consultant for the Hungarian Unitarian Church, Cluj-Na- poca, Romania; Árpád FURU, engineer, PhD, 1 FURU Xénia, építész, műemlékvédelmi szakmérnök, a Magyar Unitárius Egyház épí- historic building conservation specialist, tészeti tanácsadója, Kolozsvár, Románia; FURU Árpád, építőmérnök, dr., műemlékvé- ethnographer, historic building conservation consultant for the Hungarian Unitarian delmi szakmérnök, néprajzkutató, a Magyar Unitárius Egyház műemlékvédelmi tanács- Church, Cluj-Napoca, Romania. adója, Kolozsvár, Románia.

2020 | 01 25 n OVERVIEW n RAPORT n JELENTÉS

House of Religious Freedom was opened in Cluj-Napoca. Besides displaying its own architectural values, the House promotes and disseminates the material and spiritual heritage of the Unitarian Church, and ensures an attractive location for diverse cultural and public events.

Phases of conservation

n The conservation of the building was carried out in several phases, adjusted to chang- ing concepts and financing possibilities. In the first phase, started in 2009, the architectural consultant of the Church was assigned with the survey of the building and the completing of a proposal, which would examine the possibilities of using the upstairs premises as an episcopal residence and at the same time as a representa- tional area. At the request of the Church, the Romanian Ministry of Culture included the building on the list of the National Con- servation Plan, thus potentially opening the way for financing the intervention. As a next step, the Bishops Office announced a restricted tendering procedure, and as a result assigned the architectural studio of Szabolcs GUTTMANN to work out the rehabilitation design. At that time, some n 1. ábra: Kolozsvár történeti városmagja, sötéttel jelölve a jelentősebb gótikus jegyeket viselő premises on the ground floor were not ac- épületek cessible, and most of the upstairs rooms n Figure 1. The historical centre of Cluj-Napoca. The dark lines indicate buildings with important were still used by the Church for commu- Gothic features nity purposes, therefore only a restricted art history research could be conducted. Following several years of waiting, during A Román Művelődési Minisztérium az egyház kérésére a házat felvette a which a series of government changes also Országos Helyreállítási Terv jegyzékébe, azaz potenciálisan megnyílt a le- took place, it became evident that the build- hetőség a helyreállítás finanszírozására. Ezt követően egy meghívásos pá- ing’s conservation would not be achievable as part of the programmes of the Ministry of lyázat eredményeként a püspökség megbízta GUTTMANN Szabolcs iro- Culture. Meanwhile a simplified version of dáját a rehabilitációs terv kidolgozására. Mindezzel egy időben az épület the design project was authorised. földszintjének utcai helyiségei nem voltak megközelíthetőek, az emeleti In lack of state financing, the conserva- helyiségek jelentős részét az egyház közösségi célokra használta, ezért a tion was started in 2014 from the Church’s own resources. As a first step, the Church művészettörténeti kutatás csupán korlátozottan valósulhatott meg. Több- leadership set as a goal the commercial use évi, kormányváltásokkal tarkított várakozást követően bebizonyosodott, of the ground floor: therefore it intended to hogy a Művelődési Minisztérium programjai közt a ház helyreállítása nem implement first those parts of the conservation project which served this purpose.2 lesz megvalósítható, de a terv konzerválás szintjére csökkentett változata Gradually, all the premises of the building építkezési engedélyt kapott. became accessible, thus the structural is- Állami finanszírozás hiányában az épület helyreállítását az egyház sues could be revealed, and an increasingly 2014-ben saját alapból kezdte el. Első lépésben az egyházi vezetés a föld- detailed art history and archaeological research became possible. Strictly necessary szinti helyiségek kereskedelmi hasznosítását tűzte ki célul, tehát a hely- structural interventions were undertaken. reállítási terv erre vonatkozó tételeit szándékozott gyakorlatba ültetni.2 Vaults were repaired in the eastern wing of Fokozatosan lehetőség nyílt a ház minden helyiségének birtokbavételére, the ground floor and in the gateway, after a ház tényleges statikai problémáinak megismerésére és az egyre részle- which the degradations at the foundation and ground floor walls of the courtyard tesebb művészettörténeti és régészeti kutatásra. Elkezdődött a legszük- wing were revealed and fixed. These inter- ségesebb statikai beavatkozások elvégzése: a földszint keleti traktusának ventions were supported to a limited extent és a kapualj boltozatainak javítása, majd az udvari szárny alapozási és by the State Secretariat for Religious Affairs lábazati károsodásainak feltárása és javítása. Ehhez a Román Kormány of the Government of Romania as well. Dur- ing this phase, the art history and archae- Vallásügyi Hivatala is biztosított korlátozottan támogatást. Fokozatosan tárultak fel a ház várostörténeti szempontból is kiemelkedő művészettör- 2 In 2011 a bistro was opened in the western téneti és régészeti értékei. wing of the ground floor, despite the fact that the works foreseen in the design project were just partly implemented, assuming a provision- 2 2011-ben a földszint nyugati traktusában, a tervben előre látott összes munkálat el- al character. In order to make use of the eastern, végzése nélkül, lényegében az ideiglenesség felvállalásával egy bisztró nyílt meg. A larger part of the ground floor, the Church start- földszint keleti, szélesebb traktusának hasznosítása érdekében az egyház bérlő-befek- ed to look for investors interested in renting out the premises, since no opportunities showed at tetők keresését kezdte el, tekintettel arra, hogy saját vagy pályázati forrás kellő mértékű that time to engage sufficient own resources or mozgósítására nem mutatkozott akkor lehetőség. external funding for the conservation.

26 2020 | 01 n OVERVIEW n RAPORT n JELENTÉS ological research gradually revealed many 2015-ben az egyház vezetői megbízást adtak egy, a ház hasznosítását new details, which were mostly significant új, közösségi célokat is szolgáló projekt kidolgozására. Így született meg for the town’s history as well. In 2015 the Bishops Office initiated the a Vallásszabadság háza funkcionális koncepciója, melynek elnevezése az elaboration of a new project foreseeing the unitárius egyház intézményes megalakulását jelentő, 1568-as tordai or- use of the building for new, community-cen- szággyűlési határozatra utal. E más felekezetek által is felvállalható, ma tred purposes. That is how the functional is előremutató egyetemes érték mentén az egyház egy olyan középület concept of the House of Religious Freedom was born, the name referring to the Edict kialakítását kívánta kezdeményezni, mely a felekezetközi párbeszéd, az of Turda in 1568, which had enabled the egyetemes művelődési értékek közvetítése mellett az unitárius közösség official acknowledgement of the Unitarian értékeinek jobb megismertetését szolgálhatja. Az új koncepció szükséges- Church, as well. In line with this univer- sé tette a ház helyreállítási tervének teljes átdolgozását és másodszori en- sal, progressive value, which is acceptable to other denominations too, the Church in- gedélyeztetését. A tervezés ezen szakaszát FURU Xénia vezette. tended to create a public building, which A helyreállítás harmadik szakaszában a Vallásszabadság Háza projekt would serve interdenominational dialogue, megkapta a magyar és román kormányhivatalok részéről a finanszírozási the promotion of universal cultural values, 3 and also the dissemination of the values of jóváhagyást, ezáltal elkezdődhetett az immár gyorsabb léptékű, átfogó, the Unitarian community. The new concept de továbbra is szakaszos, immár a felújított engedélyezési terv szerinti required the full revision of the conserva- kivitelezés.4 Ugyanakkor, az egyház talált befektetőt a földszint keleti trak- tion design and its resubmission for author- tusának felújítására, ennek értelmében itt egy vendéglő megnyitása kör- isation. This phase of the design process 5 was led by Xénia FURU. vonalazódott. In the third phase of the conservation process, the House of Religious Freedom project was granted financing approval A ház rövid története from the Hungarian and Romanian govern- 3 ment authorities. This way execution be- n A ház történetét LUPESCU Radu és KOVÁCS Zsolt művészettörténeti tanulmánya (LUPESCU–KOVÁCS 2005) alapján foglaljuk össze. 3 The financing approval did not specify the final amount of the financing, therefore the planned Az épület Kolozsvár fő közlekedési útvonalán, a Belső-Magyar utcá- equipment level continuously changed due to ban6, a Főtér közelében áll (1. ábra). A ház legkorábbi részei a XIV. század optimistic or pessimistic scenarios. Due to the fluctuating financing expectations, certain costs végén vagy XV. század elején épültek (FURU Á. 2018b), egy időben azzal related to building installations, more specifical- a nagy építkezési hullámmal, amely a középkori Kolozsvár ma ismert vá- ly to air conditioning and finishes were cut. rosszerkezetét létrehozta. Ebben a korszakban fejeződött be a Szent Mi- hály-templom építése, épült ki a város új védműrendszere, tornyai, ka- pui, és bizonyára ekkor épültek fel azok a polgárházak, melyekről ma már csak a középkori pincék falai tanúskodnak (LUPESCU 2005; ENTZ 1996, 57–60, 81–83). A telek keleti oldalán egy szintenként kéthelyiséges, pincéből, föld- szintből és emeletből álló kőépület helyezkedett el. Ennek második helyi- sége keskenyebb volt, ez előtt, az egységes tető alatt épült meg az emeletre vivő falépcső és a pince kőlépcsője. Ebből az építési korszakból maradtak fenn az főépület ma is látható sarokkváderei, az emeleti bejárati ajtó (1. kép), egy befalazott ablak (2. kép), in situ kőelemei és a pince udvari és utcai lejáratainak a kőkeretei, valamint az emeleti, nagyobbik helyiség nagy- méretű kandallójának lenyomata. Szemben, a mai kapualj nyugati oldalán egy kisebb, szintén emeletes kőépület állt. Ekkori tulajdonosainak nevét nem ismerjük. Az épület második periódusaként tekinthetünk arra a nagy építési sza- kaszra, amikor a XV. század második felében beboltozva a kapualjat, a két házat egyesítették, és az egységes emeletet kialakították. Az emeletre vezető lépcsőt falba mélyített, faragott kőfogódzóval látták el (3–4. kép), amelyhez hasonlót polgári épületben Erdélyben eddig nem találtak. Ekkor

3 A finanszírozási jóváhagyás nem jelentette a finanszírozás mértékének pontos ismere- tét, ezért a pályázati folyamat alakulásának függvényében, a javuló vagy éppenséggel zsugorodó célösszegek ismeretében menet közben változott a tervezett felszereltség szintje. A fluktuáló finanszírozási prognózis miatt elsősorban a szerelvényezések és ezenbelül a légtechnika, valamint a burkolóanyagok költségeiből történt visszavágás. 4 A felújított terv jóváhagyásáig elsőként a korábbi engedélyezett tervben is szereplő munkálatok elvégzése indulhatott meg. 5 A befektetői igények nyomására a földszint keleti traktusának helyreállítása gyorsabb n 1. kép: Emeleti gótikus ajtó restaurálás után ütemben készült el, a vendéglő megnyitására 2017-ben úgy került sor, hogy a ház többi © FURU Xénia, 2018 részében még javában folytak a munkálatok. Mindez a munka szervezésének tekinteté- n Photo 1. Gothic door on the upper storey following ben jelentős kihívás volt. conservation © Xénia FURU, 2018 6 Mai nevén 1989. december 21. sugárút.

2020 | 01 27 n OVERVIEW n RAPORT n JELENTÉS

n 2. kép: Gótikus ablak restaurálás közben n 3. kép: Kőfogódzó restaurálás előtt n 4. kép: Kőfogódzó restaurálás után © FURU Árpád, 2016 © FURU Árpád, 2016 © FURU Árpád, 2018 n Photo 2. Gothic window during conservation n Photo 3. Stone handrail before conservation n Photo 4. Stone handrail after conservation © Árpád FURU, 2016 © Árpád FURU, 2016 © Árpád FURU, 2018 készült a kapualj három gótikus, élszedett, nagy íve (5–6. kép) és a címeres, gótikus kapu is (7. kép). A kapualj nyitott ívei mögött, a nyugati szárnyban, came faster, though split into several phas- akkor még gótikus gyámkövekre fafödém támaszkodott. A ház építője Kolozs- es and carried out according to the new, authorised design.4 Meanwhile, the Church vár egyik befolyásos és tehetős polgára lehetett, akit a Szent Mihály-temp- found an investor for the renovation of the lom északi mellékhajójának oltára előtt temettek el, címere ma is látható a ground floor’s eastern part, where the open- templom déli falában (JAKAB 1870–1888. I. 291-292., VIII. tábla). Ugyan- ing of a restaurant was foreseen.5 ezen címer látható a Bel-Magyar utcai ház kapujának zárókövén. A dőlt Brief history of the house címerpajzs felső részén hatágú csillag, alatta kereszt, két oldalán S és T monogram áll. Bár több kutató próbálta a kérdést tisztázni, a címer és a n The overview of the building’s history ház egykori tulajdonosának kilétét továbbra is homály fedi (lásd bővebben is based on the art history study of Radu FURU Á. 2015). LUPESCU and Zsolt KOVÁCS (LUPESCU & KOVÁCS 2015). A házat a XVI–XVII. század során többször is újították. A homlokza- The building is situated on the main tokat reneszánsz stílusú, faragott kő ablakkeretekkel egészítették ki (8. traffic route of Cluj-Napoca, on the 21 De- kép). A nyugati traktusban fennmaradt egy XVII. századi monogramos cember 1989 Boulevard6, close to the Main Square (Figure 1). The oldest parts of the building were built at the end of the 14th or the beginning of the 15th century (FURU Á. 2018b) concomitantly with the large-scale construction wave that created the mediaeval town structure of Cluj-Napoca as we know it today. This was the era when the erection of Saint Michael’s Church was finished, when the town’s new fortification line with its towers and gates was built, and this is the time when all those townhouses that today still preserve mediaeval cellars or walls also emerged (LUPESCU 2005; ENTZ 1996, 57-60, 81-83).

4 Until the revised plans were approved, only the works that were also foreseen in the previous authorised version were started. 5 Due to the pressure from the investors, the conservation of the ground floor’s eastern part was finalised at a quicker pace; the restaurant opened in 2017, while in the rest of the building the works were still in progress. All this represented a significant challenge in terms of n 5. kép: Gótikus ikerív ©FURU Xénia, 2018 organising the site. 6 Its former Hungarian name was Belső Magyar n Photo 5. Gothic arches © Xénia FURU, 2018 Street.

28 2020 | 01 n OVERVIEW n RAPORT n JELENTÉS

A stone building consisting of a cellar, ground floor, and upper storey occupied the eastern part of the plot, with two rooms on each level. The second room had a narrow- er layout, bordered by a staircase covered by the same continuous roof. The stairs leading up to the upper storey were made of wood, and the part leading to the cellar of stone. The following elements have been preserved from this era: the quoins of the main building still visible today, the entrance door on the upper storey (Photo 1), in situ stone window frame (Photo 2), and the stone frames of the cellar doors, one from the courtyard and one from the street, as well as the traces of the large fireplace in the larger upstairs room. A smaller, two-storey stone building stood on the western wing of the gateway. We have no information on the names of the owners in that era. The second period in the house’s history was in the second part of the 15th century. In this large-scale construction phase a n 6. kép: Gótikus élszedéses ív és feljárat © FURU Xénia, 2018 vault built above the gateway united the two n Photo 6. Gothic chamfered arch and staircase © Xénia FURU, 2018 houses, and a consistent layout was created on the upper storey. The staircase leading upstairs was rebuilt in stone, fitted with recessed stone handrails (Photos 3 and 4); as téglapadló (9. kép). A helyiségeket a kor divatjának megfelelő kályhákkal far as its quality is concerned, nothing sim- fűtötték, erről tanúskodnak a boltozatbetöltésekben fennmaradt változa- ilar was found until now in any Transylva- tos csempetöredékek (FURU & BOÉR 2018) (10. kép) és a XVIII. századi leltárok leírásai is. E korszak építészeti újításainak nagy része azonban elveszett, a feltehetően igen reprezentatív elemekről csupán másodlagos nyomok és töredékesen fennmaradt részletek árulkodnak. Az 1590–1648 közötti periódusból a háznak több, feltehetően céhes mesterember tulajdonosa is ismert. 1590–1609 között SZABÓ György, 1609-től 1648-ig ZSUPONICS (SUPPONICZ) Gábor, majd ennek 1636-ban bekövetkezett halálakor özvegye az oklevelekben is megjelölt tulajdonos. 1648-ban Merten KANNENGIESER ónöntő mester tulajdonába kerül az ingatlan.

n 8. kép: Reneszánsz ablaktöredék n 7. kép: A restaurált gótikus kapu © FURU Xénia, 2018 © BÍRÓ István, 2018 n Photo 7. The restored Gothic portal © Xénia FURU, 2018 n Photo 8. Renaissance window fragment © István BÍRÓ, 2018

2020 | 01 29 n OVERVIEW n RAPORT n JELENTÉS

nian civilian house. The three large Gothic chamfered arches of the gateway (Photos 5 and 6) and the pointed arch gate frame decorated with a coat of arms (Photo 7) were built in this same period. In the western wing, behind the gateway’s open arches Gothic carved stone corbels supported a wooden slab. The builder of the house could have been an influential and wealthy burgher of the city, as he was buried in Saint Michael’s Church, in front of the altar of the northern aisle. His coat of arms, similar to the one on the gate, can also be seen on the southern wall of the church (JAKAB 1870-1888. I, 291-292, VIII table). On the upper part of the inclined shield there is a six-pointed star, below it a cross. On the two sides of the shield there are two letters, an S and a T. Although many researchers tried to elucidate the issue, the former owner of the house and of the coat of arms remains unknown (for further details see FURU Á. 2015). n 9. kép: XVIII–XIX. századi tehermentesítő födém és reneszánsz téglapadló © LUPESCU Radu, 2016 The house was renovated multiple times th th n Photo 9. Relieving slab from the 18th-19th century and Renaissance brick floor © Radu LUPESCU, during the 16 and 17 centuries. The ele- 2016 vations were refenestrated with stone Re- naissance window frames (Photo 8). In the western part, we can still find a floor made of bricks with monograms, dating from the 17th century (Photo 9). The premises were heated with stoves typical for that era, this fact being confirmed by the varied tile fragments preserved in the filling of the vaults (FURU & BOÉR 2018) (Photo 10) and by the descriptions of the 18th century inventories. Unfortunately, most of the architectural ren- ovations of this period have been lost, only secondary traces and fragments bear witness to the existence of these presumably highly representative elements. From the period between 1590 and 1648, several owners of the house are known, presumably crafts- men, members of various guilds. Between 1590 and 1609, the owner of the house was n 10. kép: XV., XVI–XVII. századi kályhacsempék © FURU Árpád, 2018 György SZABÓ, from 1609 to 1648 Gábor n Photo 10. Stove tile fragments from the 15th, 16th-17th centuries © Árpád FURU, 2018 ZSUPONICS (SUPPONICZ), then, after the latter had died in 1636, his widow became the owner, as indicated in the deeds. In 1648, the house became the property of A XVII. század második felének tulajdonosait nem ismerjük, a követke- Merten KANNENGIESER, a tinsmith. We do not know who the owners in the second ző század első évtizedeiben az épület a KOLOZSVÁRI család tulajdonába part of the 17th century were. During the került, 1732-ben még KOLOZSVÁRI András városi szenátor a birtoko- first decades of the next century, the house sa. E családtól vásárolta meg 1735 körül a neves főúri családhoz tartozó became the property of the KOLOZSVÁRI family, in 1732 the owner still being An- WESSELÉNYI Ferenc. drás KOLOZSVÁRI, a town senator. Around A ház újabb jelentős átalakításai, melyek az 1736–1737-es években és a 1735, Ferenc WESSELÉNYI, member of a XIX. század elején, 1811 után történtek, a WESSELÉNYI családhoz köthe- notable noble family bought the property tők. Az első periódusban WESSELÉNYI Ferenc (1705–1771) nagyarányú from the KOLOZSVÁRI family. The subsequent, important transforma- építkezései során a család ezen ága kolozsvári rezidenciájává alakítják át tions of the house, which occurred during a középkori polgárházat. A nagyterem és a mögötte levő szoba kivételével 1736 and 1737, and at the beginning of the beboltozták az emeleti helyiségeket, barokk ajtókeretek készültek a kapu- 19th century, after 1811, can all be linked to aljban, feltehetően ekkor épült az udvari homlokzat elé az íves tornác és the WESSELÉNYI family. During the first period of that era, Ferenc WESSELÉNYI ennek boltozott lépcsőfeljárója (11–13. kép), elbontották a középkori és (1705-1771) undertakes large-scale build- reneszánsz tüzelőket, és egységesítették a belső dekorációkat. A palota ing works, and the mediaeval house is 1811 után vált a nagy zenekedvelőként ismert ifj. WESSELÉNYI Farkas transformed into the local residence of (1782–1851) kolozsvári rezidenciájává, aki az ezt követő években nagy- this branch of the family. With the exception of the great hall and the room behind mértékben átépíttette az örökölt épületet. Ekkor készült a mai klasszicizá- it, the upstairs premises were vaulted and ló homlokzat (14. kép), az empire stílusú nyílászárók nagy része, és ekkor Baroque door openings were created in nyerte el a lépcsőház mai megmagasított kialakítását. Az emeleti nagyte- the gateway. The arched porch and vaulted staircase leading to it were built to the rembe ebben a periódusban került a parkettmintát imitáló festett padló,

30 2020 | 01 n OVERVIEW n RAPORT n JELENTÉS

courtyard elevation presumably also in this period (Photos 11-13). The mediaeval and Renaissance fireplaces were dismantled, and the internal decorations were harmonised. After 1811 the palace became the Cluj-Napoca residence of Farkas WES- SELÉNYI the younger (1782-1851), known as a great music lover, who substantially transformed the inherited building in the following years. This period resulted in the Classicist façade existing today (Photo 14), most of the Empire style door and window frames, and the hallway was heightened to its current dimensions. In the same period the timber board floor of the upstairs large room was decorated with painting that imitates the pattern of parquet, which is a rare example to this solution. At that time, the bakehouse and kitchen attached to the courtyard elevation still existed; the archaeological research on these resulted in finds that are unique for Cluj-Napoca (Photo 15). In the mid-19th century, Farkas WES- SELÉNYI and his family lived upstairs, and let out the ground floor. We have information on two tenants in 1845: one was Mi- hály CSISZÉR, a tailor and the other was András HADADI, a leathersmith. In 1853 the house was bought by Domokos BIASINI (1821-1895), the mer- chant son of Gaetano BIASINI, a man originally from Italy, who had an impressive career in Cluj-Napoca, operating a fencing school, a stagecoach service, and a hotel alike. The house earned its present-day layout through his construction works: it was him who replaced the former bakehouse, kitchen, and stable with the new courtyard wing (Photo 16), modernised the older parts of the house, built new slabs and a n 11. kép: Barokk lépcsőház udvari homlokzata © FURU Xénia, 2020 new roof structure. These works were car- n Photo 11. The courtyard elevation of the Baroque staircase © Xénia FURU, 2020 ried out presumably before 1869, since the real estate register of that year indicates already the existence of 15 rooms. The BIASINI family sold the building to the Unitarian Church in 1883. After that, the Church carried out only minor repairs and renovation works, for example the former shingle covering was replaced with tile roofing (Számadás... 57-61). On the ground floor, the premises accessible from the street were used as commercial areas, in the courtyard wing there were lodgings for the employees, and its upper storey served as episcopal residence until 2009. The Church purchased the property at the initiative of Bishop József FERENCZ (1835-1928), as it could be connected to the Bolyai Street building in which he inhabited at that time. After him, the house was inhabited by bishops György BOROS (1855-1941), Béla VARGA (1886- 1942), Miklós JÓZAN (1869-1946), Elek KISS (1888-1971), Lajos KOVÁCS (1909-1994), and Árpád SZABÓ (1935-2010) (GAAL 1995).

The technical condition and historical degradations of the building before conservation n 12. kép: Barokk lépcsőház bejárata n 13. kép: Barokk pincelépcső az első © FURU Xénia, 2020 középkori korszak kvádereivel n During its six-century existence, the build- n Photo 12. The entrance of the Baroque staircase © FURU Xénia, 2020 ing underwent a series of enlargements, © Xénia FURU, 2020 n Photo 13. T he Baroque staircase to the repairs, and changes. Each of these had an cellar with the quoins of the first mediaeval building period © Xénia FURU, 2020

2020 | 01 31 n OVERVIEW n RAPORT n JELENTÉS

n 14. kép: Főhomlokzat © FURU Xénia, 2018 n Photo 14. The main façade © Xénia FURU, 2018

mely e megoldás ritka példája. Ebben a korszakban még állt a ház udvari homlokzatához toldott sütőház és konyha, melynek kutatása kolozsvári impact on its technical condition, some in- viszonylatban egyedi emlékanyagot hozott napvilágra (15. kép). terventions causing improvements, others A XIX. század közepén WESSELÉNYI Farkas és családja a ház emele- damages to it. The stone walls and vaults of the cellar, as well as the ground floor stone tét lakta, a földszintet bérbe adták. 1845-ben CSISZÉR Mihály szabó és walls of the mediaeval wing were damaged HADADI András bőrműves bérlőkről tudunk. only by excessive moisture caused by the 1853-ban az olaszországi származású, Kolozsváron nagy karriert befu- insufficiencies of the public utilities; fortu- tó, vívóiskolát, postakocsi-szolgálatot és szállodát is működtető Gaetano nately no significant cracks were detected. In turn, many cracks were identified in BIASINI kereskedő fia, Domokos (1821–1895) vásárolta meg az ingatlant. the material of the mediaeval walls on the A ház mai formáját az ő építkezései adták meg: ő emeltette az egykori sütő- upper storey and of the vaults between the ház, konyha és istálló helyén az udvari emeleti traktust (16. kép), moder- ground floor and the storey, the walls being leaned towards the exterior. The most sig- nizáltatta a ház korábbi részeit, új födémeket és új tetőszerkezetet emelte- nificant leaning of several centimetres was tett. Ezekre az építkezésekre még 1869 előtt sor kerülhetett, mert az ebben observed at the southern and eastern walls az évben jegyzett telekkönyvben már 15 szobát jegyeznek fel. of the upper storey. The main cause was the A BIASINI család 1883-ban adta el a házat az unitárius egyháznak. horizontal load of the upstairs vaults built in the early modern period. The vaults be- Az egyház ezt követően csupán kisebb javítási és felújítási munkálato- tween the ground and upper floors were kat végzett, többek között cseréptetővel látták el a korábban zsindelyezett damaged by the weight of the longitudi- épületet (Számadás... 57–61). A ház földszintjén az utca felől kereskedel- nal and transversal walls built later above mi helyiségek működtek, az udvari szárnyban szolgálati lakások voltak, them, as well as from the significant extra weight of the fireplace foundations. The emelete 2009-ig püspöki rezidenciaként szolgált. FERENCZ József unitári- situation was further aggravated by the

32 2020 | 01 n OVERVIEW n RAPORT n JELENTÉS

huge foundation pit dug out on the eastern neighbouring plot in 1998, due to which the entire eastern wall leaned outwards up to 2-4 cm, and large cracks were formed on the ground floor vaults as well. Consider- able cracks appeared also along the chim- neys that were rebuilt several times. Orig- inally, the two stone arches of the gateway supported only a ceiling, later, in subsequent building phases, upstairs walls and vaults were built above. The arches started to lean transversally, and at the hinge points formed because of the surplus load the stone blocks started to crack and disin- tegrate. Due to this, both arches were later bricked up. Traces of fire incidents could be detected on the mediaeval stone walls and stone arches as well. The originally vaulted Baroque staircase started to subside and shifted towards south. As a result, at the beginning of the 19th century the staircase’s vault, alike, for similar reasons, all the upstairs vaults were n 15. kép: XVII–XVIII. századi kemence és konyha téglapadlója © FURU Árpád, 2018 demolished. A quite interesting historical n Photo 15. The brick floor of the 17th-18th century oven and kitchen © Árpád FURU, 2018 intervention of this period is the in-depth underpinning of the foundations with bricks at the southern corner of the staircase, near the gateway. The external tar in- us püspök (1835–1928) kezdeményezésére vásárolta meg az egyház az in- th sulation applied in the early 20 century on gatlant, mivel összekapcsolható volt akkori, Bolyai utcai lakásával. Halála the walls of the mediaeval gateway and of the 19th century courtyard wing was the re- után BOROS György (1855–1941), VARGA Béla (1886–1942), JÓZAN Mik- sult of an unsuccessful attempt to deal with lós (1869–1946), KISS Elek (1888–1971), KOVÁCS Lajos (1909–1994), dr. the moisture in the walls, which in fact SZABÓ Árpád (1935–2010) püspökök voltak lakói a háznak (GAAL 1995). increased the height of the humidity. Due to multiple freeze-thaw cycles, the moist brick walls of the courtyard wing started to crumble on the sides, and this way the solid Az épület helyreállítás előtti műszaki cross-section of the walls started to dimin- állapotáról és történeti károsodásairól ish. In certain areas of the southern wing’s external walls, the cross-section of solid brick was only 10-15 cm instead of 50 cm as n Az épület több mint hat évszádos fennállása során számos bővítésen, originally. Unsurprisingly, the walls started javításon, változtatáson ment át. Ezek mindegyike hatással volt műszaki to settle, and the uneven shifts caused sig- állapotára, esetenként javítva vagy károsítva azt. A középkori szárny kőből nificant cracks on the upper levels and on the firewall. készült pincefalait és boltozatait, akárcsak a földszinti kőfalakat csak a The timber slabs between the ground városi közműhibákból fakadó túlzott nedvesség károsította, jelentős repe- floor and upper storey of the courtyard dések nem mutatkoztak. wing were in a good condition, while the A középkori emeleti falak és a földszint és emelet közötti boltozatok slab above the upper storey, also consisting of beams, was preserved with minor degra- anyagában viszont számos repedés keletkezett, a falak kifelé dőltek. A leg- dations caused by local leakage. jelentősebb, több cm-es kihajlás a déli és keleti emeleti falon látható. Ezek The roof structure of the house was fő okai közt a ház kora újkorban készült emeleti boltozatainak oldalnyo- built in the 19th century. Its overall condi- mása, a kapualj boltozata fölött a boltozatra épített hosszanti és kereszt tion was appropriate, only a few joints were damaged due to leakage and subsequent rot. falak, illetve a jelentős tüzelőalapokból származó többletterhek voltak. Súlyosbította a helyzetet a ház keleti oldalán, a szomszéd telken az 1998- The architectural principles ban megnyitott, nagyméretű alapozási gödör, mely a teljes keleti falon 2–4 of the conservation cm-es keleti irányú kihajlást és a földszinti boltozatokon nagy méretű re- pedéseket eredményezett. Jelentős repedések jelentkeztek a többszörösen n All along the building’s conservation, we tried to follow certain basic principles of átépített kémények mentén is. A kapualj kő ikeríveire a nyugati szárnyban the philosophy of conservation: eredetileg csupán síkfödém támaszkodott, majd a rákövetkező építési sza- – the principle of authenticity: to dis- kaszokban emeleti falak és boltozat is növelte ezek terhelését. Az ívek ke- play the house’s most valuable archi- resztirányban dőlésnek indultak, és a többletteher miatt kialakuló csukló- tectural details in their authentic material and formal condition; pontoknál a kőtömbök repedni, porladni kezdtek. Ennek nyomán mindkét – the principle of minimal intervention: ívet beépítették. A középkori kőfalakon és kőíveken tűzesetek nyomai is to ensure that the structural, architec- felfedezhetőek. Az eredetileg boltozott barokk lépcsőház megépítése után tural, or technical interventions de- manded from the present-day use of megsüllyedt, és déli irányba elcsúszott. the building harm or deteriorate the A XIX. század elején ezért a lépcsőház-, és hasonló okokból az emeleti historical layers of the building as lit- összes, boltozatot visszabontották. Ebből a korszakból maradt fenn, mint tle as possible;

2020 | 01 33 n OVERVIEW n RAPORT n JELENTÉS igen érdekes történeti beavatkozás, a lépcsőház kapualj melletti keleti sar- kának téglákkal történő mély aláfalazása. Feltehetően a XX. század elejére tehető a falak nedvesedésére adott helytelen beavatkozás, melynek ered- ménye a középkori kapualj és a XIX. században kőalapra téglából épült udvari szárny falainak külső szurkos szigetelése, amely a falak nedvessé- gének mértékét és magasságát csak emelte. Az udvari szárny nedves tég- lafalai a számos fagyciklus eredményeképpen porladni kezdtek, a falak szilárd keresztmetszete homokóra-szerűen csökkent. A déli helyiségsor külső falaiban nem egy helyen az egészséges keresztmetszet 10–15 cm volt az eredeti 50-hez képest. Nem meglepő, hogy ezért a falak roskadni, süllyedni kezdtek, és az egyenlőtlen mozgások az emeleti szinteken és a tűzfalon jelentős repedéseket eredményeztek. Az udvari szárny földszint és emelet közötti gerendafödémei jó állapot- ban voltak, az emelet szintén gerendás rendszerben készült zárófödéme is csak pontszerű, helyi beázások okozta csekély károsodással marad fenn. A ház székes tetőszerkezete a XIX. században készült. Állapota összes- ségében megfelelő volt, csupán néhány csomópont károsodott beázás és az azt követő korhadás okán.

A helyreállítás építészeti elveiről n 16. kép: Udvari épületszárny © FURU Árpád, 2018 n Az épület felújítása során néhány helyreállítás-filozófiai alapelvet igye- n Photo 16. Courtyard wing © Árpád FURU, 2018 keztünk követni: – a hitelesség elvét – azaz a ház legértékesebb építészeti részleteit a ma- guk anyagi és formai hiteles valóságukban igyekeztünk bemutatni; – the principle of reversibility: to en- – a minimális beavatkozás elvét – a ház jelenkori felhasználásából fa- sure that the new architectural layers kadó szerkezeti, építészeti vagy épületgépészeti beavatkozások minél and solutions added for the sake of contemporary needs would be remov- kevésbé sértsék, roncsolják a ház történeti rétegeit; able, replaceable, renewable if need- – a reverzibilitás elvét – a jelenkor követelményei miatt hozzáadott új ed, without damaging the original építészeti rétegek, megoldások a jövőben lehetőleg az eredeti történe- historical layer. ti anyag károsítása nélkül igény szerint eltávolíthatóak, kicserélhető- In the first phases of the conservation, the task was to address the building’s ek, korszerűsíthetőek legyenek. structural damages.7 The foundation of the A helyreállítás első szakaszaiban az épület szerkezeti károsodásaira house’s mediaeval part did not require in- kellett megoldást találni.7 A ház történeti részének alapozása nem igényelt terventions. In turn, the adjacent Baroque beavatkozást. Annál több problémát vetett fel a toldott barokk lépcsőház staircase and the courtyard wing posed a series of challenges in this respect. On the és az udvari szárny. A barokk lépcsőház keleti oldalán és az egykori sü- eastern part of the Baroque staircase and tőház udvari fala mentén mélységi aláfalazásra volt szükség. Az udvari along the courtyard wall of the former bake- szárny XIX. századi alapjainak talpát alábetonozással szélesítettük. Az house in-depth underpinning was needed. The base of the foundations was enlarged udvari szárny tönkrement lábazati falait szakaszosan új téglafalazásra cse- in the 19th century courtyard wing. The de- réltük, ezzel párhuzamosan a kőalapokra kiegyenlítő koszorút öntöttünk, graded plinth walls of the courtyard wing és a falakat vízszintes vízszigeteléssel láttuk el. A ház középkori részének were replaced in sections with new brick kőfalaiban látható repedések mentén összeszövéssel vagy egyes részek új- masonry. Simultaneously, a reinforced concrete ringbeam was inserted above the level rafalazásával állítottuk helyre a folytonosságot. Néhány helyen vonórudas of the stone foundation and a horizontal fémkapcsok beépítésével biztosítottuk az összeszövést. A boltozatok repe- waterproofing was completed. Continuity déseit kiékeltük és összeszőttük, melyet az alsó és felső felületen egyaránt was restored along the cracks on the medi- elvégeztünk. A nagyobb repedéseket injektáltuk, a boltozatok felső felüle- aeval stone walls by restitching the bonding or by rebuilding the masonry of certain tét folyékony mészhabarccsal kezeltük. Néhány repedésnél fémkapcsokat parts. In some parts we ensured bonding is alkalmaztunk. A földszinti utcai keleti helyiség téglaboltozatának táma- by applying metal staples with metal bars. szainál egy korábbi villanyszerelés következtében átvágták a boltindításo- We introduced wedges in the cracks of the kat. Ezeket kiegészítettük. A javított boltozat fölé tehermentesítő fém- és vaults and restitched the bonding, perform- ing these procedures on both the intrados faszerkezetű födémet építtetünk be. and the extrados. We applied grouting for A tetőszerkezet és a födémek helyreállítása során differenciáltan ke- 7 The structural assessment of the building was zeltük a középkori utcai szárny és a szerkezeti szempontból gyengébben carried out by Augustin POPA, the structural designs were developed by the late Liviu POP, Cosmin MUREªAN (until 2015), and Rozália 7 Az épület szerkezeti szakvéleményét Augustin POPA végezte, a statikai terveket pedig a DÁNÉ (from 2015). The works were carried néhai Liviu POP, Cosmin MUREªAN (2015-ig) és DÁNÉ Rozália (2015-től) készítette el. out by István ISTVÁNFFY and his team between 2014 and 2016, and by Ibolya DÉNES A munkálatokat 2014–2016 között ISTVÁNFFY István vezette csapat, majd 2016–2019 and her team, between 2016 and 2019, as között DÉNES Ibolya vezette csapat végezte fővállalkozói minőségben. main contractors.

34 2020 | 01 n OVERVIEW n RAPORT n JELENTÉS

the larger cracks, while the vault extrados- es were treated all with liquid lime mortar. In case of a few cracks, we applied metal staples as well. In the ground floor’s eastern room, which is accessible from the street, the springers of the brick vault were cut during an earlier electrical installation work. We completed these. We built in a mixed metal-wooden slab above the repaired vaults to take over the loads. As far as roof structure interventions were concerned, the approach in the mediaeval wing was different compared to the courtyard wing, which had a weaker structure. In the mediaeval wing only damaged joints needed repair, followed by the introduction of a new slab of a mixed, metal and timber structure, supported by a ring beam poured on the top of the load-bearing walls (BUCªA 2015, 2017) (Photo 17). By the courtyard wing the roof structure was rebuilt from the original material according to a modified geometry to fit the new functions, while the firewall had to be rebuilt entirely.

The functional, architectural n 17. kép: Tetőszerkezet javítása © FURU Árpád, 2016 interventions n Photo 17. Repair works on the roof structure © Árpád FURU, 2016 n Our aim during the conservation was to adjust any intervention to the centuries-old practice implied by the use of such a cen- megépített XIX. századi udvari, ún. Biasini-szárny javítását. Az utcai tömb tral building. On the ground floor, commercial units accessible from the street were tetőszerkezetének hibás csomópontjait (BUCªA 2015, 2017) javítottuk (17. created: a restaurant on the larger eastern kép), majd a tartófalakra öntött koszorúra támasztott, fém-fa szerkezetű part and a bookshop on the western part. In vendégfödém beépítése következett. Az udvari szárny tetőszerkezetét szét- turn, the conservation of the upper storey szedés után módosított geometria szerint építettük újra, hogy lehetővé tegye implied substantial changes, since it had always been used as a residence, while the a beépíthetőséget, a tűzfalat teljes egészében szükséges volt újraépíteni. most important element of the new design was the introduction of new functions: conference hall, museum, and research centre. A funkcionális, építészeti beavatkozásokról When designing this area, we attempted to conform to the tradition of the interior spac- A felújításkor arra törekedtünk, hogy illeszkedjünk lehetőség szerint es of a representative residence as much as n possible. In the attic and on the upper sto- abba a több évszázados gyakorlatba, amelyet egy ilyen belvárosi ház hasz- rey of the courtyard wing guestrooms were nálata jelentett. A földszinten az utcáról elérhető, kereskedelmi használa- created. The income resulting from the use tú tereket hoztunk létre, a keleti nagyobb traktusban egy éttermet, a nyu- of the commercial areas is intended to com- pensate the expenses related to the cultural gatiban egy könyvesboltot. Az emelet felújítása viszont lényeges változást use of the other areas. jelentett. A ház emelete ugyanis korábban mindig lakásként, rezidencia- In what follows, we offer an overview ként működött, az új terv legfontosabb eleme viszont a konferenciaterem-, of the solutions applied at certain distinct múzeum- és kutatóközpont-funkció. Ennek kialakításakor próbáltunk egy parts of the house. reprezentatív rezidencia belső tereinek hagyományához lehetőség szerint The conservation of the illeszkedni. A ház tetőterében, ahogy az udvari szárny emeletén, vendég- mediaeval gateway (Photo 19) szobákat alakítottunk ki. A ház kereskedelmi hasznosítású helyiségeinek bevétele a középület-funkció költségeit hivatott kiegyenlíteni. n The most characteristic element of the Tekintsük át az alábbiakban a ház néhány karakterisztikus részének street façade is the portal’s mediaeval, pointed arch frame. Similar frames in the helyreállításakor alkalmazott megoldásokat. city can be seen only at the birthhouse of King Mathias and at the Catholic parish in the Main Square. Research (LUPESCU & A középkori kapualj helyreállításáról (19. kép) KOVÁCS 2015) has revealed that the frame stands in its original location; its single n Az utcai homlokzat legkarakteresebb eleme a csúcsíves középkori kapu- new element is the right jamb, which had been replaced during the installation of gas keret. Ehhez hasonlót Kolozsváron már csak a Mátyás király szülőházán és conduits, while its guard-stones had disap- a főtéri katolikus plébánián láthatunk. A kutatások bebizonyították (LU- peared a long time ago. The conservation PESCU & KOVÁCS 2015), hogy eredeti helyén áll, egyedüli új eleme a jobb works implied the cleaning of the stone sur- oldali szárkő, melyet korábban gázszerelés miatt kicseréltek, kerékvetői faces and in some cases their completion. pedig már rég eltűntek. A restaurálási munkálatok a kőfelületek megtisz-

2020 | 01 35 n OVERVIEW n RAPORT n JELENTÉS

3 6 6 6 7 7 7

10 11

3 8 9 5m 3. mellékhelyiség/restroom, 6. bisztró/bistro, 7. konyha/kitchen, 8. könyvesbolt/library, 9. recepció/reception, 10. kapualj/gateway, 11. udvar/courtyard n 2. ábra: A földszint alaprajza © FURU Xénia rajza, 2018 n Figure 2. The layout of the ground floor © Xénia FURU, 2018

n 3. ábra: Hosszmetszet © FURU Xénia, 2018 n Figure 3. Longitudinal section © Xénia FURU, 2018 títását, esetenként kiegészítését jelentették. A címeren pedig feltárták és retusálták az eredeti színezés fennmaradt pigmensanyagát.8 Regarding the coat of arms, the remaining A középkori épületrész helyreállítása során két jelentős célkitűzést fo- pigment content of the original colouring 8 galmaztunk meg. Meg kívántuk nyitni a kapualj középkori íveit (FURU Á. was revealed and retouched. By the conservation of the building’s 2018a), és vissza kívántuk állítani az eredeti középkori pince–földszint– mediaeval part, we set two major goals. We emelet közötti közlekedést. A helyreállítás kezdetén a kapualj két oldalán intended to open the mediaeval arches in levő ívek be voltak falazva. A statikai számítások igazolták, hogy megnyi- the gateway (FURU X. 2018) and we want- tás esetén az ikerív központi négyzetes pillérére mintegy 90 tonna súly ed to recreate the connection between the cellar, the ground floor, and the upper sto- nehezedne, így az ívek kibontása tehermentesítés nélkül nem lehetséges. rey. Before the intervention the arches on Hosszú mérlegelés és számítások után, a tervezőcsapat egy fém gerenda- the two sides of the gateway were walled

8 The stone conservation works were carried out by a conservation company led by Zoltán 8 Az épületen végzet kőrestaurálási munkát KISS Zoltán által vezetett restaurátorcég végez- KISS, while the conservation of the coat of te, illetve a címer felületének restaurálását KISS Lóránd restaurátornak köszönhetjük. arms is due to restorer Lóránd KISS.

36 2020 | 01 n OVERVIEW n RAPORT n JELENTÉS

up. Structural calculations confirmed that once the arches would be reopened, the central tetragonal pillar would have to bear c. 90 tonnes, therefore the opening of the arches would not be possible without redirecting some of the loads. Following repeated debates and calculations, the designer team proposed the introduction of a pair of metal beams (Photo 18), which would transmit part of the loads of the upper wall towards the lateral ground floor walls and through a metal column to the foundation. The cracked and disintegrating stone elements in the hinge points of the courtyard arch had to be replaced, but the rest of the elements required only surface cleaning and retouching. Thus the masons’ marks became visible. Behind the opened arches, a glass wall was inserted that can be both opened and slid, positioned behind the stones, at a distance of 50 cm from their surface, therefore it is not attached to the conserved stone arches at all (Photo 20). The reception area is located behind n 18. kép: Fémgerenda © FURU Árpád, 2017 this glass wall. Near the information desk, n Photo 18. Metal beam © Árpád FURU, 2017 we intend to exhibit some of the stone elements discovered during the conservation. The western wall, where the quoins of the pár beépítését javasolta (18. kép), mely a terhek egy részét a harántfalakra adjacent house and a chamfered stone arch can still be seen, will be used as the back- és egy fémoszlop közvetítésével az alapra terheli. Az udvar felőli ív csuk- ground of the exhibition. The most spectac- lópontjaiban megrepedt és kipergett kőelemeit szükséges volt cserélni, de ular element of the lapidarium is a Renais- a többi elemen csak felületi tisztítást és retusálást kellett végezni. Látható- sance stone frame from 1595 saved from vá váltak a kőfaragó jelek. A kibontott ívek mögötti tér igény szerinti elvá- perdition, which originally was not part of this house, with the following inscrip- lasztására, a kövek mögött, ezek síkjától 50 cm távolságra egy kinyitható, tion: 15 | DAS HAVS STECHIN GOTTES csúsztatható, saját szerkezetű üvegfalat terveztünk, mely így nem érinti a GEVALDT | 95 (FURU X. 2018). Originally restaurált kőívet (20. kép). it was in a house demolished in 1899, located on the plot of the current Unitarian Az üvegfal mögé terveztük a ház fogadóterét, ahol az információs pult College. In accordance with the designs of szomszédságában a felújítás során előkerült kőrészletekből egy tárlatot Lajos PÁKEY, it was inserted in one of the szeretnénk kialakítani. A kiállítás hátteréül az épület nyugati falát válasz- ground floor rooms of the college hardly ac- tottuk, amelyen ma is láthatóak a szomszédos ház sarokkövei és egy elfala- cessible to the public, being severely damaged until 20149 (Photo 21). zott élszedéses kőív. A lapidárium leglátványosabb eleme egy pusztulástól The opening of the arch on the eastern megmentett, de nem ebből a házból származó, 1595-ös reneszánsz kőke- part of the gateway did not cause any struc- ret, felirata: 15 | DAS HAVS STECHIN GOTTES GEVALDT | 95 (FURU X. tural challenges, since there was no wall 2018). Eredeti helye a mai Unitárius Kollégium telkén egykor álló, 1899- above it. The valuable architectural details consisting of the Gothic window frame re- ben elbontott egyik lakóházban volt. PÁKEY Lajos tervei szerint, a kollé- vealed during the research of the area be- gium egyik korlátozottan látogatható földszinti helyiségébe falazták be, itt hind the arch, the recessed stone handrail, állt súlyosan károsodott állapotban 2014-ig9 (21. kép). the staircase and ventilation window of the A kapualj keleti oldalán levő ív kibontása nem jelentett statikai problé- cellar, and the mediaeval entrance door revealed on the upper storey offered a good mát, ugyanis az ív felett nincs emeleti fal. A mögötte levő keskeny helyiség reason for presenting and reconstructing the kutatásakor feltárt gótikus ablakkeret, falba mélyített, faragott kőfogódzó, mediaeval cellar and upper storey staircase. a pince lépcsője és szellőzőablaka, valamint az emeleten kibontott közép- The mediaeval vaults of the two staircases comprising original surfaces of plaster were kori bejárati ajtó értékes leletegyüttese kínálta a középkori pince és emele- carefully restored. The original trail of the ti lépcsők bemutatását, illetve rekonstrukcióját. Mindkét lépcső korábban staircase leading to the upper storey was beboltozott kijáratait feltártuk, és bemutattuk az eredeti vakolatfelületeket hard to discern, only the fragments of two is tartalmazó középkori záróboltozatokat. Az emeleti lépcső nyomvonalát stone steps persisted in the masonry, and some marks on the arches. All together there viszont nehezen lehetett leolvasni, a falazatban csupán két kő lépcsőfok was not available sufficient information for töredéke maradt fenn, az íven és a falazat többi részén pedig csak a fész- a faithful reconstruction. Therefore a new kek, amelyek nem biztosítottak egyértelműen rekonstruálható modellt. Az staircase on a metal structure with a tim- új lépcsőt ezért a faltól és a kőívtől független fémszerkezetre terveztük, ber covering was designed independently from the wall and stone arch. The staircase melyet fával burkoltunk. A lépcső kapualj felőli lezárását a ház korabe- used to have a door in the gateway. When li használata során egy olyan ajtóval biztosították, melynek beépítésekor this door was inserted, the carved stone a faragott kőfogódzót csonkították. A rekonstruált ajtólapot ebbe a hely-

9 The stone frame was cleaned, conserved, and placed in its present-day location by restorer 9 A kőkeretet NAGY Benjámin restaurátor bontotta, restaurálta, illetve állította mai Benjámin NAGY. helyére.

2020 | 01 37 n OVERVIEW n RAPORT n JELENTÉS

n 19. kép: Gótikus kapualj © FURU Árpád, 2018 n 21. kép: Reneszánsz kőkeret © FURU Árpád, 2018 n Photo 19. Gothic gateway © Árpád FURU, 2018 n Photo 21. Renaissance stone frame © Árpád FURU 2018

handrail was partly damaged. The presently reconstructed door panel is respecting this original position. When reconstructing the staircase, the flooring in front of the double door on the upper storey originating from the 18th century had to be dismantled. To allow the use of both connections, namely the one through the staircase and the second through the 19th century door, a mobile slab was designed (Photos 1 and 4). Besides the conservation of the stone surfaces, some fragments of mediaeval plaster on small surfaces were conserved. Where possible, historic plaster was preserved, in other areas mediaeval walls were rendered using historical technology. The presented mediaeval stone fragments, the few pieces of conserved original plaster surfaces, and the opened representative arches offer the visitors a remarkable view of the house’s mediaeval gateway (Photo 19). n 20. kép: Gótikus ikerívek, üvegfal kinyitott állapotban © FURU Árpád, 2018 The conservation n Photo 20. Gothic arches, open glass wall © Árpád FURU, 2018 of the mediaeval cellar (Figure 4)

n The cellar preserves faithfully the heritage of the first and second building phases zetbe állítottuk vissza. A lépcső megnyitásával felbontottuk az emeleti, in the 15th century. The woodgrain pattern XVIII. századi használatnak megfelelő kétszárnyú ajtó előtti padlót. Ide of the formwork, made from planks and egy mozgatható födémet terveztünk, mellyel lehetőséget teremtünk mind- used when the vaults were built, can be seen in the plaster of the vault above the két közlekedési útvonal használatára (1.,4. kép). A kőfelületek restaurálá- two cellar rooms, moreover, a few pieces sa mellett kis felületeken rögzíteni lehetett középkori vakolatdarabokat. of wood splinter are also preserved. The Az újravakolt részeken kanálhátas vakolat különbözteti meg a középkori patterned mark visible on the vault of the falazatokat. staircase to the courtyard is of special at- tention. The ornament consisting of con- A bemutatott középkori kőrészletek, a néhány restaurált eredeti vako- centric semicircles and leaves presumably latfelület és a megnyitott reprezentatív ívek a látogató előtt látványosan belonged to a mediaeval piece of furniture, feltárják a ház középkori kapualját (19. kép). probably a chest, which once out of use, had

38 2020 | 01 n OVERVIEW n RAPORT n JELENTÉS

1 2 3

5 5m 1-utcai pincelejárat/street entrance, 2-protokol/protocol room, 3-mellékhelyiségek/rest rooms, 4-középkori lépcső/medieval staircase, 5-pince/cellar n 4. ábra: A pince alaprajza © FURU Xénia, 2015 n Figure 4. The layout of the cellar © Xénia FURU, 2015

A középkori pince helyreállításáról (4. ábra) been reused for the vault’s formwork.10 The carved stone doorframes of the street and courtyard entrances, as well as the stone n A ház pincéje hűen őrzi a XV. századi első és második építkezés tárgyi staircase date to the 15th century (Photos 22 örökségét. A két pincehelyiség boltozatának vakolatában látható az épí- and 23). Street entrances were typical for tésnél használt deszkazsaluzat erezetének lenyomata, sőt egy-két besza- the mediaeval architecture of Cluj-Napoca. kadt faszilánk is megmaradt. Külön figyelmet érdemel az udvari pincele- This house has one of the best preserved such entrances, located below the sidewalk. járó boltozatában láható mintás lenyomat. A koncentrikus félkörökből és Once 3.6 m wide steps facilitated the lower- levéldíszekből álló ornamentika egy középkori bútordarabot, feltehetően ing of barrels and harvested grape, while a ládát díszített, melynek leselejtezett darabját a boltozati zsaluzat készí- vaulted area probably served for the selling 10 of wine. At the beginning of the 19th cen- tésére használták . XV. századi az utcai és az udvari feljárat faragott kő tury, pursuing the dispositions of the local ajtókerete, valamint a kőlépcső is (22–23. kép). Kolozsvár középkori épí- authorities, the staircase was fully vaulted, tészetére jellemzőek voltak az utcai pincelejáratok. Ennek egyik legépeb- like other similar cellar entrances in the ben megmaradt példája az utcai járda alatt található. Az egykori lejárat

10 The plastered surfaces of the vault were fixed 3,6 m széles lépcsőzete a hordók és a szőlőtermés leeresztését könnyí- and retouched by mural painting restorer Lóránd KISS and his team. 10 A boltozat vakolt felületeinek rögzítését és retusálását KISS Lóránd falkép-restaurátor és csapata végezte.

n 22. kép: Középkori pince udvari lejárata n 23. kép: Középkori pince © FURU Xénia, 2018 © FURU Xénia, 2020 n Photo 23. Mediaeval cellar © Xénia FURU, 2018 n Photo 22. The courtyard entrance of the mediaeval cellar © Xénia FURU, 2020

2020 | 01 39 n OVERVIEW n RAPORT n JELENTÉS tette meg, a beboltozott kis pincegádor pedig feltehetően borkimérésre is city. During recent road works, the vaults szolgált. A lejáratot a többi hasonló pincelépcsővel együtt városi rendel- partly collapsed and telecommunications cables were installed in their place (FURU kezésre a XIX. század elején téglával beboltozták. A közelmúlt utcafelújí- Á. 2018b). Unfortunately, the smaller room tásai során a boltozat beszakadt, és ennek helyére távközlési kábeleket of the cellar had to be divided; restrooms helyeztek (FURU Á. 2018b). A keskenyebb pincehelyiség felosztására were installed there: the walls have a light sajnos szükség volt, itt mellékhelyiségeket alakítottunk ki: a falak kön�- structure and can be dismantled in a reversible manner, while the vaults preserve the nyűszerkezetűek és reverzibilisen elbonthatóak, a boltozaton megmaradt multi-layered whitewashing. a többrétegű meszelés. The cellar of the western wing was pre- Az épület nyugati szárnyának pincéje megmaradt eredeti állapotá- served in its original condition, since its func- ban, tekintettel arra, hogy funkcionális hasznosítása túlságosan invazív tional use would have required exceedingly invasive and expensive solutions. Thus the és költséges megoldásokat igényelt volna. A beavatkozás a korábban lég- interventions were limited to ensuring the mentesen zárt helyiségek természetes szellőzésének biztosítására korlá- natural ventilation of the previously airtight tozódott. premises. The historical rooms Az emeleti történeti terek bemutatásáról (5. ábra) of the upper storey (Figure 5)

n The present-day layout of the upper sto- n Az emelet mai formája a XIX–XX. században alakult ki. A jellegzetes rey developed during the 19th and 20th cen- polgári lakás hangulatát az egybenyíló szobák sora adja. Ezen a szinten turies. The typical urban apartment atmos- is jól megfigyelhető viszont a középkori épület magja, melyet a Wesse- phere is given by the series of interconnect- lényi-inventáriumban nagy palotának és férfiak házának jegyeztek fel.11 ed rooms. In turn, one can easily observe here the core of the mediaeval building as A nagy palotában bemutathatóvá vált a középkori bejárat és a kandalló well, described in the inventory of the WES- lenyomata, azaz a konzolokra támaszkodó füstfogó falba ágyazott, majd SELÉNYI family as the “great palace” and megcsonkított kőelemei (24. kép). Ugyancsak a nagytermet díszíti az az the “house of the men”.11 In the so-called egyedi, festett padló, melynek restaurálása úttörő, kísérleti beavatkozás- palace, the mediaeval entrance and the imprint of the fireplace, namely the stone ele- 12 nak minősült (25. kép). A Wesselényi-inventáriumban leírt többi helyi- ments of the chimney inserted in the wall, séget jelentősen átépítették (leányok háza, setét bolt, ebédlő), az inventá- were revealed and presented (Photo 24). riumnak megfelelő eredeti falalapokat a boltozatbetöltés eltávolítása ré- The unique, painted timber board floor is also part of the great hall’s decoration; its vén lehetett dokumentálni. A barokk lépcsőházban bemutatásra kerültek conservation proved to be a groundbreak- az első középkori ház in situ sarokkváderei és a ház egyedüli reneszánsz ing, experimental intervention12 (Photo 25).

11 On the basis of the so-called Wesselényi- inventories cited in the art history study 11 A művészettörténeti tanulmányban megjelenő Wesselényi-inventáriumok alapján (LUPESCU & KOVÁCS 2018). (LUPESCU & KOVÁCS 2018). 12 The usual methodology developed for painted wooden furnishings does not provide a reliable 12 A festett faberendezések helyreállításának szokványos módszertana nem ad egyértelmű solution for flooring created for a permanent választ egy állandó látogatófluxust fogadó padló számára, ezért árnyalt megközelítésre flow of visitors, therefore a more nuanced volt szükség. Néhány éves használat után az eredmény felmérése és a felület újrakeze- approach was needed. After a few years of lése szükséges lehet. A padlón a harmadik, legjobban fennmaradt réteg összefüggően use, the assessment of the floor’s condition and the repeated treatment of the surface látható, az első réteget a kandalló előtt és a második réteget pedig az egyik ablak előtt might be necessary. The third, best preserved mutatták be. A munkálatot MIHÁLY Ferenc restaurátor és csapata végezte.

16 20 20 18 18 21 12 19 19 12

13 13 17

3 14 14 15

3. mellékhelyiség/restroom, 12. konferencia terem/conference room, 13. múzeum/muzeum, 14. iroda/office, 15. teakonyha/kitchen, 16. ruhatár/warderobe, 17. barokk lépcsőház/baroque staircase, 18. vendégszoba/guest room, 19. bejárat/entrance, 20. fürdő/bathroom, 21. új lépcsőház/new staircase n 5. ábra: Az emelet alaprajza © FURU Xénia, 2018 n Figure 5. The layout of the upper storey © Xénia FURU, 2018

40 2020 | 01 n OVERVIEW n RAPORT n JELENTÉS

The rest of the premises described in the Wesselényi-inventory (“palace of the wom- en”, “dark vault”, and “dining room”) were transformed substantially. Their original position as described in the inventory is still documented by the fragment of wall bases found after removing the floors and the vault fillings. In the Baroque hallway we could present the in situ quoins of the original mediaeval house and the only remaining Renaissance window frame13 (Pho- to 26, Figure 6). During the repair of the vaults, carried out with the supervision of an archaeologist, a significant quantity of stove tiles, ceramics, tapestry, bones, and other objects were revealed.14 The exhibition consisting of this archaeological material was created in cooperation with the National Museum of Transylvanian History in Cluj-Napoca (Photo 27). The majority of the exhibition consisting of 75 items, which has a great scientific significance, is com- posed of stove tile fragments, contributing significantly to the research of stove tiles in Cluj-Napoca between the 14th and 18th cen- n 24. kép: A felújított nagyterem, háttérben a középkori kandallólenyomat és emeleti bejárat turies. Besides this, the exhibition includes © WAGNER Péter, 2018 a unique black ceramic wine jug from the n Photo 24. The conserved great hall, in the background the imprint of the mediaeval fireplace and 14th century preserved intactly and the frag- the upstairs entrance © Péter WAGNER, 2018 ment of a plank painted with Renaissance patterns, a unique piece in Cluj-Napoca (for 13 further details see BOÉR & FURU 2018). ablaktöredéke (26. kép, 6. ábra). A boltozatok javítása során régész fel- We were confronted with serious di- ügyelete mellett a boltozattöltésből nagy mennyiségű kályhacsempe, ke- lemmas regarding the interior design of the rámia, tapéta, csontok és egyéb tárgyak kerültek elő.14 A régészeti anyag- house, as throughout its long history, the in- ból készült kiállítás a kolozsvári történeti múzeummal közösen készült el

painted layer can be discerned continuously, (27. kép). A tudományos szempontból igen jelentős, mintegy 75 tárgyat while the first layer was presented in front of számlátó tárlat legnagyobb része kályhacsempe-töredék, mely jelentősen the fireplace and the second in front of one of the windows. The works were carried out by hozzájárul Kolozsvár XIV–XVIII. századi kályhacsempe-kultúrájának ku- restorer Ferenc MIHÁLY and his team. tatásához, de itt látható egy egyedi, XIV. századi, épen fennmaradt fekete 13 The elements of the window sill were used to connect to the transverse wall; the part of the kerámia boroskancsó és az egyetlen kolozsvári, polgári, festett reneszánsz frame visible today was preserved concealed by that wall. mintás deszkatöredék is (lásd bővebben BOÉR & FURU 2018). 14 The archaeological research was carried out by a group of archaeologists led by Zsolt CSÓK from the National Museum of Transyl- 13 Párkányelemeit az emeleti harántfal csatlakoztatására használták, ennek takarásában vanian History (Muzeul Naþional de Istorie a maradt fenn a keret ma látható része. Transilvaniei) in Cluj-Napoca and by Radu LUPESCU. 14 A régészeti kutatást az Erdélyi Nemzeti Történeti Múzeum (Muzeul Naþional de Istorie a Transilvaniei) részéről a CSÓK Zsolt által vezetett régészcsapat és LUPESCU Radu végezte.

a. b.

n 25. a–b. kép: A felújított nagyterem © FURU Árpád, 2018 n Photo 25. a-b. The conserved great hall © Árpád FURU, 2018

2020 | 01 41 n OVERVIEW n RAPORT n JELENTÉS

n 6. ábra: Keresztmetszetnézetben a gótikus épület udvari homlokzatrészlete © FURU Xénia, 2018 n 26. kép: Barokk lépcsőház © FURU Xénia, 2020 n Figure 6. Cross-section of a part of the Gothic wing’s courtyard elevation © Xénia FURU, 2018 n Photo 26. The Baroque staircase © Xénia FURU, 2020

Nehezen eldönthető kérdéseket vetett fel a ház belső tereinek kialakí- tása. Az épületbelső ugyanis a ház hosszú története során gyakran, évszá- terior was transformed frequently, even sev- zadonként akár többször is változott: falak költöztek, síkmennyezeteket eral times in a century: walls were moved, ceilings were changed to vaults, then again váltottak boltozatok, majd azokat ismét síkmennyezetek. Érthető, bár saj- to ceilings. Obviously, though unfortunate- nálatos, hogy egyetlen történeti korból sem maradt meg elégséges dekorá- ly, no sufficient decorative elements or frag- ciós elem vagy ennek nyoma, ami kiindulást jelenthetett volna egy egy- ments of such elements remained from any séges történeti belső tér rekonstrukciójához. Egyetlen szakmailag járható historic period, which would have provided a starting point for the reconstruction of a con- út maradt: az egyes korok történeti értékeinek bemutatása mellett egy új, sistent historical interior space. We had only egységes belső megtervezése, ami technikailag szolgálni tudja a jelenkor one professionally acceptable option: besides követelményeit, integrálja, azaz lehetővé teszi a szigetszerűen megmaradt displaying the historical values of the various történeti építészeti értékek bemutatását, és szerkezeténél fogva minimáli- periods, to design a new and consistent interior space, which would meet contemporary san kapcsolódik a ház történeti rétegeihez, mi több, teljesen reverzibilis. technical requirements and would integrate Ez vezetett az álmennyezetek és falburkolatok alkalmazásához. Az egyház and display the historic architectural values által meghatározott funkcionális, valamint a ház műemléki státusából fa- that have been preserved. On the other hand, from a structural perspective, the new interi- kadó szakmaetikai követelmények eleve meghatározták a belső tér kiala- or design was intended to be minimally con- kítását, a belsőépítészeti munkára felkért WAGNER Péter viszont bátran nected to the historical layers of the building; használta a dekor, a forma és szín, valamint a fény, azaz a megvilágítás esz- moreover, it needed to be entirely reversible. These considerations led to the application of false ceilings and wall panelling. The functional requirements defined by the Church and the professional-ethical requirements ensuing from the house’s status as a historic building determined the interior design from the outset. At the same time, Péter WAGNER, who was assigned with the interior design, was bravely using the rich set of tools of decoration, shapes, and colours, as well as light, in order to create something new and unique inspired by the visual culture of Transylva- nian religious heritage. All upstairs rooms have their own character and at the same time are parts of the whole. The strong colours linked to the furnishings of protestant churches displayed on the walls help dif- ferentiate the spaces, and on the other hand recall typical colours of various construction periods (FURU Á. 2018a). The neutral grey of n 27. kép: Kiállítási tárlók (régészeti leletek) a kis konferenciateremben © WAGNER Péter, 2018 the furniture was chosen on the basis of the n Photo 27. Display cases (archaeological findings) in the smaller conference hall © Péter WAGNER, 2018 tapestry fragment found in the vault filling.

42 2020 | 01 n OVERVIEW n RAPORT n JELENTÉS

The handcrafted furniture designed as an element of decoration also integrates the spaces with different functions. On the other hand, due to its division in three registers, it allows a flexible use: the lower register, the base- board typically includes storage modules or conceals heating and air conditioning installations, while the upper register is decorated with a frieze, designed according to the specific topics related to the room: in the lecture rooms pastels of places of worship belonging to the Unitarian Church are exhibited,15 the museum includes religious artefacts, while the offices have portraits of famous Unitarian thinkers and artists. The mid register between the baseboards and the friezes differs from room to room: in the conference halls and in the drawing room paintings are exhibited16 (Photo 28), in the museum there are display cases (Photo 29), while in the offices book- shelves can be found. The applied lighting technique17 ensures a wide range of light scenarios: depending on the expected effect one n 28. kép: Biedermeier szalon © WÁGNER Péter, n 29. kép: Múzeumi tárlók (egyházművészeti can choose between the cosy light of chande- 2018 kiállítás) © WAGNER Péter, 2018 liers, the lights with changeable colour from n Photo 28. The Biedermeier drawing room n Photo 29. Display cases (religious art the glass ceiling, the friendly spotlights, or © Péter WAGNER, 2018 exhibition), © Péter WÁGNER, 2018 the bright strip-like lights destined to illumi- nate specific artefacts (WAGNER 2018). köztárát arra, hogy az erdélyi egyházi vizuális kultúra múltjából gyökerező Loft conversion formákból és színekből újat, egyedit teremtsen. A ház emeleti termeinek and the new staircase mindegyike egyszerre karakteres és sajátos, és ugyanakkor része az egész- nek. A falak erős színvilága segít megkülönböztetni a tereket, alkalmazá- n The loft conversion supports the sus- suk egyrészt a protestáns egyházak berendezési tárgyaihoz kapcsolható, tainability of the whole project, generating an income balancing the costs of the cul- másrészt a ház építési korszakainak jellegzetes színvilágát hozzák (FURU tural functions. Seven guest rooms with Á. 2018a). A bútorok semleges szürke színét a boltozattöltésben talált ta- bathrooms were created in the larger space pétadarab alapján választották ki. A dekor elemeként tervezett kézműves towards the street, while the attic of the bútor egységesen összekapcsolja a különböző funkciójú tereket, hármas courtyard wing comprises technical servic- ing rooms and staff areas (Figure 7). Due to osztása pedig lehetőséget ad a megfelelő hasznosításra: az alsó részekben the weight of the heating and ventilating jellemzően tárlóegységek, fűtő- vagy klímagépeket eltakaró elemek van- installations set up in the courtyard wing, nak, a felső részen pedig egy fríz fut, amely a helyiségre jellemző tema- a LEP-type slab above the upper storey was tikájú grafikát kapott: az előadókban az unitárius egyház templomairól introduced, while the new roof structure 15 was rebuilt using the original wooden ele- készült pasztellek sorakoznak, a múzeumban egyházi kegytárgyak, míg ments. The guest rooms are supported by a az irodákban híres unitárius gondolkodók és alkotók arcképei láthatóak. new slab with metal structure, mounted in- A két sáv közötti rész kialakítása helyiségenként változik: a konferencia- dependently from the roof structure, above 16 the level of tie-beams and eaves purlins, and termekben és a szalonban festmények láthatóak (28. kép), a múzeumban supported by the load-bearing walls (Figure kiállítási tárlók (29. kép), az irodákban pedig könyvespolc található. Az 3). The more than one-metre-high space cre- alkalmazott világítástechnika17 széles skálából választható fényszcenári- ated between the upper storey’s old timber ókat biztosít: az otthonos csillárral világított, rejtett sarkokból előszűrődő slab and the new slab allows access to and control of the concealed installations of the fény, az üvegmennyezet változtatható színű fényei, a barátságos, pontsze- bathrooms. When designing the rooms, we rű világítás vagy az éppen célzottan, műtárgyakat kiemelő fénycsíkokkal took into account the layout of the roof struc- megjelölő világítás a kívánt hatás szerint kapcsolható (WAGNER 2018). ture’s main trusses, thus obtaining rooms of approximately the same size. The areas left unbuilt in the loft allow for the periodical Tetőtér-beépítés és új lépcsőház verification of the roof structure and slab. The need for larger areas in the three rooms towards the courtyard was solved by mount- n A tetőtér beépítését a hosszú távon fenntartható középületi tevékenysé- ing floors on two levels. The furniture serves gek finanszírozása tette szükségszerűvé. A tető utca felőli, nagyobb teré- functionality, and the decoration consists of ben hét, saját fürdőszobás vendégszobát alakítottunk ki, az udvari szárny

15 The pastels are the works of Péter WAGNER, tetőtere pedig technikai szobákat és személyzeti helyiségeket rejt (7. ábra). created at the original locations between 2012 Az udvari szárnyban elhelyezett fűtési és légtechnikai gépek súlya miatt and 2018. 16 The paintings are the property of the Hungar- ian Unitarian Church; some of them used to 15 A pasztellek WAGNER Péter eredeti helyszíneken, 2012–2018 között készült munkái. decorate the walls of the episcopal residence 16 A festmények a magyar unitárius egyház hagyatékának darabjai, melyek egy része earlier too. korábban is a püspöki rezidencia falait díszítette. 17 The lighting technique was designed and implemented by Zsigmond SÜTŐ BERNÁTH 17 Az emelet világítástechnikáját SÜTŐ BERNÁTH Zsigmond által vezetett nagyváradi cég and his team, a company from Oradea. tervezte és kivitelezte.

2020 | 01 43 n OVERVIEW n RAPORT n JELENTÉS

22 23 25 24 25 25 26 22 22

22 22

24 5m 21. új lépcsőház/new staircase, 22. vendégszoba/guestroom, 23. előtér/hall, 24. raktár/storage, 25. műszaki szoba/technical room, 26. öltöző/dressing room n 7. ábra: A tetőtér alaprajza © FURU Xénia, 2018 n Figure 7. The layout of the attic © Xénia FURU, 2018 az emelet fölé LEP-típusú födémet helyeztünk, az új tetőszerkezet az eredeti faelemek felhasználásával épült vissza. A vendégszobákat a tetőszerkezet- photographs taken by Lajos ORBÁN, a pho- tographer from Cluj-Napoca, as well as the től független, a tartófalakra támaszkodó fémszerkezetű vendégfödémre épí- tint drawings of Péter WAGNER. Two chim- tettük rá, melyet a kötőgerendák és talpfák szintje fölé helyeztünk (3. ábra). neys were preserved. One is located in the Az emelet régi fagerenda födéme és a vendégfödém között kialakult több unbuilt area of the attic, bearing the imprint mint egy méter magas térben elérhetők és ellenőrizhetők a fürdőszobák of the previous roof pitch and a coloured, etched decoration. The original, sooty plaster rejtett szerelvényei. A szobák kialakításakor figyelembe vettük a tetőszer- preserved on one side of the second chimney kezet főszaruállásainak kiosztását, melyek megközelítőleg egyforma szoba- decorates the hallway in front of the rooms. méretet biztosítottak. A tetőszerkezetben beépítetlenül maradt részek lehe- In order to ensure easy access to and in- dependent use of the attic, a new staircase tővé teszik a tetőszerkezet és a födém periodikus ellenőrzését. Az udvar was built, like in other old townhouses in felőli három szoba nagyobb térigényét két szinten elhelyezett padlóval the centre of the city, in the extension of the lehetett elérni. A bútorzat célszerűen alakult ki, dekorelemként ORBÁN courtyard wing. The staircase has reinforced Lajos kolozsvári fotográfus képei, illetve WAGNER Péter tusrajzai díszítik concrete structure and brick masonry walls, integrating as a finish also historic bricks be- a falakat. A nagy tetőben két kéményt őriztünk meg. Az egyik a padlástér longing to the house (Photo 30). The elevation beépítetlen részében áll, ezen a korábbi, magasabb tetőszög lenyomata és towards the courtyard of the staircase follows karcolt, színezett dekoráció is látható. A második kémény egyik oldalán the layout of the old elevation, with massive lévő, füstös, eredeti vakolat a szobák előtti folyosót díszíti. doors and an exterior corridor, in turn, on the southern elevation, window openings of var- A tetőtér jobb elérhetősége és a független használat kívánta egy új lép- ious sizes were created, through which the csőház megépítését. Kolozsvár belvárosi bérházaihoz hasonlóan, ezt az staircase receives light (Photo 31). udvari szárny hosszabbításában hoztuk létre, vasbeton vázszerkezettel és tég- The house achieved its present layout lafalazattal. Újrahasznosították a felújítás során kibontott téglákat (30. kép). through repeated transformations: mediaeval Udvari homlokzata követi a régi homlokzat kialakítását, tömör ajtókkal gateway, Baroque staircase, Empire details, és függőfolyósóval, viszont déli homlokzatán különböző méretű nyílások contemporary interior design, and new attic kaptak helyet, melyeken keresztül a lépcsőt világítjuk meg. (31. kép) are now integrated into a unity. Following many centuries of use as a private residence, according to the generous decision made by A ház többszöri átalakítással érte el mai formáját: középkori kapualj, the leadership of the Hungarian Unitarian barokk lépcsőház, empire részletek, kortárs belsőkialakítás és új tetőtér Church, the house will serve as a community area in the future. This decision is justified alakult egységgé. Több évszázados zárt, a privát rezidenciákra jellemző by the vibrant cultural life unfolded in the használat után a magyar unitárius egyház vezető testületeinek nagyvona- building since its inauguration. Although lú döntése értelmében a ház a jövőben közösségi térként szolgál tovább. A there are no fixed opening hours, the build- nagyközönség felé nyitás helyességét igazolja az átadás óta eltelt két évben ing represents a significant tourist attraction, often hosting various cultural events: book a ház falai közt kibontakozó pezsgő kulturális élet. Annak ellenére, hogy presentations, concerts, and theatre shows. az emeleti termek nem órarend szerint nyitnak, jelentős a ház turisztikai Many associations and professional societies látogatottsága, és gyakoriak a közművelődési események: könyvbemuta- of Cluj-Napoca choose it as the venue of sci- tók, koncertek, színházi estek. Kolozsvári egyesületek, szakmai társaságok entific events and conferences, while on the ground floor the daily customers of the res- előszeretettel választják tudományos rendezvényeik, konferenciáik hely- taurant, the clients of the bookshop, and the színéül, a földszinten pedig az étterem mindennapi vendégei, a könyves- overnight visitors of the guest rooms animate bolt vásárlói, a szállóvendégek teszik mozgalmassá a ház mindennapjait. the building’s everyday life.

44 2020 | 01 n OVERVIEW n RAPORT n JELENTÉS

n 30. kép: Új lépcsőház – bővítés n 31. kép: Az új lépcsőház homlokzata – bővítés © FURU Xénia, 2018 © FURU Xénia, 2018 n Photo 31. The elevation of the new staircase – extension © Xénia FURU, 2018 n Photo 30. The new staircase – extension © Xénia FURU, 2018

Bibliográfia/Bibliography n *** Számadás az 1885. évről. Magyar Unitárius Egyház Kolozsvári Gyűjtőlevéltára. [Account of the year 1885. Hungarian Unitarian Church Collecting Archives.] n BALOGH Jolán. 1944. Pákei Lajos rajzai Kolozsvár építészeti emlékeiről. Kolozsvár: Erdélyi Múzeum-Egyesület. n BOÉR Ilka & FURU Árpád. 2018. Az unitárius püspöki ház régészeti leletei. Unitárius közlöny 8: 9–10. n BUCªA Livia. 2015, 2017. Expertiză biologică. n ENTZ Géza. 1996. Erdély építészete a 14–16. században. Kolozsvár: Erdélyi Múzeum-Egyesület. n FURU Árpád. 2015. Középkori címer a kolozsvári püspöki rezidencián. Unitárius közlöny 9: 8–9. n FURU Árpád. 2018a. Gondolatok az unitárius püspöki ház helyreállításáról. Unitárius közlöny 8: 4–6. n FURU Árpád. 2018b. A vallásszabadság háza, szórólap, Kolozsvár: Magyar Unitárius Egyház. n FURU Xénia. 2018. Helyreállított reneszánsz kőkeret a Vallásszabadság Házában. Unitárius közlöny 8: 12–13. n GAAL György. 1995. Magyarok utcája. A kolozsvári egykori Bel- és Külmagyar utcák telkei, házai, lakói. Kolozs- vár: Erdélyi Múzeum-Egyesület. n JAKAB Elek. 1870–1888. Kolozsvár története. I–III. köt. Buda/Budapest: Kolozsvár város közönsége. n LUPESCU Radu & KOVÁCS Zsolt. 2015. Studiu de istoria artei ºi raport asupra cercetărilor de parament, Cluj-Napoca B-dul 21 Decembrie 1989 nr 14. n LUPESCU Radu. 2005. Kolozsvár korai történetének buktatói. Erdélyi Múzeum 3–4: 25–77. n LUPESCU Radu. 2012. Mátyás király szülőháza. Kolozsvár: Amarillys társaság. n WAGNER Péter. 2018. A kolozsvári Vallásszabadság Háza (belső)építészeti programjáról. Unitárius közlöny 8: 7–9. Stáblista/Staff n Generál tervező/General architect: GUTTMANN Szabolcs, RETRO STUDIO n Építészet/Architecture: FURU Xé- nia, BIA n Belső építészet/Interior design: WAGNER Péter (emelet, tetőtér/upper storey, attic), PÉTERFFY Miklós (könyvtér/bookstore); BARA DESINGN STUDIO (bistro) n Statikai terv/Structural design: POP Liviu (2010), DÁNÉ Rozália (2015–2018) n Szerelési tervek/Installations design: PALAINEA Valentin (2010), TTT PROIECT; BIRIª Paul, BARSAN Raul (2015–2018), GRADINSTAL n Világítás tehnika/Lightning design: SÜTŐ Zsigmond, PROENERG n Tartószerkezeti szakvélemény/Load-bearing structural assessment: POP Liviu (2010), POPA Augustin (2015–2018) n Biológiai szakvélemény/Building biology assessment: BUCªA Livia, BIOHARCON n Művészettörténeti tanulmány/ Art history study: LUPESCU Radu, KOVÁCS Zsolt n Régészeti kutatás/Archeological study: CSÓK Zsolt, MNIT n Műemlékvédelmi szakértő/Historic building conservation specialist: FURU Árpád n Kivitelező/General contractor (2014–2016): IIT CONSTRUCÞII n Szerelések/Installations (2014–2016): REX INSTAL, TEHNISOL n Kivitelező/ General contractor (2016–2018): LIBRA IMPEX n Szerelések/Installations (2014–2016): PLEIADA CONSTRUCT INSTAL n Fémszerkezetek/Metallic structures: BÁNTÓ József n Faszerkezetek/Wooden structures: GÁLFFY Attila, DOMINO CONSTRUCT EXPERT n Nyílászárórestaurálás/Joinery conservation: FAZAKAS János n Farestaurálás/ Wood conservation: MIHÁLY Ferenc n Vakolatrestaurálás/Plaster conservation: KISS Lóránd, IMAGO PICTA n Kő- restaurálás/Stone conservation: KISS Zoltán, PARADISUM PLANTAVIT; NAGY Benjamin, ARS ANTIQUA

2020 | 01 45 n RESEARCH n CERCETARE n KUTATÁS

n Felix MARCU n Zsolt CSÓK n Valentin-Sebastian DAN n Bogdan FODOR1

Preservation, Metode de conservare, punere Enhancement, and în valoare și protecție a ruinelor Protection Methods for the Ruins of the Mediaeval cetății medievale din Bologa Castle in Bologa

n Rezumat: Articolul prezintă câteva consideraţii asupra modului de con- n Abstract: The article presents considera- servare, punere în valoare ºi protecþie a cetăţii medievale de la Bologa. tions regarding the preservation, enhancement, and protection means for the mediaeval Sunt prezentate o parte dintre metodele folosite şi rezultatele lucrărilor castle in Bologa. It shows some of the methods efectuate până la această dată. used and the results of the works carried out thus far. n Cuvinte cheie: Bologa, cetate medievală, conservare, cercetări arheolo- n Keywords: Bologa, mediaeval castle, pres- gice, soft capping ervation, archaeological research, soft capping

Preambul Preamble n Due to its strategic position enabling con- n Datorită poziþiei strategice pe care o are în controlul asupra văii Criºu- trol over the Criº River Valley, enhanced by the proximity of the confluence of the Crişul lui, accentuată de proximitatea confluenþei râului Crişul Repede cu valea Repede River with the Săcuieului Valley, the Săcuieului, pe teritoriul localităţii Bologa (Sebesvár în limba maghiară) settlement of Bologa (Sebesvár in Hungarian) din judeţul Cluj, s-au construit sisteme fortificate militare încă din peri- in Cluj County has been used as a site for oada antică. building military fortified systems since the Antiquity. Pe teritoriul localităþii sunt situate două monumente importante: cas- The settlement hosts two significant his- trul roman şi cetatea medievală. În perioada 2015-2016, cele două monu- toric buildings, i.e. the Roman military camp mente au făcut obiectul unor studii şi proiecte care vizau conservarea şi and the mediaeval castle. In 2015-2016, the punerea lor în valoare. two historic buildings were subject to studies and projects aimed at their preservation and Dintre aceste proiecte, cel destinat cetăþii a obþinut finanþare prin pro- enhancement. gramul PNDR 7.6 – Restaurarea, conservarea ºi dotarea clădirilor / monu- Among these projects, the one intended mentelor din patrimoniul cultural imobil de interes local de clasa B. for the castle obtained funding under the National Rural Development Programme Finanþarea acestui proiect, în afară de lucrările de conservare ºi pune- (NRDP), Axis 7.6 – The conservation, preser- re în valoare, a permis începerea unor lucrări de investigare arheologică, vation, and retrofitting of historic buildings practic cetatea fiind cercetată în mod sistematic pentru prima dată. as part of the class B real estate cultural heritage of local interest. Besides the preservation and enhance- Scurt istoric ment works, the funding of this project was an opportunity to start archaeological investigations, practically the first systematic re- n Situată pe promontoriul nordic al dealului Cetăţii, la vest de satul Bo- search on the castle. loga, la o înălţime de cca. 60 m deasupra satului, pe malul opus de cas- trul şi aşezarea civilă de epocă romană, cetatea, edificiu înscris pe Lista Brief history Monumentelor Istorice cu codul CJ-II-m-B-07533, este compusă dintr-un n The castle is situated on the northern head- donjon bitronconic pe plan circular, zidul de incintă, un turn patrulater, land of Castle Hill, west of Bologa Village, două bastioane de curtină şi o barbacană. 1 Felix MARCU, PhD, archaeologist, National Museum of Transylvanian History, Cluj-Na- poca, Romania; Zsolt CSÓK, PhD, archaeolo- 1 Felix MARCU, dr. arheolog, Muzeul Naþional de Istorie a Transilvaniei, Cluj-Napoca, gist, National Museum of Transylvanian Histo- România; Zsolt CSÓK, dr. arheolog, Muzeul Naþional de Istorie a Transilvaniei, Cluj- ry, Cluj-Napoca, Romania; Valentin-Sebastian Napoca, România; Valentin-Sebastian DAN, dr. ing. Horticultor, Universitatea de Ştiinţe DAN, PhD, horticulturist engineer, University of Agricultural Sciences and Veterinary Med- Agricole şi Medicină Veterinară din Cluj-Napoca, România; Bogdan FODOR, arhitect, icine Cluj-Napoca, Romania; Bogdan FODOR, Atelier FKM, Cluj-Napoca, România. architect, Atelier FKM, Cluj-Napoca, Romania.

46 2020 | 01 n RESEARCH n CERCETARE n KUTATÁS

Legendă / Legend

1. Donjon circular / Circular keep 2. Turn Vest / Western tower 3. Turn Est / Eastern tower 4. Închidere zid curtină estică / Eastern curtain wall a. Coronament refăcut și acoperirea cu soft capping / Rebuilt wall top with soft capping 5. Turn poartă / Gate tower b. Crenelatură curățată și stabilizată / Cleaned and stabilised battlements 6. Bastion poartă / Gate bastion c. Zonă pe care încă nu s-a intervenit / Area not yet interevened upon 7. Intrarea principală / Main entrance d. Refacerea zidului estic / Rebuilding the eastern wall 8. Barbacană / Barbican e. Coronament în timpul procesului de curățare / Wall top in the process of cleaning n Foto 1. Fotogrametrie aeriană din timpul execuției lucrărilor © foto Zsolt CSÓK © prelucrare Atelier FKM, 2019 n Photo 1. Aerial photogrammetry taken during implementation © photo Zsolt CSÓK © processing Atelier FKM, 2019 at a height of approximately 60 m above the Atestată documentar pentru prima dată în 1319, când este amintit cas- village, on the verge opposite to the Roman telanul Desideriu ELEFÁNTI, castellanus de Sebuswar, care administrează military camp and civilian settlement. The building is included in the List of Historic cetatea pentru regele Carol Robert DE ANJOU (1308-1342), cetatea a fost o Buildings under code CJ-II-m-B-07533, and fortificaţie regală care făcea parte din comitatul Bihor. În jurul anului 1362, is made up of a circular keep with its walls cetatea ºi terenul aferent au fost atribuite voievodului Transilvaniei şi trans- widening towards one third of its height, the ferate în administraţia comitatului Cluj. Sub domnia regelui Sigismund DE enclosure wall, a quadrangular tower, two bastions, and a barbican. LUXEMBURG (1387-1437), cetatea ajunge pentru prima oară în proprieta- The first documentary evidence of the tea unor importanţi vasali ai regelui sau în cea a unor aristocraţi ai vremii. castle dates back to 1319, when record was Pentru o scurtă perioadă de timp, între 1398-1399, a fost donată, împreună made of castellan Desiderius ELEFÁNTI, cu cetatea de la Bran, domnitorului Ţării Româneşti Mircea cel Bătrân, cu castellanus de Sebuswar, who governed the castle for King Charles I of Hungary (1308- care regele maghiar a încheiat un tratat de alianţă în anul 1395. În doar câţi- 1342), as a royal fortification belonging to va ani, ambele cetăţi au fost reluate de către rege, în 1408 cetatea de la Bolo- Bihor County. Around 1362, the castle and ga fiind din nou în administraţia voievodului transilvan. În 1433, domeniul the related land were assigned to the voivode of Transylvania and transferred to the Cluj cetăţii ajunge în posesia familiei BÁNFFY, unde a rămas până la mijlocul County administration. Under the reign of secolului al XX-lea. După o perioadă de decădere, cauzată de răspândirea King Sigismund OF LUXEMBOURG (1387- şi creşterea importanţei artileriei şi a construirii unor fortificaţii moderne, 1437), the castle was owned for the first în care a avut doar un rol de centru domenial, în secolul al XVII-lea, după time by important vassals to the king or by aristocrats of the time. For a short period of cucerirea Oradiei de către turci, importanţa cetăţii a crescut. time, between 1398 and 1399, it was donat- În acest context, principele Mihail APAFI I (1660-1690) dispune o serie ed, together with the castle in Bran, to Mircea de lucrări care au avut ca scop întărirea şi sporirea capacităţii defensive a the Elder, ruler of Wallachia, with whom the cetăţii. În timpul războiului de eliberare (1703-1711) condus de Francisc Hungarian king had signed an alliance treaty in 1395. Both castles were taken back by the RÁKÓCZI al II-lea, cetatea a fost aruncată în aer de lobonţi, pentru a nu king within only several years, as in 1408 the cădea în mâinile curuţilor (GRUIA & AGRIGOROAEI s.a.). Pe parcursul castle in Bologa was again under the adminis- secolului al XVIII-lea, ansamblul cetăţii de la Bologa ºi-a pierdut treptat tration of the Transylvanian voivode. In 1433 importanþa strategică ºi, probabil din cauza accesibilităţii sale reduse, a the castle domain became the property of the BÁNFFY family, who owned it until the mid- decăzut şi din statutul de centru domenial, ajungând o ruină. 20th century. After a period of decline caused Ultimele intervenþii asupra cetăþii datează de la începutul secolului by the spread and increasing significance of al XX-lea, când arhitectul Károly KÓS a coordonat lucrări de restaurare artillery, as well as by the building of modern fortifications, when its only role was of a donjonului acesteia, căruia i-a refăcut acoperişul, pierdut la mijlocul domain centre, in the 17th century, after the secolului al XX-lea.

2020 | 01 47 n RESEARCH n CERCETARE n KUTATÁS

conquest of Oradea by the Turks, the importance of the castle increased. In this context, Prince Michael I APAFI (1660-1690) ordered a series of works intended to strengthen and increase the defensive capacity of the castle. During the war of lib- eration (1703-1711) led by Francis II RÁKÓC- ZI, the castle was blown up by the Habsburg loyalists for it not to fall into the hands of the anti-Habsburg kuruc troops (GRUIA & AGRIGOROAEI s.a.). During the 18th century, the Bologa castle ensemble gradually lost its strategic importance, and probably due to its low accessibility, it also lost its status of domain centre, thus falling into ruin. The last interventions on the castle date back to the early 20th century, when architect Károly KÓS coordinated conservation works on its keep, including the rebuilding of the roof, which was lost in the mid-20th century. Although written sources mention the castle only in 1319, the archaeological re- n Fig. 1. Diagramă cu volumetria ruinelor (stânga) și cu evidențierea intervențiilor propuse (dreapta) search and dendrochronological data have – vedere dinspre nord-vest © Atelier FKM proven preliminaries dating as far back as the n Figure 1. Volumetric diagram of the ruins (left) and diagram highlighting the proposed end of the 12th century (at this stage it was interventions (right) – view from the north-west © Atelier FKM an earthwork and wood fortification). After the Mongol invasion (1241-1242), the keep with a mainly civilian, but also military role (symbol of the prestige of its owner) was built according to the fashion of those times. The 15th and 16th centuries were marked out by at least one “architectural” event, i.e. the building of the enclosure wall, with quadrangular curtain towers, as well as the quadrangular tower of the gatehouse on the enclosure’s north-eastern extremity. The proper construction works were started in the second half of the 16th century (the Renaissance period): this is when the buildings of the palace (palazzo), used as rooms for the civilian and military inhabitants of the castle, were built in the castle bailey, on the southern sides (leaning against the keep) and eastward. As firearms emerged and spread, the curtain towers received a semi-circular shape, and the barbican (rondella), as last element added chronologically, was built in order to increase the protection of the entry. n Fig. 2. Diagramă cu volumetria ruinelor (stânga) și cu evidențierea intervențiilor propuse (dreapta) The research and preservation works – vedere dinspre nord-est © Atelier FKM started in the spring of 2018. n Figure 2. Volumetric diagram of the ruins (left) and diagram highlighting the proposed We shall further on make a short descrip- interventions – view from the north-east © Atelier FKM tion of these works, pointing out the elements that we find defining under this project, but În ciuda faptului că sursele scrise pomenesc cetatea doar la 1319, cer- we cannot talk about a complete description, because the works have yet to be completed. cetările arheologice ºi dendrocronologia au dovedit preliminarii care merg inclusiv până la sfârºitul secolului al XII-lea (în această fază, cetate de Project proposals lemn ºi pământ). După invazia tătară (1241-1242), se construieºte, în con- formitate cu moda acelor vremuri, donjonul cu rol preponderent civil, dar n It should be pointed out from the very be- ºi militar (simbol al prestigiului deþinătorului). ginning that this project had capped funds for both research and design, as well as the Secolele XV-XVI sunt marcate de cel puþin un eveniment „arhitectu- implementation proper. The project actually ral”, construcþia zidului de incintă, cu turnuri de curtină cu plan patru- started after the launching of NRDP 7.6., at later, ºi turnul patrulater al porþii, pe extremitatea nord-estică a incintei. the initiative of archaeologist Felix MARCU, Adevăratele lucrări de construcþie încep din a doua jumătate a secolului al who managed to empower the local authorities and have them get involved bureaucrati- XVI-lea (perioada renaºterii): se construieºte în interior, pe laturile de sud cally and financially in the preservation and (adosat donjonului) ºi spre est, clădirile palatului (palazzo), care serveau enhancement of the historic building. ca încăperi pentru locuitorii civili ºi militari ai cetăþii. Odată cu apariþia The greatest difficulty of the project, in the context of budget limitation, was to estab- ºi răspândirea armelor de foc, turnurile de curtină au primit formă semi- lish a balance between the different work cat- circulară, iar pentru sporirea protecþiei intrării, a fost construită, ca ultim egories. A decision was made to only conduct element adăugat din punct de vedere cronologic, barbacana (rondella). the research and the works strictly necessary

48 2020 | 01 n RESEARCH n CERCETARE n KUTATÁS

n Fig. 3. Faţadă nord – situaţia existentă © Atelier FKM n Fig. 4. Faţadă nord – situaţia propusă © Atelier FKM n Figure 3. Northern elevation – current state © Atelier FKM n Figure 4. Northern elevation – proposal © Atelier FKM

În primăvara anului 2018 au început lucrările de cercetare ºi conser- to stop further ruining, to safeguard, and to ensure access to the historic building. vare. The design concept proposes the preser- Cele ce urmează vor fi o scurtă descriere a acestora cu punctarea acelor vation of the historic building in its state of elemente care ni se par definitorii în cadrul acestui proiect, neputându-se ruin through minimum interventions, as well vorbi despre o descriere completă pentru că la acest moment lucrările nu as ensuring its accessibility. After a complete clearing of the spontaneous vegetation on the sunt încă finalizate. ruined walls, in the castle bailey, and in its vicinity, masonry consolidations and additions are planned, as well as blocking altogether the Propuneri ale proiectului access to the castle across the ruined walls. The historic building will become acces- n De la început trebuie menþionat că acest proiect a avut fonduri plafona- sible to visitors thanks to metallic stairs and platforms that will facilitate the access at the te, atât pentru cercetare ºi proiectare, cât ºi pentru execuþia propriu-zisă. level of the gatehouse’s original opening and În fapt, proiectul a demarat ca urmare a lansării programului PNDR 7.6, on the upper part of the keep. Moreover, an la iniþiativa domnului arheolog Felix MARCU, care a reuºit să capaciteze attempt will be made to reach back to the in- autorităþile locale să se implice birocratic ºi financiar în conservarea ºi itial floor levels. punerea în valoare a monumentului. Construction works Cea mai mare dificultate a proiectului a fost, în contextul limitării bu- getului, de a stabili un echilibru între categoriile de lucrări. S-a luat deci- n The construction works started in the zia de a fi executate doar lucrările de cercetare ºi cele strict necesare pen- spring of 2018. During the implementation, after the tru oprirea procesului de ruinare, punerea în siguranþă ºi accesibilizarea removal of the debris layer, valuable archi- monumentului. tectural elements have emerged. The traces Conceptul proiectului propune conservarea monumentului în stare de of the old earthwork and wood fortification, ruină prin intervenþii minimale şi accesibilizarea lui. După îndepărtarea a series of buildings in the bailey, the battlements on the western tower, or a fragment of integrală a vegetaţiei spontane de pe ruinele zidurilor, din interiorul in- the gate’s closing system were thus surveyed. cintei şi din vecinătatea acesteia, se vor face consolidări ºi completări ale The masonry preservation techniques are zidăriei, blocându-se cu această ocazie şi accesul în cetate peste ruinele the classical ones, i.e. removal of the vegetal zidurilor. layer, removal of the finer detaching material, cleaning the wall pointing, cavity filling, mor- Monumentul va putea fi vizitat prin realizarea unor scări ºi platforme tar injection as necessary, and repointing. All metalice care vor facilita accesul la nivelul golului originar al porþii ºi în the lithic material used for these operations is partea superioară a donjonului. În acelaºi timp se încearcă ºi revenirea la material resulting from the debris. The mor- cotele de călcare iniţiale. tars used for the above-mentioned operations are made on site and are based on hydraulic lime. The finishing layer of the wall top is, as Lucrări de construcție necessary, a controlled spontaneous vegetation layer, i.e. soft wall capping for the walls n Lucrările de construcþie au debutat în primăvara anului 2018. that were not rebuilt, only stabilised, or, În timpul execuþiei, după îndepărtarea stratului de dărâmătură, au apă- where safety measures demand the reconstruction of wall areas (parts of the eastern rut elemente arhitecturale valoroase. Astfel s-au relevat urmele vechii for- curtain wall in the area of the access way and tificaþii din lemn ºi pământ, o serie de construcþii din interiorul incintei,

2020 | 01 49 n RESEARCH n CERCETARE n KUTATÁS

n Fig. 5. Secţiune prin donjon – situaţia existentă © Atelier FKM n Fig. 6. Secţiune prin donjon – situaţia propusă © Atelier FKM n Figure 5. Section of the keep – current state © Atelier FKM n Figure 6. Section of the keep – proposal © Atelier FKM crenelatura de pe turnul vestic sau un fragment din sistemul de închidere al porþii. of the stairs to the keep), a sacrificial masonry Tehnicile de conservare a zidăriei sunt cele clasice: îndepărtarea stra- layer, i.e. hard wall capping. The option for the sacrificial mortar was one with added tului vegetal, îndepărtarea materialului mărunt care se desprinde, curăþa- cement, to ensure quick implementation and rea rosturilor, astuparea cavernelor, injectarea cu mortare acolo unde este cost control (the implementation period was cazul, rerostuirea. Tot materialul litic folosit în aceste operaþiuni este ma- very dry and the lime-based mortar mainte- terialul provenit din dărâmătură. Mortarele folosite pentru operaþiunile de nance operations until maturation would have been very laborious). Another reason mai sus sunt realizate în ºantier ºi sunt pe bază de var hidraulic. for using this technique was the fact that the Stratul final al coronamentului este, după caz, un strat controlat de lithic material is not of calcareous origin, but vegetaţie spontană – soft wall capping, pentru zidurile care nu au fost a much more compact mixture (andesite and dacite), so possible microfissures in the mor- refăcute, ci doar stabilizate, sau, acolo unde măsurile de siguranţă impun tar layer would not lead to significant deterio- zone de zid reconstruite (porþiuni din zidul de curtină estic în dreptul rations of the masonry material. căii de acces ºi în dreptul scării spre donjon), un strat de zidărie de sacri- Since the project did not provide for the ficiu – hard wall capping. Pentru mortarul de sacrificiu s-a optat pentru presentation of all the masonry fragments revealed by the archaeological research, a un mortar cu adaos de ciment pentru rapiditatea execuþiei ºi controlul decision was made that the unearthed ele- costurilor (perioada de punere în operă a fost foarte secetoasă ºi operaþiu- ments should be protected by their reburial. nile de întreþinere a mortarului pe bază de var până la maturare ar fi fost An exception was made for some elevations foarte laborioase). Un alt motiv pentru care s-a folosit această tehnică este of structures belonging to buildings in the bailey, which will be preserved using the cel că materialul litic nu este de origine calcaroasă, ci mult mai compact same methods as described in the para- (este un amestec de andezit ºi dacit), deci posibile microfisuri în stratul graph above. The old floor levels, including de mortar nu vor conduce la deteriorări importante ale materialului de fragments of flooring discovered during the zidărie. research, were documented and protected by reburial. The final floor level will be ap- Deoarece proiectul nu prevedea punerea în valoare a tuturor frag- proximately 30 cm higher than the original mentelor de zidărie relevate de cercetarea arheologică, s-a decis ca ele- one. mentele decopertate să fie protejate prin reîngroparea lor. Excepþie fac An important decision was to intention- ally leave aside the research at the lower câteva dintre elevaþiile unor structuri care au fost în componenþa clă- level of the eastern tower, in order to leave dirilor din interiorul fortificaþiei, care vor fi conservate cu aceleaºi me- a chance for a future research using less in- todele descrise în paragraful anterior. Vechile niveluri de călcare, cu trusive means than the currently available fragmente de pardoseli descoperite prin cercetări, au fost documentate ones. As already mentioned, the works are ºi protejate prin reîngropare. Nivelul de călcare final va fi cu cca. 30 cm ongoing, so we cannot make considerations mai sus decât cel originar. about all the proposed interventions.

50 2020 | 01 n RESEARCH n CERCETARE n KUTATÁS

Archaeological research O hotărâre importantă este aceea de a renunþa intenþionat la cercetarea nivelului inferior al turnului estic pentru a da ºansa pe viitor unei cerce- n The most visible impact of the archaeologi- tări cu mijloace mai puþin invazive decât cele din prezent. cal research is the value added to the historic building, through the discoveries revealing Aºa cum am amintit, lucrările sunt încă în desfăºurare, deci nu putem new data, most of which cannot be found avea reflecţii asupra tuturor intervenþiilor propuse. either in bibliographical or archival sources. The archaeological research conducted on the castle in Bologa in parallel with the imple- Cercetări arheologice mentation works has revealed a series of novel data on the buildings inside the castle, as well as on the daily life of its inhabitants. n Cel mai vizibil impact al cercetării arheologice vine prin valoarea adă- Considering the data in chronological ugată monumentului, prin prisma descoperirilor care aduc la iveală noi order, we can thus say that before the con- informaþii, majoritatea nefiind găsite nici în sursele bibliografice, nici în struction phases in stone, this hill (of major strategic nature in terms of control over the cele arhivistice. Criº River Valley) hosted a fortification with În cazul cetăþii de la Bologa, cercetarea arheologică întreprinsă în pa- defensive constructions made up of wooden ralel cu lucrările de execuþie a scos la iveală o serie de informaþii inedite beams and compacted earth, typical of the asupra clădirilor din incinta obiectivului, dar ºi date privind viaþa cotidi- 12th and 13th centuries. The dendrochronological samples of the beams found in situ ană a celor ce au locuit în cetate. in the keep’s structure confirm that this ele- Astfel, dacă luăm datele în ordine cronologică, putem spune că, în pre- ment was built in the second half of the 13th liminariile fazelor de piatră, pe acest deal (cu un caracter strategic major century. în ceea ce priveºte supravegherea văii Criºului), a existat o fortificaþie cu At the beginning of the implementation works, the castle bailey was dominated by elemente de întărire executate din bârne de lemn ºi pământ compactat, vegetation and large quantities of debris. tipică secolelor XII-XIII. Mostrele dendrocronologice din grinzi găsite in Approximately 1350 m3 of debris have been situ în structura donjonului confirmă perioada de construcþie a acestui evacuated so far, after reusing the stones. The debris hid the buildings only known from a element ca fiind în a doua jumătate a secolului al XIII-lea. few 17th century inventories. These build- La debutul lucrărilor de execuþie, interiorul cetăþii era dominat de vege- ings, which, as part of a palazzo ensemble, taþie ºi niveluri masive de dărâmătură. Până în momentul de faþă, au fost dominated the south-south-western end of evacuate, cu refolosirea pietrelor, cca. 1350 m3 de dărâmătură, care a as- the bailey, date back to the castle’s Renais- sance phase and hosted rooms intended for cuns sub ea acele clădiri cunoscute doar din câteva inventare de secol XVII. everyday use. The ensemble of the buildings Aceste clădiri, care dominau capătul sud–sud-vestic al incintei, concentrate actually ensures the link between the keep într-un ansamblu palazzo, datează din faza renascentistă a cetăþii şi adăpos- and the curtain towers. Each room was pro- teau spaþii de uz cotidian. Ansamblul clădirilor face de fapt legătura între vided with a fireplace, built up with Renais- sance stove tiles. The palazzo – within the donjon ºi turnurile de curtină. Fiecare încăpere a fost prevăzută cu instalaþie meaning of mediaeval castle architecture – is de foc, construită cu cahle de sobă, renascentiste. Palazzo – în accepþiunea the most imposing building inside a castle (in arhitecturii medievale de cetate – este clădirea cea mai impozantă din incin- our case with a mainly military role), com- ta unei cetăþi (în cazul nostru acesta având preponderent rol militar), care prising administrative rooms (the captain’s quarters, the ladies’ chamber, the military înglobează încăperi cu funcþiuni administrative (camera căpitanului cetăþii, council room). These buildings usually con- sala doamnelor, camera de consiliu militar). De regulă, aceste clădiri deþin tain most of the architectural and ornamen- cele mai multe elemente arhitectural-ornamentale (ancadramente, muluri, tal elements (frames, mouldings, embossed pardoseli de cărămidă profilată, sobe de cahle), arătând ºi prin aceste piese brick flooring, tile stoves), which once again decorative prestigiul celui care deþine sau locuieºte în cetate.

n Foto 2. Vedere a barbacanei dinspre vest înainte de intervenţii n Foto 3. Vedere a barbacanei dinspre vest în cursul procesului de © Atelier FKM, 2018 decopertare a coronamentului © Atelier FKM, 2019 n Photo 2. View of the barbican from the west before the interventions n Photo 3. View of the barbican from the west during the wall top © Atelier FKM, 2018 clearing © Atelier FKM, 2019

2020 | 01 51 n RESEARCH n CERCETARE n KUTATÁS

O noutate extrem de interesantă este zona de acces dinspre intrarea display the prestige of the owner or inhabit- principală, între turnul patrulater al porþii ºi zidul de incintă. Pe latura ant of the castle. An extremely interesting novelty is the vestică a turnului patrulater a fost decopertată o structură boltită care fă- access area from the main entry, between the cea legătura între zidul de incintă ºi colaterala vestică a turnului. Aceas- quadrangular gatehouse and the enclosure tă structură, care nu a fost menþionată de niciun plan sau reprezentare wall. On the western side of the quadran- grafică istorică cunoscută, permite formularea concluziei că accesul spre gular tower, a vaulted structure linking the enclosure wall and the western part of the incintă nu se efectua exclusiv pe latura estică a turnului de poartă şi că tower was unearthed. This structure, which acesta a fost flancat cu o intrare ºi pe latura opusă. was not featured in any known plan or his- Descoperirile arheologice confirmă în mare măsură informaþiile pre- torical graphical representation, enables us to zentate în inventarele de secol XVII-XVIII. Pe baza elementelor de cultură conclude that the access to the enclosure was not exclusively made on the eastern side of materială găsite, putem reconstrui cu mare exactitate încăperile în care the gatehouse and that the latter was flanked acestea au fost descoperite. with an entry on the opposite side as well. The archaeological discoveries largely confirm the data presented in the 17th and Soft capping 18th century inventories. Based on the material culture elements found, we can very precisely reconstruct the rooms where they n Wall soft capping este metoda de conservare a coronamentului unui zid were found. prin acoperirea cu un strat de sol ºi vegetaþie. Apărută ca metodă de conservare în Anglia anilor ’80 din secolul precedent, după o serie de studii Soft capping efectuate în anii 2000 a început să se folosească mai des ca alternativă n Wall soft capping is a preservation method la varianta de conservare cu un strat de zidărie sau mortar de sacrificiu for wall tops consisting in covering them with – hard wall capping. Avantajele pe care le-ar putea avea această metodă a layer of soil and vegetation. Emerging as a sunt mai multe: este un procedeu relativ ieftin ºi simplu de instalat; folo- conservation method in England in the 1980s, seºte materiale locale ºi contribuie la biodiversitate ºi la protejarea naturii after a series of studies conducted in the 2000s it started to be used more often as an alterna- din sit; costurile de mentenanþă sunt relativ mici; ajută la reducerea can- tive to the preservation method using a layer tităþii de apă de la suprafaþa zidăriei prin consumul de apă determinat de of masonry or sacrificial mortar, i.e. hard wall evapotranspiraþie; conferă protecþie termică la variaþiile de temperatură capping. There are several advantages to this method, such as a relatively cost-efficient and diurne ºi sezoniere; acþionează ca un burete ºi reþine cantităþi de apă dato- easy to implement procedure; the use of local rate ploilor sau topirii zăpezii. materials, and the contribution to biodiversi- Acþiunea de acoperire a coronamentului zidurilor restaurate ale cetăþii ty and to the protection of nature on the site; medievale Bologa (soft-capping) a demarat în luna octombrie 2018, prin relatively low maintenance costs; contribution to reducing water quantity at the surface studierea componenþei vegetaþiei erbacee de pe un câmp din Valea Drăga- of the masonry through water consumption nului, comuna Poieni, judeþul Cluj, respectiv o suprafaþă de cca. 500 m2 by evapotranspiration; provision of thermal de păºune comunală, repartizată de Primăria Poieni în acest scop. Terenul protection against daily and seasonal temperature variations; its action similar to a sponge retaining water quantities resulting from rain or melting snow. The soft capping of the conserved walls in Bologa started in October 2018, when the herbal vegetation composition of a field in Valea Drăganului, belonging to Poieni Village, Cluj County, i.e. an area of approximately 500 m2 of communal pasture dedicated by the Poieni Village Hall to this purpose, was studied. The field is situated on a secondary ter- race of Criºul Repede River, in a place called “La ºes”. The resistance in time of the vegetal blan- ket covering the top of the castle wall also depends on the composition of the natural grassland. The study of the herbal vegetation in the research area was therefore imper- ative. Over 20 species of perennial herbaceous plants (monocotyledons and dicotyle- dons) were thus recorded on the site, mainly gramineae (grass), with uniform, thick coverage. The natural grassland in the research area is obviously dominated by gramineae (coverage of over 70%/m2), with the following main monocots revealed: Agrostis stolonifera (creeping bentgrass), Avenula pratensis (meadow oat-grass), Deschampsia caespitosa (tufted hairgrass), Festuca ovina (sheep’s n Foto 4. Vedere a barbacanei dinspre vest după decopertarea coronamentului © Atelier FKM, 2019 fescue), Festuca pratensis (meadow fescue), n Photo 4. View of the barbican from the west after the wall top clearing © Atelier FKM, 2019 Holcus lanatus (tufted grass), Koeleria mac-

52 2020 | 01 n RESEARCH n CERCETARE n KUTATÁS

n Foto 5. Vedere a barbacanei dinspre vest după stabilizarea coronamentului © Atelier FKM, 2019 n Photo 5. View of the barbican from the west after the stabilisation of the wall top © Atelier FKM, 2019

este situat pe o terasă secundară a râului Criºul Repede, în locul numit rantha (crested hair-grass), Poa nemoralis „La ºes”. (wood bluegrass), and Poa pratensis (smooth Rezistenþa în timp a covorului vegetal de acoperire a coronamentului meadow-grass). We further mention some of the per- zidului cetăþii depinde ºi de compoziþia pajiºtii naturale, de aceea a fost ennial herbaceous species of dicots found: imperios necesar să se studieze vegetaþia erbacee din zona de cercetare. Achillea millefolium (common yarrow), Aju- Astfel, au fost înregistrate pe sit peste 20 de specii erbacee perene (mo- ga reptans (blue bugle), Fragaria vesca (wild strawberry), Hieracium pilosella (mouse-ear nocotiledonate ºi dicotiledonate), preponderent graminee (ierburi), având hawkweed), Plantago lanceolata (ribwort un grad de acoperire uniform, îndesit. Pajiºtea naturală din zona de studiu plantain), Trifolium repens (white clove), and are o dominantă evidentă a gramineelor (peste 70% acoperire/m2), prin- Viola odorata (wood violet). cipalele specii monocotiledonate evidenþiate fiind: Agrostis stolonifera The natural grassland under study has good vegetation coverage, has a south-east- (iarba câmpului), Avenula pratensis (ovăscior), Deschampsia caespitosa ern exposure, a slight slope (3-4%), and has (târsă), Festuca ovina (păiuº), Festuca pratensis (păiuº de câmp), Holcus no water excess. The type of soil is clayey lanatus (flocoºică), Koeleria macrantha, Poa nemoralis (iarbă deasă), Poa illuvial brown soil, with sandy non-cohesive pratensis (firuþă). texture, and it is very well penetrated by the vegetation roots. Dintre speciile de erbacee perene dicotiledonate identificate, se menþi- All these elements triggered the deci- onează: Achillea millefolium (coada ºoricelului), Ajuga reptans (vineþică), sion to harvest the turfs in the area described Fragaria vesca (fragi), Hieracium pilosella (vulturică), Plantago lanceolata above. (pătlagină), Trifolium repens (trifoi alb), Viola odorata (viorea). Before harvesting the turfs, the vegetation of the plot was cut with the lawn mower Pajiºtea naturală studiată are o bună acoperire cu vegetaþie, beneficiază at a height of approximately 5 to 6 cm. This de o expoziþie sud-estică, o pantă uºoară (3-4%) ºi nu prezintă exces de measure was necessary in order to make turf apă. Solul este de tip brun argilo-iluvial, cu textură nisipoasă, ne-coezivă, manipulation easier, on the one hand, and, on the other hand, to ensure their better ad- ºi este foarte bine penetrat de rădăcinile vegetaþiei. herence, due to a smaller foil area and, thus, Toate aceste elemente au determinat ca acþiunea de recoltare a brazde- lower water consumption by the plants. lor de vegetaþie să fie efectuată din zona descrisă anterior. The turfs were harvested using a special Înainte de recoltarea brazdelor, vegetaþia de pe parcela respectivă a fost machine for cropping lawn turfs with a pendular knife, using a harvesting depth (thick- tunsă cu maºina de tuns gazon, la o înălþime de cca. 5-6 cm. Această mă- ness of the soil layer) of 5.5-6.5 cm. The turfs sură s-a impus pentru a uºura manipularea brazdelor, pe de o parte, ºi, pe were 50 cm large and 100 to 150 cm long. de altă parte, pentru a asigura o mai bună prindere a acestora, datorită re- In parallel with turf harvesting, the soil ducerii suprafeþei foliare ºi, implicit, a consumului de apă de către plante. mixture for capping the wall was prepared by mixing the existing soil obtained on the site Brazdele s-au recoltat cu ajutorul unei maºini speciale pentru decu- with peat in a ratio of 3:1 (soil:peat). pat brazde de gazon cu cuþit pendular, adâncimea de recoltare (grosimea The work procedure was in line with the stratului de sol) fiind reglată la 5,5-6,5 cm. Dimensiunea brazdelor a fost: one described in the technical specifications, lăþime = 50 cm, lungime = 100-150 cm. and it consisted of the following stages: – cleaning the wall top area by sweeping În paralel cu recoltarea brazdelor, a fost pregătit amestecul de sol pen- and removing all foreign objects; tru copertarea zidului, prin amestecarea cu turbă a solului existent obþi- – fixing a geotextile layer with plugs; nut din cadrul ºantierului, în proporþie de 3:1 (sol:turbă). – laying a layer of soil mixture all along the wall top as an elongated mound, Procedura de lucru a fost conformă cu cea descrisă în caietul de sarcini with a height of 25-30 cm at the axis; al proiectului tehnic, respectiv succesiunea lucrărilor a fost următoarea:

2020 | 01 53 n RESEARCH n CERCETARE n KUTATÁS

– laying of the grassed turfs by cropping the soil layer on the edges and bending the turfs inwards (with the vegetation layer towards below); – lining up the edges and adding soil mixture or turf fragments where necessary; – can watering the areas capped with grassed turfs using a mixture of water, fertiliser, and rooting accelerator; – in the end, compacting the grassed surfaces as evenly as possible by walking. The turf laying was performed in three stages, i.e. the first stage in October-Novem- ber 2018, the second stage in June-July 2019, and the third stage in September-October 2019. The analysis and assessment of how the vegetation reacted right after laying have

n Foto 6. Aspect general al curții interioare a cetății © Valentin-Sebastian DAN, 2019 n Photo 6. Overview of the castle bailey © Valentin-Sebastian DAN, 2019 a.

– curăþarea suprafeþei de coronament a zidului prin măturare ºi înde- părtarea oricăror obiecte străine; – montarea unui strat de geo-textil, cu ajutorul diblurilor; – aºternerea unui strat de amestec de sol pe lungimea coronamentului, sub forma unei movile alungite, cu o înălþime la ax de 25-30 cm; – montarea brazdelor înierbate, prin decuparea stratului de sol spre margini ºi „îndoirea” brazdelor spre interior (cu stratul de vegetaþie înspre dedesubt); – alinierea marginilor ºi completarea cu amestec de sol sau cu fragmente de brazde acolo unde a fost nevoie; – udarea cu stropitorul a suprafeþelor copertate cu brazde înierbate folosind un amestec de apă, fertilizant ºi stimulator de înrădăcinare; – la final, tasarea cât mai uniformă a suprafeþelor înierbate prin călcare. Acþiunea de montare a brazdelor a avut loc în trei etape, respectiv în perioada octombrie-noiembrie 2018 prima etapă, în lunile iunie-iulie 2019 a doua etapă ºi în lunile septembrie-octombrie 2019 a treia etapă.

Studierea ºi evaluarea modului de reacþie a vegetaþiei în perioada de după b. montare a indicat faptul că perioada cea mai bună de montare a brazdelor înierbate este toamna. Montarea brazdelor în lunile de primăvară-vară ex- pune coronamentul zidurilor unor temperaturi ridicate a mediului ambi- ant (ocazional peste 28oC), situaþie care, în condiþii de ne-irigare, reprezin- tă un stres accentuat pentru vegetaþia erbacee din componenþa brazdelor. Comportamentul brazdelor pe timpul iernii a fost unul foarte bun; nu s-au observat rupturi ale marginilor sau scurgeri de sol pe ziduri. Iarna a fost una blândă pentru această zonă (cu o temperatură minimă ce nu a depăºit -12oC), cu un strat de zăpadă de cca. 15 cm, care s-a menþinut aproape două luni. Per ansamblu, brazdele montate în sezonul de toamnă al anului 2018 s-au comportat foarte bine în vara secetoasă a anului 2019, menþinându-ºi starea de viabilitate într-un procent ridicat (60-70%) ºi au recuperat uscă- ciunea în sezonul de toamnă al anului 2019, spre deosebire de brazdele montate în vara anului 2019, care au fost foarte afectate în perioada ve- rii. Gradul de „recuperare” a vegetaþiei va fi evaluat în primăvara anului 2020. Se poate afirma că cel mai bine au rezistat speciile de plante care ma- n Foto 7. a-b. Imagine dinspre sud-vest înainte (a) și nifestă în mod natural rezistenþă la secetă (xerofite), cum ar fi: Festuca după (b) reabilitarea donjonului 2015/2019 sp. dintre ierburi (monocotiledonate) sau Trifolium repens dintre dicoti- © Atelier FKM, 2015, 2019 n Photo 7. a-b View from the south-west before (a) ledonate. Amestecul de specii s-a menþinut, în general, cu o tendinþă de and after (b) the keep’s conservation 2015/2019 reducere a exemplarelor de dicotiledonate. Desigur, în condiþiile aride © Atelier FKM, 2015, 2019

54 2020 | 01 n RESEARCH n CERCETARE n KUTATÁS

n Foto 8. Urme de bârne, gropi de stâlpi, vetre de foc ale vechii fortificații din n Foto 9. Inscripție romană găsită în timpul cercetărilor secolul al XIII-lea © Zsolt CSÓK, 2018 © Cosmin ONOFREI, 2019 n Photo 8. Imprints of beams, post holes, and hearths of the old 13th century n Photo 9. Roman inscription found during the research fortification © Zsolt CSÓK, 2018 © Cosmin ONOFREI, 2019

de la nivelul coronamentului zidurilor, fenomenul selecþiei naturale îºi revealed that the best time for turf laying was va face efectul, astfel că în perioada următoare cele mai rezistente specii autumn. Turf laying in spring-summer time erbacee din cele prezente în amestecul iniþial vor fi cele care vor deþine exposes the wall tops to high ambient tem- peratures (occasionally above 28oC), which, o pondere tot mai mare în stratul de soft capping care se va naturaliza in the absence of irrigation, is a high stress pe locul montării. for the herbaceous vegetation contained in Un aspect important care va trebui să fie avut în vedere în mod con- the turfs. The turfs behaved perfectly during win- stant – în cadrul lucrărilor de întreþinere a coronamentelor acoperite cu ter; no tears of the edges or soil leaking on the soft capping – este împiedicarea instalării vegetaþiei lemnoase. În jurul cetăþii Bologa există pâlcuri de arbori, iar numeroase specii au seminþe aripate, care sunt purtate de curenþii de aer: arþar, frasin, jugastru, molid, paltin – pentru a menþiona doar speciile mai frecvente în zonă. O potenþi- ală ameninþare în acest sens o constituie ºi anumiþi arbuºti, cum ar fi cur- penul sau păducelul, ale căror seminþe pot ajunge pe coronament purtate de vânt sau cu ajutorul păsărilor.

Concluzii

n Acest articol este scris înainte de finalizarea lucrărilor, deci nu putem face afirmaþii clare despre succesul acestui proiect. Ceea ce însă este clar după analiza lucrărilor executate este că acest tip de proiect, care are atât de multe necunoscute, necesită o perioadă de studiu ºi o alocare de fonduri mult mai generoasă înainte de demararea lucrărilor. Aceste fonduri ar trebui distribuite mai ales pentru o cercetare prealabilă mult mai amă- nunþită, care să permită o evaluare mai exactă a costurilor. Limitarea fon- durilor la un anumit cuantum valoric face ca anumite decizii să se bazeze doar pe criterii de ordin financiar. Rezultatele prezentate în lucrarea de faþă sunt parþiale, deoarece stu- diul privind protecþia ruinelor cu covor vegetal se află în curs de derulare. Observaþiile ºi evaluările efectuate scot în evidenþă faptul că această me- todă de protecþie a ruinelor cu material vegetal, tehnică mai puþin cunos- cută în þara noastră, necesită o perioadă de studiu îndelungată ºi o sursă financiară consistentă. Este evident că metoda contribuie substanþial la accentuarea imaginii de ruină ºi împiedică, dacă mentenanþa este făcută corect, deteriorări ulterioare cauzate de creºterea spontană a vegetaþiei. Desigur trebuie luate în calcul ºi încercări de utilizare a unor alte tipuri de plante, aici făcându-se un experiment cu cele din flora locală, această de- n Foto 10. Sfeșnic din secolul al XVII-lea găsit în cizie conducând probabil la necesitatea unei mentenanþe mai laborioase. timpul cercetărilor © Zsolt CSÓK, 2019 Un alt capitol care ar trebui continuat ar fi cercetarea arheologică sis- th n Photo 10. A 17 century candlestick found tematică, eventual în cadrul unui ºantier deschis pentru public. Această during the research © Zsolt CSÓK, 2019

2020 | 01 55 n RESEARCH n CERCETARE n KUTATÁS

n Foto 11. Parcela de unde s-au recoltat brazdele de iarbă pentru realizarea tehnicii de soft capping n Foto 12. a-b. Proba de sol – structură compactă și © Valentin-Sebastian DAN, 2018 textură nisipoasă © Valentin-Sebastian DAN, 2018 n Photo 11. The plot where the turfs were harvested for soft capping © Valentin-Sebastian DAN, 2018 n Photo 12. a-b. Soil sample – compact structure and sandy texture © Valentin-Sebastian DAN, 2018 cercetare ar putea scoate la iveală o imagine mult mai clară a structurilor aflate în zonele necercetate. walls were observed. Winter was soft for the Este important ca cetatea să fie complet adoptată de către comunitatea area concerned (with the minimum tempera- locală, care s-ar putea implica în lucrările de mentenanþă necesare pentru ture not below -12oC), with an approximately ca procesul de ruinare să fie stopat. 15 cm thick snow layer, which had persisted for almost two months. Considerăm că lucrările efectuate în cadrul acestui proiect sunt doar In general, the turfs laid in the autumn of începutul unui proces de responsabilizare a comunităþii în raport cu valo- 2018 behaved very well during the dry sum- rile pe care le deþine. Din fericire, în această comunitate există un grup de mer of 2019, maintaining their viability in a entuziaºti care sunt interesaþi de soarta cetăþii. high percentage (60-70%), and recovering from dryness in the autumn of 2019, unlike the turfs laid in the summer of 2019, which were very impacted during summertime. The Bibliografie/Bibliography degree of vegetation “recovery” will be as- sessed in the spring of 2020. n DRĂGUŢ, Vasile. 1978. Cetatea Bologa. Revista Muzeelor şi Monu- It may be stated that the plants that best mentelor. Monumente istorice şi de artă 47: 43-45. resisted were the species naturally resistant to dryness (xerophytes), such as: Festuca sp. n GALE, Lawrence. 2013. Soft capping our heritage. Pitchcare Magazi- among herbs (monocots) or Trifolium repens ne 48, https://www.pitchcare.com/news-media/soft-capping-our-he- among dicots. The mixture of species was ritage.html (accesat în ianuarie 2020). generally maintained, with a tendency of de- n GRUIA, Ana Maria & Vladimir AGRIGOROAEI. s.a. Cetatea de la Bo- crease in the dicots. In the dry conditions at the level of the wall tops, the natural selec- loga. https://www.academia.edu/15321100/Cetatea_Bologa (accesat tion phenomenon will certainly take effect, în octombrie 2015). and thus, in the next period, the most resist- n KENT, S. G. Robin. 2013. Thirlwall Castle: The Use of Soft Capping ant herbaceous species among the ones pres- in Conserving Ruined Ancient Monuments. Journal of Architectural ent in the initial mixture will be the species with an increasingly larger share in the soft Conservation 1: 35-48. capping layer that will become naturalised on n LEE, Zoë, Heather VILES & Chris WOOD, eds. 2007. Soft capping the laying site. historic walls: A better way of conserving ruins? Oxford University An important aspect to be constantly considered – during the maintenance works Centre for the Environment & English Heritage. on the softly capped wall tops – is to avoid n LIM, Alex Byungwook. 2009. Soft Capping of Archaeological Mason- the installation of woody plants. The castle ry Walls: Far View House, Mesa Verde National Park. Graduate the- in Bologa is surrounded by clumps of trees, sis, University of Pennsylvania. Scholarly Commons, https://reposi- and many of the species have winged seeds, which are carried by air currents, such as tory.upenn.edu/hp_theses/123/ (accesat în ianuarie 2020). Norway maple, ash, field maple, Norway n LUPESCU, Radu, KOVÁCS Zsolt & EMŐDI Tamás. 2015. Cetatea Bo- spruce, sycamore – to mention just the most loga. Studiu de Istoria Artei. Cluj-Napoca. common species in the area. A potential n MORTON, Tom, Jenny ANDERSSON, Harriet LINDSAY, Rebecca threat in this respect also comes from certain shrubs, such as the old man’s beard or the LITTLE, Jane MACKINTOSH & Elizabeth PARKER. 2011. Soft cap- common hawthorn, whose seeds may reach ping in Scotland. The Context and Potential of Using Plants to Protect the wall top as they are carried by the wind Masonry. Vol. 1. Edinburgh: Historic Scotland. or by birds.

56 2020 | 01 n RESEARCH n CERCETARE n KUTATÁS

Conclusions n This article was written before the completion of the works, so we cannot make accurate statements about the success of this project. What is obvious however after the analysis of the works performed is that this type of project, with so many unknowns, needs a longer survey period and a much more generous allocation of funds before starting the works. These funds should be mainly allocated for much more detailed preliminary research enabling a more accurate cost assessment. Thresholding the funds leads to decisions often made on the sole basis of financial criteria. The results presented in this article are partial, because the analysis of the ruin protection by soft capping is ongoing. The obser- vations and assessments made so far reveal the fact that this ruin protection method with vegetal material, a technique less known in Romania, requires a long analysis period and a significant financial source. It is obvious that this method contributes significantly to emphasising the ruin character, and it avoids further deterioration caused by the growth of spontaneous vegetation, provided that the maintenance is made correctly. In this case, the experimental soft capping was performed using plants from the local flora, but attempts of using other types of plants must certainly be considered, keeping in mind that such a decision would probably require more labori- n Foto 13. Montarea brazdelor înierbate – succesiunea etapelor de lucru ous maintenance. © Valentin-Sebastian DAN, 2019 Another chapter that should be contin- n Photo 13. Turf laying – succession of the works stages © Valentin-Sebastian DAN, 2019 ued is the systematic archaeological research, potentially under a site open to the public. Such a survey could reveal a much more accurate image of the structures in the areas that have not yet been researched. n MORTON, Tom, Jenny ANDERSSON, Harriet LINDSAY, Rebecca It is important that the castle be com- LITTLE, Jane MACKINTOSH & Elizabeth PARKER. 2011. Soft cap- pletely adopted by the local community, who could get involved in the maintenance works ping in Scotland. The Context and Potential of Using Plants to Protect necessary to stop the ruining process. Masonry. Vol. 2 Case Studies. Edinburgh: Historic Scotland. We think that the works performed under n RUSU, Adrian Andrei. 1980. Începuturile cetăţii feudale de la Bolo- this project are just the beginning of a process ga. Acta Musei Porolissensis 4: 403-420. of raising the community’s awareness with regards to the values that they own. Fortu- n RUSU, Adrian Andrei. 2005. Castelarea carpatică. Cluj-Napoca: nately, this community includes a group of Editura Mega. enthusiastic people interested in the castle’s fate.

n Foto 14. Aspectul brazdelor la 9 luni de la montare © Valentin-Sebastian DAN, 2019 n Photo 14. Turf appearance nine months after laying © Valentin-Sebastian DAN, 2019

2020 | 01 57 n OVERVIEW n RAPORT n JELENTÉS

n Oana Ancuța BUZURĂ1

Conectând trecutul pentru viitor Connecting the Past IMPORTANȚA PROIECTĂRII INSTALAȚIILOR ELECTRICE for the Future ÎN CADRUL PROCESELOR DE „RE” PENTRU PATRIMONIUL THE IMPORTANCE OF ELECTRICAL SYSTEMS DESIGN IN THE “RE-” PROCESSES CULTURAL FOR CULTURAL HERITAGE

n Rezumat: Articolul prezintă o trecere în revistă a modului de abordare n Abstract: The article presents an overview of the approach to the technical design a proiectului tehnic pentru specialitatea de instalaþii electrice ºi de curenþi for the electrical and low voltage systems slabi, pornind din faza de analiză a situaþiei existente ºi stabilirea conceptu- specialty, starting from the phase of current lui/conceptelor, până în faza de implementare. Proiectarea este o verigă im- situation analysis and concept(s) develop- portantă în lanþul care formează orice proces de „re” (restaurare, reabilitare, ment, until the implementation phase. De- sign is an important link in the chain that renovare, revitalizare, reconversie, recuperare, refuncþionalizare, reconstru- forms any “re-” process (restoration/conser- ire) a patrimoniului cultural. Pentru ca rezultatul final să fie cel dorit de vation, rehabilitation, renovation, revitali- toată lumea, adică lucrările de execuþie să aibă un nivel de calitate ridicat, sation, reconversion, recovery, repurposing, proiectul tehnic trebuie să aibă un conþinut tehnic pe măsură ºi să fie pus în reconstruction) of the built heritage. For the result to be the one desired by everyone, i.e. aplicare de un colectiv specializat ºi autorizat pentru lucrări în monumen- the implementation works to have a high te istorice. Articolul este structurat în trei părþi, astfel că el se deschide cu level of quality, the technical design must o introducere, care este urmată de o incursiune în etapele de proiectare a have an appropriate technical content and has to be implemented by a specialised instalaþiilor electrice ºi de curenþi slabi, cu punctarea rolurilor etapelor ºi a team approved for interventions on historic protagoniºtilor lor, ºi se încheie cu o concluzie concisă. buildings. The article is structured in three parts; thus, it opens with an introduction, n Cuvinte cheie: instalaþii electrice, instalaþii de curenþi slabi, iluminat, followed by an incursion into the design stages of electrical and low voltage systems, paratrăsnet, instalaþie de alarmare la efracþie, instalaþie de detectare, semna- highlighting the role of the stages, as well as lizare ºi avertizare incendiu, proiect tehnic, monument istoric of its protagonists, and closes with a brief conclusion.

n Keywords: electrical systems, low voltage networks, lighting, lightning rod, bur- Introducere glary alarm, fire detection, signalling, and warning system, technical design, historic n Proiectele de restaurare, reabilitare, renovare, revitalizare, reconversie, building recuperare, refuncþionalizare ºi reconstruire ale patrimoniului cultural sau proiectele „re”, cum ne place să le numim neoficial, implică contribuþia Introduction unei echipe multidisciplinare, a unei echipe de specialiºti care au scopul comun de a proteja patrimoniul pe de o parte, respectiv de a-l valorifica n The projects for the restoration/conserva- pentru viitor, nu doar prin calitatea prezentului, ci ºi a trecutului. Instalaþii- tion, rehabilitation, renovation, revitalisa- le electrice ºi cele de curenþi slabi sunt o verigă din procesul de proiectare, o tion, reconversion, recovery, repurposing, or reconstruction of built heritage, or the verigă care pe lângă principala ei contribuþie de asigurare a funcþionalităþii “re-” projects, as we like to call them infor- ºi siguranþei are ºi capacitatea de a oferi confortul, de a completa compo- mally, involve the contribution of a mul- ziþia arhitecturală, deschizând-o spre explorare. ti-disciplinary team, a team of specialists Menþinerea integralităþii arhitecturale atunci când antrenezi un proces who have a common goal in the protection of built heritage, as well as in its enhance- de „re”, cu respectarea normativelor ºi standardelor, pe de-o parte, ºi asigu- ment, not only through the quality of the rarea funcþiilor unor cerinþe contemporane de utilizare, constituie o provo- present, but also that of the past. Electri- care de proiectare, cere inovare ºi creativitate în soluþii. De cele mai multe cal and low voltage systems are a link in ori se cere integrarea tehnologiei moderne, a comunicării ºi controlului, the design process that, besides their main contribution of ensuring functionality and ceea ce implică o înþelegere complexă, corectă ºi armonioasă a mediului ºi safety, also have the capacity to offer con- contextului cultural. 1 Engineer, PhD, specialised in electrical engi- neering, Pieme Impex Ltd, Cluj-Napoca, Ro- 1 Inginer, dr., specializare inginerie electrică, SC Pieme Impex SRL, Cluj-Napoca, România. mania.

58 2020 | 01 n OVERVIEW n RAPORT n JELENTÉS

venience and to complete the architectural composition, opening it to exploration. Preserving architectural integrity when engaging in a “re-” process, in compliance with regulations and standards while ensuring the functions of contemporary usage requirements, is a design challenge, which requires innovation and creativity in the chosen solutions. Most of the time the integration of modern technology, of commu- nication and control, is required, which implies a complex, correct, and harmonious understanding of the cultural environment and context. In the case of historic buildings, a professional and rigorous design, with a high level of quality, attracts a more active and n Foto 1. Tablou electric existent aflat în stare n Foto 2. Tablou electric existent vechi, echipat conscious involvement in the implementa- avansată de degradare, cu completări și cu siguranțe fuzibile și completat ulterior tion process of the contractor, than in the modificări neprofesioniste n Photo 2. Existing, old electrical panel case of new spaces. The contractor must n Photo 1. Existing electrical panel in an equipped with fuses and subsequently know certain basic principles of working advanced state of degradation, with completed in a protected space, respectively has to be unprofessional additions and changes open to the collaboration with the designer, for the concept and specifications of the design to become reality. În cazul monumentelor istorice, o proiectare riguroasă ºi profesionistă, cu un nivel ridicat de calitate, atrage în procesul de execuþie o implicare Incursion into the design stages mai activă ºi mai conºtientă a executantului decât în cazul unor spaþii noi. of electrical and low voltage Executantul trebuie să fie cunoscător al unor principii minime de a lucra systems în spaþii protejate, respectiv să fie deschis la conlucrarea cu proiectantul n The first stage of the implementation of pentru ca ceea ce a fost gândit ºi prevăzut în proiect să fie pus în practică. electrical and low voltage systems is the evaluation of the current situation, which involves, on the one hand, the analysis of Incursiune în etapele de proiectare a the technical state of the existing electrical and low voltage systems, and on the other instalațiilor electrice și de curenți slabi hand to analyse the building’s site, its characteristics, rhythm, volume, dimensions, plaster surfaces, materials, the existing col- n Prima etapă în implementarea instalaþiilor electrice ºi de curenþi slabi ours and those provided in the design, any este aceea de evaluare a situaþiei existente, care presupune pe de o parte distinctive architectural elements, access analiza stării tehnice a instalaþiilor electrice ºi de curenþi slabi existente, area(s), etc. respectiv pe de alta, de a analiza amplasamentul, trăsăturile clădirii, rit- Having in mind that most of the time the electrical systems are beyond their ser- mul, volumetria, dimensiunile, suprafaþa tencuielilor, materialele, culorile vice life, outdated, unprofessionally com- existente ºi cele viitoare propuse prin proiect, orice element arhitectural pleted, either technically or aesthetically distinctiv, zona/zonele de acces etc. (Photos 1-4), in order to increase the user’s Având în vedere că de cele mai multe ori instalaþiile electrice sunt comfort and safety, as well as the safety of the building, the conclusion of the cur- depăºite ca durată de viaþă, învechite, completate neprofesionist atât din rent state analysis is most often that these punct de vedere tehnic, cât ºi al aspectului estetic (foto1-4), pentru a creºte should be removed and replaced it with an confortul ºi securitatea utilizatorului, precum ºi siguranþa clădirii, conclu- electrical system that meets both the legal requirements, as well as those of the ben- zia analizei situaþiei existente este de cele mai multe ori aceea de eliminare eficiary. a ei ºi de înlocuire cu o instalaþie electrică care răspunde cerinþelor legale, Besides the technical character of this dar ºi ale beneficiarului. analysis, the human interaction between Pe lângă caracterul tehnic al acestei analize, se mai poate puncta ºi carac- designer and beneficiary can also be highlighted, whereby the former must identify terul de interacþiune umană dintre proiectant ºi beneficiar, prin care primul the latter’s wishes, but also their dissatis- trebuie să identifice dorinþele celui din urmă, dar ºi nemulþumirile acestuia, factions, respectively the interaction be- respectiv de interacþiune dintre proiectant ºi spaþiu, prin care proiectantul tween the designer and the space, through înþelege ºi percepe mai bine anturajul decât din faþa planºelor. Înþelegerea which the designer understands and per- ceives the surroundings better than in front spaþiului va însemna propunerea unor soluþii care se vor mula perfect pe of the design sheets. Understanding the procesul de conservare, protejare ºi valorizare a patrimoniului cultural. space will imply the proposal of solutions Prezenþa specialistului în această analiză a situaþiei existente este im- that will perfectly mould to the process of portantă ºi din prisma faptului că îi revine ºi rolul de a identifica posibilele preservation, protection, and enhancement of the cultural heritage. piese vechi ºi/sau valoroase, din punct de vedere tehnic (foto 5), artistic The presence of the specialist in this (foto 6), sau emoþional, care pot constitui piese de expunere, prezentare sau analysis of the existing situation is also pot chiar primi funcţionalitate. important due to their role in identifying potentially old and/or valuable pieces from Odată realizată evaluarea situaþiei existente, se poate trece la următoarea etapă, ºi anume la cea de definire a conceptului ºi de propunere a soluþiilor. De

2020 | 01 59 n OVERVIEW n RAPORT n JELENTÉS

a technical (Photo 5), artistic (Photo 6), or emotional point of view, which could be part of an exhibition, presentation, or might even receive functionality. Once the evaluation of the existing situation has been completed, the next stage can be initiated, namely defining the concept and proposing solutions. Most of the time, in the process of designing electrical and low voltage systems, defining the solutions implies a close collaboration between specialists from different fields. The specialised designers must collect information regarding the building’s history, highlighting the characteristic and valuable elements, so that the solutions that they propose meet the requirements. They also have the task to transmit what they have n Foto 3. Conductoarele INTENC existente depășite ca durată de viață learned to the implementation team. These n Photo 3. Existing INTENC conductors beyond their service life requirements, formulated by the design brief and detailed by the specialised design cele mai multe ori, în procesul de proiectare a instalaþiilor electrice ºi de curenþi team, form the basis of the concept. The aforementioned stages are the ba- slabi, definirea soluþiilor este o strânsă colaborare între specialiºtii din diverse sis of the technical design, which in turn domenii. Proiectanþii de specialitate trebuie să facă o muncă de informare în is one of the decisive factors in determin- ceea ce priveºte istoria monumentului, cu punctarea elementelor caracteristice ing the quality of the implementation. “Electrical systems” is a generic name for ºi valoroase, astfel încât soluþiile pe care le propun să răspundă cerinþelor, re- all types of systems that use electricity as spectiv le revine sarcina ca ceea ce au aflat să transmită mai departe echipei de raw material. No building used by man implementare. Aceste cerinþe formulate prin tema de proiectare ºi detaliate de can function optimally in the absence of echipa de proiectare de specialitate stau la baza conceptului. supply voltage. Like a heart that is constantly pumping blood through the veins Etapele menþionate anterior sunt baza realizării proiectului tehnic, care la to maintain the vital functions of the hu- rândul său este unul dintre factorii decizionali în stabilirea calităþii execuþiei. man body, the point of electricity supply Instalaþiile electrice sunt o denumire generică a tuturor tipurilor de instalaþii is the node from which electricity is per- care folosesc energia electrică ca materie primă. Nicio clădire utilizată de om manently pumped to maintain the optimal functioning of the building. The location nu poate funcþiona optim în lipsa tensiunii de alimentare. Asemenea unei of this point must be the result of a correct inimi care pompează în permanenþă sânge prin vene pentru a întreþine fun- management of the technical conditions cþiile vitale ale corpului uman, ºi punctul de alimentare cu energie electrică and legislative specifications, all correlat- este nodul din care este pompată în permanenþă energia electrică pentru a ed with the aesthetic elements of the historic building. întreþine funcþionarea optimă a imobilului. Amplasarea acestui punct trebuie Light has multiple roles in human life, să fie rezultatul unei gestionări corecte a condiþiilor tehnice ºi specificaþiilor but also in the life of a historic building. legislative, toate corelate cu elementele de estetică ale monumentului. If we talk about electric lighting systems, countless advances have been recorded - Lumina are roluri multiple în viaþa umană, dar ºi în viaþa monumentu since the 1920s, succeeding each other at lui. Dacă ne referim la sistemele de iluminat electrice, începând din anii an amazing speed, especially nowadays. 1920, sunt datate nenumărate progrese care se succed cu o viteză uimi- Starting from a simple light bulb, designed toare, mai ales în zilele de astăzi. Plecând de la un simplu bec, conceput by EDISON precisely to be widely used in electric lighting, with an evolution that de EDISON tocmai pentru a fi folosit pe scară largă în iluminatul electric, perfectly integrates into the millennial cu o evoluţie care se integrează perfect în istoria milenară a luminii, ajun- history of light, today we have become the protagonists of a new era, namely the one of the electroluminescent diode emit- ting blue light, the LED as it is common- ly called, a discovery that won the Nobel Prize. We can conclude that concerns about light and its effects are still growing. The world of lights is so vast that various specialties and specialists have been created around it, all of which contribute to progress. At present, sustainability is essential. The new and future mandatory energy efficiency regulations address both light levels and occupancy-based controls. This leads to a large-scale integration of state-of-the-art LED technologies and n Foto 4. Instalație electrică de comandă n Foto 5. Tablou electric vechi propus pentru controls integrated with the virtual envi- iluminat arsă datorită suprasolicitării multiple păstrare și prezentare datorită caracterului ronment, accessible from anywhere in the de sarcină tehnic valoros world. n Photo 4. Electric lighting control unit burnt n Photo 5. Old electrical panel proposed for Light has the role of making the space due to multiple overloads preservation and presentation due to its functional, but also of enhancing certain valuable technical character

60 2020 | 01 n OVERVIEW n RAPORT n JELENTÉS

gem astăzi să fim protagoniştii unei noi epoci, ºi anume cea a diodei elec- tro-luminiscente care emite lumina albastră, a LED-ului aşa cum este uzual numită, o descoperire care a câştigat premiul Nobel. Putem să conchidem că preocupările pentru lumină ºi efectele ei sunt încă în plină dezvoltare. Lumea luminilor este atât de vastă, încât s-au creat în jurul ei diverse speci- alităþi ºi specialişti, care contribuie toţi la progres. În prezent, durabilitatea este esenþială. Noile ºi viitoarele reglementări obligatorii privind eficienþa energetică abordează atât nivelurile de lumină, cât ºi controalele bazate pe gradul de ocupare al spaþiului. Aceasta conduce la o integrare pe scară largă a tehnologiilor LED de ultimă generaþie ºi a comenzilor integrate în mediul virtual, accesibile din orice punct al globului. Lumina vine cu rolul de a face spaþiul funcþional, dar ºi de a valorifica anumite elemente. Într-un studiu de piaþă realizat de o companie in- ternaþională cu Institutul Român pentru Evaluare ºi Strategie (IRES), este evidenþiată destul de bine percepþia factorului uman în ceea ce priveºte iluminarea unei clădiri istorice. Astfel, 52% dintre participanþii la studiu au considerat că iluminarea unei clădiri monument este foarte importantă, în timp ce 42% dintre ei au considerat că este importantă. În cadrul proiectării instalaþiei de iluminat, fie ea funcþională sau ar- hitecturală, de interior sau exterior, se impune respectarea unor principii minimale: – aparatele de iluminat propuse să nu afecteze estetic clădirea, fie în n Foto 6. Aparate de iluminat propuse pentru interior, fie în exterior, amplasarea lor să fie cât mai discretă ºi mai păstrare în Biserica Reformată de pe str. neutră; Kogălniceanu, Cluj-Napoca – opera artistului – temperatura de culoare a surselor de lumină se va corela cu tipul de Károly KÓS suprafaþă ce urmează să fie iluminată; n Photo 6. Luminaires proposed for preservation in the Calvinist Church on Kogălniceanu Street, – se vor utiliza surse eficiente energetic, cu durată mare de viaþă, cu ele- Cluj-Napoca – the work of the artist Károly KÓS mente de control calitative ºi performante; – indicele de redare a culorii pentru ansamblul aparat de iluminat trebuie să fie mai mare de 80%, ºi în cazul unor aplicaþii (zone de expunere) chiar peste 90%, pentru a reda cât mai aproape de realitate paleta de elements. In a market study conducted by culori. Desigur că acest parametru este în strânsă corelare cu modul de an international company with the Roma- amenajare, funcþiunea ºi tipurile de materiale folosite; nian Institute for Evaluation and Strategy (IRES), the perception of the human fac- – lumina trebuie să fie focalizată pe obiectiv, evitându-se poluarea lumi- tor regarding the illumination of a historic noasă, adică risipa de lumină; building is quite well highlighted. Thus, 52% of the study participants considered the lighting of a historic building to be very important, while 42% of them considered it important. Within the design of the lighting system, be it functional or architectural, internal or external, it is necessary to respect certain minimal principles: – the proposed luminaires should not aesthetically affect the building, either indoors or outdoors, their location being as discreet and neutral as possible; – the colour temperature of the light sources should correlate with the type of surface to be illuminated; – energy-efficient, long-life sources with quality and performance control elements should be used; – the colour rendering index for the luminaires’ whole must be greater than n Foto 7. Soluția de iluminat are două componente, un iluminat obținut din recondiționarea 80%, and in the case of applications aparatelor de iluminat existente și un iluminat obținut cu aparate de iluminat fixate în partea (exposure areas) even more than 90%, superioară a băncilor, fără ca ele să fie vizibile, cu excepția efectului lor – Biserica Reformată de pe to render the colour palette as close str. Kogălniceanu, Cluj-Napoca as possible to reality. Of course, these n Photo 7. The lighting solution has two components, a lighting obtained from the reconditioning parameters are closely correlated of the existing luminaires and a lighting obtained with luminaires fixed at the top of the benches, with the layout, function, and types without them being visible, except for their effect – Calvinist Church on Kogălniceanu Street, of materials used; Cluj-Napoca

2020 | 01 61 n OVERVIEW n RAPORT n JELENTÉS

– the light must be focused on the object, avoiding light pollution, i.e. the waste of light; – architectural lighting must have a static component, or if the application requires it, it can also be dynamic and controllable, but with limited operating time; – the lighting solution must be within certain values of the lighting level, for certain functions and functionalities. Quality and quantity, simultaneity and complementarity are aspects that must be considered when proposing a lighting system for a historic building. A lighting that is too strong can cause glare and problems of adaptation, while the lack of lighting of course leads to insecurity, uncertainty, and discomfort, therefore a balance must be found in approaching the solutions. In some situations, through the architectural and functional approach, the lighting solu- n Foto 8. Soluție de iluminat cu caracter contemporan minimalist și un flux luminos foarte mare, care tions may have either a classical character are rolul de a ridica nivelul de iluminat, având în vedere nivelul de absorbție mare datorită texturii (Photo 7), or a contemporary minimalist pereților – Biserica Reformată din Sic, jud. Cluj character (Photo 8). n Photo 8. Contemporary minimalist lighting solution with a very high light flux, which has the role We can conclude that lighting design of raising the lighting level, considering the high absorption level caused by the texture of the walls consists in combining and balancing theo- – Calvinist Church in Sic, Cluj Co. retical and practical solutions (low energy consumption, minimum maintenance and installation costs, all the costs of the light- – iluminatul arhitectural va avea o componentă statică, însă, dacă apli- ing system administrator). It can be con- caþia o cere, poate să fie ºi dinamică ºi controlabilă, dar cu timp limitat sidered that the achievement of a comfort- able lighting climate, with minimal energy de funcþionare; consumption, with the most intense use – soluþia de iluminat trebuie să se încadreze în anumite valori ale nive- of efficient and reliable sources and lumi- lului de iluminare, pentru anumite funcþiuni ºi funcþinalităþi. naires, and with a minimum investment, represents a criterion of appreciation of a Calitatea ºi cantitatea, simultaneitatea ºi complementaritatea sunt as- modern and efficient lighting system. pecte care trebuie luate în considerare la propunerea unui sistem de ilu- The validation of the proposed light- minat în cadrul unui monument. Un iluminat prea puternic poate provo- ing solution can be done in two sub-stages. ca efectul de orbire, probleme de adaptare, iar lipsa iluminatului desigur The first is to perform a simulation with a lighting calculation software, followed by că duce la nesiguranþă, incertitudine, disconfort, de aceea trebuie găsit un echilibru în abordarea soluþiilor. În unele situaþii, prin abordarea arhitectu- rală ºi funcþională, soluþiile de iluminat pot avea un caracter clasic (foto 7), sau un caracter contemporan minimalist (foto 8). Putem conchide că realizarea iluminatului constă în îmbinarea ºi echili- brarea soluþiilor teoretice cu cele practice ºi economice (consumuri energe- tice reduse, costuri minime de întreþinere ºi instalare, totalitatea costurilor administratorului sistemului de iluminat). Se poate aprecia faptul că realizarea unui climat luminos confortabil, cu un consum minim de energie, cu utilizarea cât mai intensă de surse ºi aparate de iluminat performante ºi fiabile ºi cu o investiþie minimă, reprezintă un criteriu de apreciere a unui sistem de iluminat modern ºi eficient. Validarea soluþiei de iluminat propuse se poate realiza în două subetape. Prima constă în realizarea unei simulări cu un program de calcul luminotehnic, urmată de o a doua care constă în ºedinþe de iluminat de probă, realizate cu aparate de iluminat cu caracteristicile tehnice similare (chiar identice) celor propuse în simularea de calcul luminotehnic. Aceste şedinţe de iluminat de probă se realizează numai pe o zonă restrânsă, la o scară mult redusă întregii soluþii ºi vin să ofere imaginea reală a efectului dat de lumină. De cele mai multe ori, prin ºedinþa de iluminat de probă se impun ajustări ale soluþiei definite prin simularea de calcul luminotehnic, datorită texturilor ºi culorilor suprafeþelor, care prezintă nişte proprietăþi ce nu pot fi simulate. n Foto 9. Iluminat de probă interior în Biserica O componentă importantă a iluminatului interior este iluminatul de si- Romano-Catolică din Timișoara n Photo 9. Interior test lighting for the Roman- guranþă, care pe lângă marcarea căilor de evacuare asigură iluminatul îm- Catholic Church in Timișoara

62 2020 | 01 n OVERVIEW n RAPORT n JELENTÉS a second one which consists of test light- potriva panicii, marcarea elementelor de siguranþă cum ar fi hidranþii, bu- ing sessions, made with luminaires having toanele de incendiu, stingătoarele, iluminatul pentru continuarea lucrului technical characteristics that are similar (even identical) to those proposed in the sau pentru intervenþie. Legislativ, acesta este foarte bine definit, contribu- lighting calculation simulation. These ind la siguranþa utilizatorului clădirii monument istoric. Iluminatul pentru test lighting sessions are made only for marcarea căilor de evacuare este unul standardizat, cu aparate de iluminat a small area, on a very small scale to the monobloc ºi etichete verzi, cu un puternic impact în aspectul de ansamblu entire solution, and come to provide the real picture of the light effect. Most of the al unui interior monumental, dar el face parte din acele elemente obligatorii times, the test lighting session calls for ad- care au scopul de a ghida omul în situaþii extreme, atunci când raþiunea lui justments to the solution defined by the nu mai este destul de limpede pentru a acþiona corect. lighting calculation simulation, due to the Pentru alimentarea consumatorilor mobili se utilizează instalaþia de pri- textures and colours of the surfaces, which have certain properties that cannot be sim- ze, iar dacă există utilaje de putere atunci avem de-a face cu instalaþii elec- ulated. trice de putere. Amplasarea acestora este în strânsă corelare cu mobilarea An important component of interior spaþiului, cu locul de amplasare a echipamentelor ºi utilajelor de putere, lighting is emergency lighting, which, in addition to marking escape routes, pro- accentuând încă o dată caracterul interdisciplinar al etapei de proiectare. vides illumination against panic, the mark- Foarte importante ºi cu rol de securitate ºi siguranþă sunt instalaþiile ing of safety features such as hydrants, fire de detectare, semnalizare ºi avertizare incendiu, alarmare la efracþie ºi alarms, extinguishers, illumination for fur- supraveghere video. Dacă în cazul aparatelor de iluminat există o anumită ther work or intervention. The legislation of this aspect is very well defined, contribut- flexibilitate în alegerea designului, formei ºi culorii, respectiv a locului ing to the safety of the historic building’s lor de amplasare, în cazul instalaþiilor de detectare incendiu ºi de aver- user. The lighting for marking the escape tizare efracþie, simbolistica acestor echipamente este foarte bine definită routes is a standardised one, with mon- ºi standardizată, neacceptându-se abateri. Sunt reglementate foarte clar obloc luminaires and green labels, with a strong impact on the overall appearance of locurile posibile de amplasare, marcarea lor în spaþiu, criteriile de alegere a historic building’s interior, but it is part ºi funcþionalitate. De foarte multe ori aceste elemente sunt vizibile, atrag of those mandatory elements that aim to atenþia, dar în acelaºi timp consider că cresc ºi respectul ºi încrederea guide people in extreme situations, when utilizatorului pentru spaþiul respectiv, fiindu-i satisfăcută nevoia de a se their minds are no longer clear enough to act properly. simþi în siguranþă. Socket systems are used to supply mo- O altă instalaþie cu importanþă sporită, de această dată pentru monu- bile consumers, and if there are high-power ment, este cea prin care acesta este protejat împotriva loviturilor de trăs- machines, then we have to deal with high voltage systems. Their location is closely net. În contextul schimbărilor climatice ºi a intensificărilor fenomenelor cu correlated with the furnishing of the space, descărcări atmosferice violente, instalaþia de paratrăsnet trebuie să respecte with the location of the equipment and cerinþele normate. Ghidat de acestea, o bună practică va găsi soluþii pentru power equipment, emphasising once again ca instalaþia să aibă impact minim asupra aspectului de ansamblu al monu- the interdisciplinary character of the design stage. mentului. Gama materialelor prescrise se rezumă la cupru, oþel zincat, oþel Very important, with security and safe- inoxidabil sau aluminiu, respectiv pot să fie rotunde, sub forma unor plat- ty roles, are the fire detection, signalling benzi sau chiar torsadate. Elementele de captare pot uneori să fie înglobate and warning systems, the burglary alarm, în diferitele ornamente, ceea ce face ca elementul respectiv să devină parte and video surveillance. If, in the case of luminaires, there is some flexibility in integrată a ornamentului. choosing their design, shape, and colour, respectively their location, in the case of fire detection and burglary alarm systems, the use of symbols to indicate these equip- ments is very well defined and standardised, with no deviations being accepted. Their possible location, their marking in space, the criteria of choice and functionality are very clearly regulated. Many times, these elements are visible, they attract at- tention, but at the same time I consider that the users’ respect and confidence for the space increases, because their need to feel safe is satisfied. Another installation of great importance, this time for the historic building, is the one through which it is protected against lightning strikes. In the context of climate change and the intensification of phenomena with violent atmospheric dis- charges, the lightning protection system must comply with the normative requirements. Guided by these, good practice will find solutions for the installation to have minimal impact on the overall ap- n Foto 10. Iluminat de probă interior în Biserica Reformată din Aiud, jud. Alba pearance of the historic building. The n Photo 10. Interior test lighting for the Calvinist Church in Aiud, Alba Co.

2020 | 01 63 n OVERVIEW n RAPORT n JELENTÉS

range of prescribed materials is limited to a. b. copper, galvanized steel, stainless steel, or aluminium, respectively they can be round, flat, or even twisted. The air ter- minals can sometimes be embedded in different ornaments, which transform the element into an integral part of the ornament. There is also an unseen part, which cannot be missing from any electrical system, namely the earthing system. On the one hand it serves the indoor electrical system, and on the other hand, the lightning protection system. Its design is also made according to standardised rules and norms, and it has the role to bring any fault current to the earth, protecting the user. Considering climate change and global warming, in conjunction with the envi- ronmental protection legislation, it is necessary to use in the system infrastructure n Foto 11. a-b. IInstalație de protejare împotriva loviturilor de trăsnet – element de captare înglobat equipment that: în ornament – Biserica Unitariană din Bădeni, jud. Cluj: vedere de detaliu (a) și vedere de ansamblu (b) – will lead to the direct reduction of n Photo 11. a-b. Lightning protection system – air terminal embedded in an ornament – Unitarian light pollution and indirectly to that Church in Bădeni, Cluj Co.: detail (a) and entire element (b) of pollution with CO2 emissions; – will lead to a reduction of the con- Există ºi o parte nevăzută, care nu poate lipsi din nicio instalaþie electri- sumption of consumed electricity; că, ºi anume priza de pământ. Aceasta deserveºte pe o parte instalaþia elec- – does not contain mercury or other heavy metals. trică interioară, iar pe de alta, instalaþia de paratrăsnet. Proiectarea acesteia The technical design is a defining step se face după niºte reguli ºi norme standardizate ºi are rolul de a conduce in the process of protecting historic build- spre pământ orice curent de defect, protejând utilizatorul. ings, and the quality of the next steps is the Þinând cont de schimbările climatice ºi încălzirea globală, în corelare result of using in this process certified and experienced specialists, who love to protect cu legislaþia de protejare a mediului, se impune utilizarea în infrastructura what they have inherited and to show fu- sistemului a echipamentelor: ture generations that they are able to value – care să ducă la reducerea în mod direct a poluării luminoase ºi în mod the work of their ancestors. indirect a poluării cu emisii CO ; 2 Conclusion – care să ducă la reducerea consumului de energie electrică; – fără conþinut de mercur sau alte metale grele. n The technical design for electrical sys- Proiectul tehnic este o etapă definitorie în procesul de protejare a monu- tems needs to include, for each of the afore- mentelor istorice, iar calitatea etapelor următoare este rezultatul antrenării mentioned systems, all the legal framework content: technical documentation, calcu- în proces a specialiºtilor atestaþi ºi experimentaþi, iubitori de a proteja ceea lation summary, specifications, and list of ce au moºtenit ºi de a arăta ºi generaþiilor viitoare că sunt capabili să valo- quantities. The technical design will be rifice munca strămoºilor lor. subject to technical verification according to the legislation in force, respectively to the requirements of the financing guides. Both the design stage and the on-site im- Concluzie plementation has to be carried out by elec- tricians authorised by the National Energy n Proiectul tehnic de instalaþii electrice va cuprinde pentru fiecare din in- Regulatory Authority (ANRE) , grade IIA, stalaþiile menþionate anterior tot conþinutul cadru legiferat: memoriu tehnic, B, employed at a company certified by the breviar de calcul, caiete de sarcini, lista de cantităþi. Proiectul tehnic se va same national authority for the implemented works. These works need to be also as- supune verificării tehnice conform legislaþiei în vigoare, respectiv cerinþe- sumed by specialists and verifiers certified lor ghidurilor de finanþare. Atât etapa de proiectare, cât ºi implementarea in by the Ministry of Culture. situ se va realiza de către electricieni autorizaþi de Autoritatea Naþională de Based on a detailed design, with specifications in which the solutions are very Reglementare în Domeniul Energiei (ANRE), grad IIA, B, angajaþi la o firmă well defined for the contractor, for the atestată ANRE pentru lucrările executate. Aceste lucrări vor fi asumate ºi de equipment suppliers, and for the mainte- specialiºti ºi verificatori atestaþi de Ministerul Culturii. nance service, one can go on to the project În baza unui proiect detaliat, cu caiete de sarcini în care soluþiile sunt implementation stage. The contractor of the work has to precisely follow the technical foarte bine definite pentru executant, pentru furnizorii de echipamente ºi design, which prescribes how to approach pentru serviciul de întreþinere, se poate trece la etapa de implementare a an implementation on historic buildings, proiectului. Executantul lucrării va urmări întocmai proiectul tehnic, care respectively the obtained permits. prescrie modul de abordare a unei execuþii în cadrul monumentelor istori- The implementation works, as well as the operation of the electrical and low volt- ce, respectiv avizele obţinute. age systems have to aim for the permanent Lucrările de execuþie ºi exploatarea instalaþiilor electrice ºi de curenþi slabi reduction of the negative impact on the en- vor urmări diminuarea permanentă a impactului negativ asupra mediului. vironment.

64 2020 | 01