Hungary and its turn of the century architecture

HUNGARY, TURN-OF-THE-CENTURY ARCHITECTURE in relation to Finnish National Romanticism BME DEPARTMENT FOR HISTORY OF ARCHITECTURE AND OF MONUMENTS BRIEF HISTORY OF ARCHITECTURE IN HUNGARY I. SÄILYNOJA ANU, FALL 2010

1.

Backround

The Beginning of National Movement

Hungary and Finland had simulaneous need to gain independence for both regions and boost up national identity. Inspired by the international style wich admired vernacular arts and crafts artists and intellectuals in both countries activated to use their own vernacular motivs and history to create a clear image of unified independent nation. (s.84 Gerle J., Finmagyar)

BEGINNINGS OF NATIONAL ROMANTICISM. GESELLIUSLINDGREN-SAARINEN: FINNISH PAVILION, PARIS1900.

MAGYAR TURN-OF-THE-CENTURY ARCHITECTURE in relation to Finnish National Romanticism

Paris World Exhibition 1873 was a start for National Romanticist movement in Architecture. Could be said that after the exhibition the whole Europe become increasingly interested in vernacular architecture and a new language of modern art and architecture was develloped based on this interest.

In the exhibition architects, artists and other designers and culturel persons introduced historical motivs, craftworks and traditions. Among these historistic national exhibitions some periferial regions arose to a focal point of international attention with their fresh designs combining vernacular motivs with modern expression in innovative way. Especially two countries, Finland and Hungary made fertile approach to their cultural roots of which beared fruit during the folowing decade(s).

2.

FINLAND

Before the National Romanticism landed on Finland mainly all but rural architecture was imported and the official architecture of the time could been described with a Russian effect on it. The historic architecture heritage was only few medieval castles and churches made in variations of international styles. Could be said that Finland was a tabula rasa and it was a time for it’s own art and architecture.

Roughly could be said that there was two styles of Finnish art nouveau: vernacular timber style and American stone style. To create own distinctive national style Finnish architects searched their inspiration from local craftmanship. The motivs and inspiration based on traditional timber work and even textile patterns. Trips to Karelia acted very important role in the search of national roots and inspiration for the timber structures and details. Hence of this search Karelia become the symbol of ancient Finnish ancestors and main inspirator for forklore and art.

One of the first examples of how to use the vernacular craftmanship in modern expression was a wildernes studio. A new idea to build up the value of rustic timber hut by adapting this rural bulding typology into romantic wilderness studio for artistst and prominent kultural persons. This so called national timber style become very successive and it can still be seen in the family house architecture.

The most important international influences on Finish National Romanticism was medieval church architecture and Central European provincial town planning, mainly the garden city idea in Germany.

Finnish international medieval heritage affected the new style of appartment buildings. ”My home is my castle, let the castle be my home”. Office Gesellius-Lindgren Saarinen and Eliel Saarinen were the most productive architect office and made the most regarded appartment works in Helsinki. Nowadays the central Helsinki resembles the most complete example of the Scandinavian National Romanticism.

NATIONAL TIMBER STYLE. DREAM OF A RUSTIC HUT. TRADITIONAL CRAFTMANSHIP AND MODERN EXPRESSION. SMELL OF TAR. Pekka Halonen, Halosenniemi studio, Paavo Uotila, Finnish ”villa cabin”, 1904 (Kotitaide) (balley scott), Cultivated aristocratic dream: Saarinen, Hvittorp Hall, 1902 and Axel Gallén, Kalela cabin. above: NATIONAL STONE STYLE. SQUARED RUBBLE STONE FACADES

MAGYAR TURN-OF-THE-CENTURY ARCHITECTURE in relation to Finnish National Romanticism

National Romanticism in Finland

3.

FINLAND

The Typology of Apartments The new Finnish city apartment block was planned inside out due to the contemporary needs of living. The buildings were normally characterized by an elaborately articulated roof, often of red tiles.

In general façade articulation was non- classical and less decorative than the previous historicism.

The richness of the facades was made with asymmetrical organisement of building masses such as balconies, bay windows, turrets and oriels. The window frames of varying sizes also enriched the arrangement of walls. These windows were usually English-style: painted in light colours, with a smallpaned top section. All of these exterior elements were structured by the interior design and they were built on the principle to improve the living conditions in growing cities; to have a castle in a city. The characteristic rustic undressed natural stone was only used round the lower walls and for gateway and doorway surrounds in the residential buildings. The façade decorations included plant and animal motifs, medieval details, and also half-timbering effects. Even being in the city the local natural materials were playing important role. Some rare façades were also decorated with stone mosaics.

A fine example of typical townhouse is the “Doctors’ House” built in 1901 at 17 Fabianinkatu in Helsinki.

It is designed by Gesellius, Lindgren and Saarinen office. Like often in such apartment houses oriels and balconies enliven the otherwise plain, cornice-less façades. Its facades are finished in a creamy yellow shade of rough plaster and its dominant steep-pitch orange-tiled roof which is typically an integral element of the external design. The interior layout consisted of spacious rooms generously lit by bay windows and equipped with custom- designed furnishing. Doctors house was designed to meet the contemporary demand for higher standards of comfort, hitherto a feature of villa design. (S8 Väre R. 2002) ART NOUVEAU APARTMENT HOUSES. GESELLIUS-LINDGRENSAARINEN, HOUSE OF DOCTORS. KASARMINTORI.

MAGYAR TURN-OF-THE-CENTURY ARCHITECTURE in relation to Finnish National Romanticism

STREETVIEW HELSINKI

4.

FINLAND

The Garden City Movement

Litle later 1915 Saarinen represented his inventional and later internationally recognized grand Munksnäs-Haga plan for Western Helsinki. The plan was a great urbanistic idea towards greater and modernized Helsinki and in the same time it was a utopia to solve the social problems of the vast groving industrial city. In his plan Saarinen took distance to Camillo Sitte´s ”slow” medieval strolling city. The plan was scaled for a population of 170 000. He combined Sitte´s organic ”informalist” layout with Haussmanian ”formalist” axiality and the garden city ideology of Raymond Unwin and Ebenezer Howard (including zoning and decentralization). The modern traffic network system of tramlines and car highways connects the area to central Helsinki. Major part of the area were planned following a typological system. In inner part blocks were closed and densely built when in garden areas building sites were more loose. The detailed drawings prove how his idea was a total work of art covering all scales from town planning to interiour design.

The whole geniousnes of the hierarchy could of be seen from the cityscape. Saarinen made a clear hierarchy of volumes that also included Stadtkronen and took the natural topography into consireration. Below: Two ”Quadrates”, typical closed courtyards in a garden city environment.

ELIEL Saarinen developed for Munkkiniemi typological system for terraced and detached houses: ”It´s clear, as regards the working class, the detached house is morally and socially better than any rental barrack with its inclination to a social promiscuity” (Saarinen, Vuojala.P. 2010). All the middle part was supposed to consist of rental appartments regardles social status. Master plan of Munkkiniemi was realized only partially and two Saarinen’s houses realized in area: Munkkiniemi Pensionate, 1916-19 ELIEL SAARINEN: MUNKKINIEMI-HAAGA PLAN. PERSPECTIVE VIEWS.

MAGYAR TURN-OF-THE-CENTURY ARCHITECTURE in relation to Finnish National Romanticism

Eira, Master plan by Jung-Lindgren-Sonck

Besides the medievally inspired variative plans of the recidence buildings Finish urban dreams made

by Bertel Jung also based on freeformed ideal and it was strongly affected by Austrian Camillo Sitte (Der Städtebau nach seinen künstlerischen Grundsätzen). The latter was truely Helsinki’s, and indeed whole Finland’s, first official City Architect, with planning responsibility (1908–1916).

Until the end of the 1890s urban planning had been engineer based, and the characteristics of the plans still followed classical idea of rectangular chessboard. Due to the European wakening to the workers living conditions and furhermore the idea of a garden city made also Finnish architects to devellop ambitious urban plans. Instead of former obsessive regularity and order the free line and the idea of garden city were imported and so Finish urban setlements were based on artistic variation of volumes, spaces and scale. Unlike in the case of residential buildings the most ambitious plans remained unrealized. The master plan for Eira 1875 was made by Lars Sonck, Bertel Jung andArmas Lindgren in the spirit of Camille Sitte by exploiting the area’s topographical circumstances to create a vivid urban lanscape but it was only partly realized.

5.

HUNGARY

Ödön Lechner and the beginnings of the Hungarian style. Institut for Geology.

On the beginning of 20-th century the influence of Austria in Hungarian cultural and political environment was strong. The steps towards national sovereighty were taken by artists and architects. Talking about Hungarian Art Noveau must be ackowledged that in Hungary there was several variations of the style. Hungarian Art Nouveau is based on supposed national architectural characteristics. To mention important architects imposing the variations of the style Ödön Lechner (1845–1914), was the most important figure using Indian an Syrian influences in Hungarian Art Nouveau. Later he become interested by traditional Hungarian decorative designs and that way created an original synthesis of architectural styles.

A group of young tallented architects called ‘Young People’ (Fiatalok) partly influenced by him challenged Lechner’s style. They shared the similar interest in folk culture but in contrast of Lechner’s monumental builings they planned almost intimate even puritanical houses. Despite of Lechner’s decortive style, for the Fiatalok the decorations was of interest. Instead of Asiatic culture and decoration Fiataloc recognized the long Western heritage of these people and were more interested in their traditional building methods. Rather than taking new materials and structural possibilities into use they continued working within traditional and conventional materials, structures and ways of building. They thought that Lechner’s Far-Eastern Asiatic references were misleading, and believed the essence of the Magyar people lied rather in the remnants of the peoples who had settled the Carpathian Basin in the tenth century AD: in the folk culture of the Székely nation who inhabited the regions of Kalotaszeg and the Székelyföld.176 Led by Károly Kós, they specifically drew inspiration from this region. Their study of forms and traditions finally reflected on the buildings.

Besides the two principal styles, Hungarian archiecture also applied local versions from the commercian trends of Art Noveau. The Sezession from Vienna, the German Jugendstil, Art Nouveau from Belgium and France, but especially the influence of English and Finnish architecture can be seen on the buildings constructed at the turn of the 20th century. Art Noveau and regionalism offered Hungarian architecture the possibility to support the vanishing peasant culture and traditions. The reflectations from these rural typologies was extremely important to Hungarian styles. (87 Gerle J., Finmagyar)

The Roman Catholic Church in Zebegény (1908-9; designed with Béla Jánszky (1884-1945). he first building in Hungary created a picturesque effect

MAGYAR TURN-OF-THE-CENTURY ARCHITECTURE in relation to Finnish National Romanticism

Art Noveau and Nationalism in Hungary

6.

RELATIONS

”Truely! We, Hungarian and Finish people are the same kin.”

-Kos Karoly Lars Sonck, Eira Hospital(1905) in Magyar Iparmuveszet 1908. It is said that some works of the Youth have been influenced by this Lars Sonck design.

The chronologic beginning of two nations relationship lays on the same date that the world exhibition in Paris came true. Yet the interest was mainly individual and the relations created were only between few artists. The national interest in the Hungarian architecture and art papers truely woke up only after Magyar Iparmuveszet paper published Finish Architecture on a year 1908. After this publication the interest towards Finnish arcitecture arise like a snowball effect.

Károly Kós was especially highly influenced by Finnish National Romanticism since he identified with Finnish architect’s attempts to create new national style. Kós made his rebellion against Habsurg dynasty. He was in contact with many of the young architects in Finland trying to forge a national style out of vernacular sources, and met both Gallén and Saarinen during their visits to Hungary. Just as there was Finnish attempt to shed Russian cultural hegemony there were Hungarians trying to release themselves from the cultural hegemony of Austria. As like they followed each others example Kalotaszeg become as important integral in Kós’ own work as Karelia became important for Finnish architects. (s.163 McMahon H.) Except the national needs the cities in both countries develloped relatively fast compared to the other European cities. In the end of the 19th century both countries experience the same expansion in the cities and and it resulted such social problems that were to be solved. Since the infrastructure and the built environment was not as vast as in other countries these two small countries had to revind the international concepts suitaple to their own local needs.

GESELLIUS-LINDGREN-SAARINEN: POHJOLA INSURANCE COMPANY BUILDING is presented in Magya Iparmuvesnet Paper. above: ARCHITECT OFFICE GESELLIUS-LINDGRENSAARINEN AND ELIEL SAARINEN.

MAGYAR TURN-OF-THE-CENTURY ARCHITECTURE in relation to Finnish National Romanticism

THE RELATIONS BETWEEN FINNISH AND HUNGARIAN ARCHITECTURE IN TURN OF THE CENTURY

7.

As is Helsinki in the also in Budapest the number of the residents rose remarkably in the end of the 19th century. Housing developments could not keep up with population trends. The new inhabitants the workers of Budapest did not live in reasonable conditions because commercial developers built cost effectively densely-packed, multi-story apartment houses on narrow streets. Hence the bad situation the mayor of the city, István Bárczy created a concept together with the architect Róbert Fleischl to build a separate estate for those in need. Wekerle is named after the prime minister Sándor Wekerle who supported the idea of building comfortable, human-scale housing estates for government employees, and was instrumental in launching the conditions for the project to come to realisation.

Both the layout of the estate and the housing types were defined by an architectural competition.

Altogether some fifteen successful architects took part in the design of the various residential and public buildings. They developed “conception plans” for one or two-story houses, ranging from duplexes to 12-flat apartment houses. Because of the social program trying to offer reasonably prized appartments to workers the majority of the houses are with small apartments. The majority of the buildings are somewhat modest and human scale even though carefully planned and decorated.

Larger units in the area are rare. On the central square there are a few larger apartments in the 2-storey buildings. There could be found only a handful of building are distinct, almost villa-like housings.

MAP OF WEKERLE

THE POLICE DEPARTMENT, LOCATED IN ONE OF THE STRESSED STREET CORNERS CLOSE TO THE MAIN SQUARE

The “Transylvanian style” is the main style of the area was established by Károly Kós and it is followed in all the designs. The winning major design drew up a ring street system bond together by diagonals.

All these street led to a central square. The special lane system of the street result stressed intersections in street corners and triangular squares. These certain points marked the sub- centres where the architecturally originally planned public buildings were located. The main, central square was seemingly very important for the concept of “building for the community”. The highest building volumes and architecturally interesting buildings as the famous gateway buildings were to emphasize the square.

Planning the square was a separate project, won by Károly Kós. He designed also the second one of the wooden gates (the eastern one). Many of the well established architects of the era (e.g. Lajos Schodits, Béla Eberling, Dezső Zrumeczky, Gyula Wälder and Dénes Györgyi) designed houses on the square.

The estate was literally a garden city: fifty thousand trees were planted during the construction, mainly along the spacious avenues. Four fruit trees were planted for each apartment (altogether 16.000), and thanks to the favorable sandy soil and to the care of the new dwellers, various kinds of drupes bloomed. The layout of the main streets was comfortable, tree-lined avenue. Most of the houses were built in such a way that each family was provided with their own vegetable gardens. All the buildings of the estate follow the same folk art based style but each building seems to be authentic. The houses of the estate present a varied appearance, partly as a consequence of the diversity of plans and partly due to the countlessly varied orientations made possible by the layout of the estate. The variation is the reason the estate could be considered as an early example of monotony avoiding mass production.

MAGYAR TURN-OF-THE-CENTURY ARCHITECTURE in relation to Finnish National Romanticism

The estate wich was destimoned to built in garden city principles decided to be built to a flat area on the Nortwest part of Kispest. The project was carried out from 1908 to 1925 resulting in the construction of 1007 houses with 4412 new appartements. The estate is bounded by the the streets Nagykőrösi St., Határ St., Ady Endre St., Bercsényi St. It’s main square Kós Károly Square was artficially built to be the highest point of the area. The area was planned to provide for all the needs of people settling there. Apart from shops and schools, adult education and cultural amenities were also provided.

WEKERLE

Indoduction of Garden City Wekerle

It must be said that the local need for certain kind of areas and building typologies differed from each other despite the fairly similar situations of the countries. Not so many as fundamentally and perfectly planned garden cities realized as Wekerle and as you know not a whole relized example in Finland either. Only because of the plans of Saarinen’s Munkkiniemi utopia are exact therefore it is possible to make a theoretical comparison between the ideas and ideals of garden city design. Both countries needed solutions to growing inhabitant rate and improvement to the living conditions and technologies both to the workers and higher society. The solutions were both serched from the residential building and urban design typology; in Hungary and Finland the garden city housing and the row houses and in Finland the ”stone castles” of the downtowns.

GESELLIUS-LINDGREN-SAARINEN, HVITTRÄSK, STUDIO HOME OF THE ARCHITECTS, 1901-1903

house typologies of

Wekerle

ELIEL SAARINEN, Terraced houses. Workers´ housing area. Saarinen developed for Munkkiniemi typological system for terraced and detached houses

MAGYAR TURN-OF-THE-CENTURY ARCHITECTURE in relation to Finnish National Romanticism

Kos Karoly designed buildings number 2 and 3.in the main square

High roofs of Wekerle and generous use of wooden structures embracing the traditional timber works and charm of natural materials is common with Finnish nationalist architecture. In fact the style of Wekerle’s buildings could be described more Finnish than the ones that Saarinen designed to Munkkiniemi and were inspired by English garden cities. The building typology and the scale are similar but Wekerle is so small that it creates more village-like athmosphere that a suburban feeling.

Compared to Finnish realized National Romantic housing estates the designs of Wekerle in a way seems to be more rural and modest. Especially it is interesting that the public buildings of the main square resembles more Finnish rustic villa type (for example Hviträsk) than public building typology.

WEKERLE

Wekerle Seen Trough Finish Residential and Garden City Architecture

8.

WEKERLE, BIRDVIEW, MAIN SQUARE

ELIEL SAARINEN: MUNKKINIEMI-HAAGA PLAN. PERSPECTIVE VIEW.

ELIEL SAARINEN, Workers´ housing area.

Saarinen developed for Munkkiniemi typological system for terraced and detached houses

MAGYAR TURN-OF-THE-CENTURY ARCHITECTURE in relation to Finnish National Romanticism MAGYAR TURN-OF-THE-CENTURY ARCHITECTURE in relation to Finnish National Romanticism

The major plan of which form is so closed and total that it actually resembels decoration motif from indian carpet. The form is rational or more even formalistic and artificial that it partially differs from the Finnish graden city cousins who folowed more the ideology of Sitte’s organic ”informalist” city. The formalism of the plan is actually closer to the French model, the Haussmanian axiality. To make a comparison Saarinen actually made a fusion of these two ideologies in his Munkkiniemi plan embracing the hightpoints and long views stills supporting the diversity and the indentity of the streets. On the contrary Saarinen’s housing units and their posissioning to the plots were more formalistic and less diverse than in the polygamous Wekerle. Also some similarities can be seen between these two plans: the hierarchy of the typologies of the housing masses and the streets and highlighting the mainpoints of the estate follow the same idea.

WEKERLE

Formally, the public buildings of the main square in Wekerle carry the National romantic elements such as its assymmetry, steep hipped roofs, gables and balconies. On the contrary Wekerle carries Transylvanian style as well such as carved pillars or certain sharp motivs and wooden details that could not be seen in Finish architecture. In general wooden gables and balconies, roofs covered with vividly coloured tiles are a characteristic feature both the estate and National Romanticism but they are also widely seen in other areas representing the international styles of english arts and crafts.

The plain white or cream coloured plaster walls and their lack of decoration in the main buildings of the estate could could be seen as influence of the scandinavian architecture but more obviously it is just a mark that both countries were following the same tendencies of the time. which alredy predicted the coming of functionalism on that time. As before said the Hungarian architects of this style were more into renewing the ideology of housing estates than into ornamentation.

9.

9.

10.

The connections between Hungarian and Finnish culture in in general has been a prominent subject of interest in both countries since the beginning. The reasons are found in beginning of 20th century woken awarenes about same linquistic ancestors and followed by the possible similarities in nations mentality and culture. (s.84 Gerle J., Finmagyar) However within time it is beginning to be clear that the social and the national situation as well as the orientation in between east and west were dominant factors in the art relations of our countries.

ARKAY ALADAR 1912-13, FASOR’S KALVINIST CHURCH

GESELLIUS-LINDGRENSAARINEN: FINNISH PAVILION, PARIS1900.

Aladár Körösfõi-Kriesch, FOLK TALES IN TRANSYLVANIA

In Hungary Fiatalok contributed most the domestic architecture. The houses and apartments these young architects designed were more commodious, modern and aesthetic than common models. As in Finland they were designed under the influence of the British Arts and Crafts tenets and the designs consisted of specialized plans to suit the owner’s lifestyle. The designers in both countries seaked for new circulation patterns with larger spaces and hadcrafted furnishings to have more comfort. Porches and balconies created the important a link with nature, and picturesque façades reflected an ethnographic interest.(s.74 McMahon H.)

MAROTI GEZA, 1906, HUNGARY’S WORDL EXPOSITION PAVILION

GESELLIUS-LINDGRENSAARINEN: SUUR-MERIJOKI, INTERIÖR, 1902

MARISKA UNDI: CHILDREN BEDROOM, 1903

MAGYAR TURN-OF-THE-CENTURY ARCHITECTURE in relation to Finnish National Romanticism

AKSELI GALLEN-KALLELA, LEMMINKÄINEN’S MOTHER

In Hungary Wekerle remained as an exception as architects working in National Folk Style built mainly small, residential dwellings rather than state-supported projects. It is obvious that the movement of Fiatalok and Karoly Kos remained marginal, and architecture in Hungarian cities were still dominated by academic Historicism and German-influenced professionals. (74 mc.mahon) Many of the great urbanistic plans did not realize in Finland either, but I would dare to claim that the influence of National Romanticism and the architects of the style plays more dominating role in Finnish architecture history, technological and cultural development than in Hungary. Roughly this is because in a way cultularly Finland has been a pheripheral area far more longer than Hungary with its various foreign influences and monarchies. In a way the National Romanticism grew to an ideology and a tool of politics in both countries but was accepted in more general and official way in Finland.

CONCLUSIONS

CONCLUSIONS What Is It -FinnMagyar?

On the whole, the exterior architecture in both countries is very similar to what one could see going up in many other European cities at the same time. The influence of English architecture is evident in the light-coloured plaster of the façades, and in the shapes of the windows. In the same time the both countries beared their own local specialities. In Finnish exterior architecture is that there were no brick buildings constructed in Finland because of the local domestic brickworks lacked the technical capacity to produce bricks of adequate quality. In Finland the lack of quality brick led to inventions in using the local stone. The rough stone on it’s part led to the he heaviness of the buildings that was known as typical Finnish feature. In turn brick was usual in Hungarian architecture both in Historicism and Art Noveau and the brick architecture expressed the eastern colourful features.

Despite the differencies in motivs and materials the same distinctive heaviness could be seen for example in Wekerle and In the works of Fiatalok group formed by the huge proportions of roof and the details for example dark wooden detailing, heavy oak doors and their wrought-iron details.

BOTH GATEWAY BUILINGS, CHARACTERISTIC TRANSYLVANIAN DETAILS AND MATERIAL USAGE IN THE MAIN SQUARE BUILDINGS OF WEKERLE

POHJOLA BUILDING: GATE

POHJOLA INSURANCE CO. BUILDING. ICONOGRAPHY OF NATIONALROMANTICISM. Floral decoration and wild forest demons conquer streets of Helsinki.

Carved by Hilda Flodin in soap stone.

MAGYAR TURN-OF-THE-CENTURY ARCHITECTURE in relation to Finnish National Romanticism

In both countries the young architects were seeking to develop a distinctive local architecture still remaining faithful to international influences. Despite the internationally common forms as the dynamic ”whiplash” and the formal language of the motivs counries retained their goals to devellop the ornamentation on their local basis. They shared the similar inspiration of nature’s flora and fauna. The climate and the geography of Hungary and Finland was and is crucially different, so also their concrete figures differ from each other. Example As it is possible to notice while in Hungary corn is one of the most popular figures in Finland the comparable motiv is cone. Roughly the characteristic differencies of the nature can straightly be seen on the walls of the buildings, while in Finland there is bears, squirrels, twigs and even lichens designed on the doorway in Hungary there’s rich figurative flora. (s.87 Gerle J. Finmagyar) In Helsinki it is easy to notice that the National Romantic streetscapes are occupied by the mythic scandinavian figures and wild forest demons as in Hungary the athmosphere is mainly floralry rich, light and preserves the southern exuberant life.

CONCLUSIONS

About Motivs and Materials

11.

11.

Experiencing themselves as isolated from their European neighbors in terms of language and culture, both Finns and Hungarians looked to the East as their point of origin and heritage, and construed somewhat mythical pasts for the bases of their respective national identities.

In practice, the intellectuals of both countries looked up what they considered to be the last remnants of the original, eastern cultures: ‘authentic’ peasants in isolated geographic regions (the Kalotaszeg for Hungary, and Karelia for Finland). In the eyes of the artists these regions were pure from the dirt of modernity and foreign influence. (62 McMahon H.)

TYPOLOGY DRAWINGS OF KAROLY KOS, In the small essay (1930), named “Erdely”, Romanian stylized house with Byzantin and Gotic elements.

Hungarian peasant house

MAGYAR TURN-OF-THE-CENTURY ARCHITECTURE in relation to Finnish National Romanticism

Many authorities use time in studying whether the turn of the century architecture was truly a national architecture and weither Hungarian national Romanticism was affected by Finnish architecture or even vice versa. These issues are of course depended on the point of view and a totalitarian answer would not be relevant in the context of art history that is usually understood through international influences and movements. From this point of view local styles are always reflecting foreign influencies.

What is finally truly interesting is what is the interchange, the juncture and the aiming points of these two faces of art. In this case what we know is that the effect and the timing of regionalism based Art Noveau was ideal for these two relatively small countries and vice versa the ground for the style to live and develop into something totally original was at least vital. The style gave its response to the national needs but especially revalued the last ”original” and lively European cultures.

CONCLUSIONS

Nationalism Versus International Context

12.

Vuojala P., Art Noveau in Helsinki. Unpublished Lecture Presentation (2010). Oulu: University of Oulu, Department of Architecture.

Väre R. 2002. Finnish National Museum, National Romanticism in Finnish Architecture. Helsinki, for exhibition “Finnland um 1900 – Kunst als Wegbereiter” in Bröhan-Museum, Berlin Wichmann I., Gallen-Kallela Museum, Hock B., Hudra K., Finnmagyar. Art Relations Between Finland and Hungary in 1900-1920 (Originally: “Az 1900-as parixsi vilagkiallitastol a Cranbrook Schooling”). An exhibition Publication. Helsinki/Budapest.

Onni Törnqvist (myöh Tarjanne), Selim A. Lindqvist, Usko Nyström, Lars Sonck, Wivi Lönn, Eliel Saarinen, Herman Gesellius, Armas Lindgren, Karl Lindahl, Valter Jung, Sigurd Frosterus Other resources Homepage of Wekerle estate (translated 12.2010): History of Construction. Zsofia Vilo, 2009, http://wekerletelep.hu/epites_tortenet&rurl=translate.google.hu&twu=1&usg=ALkJrhg6uCLFnzIsxwwOvY4xXEaEcsj5sQ Homepage of Helsinki (read 12.2010) http://helka.net/index.php?option=com_content&task=view&id=2283&Itemid=91 Art Noveau in Hungary (read 12.2010) http://www.art-nouveau.hu/art.php?menuid=2&id=108 Nagy Kerkely , 1994. “Kertvárosnk Wekerle” (parts of it translated by Ilona Toth 2010), Budapest

MAGYAR TURN-OF-THE-CENTURY ARCHITECTURE in relation to Finnish National Romanticism

Citations Central European University, Nationalism Studies Program, McMahon H. An Aspect of Nation Building: Constructing a Hungarian National Style in Architecture, Thesis..1890-1910.

Budapest, Hungary 2004