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The Jewellery of Lluís Masriera Modernisme, Que Ha De Ser El Canal Pel Qual La Ruta Europea for More Details)

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The Jewellery of Lluís Masriera Modernisme, Que Ha De Ser El Canal Pel Qual La Ruta Europea for More Details) Ödön Lechner, 1891-1986. Museum of Applied Arts, detail of columns Ödön Lechner, 1891-1986. Museu d’Arts Aplicades, detall de columnes THE ROUTE 3 Budapest: an Art Nouveau Stylistic Inventory János Gerle Architect, Budapest © János Gerle he so-called Bedo-house is alive with activity. The long ago destroyed shop will get back its original portal (reconstructed on the basis of one existing photograph) and the tenant, who happens © János Gerle to be the builder, wants to open the Budapest Art Nouveau Centre – with a café, museum, exhibitions and shop for art objects and books. This private initiative is a fantastic opportunity for Budapest to show Toff its Art Nouveau heritage to tourists. Until now, none of the official projects for such a centre have gotten off the ground. Budapest is unfortunately failing to exploit its rich architectural heritage as it could: programmes, publications, restoration and, above all, the very consciousness of the value of this heritage are all missing. The key feature of Hungarian Art Nouveau was the ambition to create a national language for the new style at the turn of the century. The idea of using architecture as a tool for expressing national identity comes from the first third of the 19th century, but this romantic approach to architecture as a stimulator of cultural independence reached its artistic apogee in the 1890s. This led, at least in the work of Ödön Lechner, to a combination of pioneering structures, materials and new construction methods, which together also bore a concrete national message that was at once modern and traditional. The formal source of Lechner's architecture (or what he called his new language of forms) lay in folk arts that still flourished in coupdefouet 9 | 2007 www.artnouveau.eu coupdefouet 9 | 2007 www.artnouveau.eu those days and encapsulated the peasant culture that itself preserved the most ancient layers of national culture. This heritage shows a relationship to Middle- and Far-Eastern civilisations – which Lechner Ödön Lechner, 1888-1889. Apartment house with shops at 11/a, Váci utca thought represented the real archetypes for a new monumental Ödön Lechner, 1888-1889. Edifici d'habitatges a Váci utca 11/a architecture in Hungary. Lechner developed his personal style step by step; the first innovation was the use of ceramics to cover the whole façade of the building at Váci utca 11/a to create a colourful, carpetlike surface. © János Gerle All decorative elements, even sculptures, are made of the especially weather-resistant pyrogranite. He gradually transformed the historical stylistic elements: from Gothic and Renaissance patterns he developed three-dimensional and enlarged folk art motifs. It is often asked if Lechner knew the work of Gaudí, given the similarities between their architectural tools, the use of colourful ceramics, the plastic handling of forms and the cave-like interiors. Any mutual influence can be excluded - construction dates alone rule out the idea. There are, however, common features in their work. The parabolic tower of the St Ladislaus church is a surprising revival of the Gothic and one of the first examples in Europe to discover the catenary arch for the new architecture. While Gaudí was a pioneer of a new structural thinking rooted in rural Catalan heritage, Lechner was a pioneer of a new space-creation rooted in the spirit of Hungarian vernacular ornamentation. Géza Majorossy and Elek Hofhauser, 1900-1901. Apartment house with shops at 15, Váci utca. Detail of main entrance Géza Majorossy i Elek Hofhauser, 1900-1901. Edifici d'habitatges a Váci utca 15. Detall de la porta principal 4 LA RUTA the route 5 Budapest: un inventari estilístic del Modernisme Lechner never obtained a chair at the Budapest Technical University but had many followers who made his formal language © János Gerle János Gerle (peasant motifs in urban architecture) popular. Beside Lechner's Arquitecte, Budapest theory, other architects looked for different sources to give a © János Gerle national character to their new buildings. Experiments with està duent a terme una tasca laboriosa en l'anomenada national mythology and a new wave of historicism led to a kind of Casa Bedo: l'antiga botiga destrossada de fa temps national romanticism, a local version of Arts & Crafts. recuperarà el portal original (reconstruït segons l'única Young architects like Károly Kós researched the structures, fotografia existent) i l'arrendatari, el mateix constructor, materials and traditional technologies used in village construction vol obrir-hi el Centre Modernista de Budapest, amb una and this led to a new urban architecture (first of all schools and cafeteria, un museu, exposicions, una botiga d'objectes residential estates) that, in a sense, taught townspeople the origins d'art i llibres. Aquesta iniciativa privada és una of their own (ideal) culture amid their everyday urban life. oportunitat fantàstica perquè Budapest mostri el seu patrimoni modernista Orientalism, fashionable in the 19th century, gained new alsS turistes interessats, ja que en les darreres dècades no s'ha arribat a impetus as a possible means of expressing the oriental origin of the realitzar cap dels projectes oficials per fer un centre arquitectònic similar. Hungarian people. During the complete rebuilding of Budapest's old Per desgràcia, Budapest no està aprofitant el tresor arquitectònic que té: town centre around 1900, new and noble palaces in mixed style manquen programes, publicacions, restauracions i, sobretot, consciència and all influenced by the new tendencies were erected in place of sobre el seu valor. former classicist houses. The Paris passage, with its oriental arcades, El tret més característic de l'arquitectura modernista hongaresa és la is a mixture of Venetian Gothic and Lechnerian national Art forta ambició de crear un llenguatge nacional per al nou estil del tombant Nouveau. de segle. La idea de tractar l'arquitectura com una eina per a l'expressió de la identitat nacional prové del primer terç del segle XIX, però l'enfocament The Zoo pavilions (largely destroyed in WWII) were like an romàntic de l'arquitectura com a estimuladora de la independència cultural international open-air museum of native architecture. The Elephant va arribar al seu màxim nivell artístic amb la revolució arquitectònica de la Henrik Schmahl, 1909-1913. Belvárosi bank house is an example of the Islamic style, with a crazy decor of dècada de 1890. El resultat va ser, si més no en les obres d'Ödön Lechner, la Henrik Schmahl, 1909-1913. Banc de Belvárosi animal heads made of glazed ceramics from the Zsolnay factory. coexistència d'estructures pioneres, nous materials i noves formes en la construcció que duien alhora un missatge nacional concret: modernitat i Ödön Lechner, 1892-1897. Saint Ladislaus Roman Catholic church / Ödön Lechner, 1892-1897. Església catòlica de Sant Ladislaus tradició alhora. La font formal de l'arquitectura de Lechner (o com ell l'anomenava: el seu recentment desenvolupat llenguatge de les formes) eren les arts populars encara emergents a l'época, una mena de compendi de la cultura popular que conservava els estrats més antics del passat de la cultura coupdefouet 9 | 2007 www.artnouveau.eu coupdefouet 9 | 2007 www.artnouveau.eu nacional. Aquest patrimoni mostra una relació amb les civilitzacions de l'orient mitjà i l'orient llunyà –que Lechner considerava com a preservadores dels arquetips reals per a una nova arquitectura monumental a Hongria. Lechner va construir el seu estil personal pas a pas, essent la primera innovació l'ús de ceràmica per cobrir la totalitat de la façana de l'edifici a © János Gerle Váci utca 11/a per tal de crear una superfície acolorida, com encatifada. Tots els elements decoratius, fins i tot les escultures, són en aquest cas de pirogranit, un material resistent a les inclemències del temps. Poc a poc va transformar els elements estilístics històrics: a partir de models gòtics i renaixentistes va desenvolupar motius tridimensionals i engrandits de l'art popular. Sovint es planteja la qüestió sobre si Lechner coneixia l'obra de Gaudí, a causa de les similituds entre les eines arquitectòniques de l'un i l'altre, l'ús de ceràmiques acolorides, la plasticitat de les formes, els interiors cavernosos. Es pot descartar cap influència mútua –les mateixes dates de les construccions desmenteixen aquesta hipòtesi–, si bé és cert que hi ha alguns trets comuns en la seva obra. La torre parabòlica de l'església de St. Ladislaus és una recuperació sorprenent del gòtic i un dels primers exemples del descobriment de l'arc catenari per a la nova arquitectura. Mentre que Gaudí va ser pioner d'un nou pensament estructural arrelat en el patrimoni rural català, Lechner va ser pioner d'una nova creació espacial arrelada en l'esperit de l'ornamentació vernacle hongaresa. Lechner no va tenir mai una càtedra a la Universitat Tècnica de Budapest, però va tenir molts seguidors, Ödön Lechner, 1891-1986. Museum of Applied Arts Ödön Lechner, 1891-1986. Museu d’Arts Aplicades 6 la ruta the route 7 que van posar de moda el seu llenguatge formal: els motius campestres en La Secession vienesa va tenir una gran influència a Hongria. L'alumne l'arquitectura urbana. d'Otto Wagner István Medgyaszay, va intentar crear una síntesi entre el © János Gerle © János Gerle A banda de la teoria de Lechner, altres arquitectes cercaven diferents racionalisme del seu mestre i la tradició nacional. Va realitzar una revisió de les recursos per conferir als nous edificis un caràcter nacional. Els experiments solucions funcionals de l'arquitectura vernacle en les seves construccions amb la mitologia nacional, amb una nova onada d'historicisme, van donar pioneres de formigó armat. Alguns seguidors de Lechner, com Béla Lajta i lloc finalment a una mena de romanticisme nacional, a una versió local de József Vágó, van desenvolupar el seu propi estil en el camí vers una modernitat les Arts & Crafts.
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