[qfj periodica polytechnica
Architecture
3811 (2007) 25-32
doi: JO.3311Ipp.ar.2007-1.05
web: http://www.pp.bme.lllllar
© Periodica Polyteclznica 2007
Modernity and context - Hungarian
architecture at the beginning of the
Kádár-era
Mariann Simon
RESEARCH ARTICLE
Received 2000
Abstract
The follmving work aims to examine the years }vhen Hungmian arclzitecture after the short but impressive period of socal/ed social-realism retumed to modemism. The point in time
is the tum of the fifties and sixties. This was the vel}' period
when in tize history of Westem architecture the first criticism
of functionalist doctrine appeared. Tize 1ntemational Style was
questioned by a regional approaclz, and in 1956 tize regular
(and the last official) C1AM congress was devoted to the topic of
"identity". The last social-realistic style building was published
in the periodical Magyar Építőmvésze
(Hwzgarian Architecture) just a few months before, in the fal! of 1955. The retum
of modem was a liberating process for Hungarian architects.
However in that special context several questions emerged conceming general and local topics. Wlzat is tize attitude ofmodenz
architecture to Us old environment? ls it possiblefor modem arclzitecture to have a national character? How to put into practice the - still valid - theoretical demand for socialist content
and nationalfol171 now by means ofmodem architecture? Some
of these questions were very similar to those raised in America
and in Western Europe. The annvers were Izmvever different.
The architectural competition for the restoration and extension of the former Pest Vigadó building was announced in August 1956. At that time it was already clear for aH the Hungarian
architects, that the new part of the building could be designed
only in modern style. If somebody hesitated, he recieved unambiguous instructions from the competition tender: "Regarding
the architectural, townscape and fac;ade forms, the be st solutions
are those, where the applicants use modern forms to find a harmonious contact to the monuments. ... It is desirable that the
old and the new parts of the building create a harmonious compositional unity - based either on contrast or on any other principle - both in the exterior and the interior" [2]. As a consequence
of the 1956 revolution the deadline was extended and the jury
published the results in September 1957. The newspaper Népszabadság covered the event on the front page. It published the
list of the winners and a1so the drawing of the building that won
first prize. (Fig. l)
Keywords
modem architecture . national character· built environment·
infill bui [ding
Acknowledgement
Tlzis paper was prepm'ed in the course of tize OTKA T 024029
project in 2000
Fig. 1. First prize winner entry of the Vigadó competition.
Architects:
Károly Weichinger, Károly Jurcsik. Csaba Virág, and János Bonta.
Mariann Simon
Department for History of Architecture and of Monuments. Budapest University
of Technology and Economics. H-1521 Budapest. Hungary
e-maiI:
[email protected]
Hungarian architecture at the beginning of the Kádár-era
The outlook of the building had an unexpected effect on the
public. The ambiguous edi ting generated the first storm, as the
picture of the new building carne out under the title: What will
the new Vigadó look like? The readers could thi nk that the
new one would repI ace the old building. The misunderstanding was c1eared up but failed to pour oil onto troubled waters.
2007381
25
The anonymous journalist of the Népszabadság wrote in the next
day's issue that this information was poor consolation as even so
the building is what it is: "a box, created from reinforced concrete and glass without any imagination." [31] The reasoning of
the jury, that the modern building just by the old monument may
occur as the counterpoint in music and the new part emphasizes
the beauty of the monument, did not convince the journalist.
The old Vigadó building is beautifui, the counterpoint of beauty
is ugliness, and the designers could reach this ugliness with the
new building - declared the author.
This was an attack against the newly emerging modern architecture which could not have been ignored by Máté Major, the
main theoretician of the profession. The competition entries for
the Vigadó were exhibited in the headquarters of the Association
of Hungarian Architects and an open debate was also organized.
Both events were announced in the Népszabadság.[25]. It was
again Máté Major who held a lecture in defense of modern architecture, the text of which was published in the literary and
critical periodical Kortárs in December [22]. The article was
written to inftuence public opinion. Major declared that the core
of modern architecture is that its forms arise from the new materials and the new technology, and "the realization of the play
of forces in the clear structures" are what produces the aesthetic
pleasure. The alternative of up-to-date architecture is out-ofdate architecture, weep for the past. Máté Major suspected the
foIlowers of dogmatic, social-realistic architecture behind the
critical remarks on the Vigadó project, he also made this clear.
As a consequence of this fear he shifted into the radi cal devaluation of the traditional architecture. "Here in this square we
need at last an architectural stress that represents its age clearly,
weIl and to a high quality, which, like a magnet attracts glances
and distracts attention from the aesthetic insignificance of the
surrounding buildings."
The "public opinion" missed only the keeping of architectural
unity in the square where the Vigadó project was designed but
the papers that followed the Major-writing in Kortárs mentioned
more problematic issues. Imre Szalai questioned not the need
for modern architecture, but he found the entries wanting in
"folk inspiration". "Who could deny that the defended design
which is intended to join the romantic building of Vigadó might
be built either in Vienna, in Brussels or in Buenos-Aires" [28].
That is to say the inherently good design fails not only in having
connection to its surround ing s but also in missing the national
character. As understood by Imre Szalai the national character
is not equivalent with the use of the so-calIed national formaI elements. He does not give practical advice either, only stands by
the respect for tradition instead of subduing them. In another replying article Ferenc V ámos, the architectural historian connects
Frigyes FeszI, the architect of the Vigadó to Ödön Lechner and
Béla Lajta. He gives this line as an example of the successful
linking up of modernity and national character. 'The essence of
composing is just like at the age of Béla Lajta: keeping connection to the consciousness, the will of the Hungarian society. This
26
I
Per. Pol. Arch.
way of composition hides the secret of how we will reach the demand of social-realism" [33]. The instruction is clear: the lost
thread of national architecture that spreads from the Romantic
Movement through Art Nouveau up to the modernism of Lajta
is still here, we should only resume it.
However in 1958 there was nobody who wanted or dared to
do that. Practicing architects yearned for the forms of contemporary western architecture too much, while the theoreticians got
the official directives in this subject. The guiding principles for
the cultural policy of the MSZMP (Hungarian Socialist Workers
Party) were published in July 1958 [21]. The statement of the
paper was that the main obstacle of the cultural and ideological
development is nationalism that must be opposed by a national
culture based on socialism. 'The newly born culture is socialist
in its content and national in its form. It preserves and comprises
alI that progressive cultural treasures, which have been colIected
through the development of hundreds of years in national works
and in values adopted from other nations. Using the best results
and inspired with the socialist ideal it develops the synthesis of
popular, national and humanistic character on a higher level."
The restored principle of culture that is socialist in content and
national in form inhibited the inequality of the two parts. This
relation of superiority and inferiority bec ame manifest in several
writings in 1959. In the propositions of the Central Committee
of the MSZMP bourgeois nationalism was confronted with proletarian internationalism and socialist patriotism had its place
only within this later one, subordinated to it. "Basic idea of
socialist patriotism is that in our time the way for long-Iasting
national progress is socialism." [5] In this context, emphasizing of national quality could be understood as an attack against
socialism and that was exactly what politics did. In the field of
architecture it was Máté Major who first applied political and
ideological principles on architecture as early as in 1959 [23].
Form folIows first of alI materials, construction, technology and
function in modern architecture, that is why socialist architecture has not differed yet from capitalist architecture except the
local conditions. "Developing socialist content that is the socialist way of life, thought and message will help us to reach the
stage of the national form - the difference in people, society and
ideology that separates our architectural forms from the capitalist West over its locality. It will produce its outline and the
socialist architecture will emerge as a new, specific, historically
ready higher level of development." The message of this citation
and of the whole paper is that the national form should grow out
of socialist content organically, in other words the two concepts
can not be separated. National form will develop from socialist
architecture, so until that time it does not have to be looked for,
especially not in the past.
In spi te of the fact that in this way the question of national
culture was answered both ideologicaIly and architecturally,
the issue emerged in the early sixties again - in the spirit of
détente. Parallel to the historian debate between 1960-1963
and the art historian debate between 1961-1962 on nationalMariaml Simon
ism, there were some edited articles in the periodical Magyar
Építőművésze
dealing with the traditions of Hungarian architecture. Imre Kathy wrote the keynote article. He started with
the statement that contemporary Hungarian architecture could
not be compared with the quality of French, Italian, Scandinavian or American architecture [16]. The reason for this he found
in the break of the thread represented by Ödön Lechner and Béla
Lajta, who appIi ed and continued the "constructing ideals and
forms saved in Hungarian peasant architecture" at the tum of
the century. Art Nouveau architecture did not only meet the requirements of modern architecture, that is materiality, sincerity,
usability and functionality, but it also had a national character.
Imre Kathy called attention on the importance of tradition in
general, but with a special emphasis on Art Nouveau and folk
architecture as worthy to follow in its approach and rich forms.
He touched two questions. First, whether do we have to point
to some epoch to follow its tradiüon, and the second, that if so,
which epoch should this be. The replying articles mentioned
mainly the less awkward part of the issue, the evaluation of Art
Nouveau architecture. The authors carne essentially to the conclusion that the Art Nouveau was an important period in our
architecture and it is worth surveying it. One of the contributors
stated that its influences still can be felt, however "although its
problems are similar, often even coincide with our problems, our
answers are quite different"[3, 19,34]. In his sec ond article Imre
Kathy broadened the circles of the past as a usable resource for
contemporary architecture. "National tradition for us includes starting with the Asian deserts through European Middie Ages
and the tum of the century up to now - all that spiritual, artistic and architectural results which represent the creative spirit
of the Hungarian nation in its particularity" [17]. But he still
insisted on his point of view that traditions should be continued. László Császár disagreed and he stated that we have to get
to know contemporary international architecture completely and
only after that we may think about the additional values we can
enrich the general features with [6]. Tradition for Császár means
the expression of taste and atrnosphere. Accordingly determining particularities of Hungarian architecture are the following:
beauty of pure masses, deep and wise patien ce, and the lack of
nervous disquiet boasting and bluff. Hungarian character can not
be connected to a certain period of architecture but to the measures used. The mentioned values "are hidden in proportion,
rhythm, colours, composition of colours, forming of masses and
spaces, finishing, texture and in the Hungarian architectural and
naturallandscape." After all we do not have to look for the measures either: "In this way elaboration of particular Hungarian
architecture relying on the traditions is rather an intuitive than a
rational work. The creator' s architectural and aesthetic requirements as an immense necessity will force it to come into being."
In his article László Császár declared an approach that was acceptable also for the official ideology. Architecture always had
its national characteristics, which will emerge within modern architecture as well, but all this will happen by itself, by instinct,
Hungarian architecture at the beginning of the Kádár-era
by intuition, so it is worthless to deal with this issue.
After this debate the revaluation of Hungarian architectural
tradition was removed from the agenda for a while. But there
was an other problem still alive that touched the wider issue of
modernity and context, how to fit modern architecture into the
built environment. This appeared both as theoretical and practical question at the tum of the decade. From 1958 on the government started a programme for infill development in Budapest.
In the background there were also of course political considerations: the new houses at last healed the wounds caused by
the war in the city and they contained higher quality flats than
the average housing estate, so they clearly demonstrated the increase in living standards. "They bring a new colour, a fresh
atmosphere into our capital that we love and whose image is
very dear not only to the people living in Budapest but to the
whole country" [7].
While the public - especially in places with historicai atmosphere like the Buda Castle district - would have accepted even
the straight restoration of darnaged buildings, the professionals
were offered two choices. The new, modern building makes an
attempt to fit into its environment or just the opposite it creates a sharp contrast to it. Theory took a stand on the first version. "Building up the city plots is not the task when architecture could introduce characteristic and representative solutions
of our age. This is rather a late completion of the already existing city-structure and cityscape" [8]. Modern buildings built by
contemporary technology were different from their environment
also in materials and details, so the adjustment was the question
of the more general aesthetic characteristics such as the mass,
the proportion, the rhythm, the plasticity of surfaces [12]. It
was Aurél Budai who completed a more detailed survey on this
problem. Starting from the principle of subordination he carne
to the conclusion that in the "new within the old" case "we can
save the atmospheric value of the old especially, if the new that
appears within it is less stressed and it fits welI into the overall
view"[4]. With the decrease of the scale, the demand of adjustment decreases as weIl. The new building has to be subordinated
to the cityscape, the skyline, spacial structure of the city and the
compositional units. "But if - on the way from the larger to the
smaller formaI units - we reach the level where the new form
is not any more striking in the characteristic formaI unity of the
old, we are allowed to use the more strongly up-to-date form s of
modern architecture. This modernity does not disturb the aesthetic effect of the 'characteristic old' that appears in the larger
formaI unit." The authors of the above mentioned articles illustrated their writings with plenty of architectural exarnples, so as
to be easier to understand. Without questioning the priority of
principles, the practical means recommended for the architects
were undoubtedly collected through the analysis of the already
existing, successful buildings.
The new buildings in the Buda Castle played the role of the
positive example in Hungary. The more often cited building of
this time was the apartment house built on the double plot (Úri
2007381
27
utca 32. and Tóth Árpád sétány 24.) by the architect Zoltán
Farkasdy in 1959. The first reviewer of the house stressed the
harmonious connection of old and new within the building, but
did not mention the problem of fitting to the environmental context [Il]. "The front fac ing to the bastion is perhaps the nicest
part of the who le building in its form. The nice rhythm of loggias and windows on the attic flats, the artistic construction of
the whole fa9ade, the robustly structured baroque walls of the
ground floor with raw surfaces, and the decent colouring of the
new part of the fa9ade - ali this makes the house an excellent
modern example in the row of the bastion buildings. The Úri
street fa9ade strives to emphasize the historic detail of the gothic
gateway with its simple articulation, but its colouring is less
successful than the above appreciated front facing to the bastion"(Fig. 2.) In another review the author touches also the problem of environmental context but only in a caption [12]. 'The
house No.32 frames the gothic gateway, and its fa9ade - with
the horizontallane mouldings and with the verticaIly connected
modern window mullions - is in harmony with the rhythm of
the adjoining two-storey buildings."(Fig. 3.)
Fig. 3. Apartment house. Úri utca 32.
completed only in 1963. The building less appreciated by contemporaries but the more evaluated by posterity, represents a
special way of adjustment. It contains duplex flats consequently
there are various windows one above the other that dissolves
the difference in floor height to the adjoining neoc1assical building. The windows are put on the plane of the fa9ade creating
the impression of flatness, but the irregular surface of the whitecoloured brick offsets this effect and connects the house to the
other buildings - as it has already been pointed out by the first
reviewer of the house [13] (Fig. 4.) The building stands on a
corner and it turns to the opposite street with a fa9ade without
openings, a solution that neither the public nor the professional
monument protectors could fully accept. Miklós Horler tried
to explain this gesture with the modern architectural principles:
"Architecturallogic of the building form and the transversal construction can be in harmony but only with the solution." The
alIusion to the forms of the medieval castle district as a poss ibi e
explanation was raised only by posterity, which the architect did
not deny [14] (Fig. 5).
Fig.4. Apartment house. Tóth Árpád sétány 27.
Fig. 2. Apartment house. Tóth Árpád sétány 2·L The front facing the bastion.
Around the same time another apartment house was built in
the same block. György Jánossy designed it in 1959 but it was
28
I
Per. Pol. Areh.
The architectural approach to the houses built in the Buda
Castle was an exception compared to the general attitude. In an
artic1e about the current infill developments that was published
in the Magyar Építőművésze
(Hungarian Architecture) the author describes twenty-three designs. He evaluates the layout and
Mariaml Simon
One of the professionally highly evaluated infill developments
of this period was the apartment house in B udapest, Fehérvári út
17. The architect Zoltán Gulyás who won the Ybl-prize for this
building in 1962 built it between 1959 and 1960. Only one of
the two contemporary reviews mentioned the problem of pIacement [29]. It describes that the corner house covers both adjoining fire walls, it keeps to the building limits on the ground ftoor
and on the ro of level, and the height of the main edge equals
with that of the adjoining buildings. The other review of the
building consists of only six sentences describing the technical
data in Magyar Építőművésze,
6. 1961. - so much about adjustrnent (Fig. 6). Strictly speaking the articles did not mention
either the inherent values of the building, it was the very time
when the architectural analysis of building s disappeared from
the periodicals and the unquestionable data were left alone, the
function, the applied construction and materials, the built-in volume. However the apartrnent house of Zoltán Gulyás despite the
elear demarcation line at the connection was not designed wi thout empathy to its environment. The fagade with its ribbon windows was only a bit more further forward than the neighbouring
houses built between the two wars in modern style, while taking
on the relationship with the opposite clinic building (Jenő
Szendrői
- Andor Lévai, 1949) is evident. The ribbon windows, the
horizontal parapets, the stressed division into three parts and the
clinker brickwork fagade make this manifest (Fig. 7). Another
Fig.5. But! ofTóth Árpád sétány 27.
the fagade in each case but he mentions only for five buildings,
(that) "it fits weIl into ils environment", and criticizes only one
house that it "is very different to the next one" [l]. The article
published on the same issue in the Magyar Építőiar
(Hungarian
Building Industry) questions even the adjustment as a point of
consideration, after alI the surrounding valueless buildings will
be demolished sooner or later. l Parallel to the rather shallow
grid fagades - demonstrating structural order - of the first wave
of the infill projects some fagades also appeared playing with
modern architectural forms. They used the measures of stressing horizontal or vertical elements, moving out surfaces from
the plain, geometrical details, clear colours and materials. With
the exception of the historic environment the architects didn't
want to adjust - but neither politics, building industry, public
nor architectural theory expected them really to do so.
l"lnfill developments in general with a few unlud.:y stressed exceptions.
mainly lack a cityscape message. They make complete an already existing
city structure. usually without any chance to be better than the adjoining houses
which slowly grow very old and which are close to historicism in style. Some
buildings have bee n put in a neighbourhood where historicism is evident. The
atmosphere and form of adjoining houses had hardly any effect on forming of
these buildings, what is correct l think" [27].
Fig. 6. Apartment house. Fehérvári út 17.
example for infill development emphasizing modernity and difference from the surroundings is the apartment house in the Ha1959-1964). The
jnóczy utca 4. (György Tokár - Attila Emődy,
building was situated in an environment with the atmosphere
of 19/ h century historicism. The architects had two main design goals both in the spirit of functionalism. First was to offset
the unpleasant (northward facing) aspect of the front and second to open the view to the Castle [24]. The building twisted
from the plain fagade with four vertical masses, hanging in the
street space and from one direction appeared as compact clinker
prisms. The experts appraised the building just on this, for its
elear forms and the brave gesture of difference 2 (Fig. 8.)
2 ''There are more works of high standard within the individually designed
Hungarian architecture at the beginning of the Kádár-era
2007381
29
Fig. 8. Apartment house. Hajnóczy utca -t.
Fig. 7. Apartment house Fehérvári út 17. in context with the clinic building
At the beginning of the sixties the issue of national architecture was struck from the agenda and with no general demand
to adjust to the elosest architectural environment as the above
mentioned infilI developments show. The context to the wider
architectural and social environment, the fit into the place appeared also in a particular way, if at alI. The planning process
of the Main Square in Kecskemét was connected with the demolition of the old city hotel and the building of a new one. The
relation of the new building to its environment was elearly defined. The hotel was set back from the old square and gained its
own foreground, a piazetta, while "regarding the elosures, the
city plan determined that as its elements were buiIt in different
aaes
that can be seen also in the forms, the new hotel must play
c
the same role"- was written in the artiele illustrated with the designs of the hotel. [18] The Hotel Aranyhomok (István Janáky,
1957-1962) was published again when it was inaugurated. For
this occasion the reviewer - over the usual poor description condominium houses. especially in the buildings of the designers who got used
to generosity and up-to-date pure design through industrial architecture" [26].
..The toothing that gives astrong plasticity to the faqade is a charactenstic and
ingenious solution" [30].
30
I Per. Pol. Arch.
also gave an appraisal of it. perhaps the architect"s professional
reputation explains it [9]. The author. Pál Granasztói uses the
well-known principles of sincerity, modern it y and contrast for
describing the house in his writing, but as a new motive he formulates the demand for the expression of place (Fig. 9). The
hotel in Kecskemét is first of all modern he states. The fa«ade
"beside the baroque forms of the rectory, near to the Art Nouveau town hall designed by Lechner has an effect that balances
and makes elear the whole mixed architecture of the square, it
professes the hardness and firnmess of our age,"
The whole
fa«ade facing the square consists of a loggia that is explained
with the south aspect. the view to the town and the neutral effect of the grid. In addition to this the building is connected to
the place that is to the Great Hungarian Plain. One of the main
values of the hotel is "the elaborated. nice and quiet proportion
of mass es - also in details - through that we can feel the already
mentioned architectural taste characteristic to the Great Hungarian Plain. The compact. massive and pure appearance ensures
that the building in spite of its modernity fits into the location.
seeming as if it was grown out of it." Posterity appreciated the
hoteL now it is one of the 20th century buildings that were proposed to be ineluded in the official list of monuments. The reason ing refers to the inherent values of the building: the good
A1ariann Simon
Fig.10. Hotel project in Istanbu\.
Fig.9. Hotel Aranyhomok in Kecskemét.
proportions, the geometry drawn by shadows, the decent order
of the fagade divisions, the original neon notice and the still remaining art works [20]. Hotel Aranyhomok really is a good representative of its age. Its emphasized grid fagade makes it one
of the first examples of the modern architecture to be set free
from social-realism, so it might have a deeper meaning for the
contemporaries than the carefully elaborated harmony of proportions. Without knowing the whole story, the general values
of the building but especially the adjustment to its environment
need revaluation. "In spite of all its pursuit the building remains
to the average viewer only another middling apartment house
with one-room flats and a corridor in the middIe. It doesn't occur to them that the hotel creates a perfect background to the
square and the church but that from its alien nature gives off a
strange feeling of difference. ... The house does not communicate with the whole square but with a part of it, the piazetta.
If this communication were not so restricted, perhaps the hotel
would not react with total openness to the c10sed fagades of the
other buildings which surround the square" - a young architect
wrote about the building in 2000 [32]. Is it po.ssible that the architectural means lost their influence during the past fort Y years,
or rather the architect never had in his mind to create a building characteristic to the Great Hungarian Plain, although he was
born there? Just before the hotel in Kecskemét, Janáky had another commission for a hotel in Istanbul [10]. The layout of that
never reali zed project formed an L but the fagade and the whole
outlook of the Turkish beach holiday hotel was surprisingly similar to the Hungarian one in the middIe of the town (Fig. 10).
"The confidence or rather the belief that we can regain ourselves created a consensus between architecture, society and the
policy" - a contemporary wrote in retrospect after more than
twenty years [15]. At the tum of the fifties and sixties architecturaI practice turned back to the modern architectural principles
and forms becoming independent from theory, and the theory
that practice would need instruction. It seemed to both parts
that modern principles are reliable and valid for eternity. The
poor forms of modern architecture were appropriate also for the
building industry, which had increasing influence on the policy.
Hungarian architecture at the beginning of the Kádár-era
(Further effects of this "appropriateness" became visible only
later: the first prefab factory started to work in 1966.) Designers
were lost in modern architecture, they did not want to create a
national architecture - had they wanted to, could not have done
so - but they did not want to adjust either to place, to environment or to landscape. They hoped at last they could join to the
international stream, and they did not realize, that the sweeping
flow of modernism fell apart and slowed down in the meantime.
References
Bene L..
Budapestell. (Housing projects in Budapest),
LakásépÍte~
Magyar Építőművésze
(1959). no. 5-6.
2 Borosnyai P., A Pesti Vigadó tenpályázata a modem Izangversenyteremmegoldások tükrében.: (Competitionfor tize Pest Vigadó Building in tize Mirror of the Modem Concert Hall Projects). Magyar Építőművésze
(1958),
nO.1-3.
3 Budai A., Adalékok a szec~ió
Izelyesebb értékelésélzez.: (ColltriépÍts~e
butio/lS to the more proper el'aluation of Art Nouveau arclzitecture). Magyar
Építőművésze
(1961). no. 3.
4 _ _ , A régi és a~
új
es~téika
(AbO/II tize aestizetic cOlJlzec\·is~onyáról.:
tion of old and new). Magyar Építőművésze
5 A
(1961). no. 2.
nacionalizmusról és a
bu~soá
s~ocialt
Társadalmi
ha~fiságról.
Szemle (1959). no. 8-9. Az MSZMP Központi Bizottság Agitációs és Propaganda Osztályának tézisei. (Aba ut bourgeois nationalism and socialist patriotism. Propositions of the Department for Agitation and Propaganda of the
Central Committee of MSZMP).
6 Császár L.. Építés~ei
hagyományok és nel~tköziség.:
(Architectural tra-
ditions and illtemationalismj, Magyar Építőművésze
7 Foghijbeépítések és az 1958. évi
(Infill developments and the
épÍtke~s.:
building actil'ity in 1958j. Magyar Építőiar
8 Granasztói P.. Foghijbeépítés és
city developmelltj. Műszaki
Értesíő
9 _ _ Aranyizomok s~áló,
(1959), no. \.
(Infill del'elopmellt and
\·árosfejl~té.:
(1957), no. 7-8.
Kecskemét.: (Hotel Aranyhomok in Kecskemétj.
o
Magyar Építőművésze
(1960). no. 5.
(196-1). no. 4. The artic\e was a reworked version of
the writing published in the newspaper Népszabadság.
10 Gy.l.. Is~tambuli
ten·e.: (Design for a holiday hotel in Istanbul),
idülős~áó
Magyar Építőművésze
(1957). no. 3-4.
II Hofer M.. Lakóépület a Vámegyedben. : (Apartmellt house in tize Buda Castle
district j. Magyar Építőművésze
(1960). no. 3.
12 Horler M.. (lj épületek mz7emléki kömye~tbn.:
cal enl'ironmelltj.
13 _ _ Egy há~tömb
o
Építőművésze
(Nell' buildings in a histori(1960). no. 4.
Műemlékvd
a budai Várban.: (A block in the Buda Castiej. Magyar
(1967). no. 2.
14 Janáky Gy.. Jánossy György há~ról
a Bástyasétányon.: (About the house of
György Jánossy on the Bastion Promenade j. Magyar Építőművésze
(1988),
no. 3.
2007381
31
15
Kísérlet egy
bejárására. : (Attempt to describe aperiod).
kors~a
Magyar Építőművésze
16 Kathy 1.,
Kors~eTlíég.
tion elltriesfor the Vigadó), Népszabadság (September 19. 1957).
hagyomány.: (Modemif); Art NOUl'eau,
s~eció,
17 ___ . Népi
és
hagyomány?
(Rustic
Budapest, XII. Hajllóczy street), Magyar Építőművésze
and traditional?).
27
(1958),
28 Szalai I.. &omorkodó a Vigadó körül.: (Griel'illg Ol'er the Vigadó). Kortárs
értékeléséhez.: (To the evaluation of Art Nou-
29 (Selection from the developmellts in 1961. Fehén'ári LÍt 17. CondominiulJl
no. I-3.
(1959), no. l.
(1958), no. l.
s~eció
l'eau architecture), Magyar Építőművésze
Kecskemét,
P..
Kecskemét), A
21 A Magyar
apartmellt house). Magyar Építőiar
(1961), no. 2.
Aranyhomok Szálló.:
(Hotel Arallyhomok ill
táguló körei. OMVH. 2000.
műelékvd
MlIlzkáspárt
S~ocialst
politikájállak irállyeil·ei.:
mŰI'elődési
és kö~vélemny.:
(Architecture and public opinion), Ko-
s~ocialt
épít{jművs~e
aktuális problémái.: (Currellt prob-
lems of socialist art of architecture). Építés- és Közlekedéstudományi Kö-
31 A s~épg
ellenpontja. : (Coullterpoillt of beauf)"), Népszabadság (19. Septem-
ber 1957.)
a~z
építészet és
idő
l'is~onya
Ianá!..}' Istl'án
kecskeméti szállodájámi kapcsolatban. (Golden sand. or the relation of arKecskemét. Manuscript of the paper prepared for the course Design Theory
within the curriculum of postgraduate master school, June 2000).
33 Vámos E. A Vigadó
zlemények (1959). no. 3-4.
24 Mesteriskolások mlllzkái. Hajllóc::;y utca 4. szám, OTP társasház.: (Works of
the Master School attelldallts. COlldomillium apartllzellt house in
street 4), Magyar Építőművésze
1945- 1970..
chitecture and time in context with the hotel designed by István Janáky in
rtárs (1957). no. 4.
23 ___ , A
(1962). no. 1.
Arnóth, Finta, Merényi, Nagy. Magyar Építés~e
32 Tarnóczky A .. Arany homok,
ers Parf»), Társadalmi Szemle (1958), no. 7-8.
22 Major M., Építés~e
30 Szendrői,
Corvina Kiadó. 1972.
(Guiding principles for the cultural policy of the Hungarian Socialist Work-
32
Schőmer
Építőiar
(Hotel in Kecskemét). Magyar Építőművésze
19 Kubinszky M" A
Lővei
(1965). no. 3.
E., Foghíjas lakásépítés. : (Infill apartmellt del·elopmellt). Magyar
Magyar
(196 I), no. l.
Építőművésze
18 Kecskeméti s~áloda.:
Budapest, XII. Hajnóczy utca.: (Apartmellt house,
26 Rácz György. Lakóhá~,
(1960), no. 3.
tradition). Magyar Építőművésze
20
25 Nyi/vállos vitára bocsátják a Vigadó terveit.: (Opell debate on the competi-
(1988). no. 3.
Hajnóc~y
l'itájho~.:
34 ___ , A
s~eció
értkelső.:
architecture), Magyar Építőművésze
(1960). no. 4.
Per. Pol. Arch.
(Remarks to the Vigadó debate). Kortárs
(1958). no. 2.
(About the emluation of Art Nouveau
(1960). no. 6.
Maria/lll Simon