Architecture of Hungary
The First Church of Kalocsa with its three-nave basilical arrangement and its apse pointed to Italian models, to the earliest Christian Ravenna influences.
The system brought with it a strong arts program, including the prohibition of figurative sculptures, mural paintings and the construction of the towers, toward the contemporary of Burgundy when the Gothic was applied.
The Cistercian influence is also reflected in the lower church of the Pannonhalma Archabbey, founded during the reign of Grand Prince Géza, and in this style was built the Royal Castle of Óbuda.
According to tradition, the first monastery of the Premonstratensian canons in Hungary was founded in 1130 in Váradelőhegy (near present-day Oradea) and its presence before 1135 is demonstrated by documents.
The monks outside the monastic and pastoral life dealt with place of authentication activities, assumed an important role in the manuscript culture dissemination in Hungary.
Its basic form is the three-nave system established at the Pécs Cathedral, which is closed by semi circle apse, but the location of the towers varies.
Although the Royal Centre had already been transferred to Óbuda, the site was considered to be warlike and construction began on the South Side of the Castle Hill.
The central tower of these castles was built on steep rock or gully, to which additional rooms, walls and gates were connected according to the terrain.
After Sigismund, Holy Roman Emperor took the throne, a direct connection established the Fresh Palace construction with the royal centre in Prague.
John Hunyadi built the Franciscan church of Teiuș (current Romania), Pál Kinizsi founded the Pauline monastery of Nagyvázsony, and the Báthory family were active in Nyírbátor.
A good example of this are the dormitories of the Ulița Lupilor Street in Cluj-Napoca (current Romania), the Franciscan monastery-church of Szeged and the Reformed Church of Nyírbátor.
There are written sources at the end of the 15th century, in addition to civil artists, they begin to talk about field-town and village masters.
It was then that the order of the facade (columns with semicircles or straight beams), window and door types, decorative motifs, which had an exemplary effect on later construction sites.
Matthias' construction was followed immediately by the construction of the Archbishop of Esztergom (1480-1500), John of Aragon, Ippolito d'Este, Tamás Bakócz, built in Esztergom, Miklós Báthori built in Nógrád (1483) and Vác (1485-95), András Báthori in the castle of Ecséd, Sigismund Ernest Csaktornyai in Zagreb (current Croatia) (1488) and Pécs (1498), Bishop László Geréb in the Gilău (current Romania) (1480–90), Archbishop of Kalocsa Péter Váradi in the Bač Fortress (current Serbia) (1490s), Balázs Ráskai in Csővár, Pál Kinizsi in Nagyvázsony.
The memories of the late Renaissance in transdanubia are mainly castles, such as the Deutschkreutz (current Austria), the dominant form of the -loggia of the Firewatch Tower of Sopron, which also appeared on residential houses.
The first memory of Baroque architecture in the Kingdom of Hungary was the Jesuit Trnava Cathedral (current Slovakia) designed by Pietro Spazzi.
The Hungarian Baroque church architecture is characterised by prominent towers and gates, with windows lit by side nave.
At the request of Queen Maria Theresa, the reconstruction of the Royal palace of Buda began with the assistance of Jadot (1710-1797), Ignác Oracsek (1750-1770) and Franz Anton Hillebrandt (1719-1797).
At the same time, the very rich Basilica of St. Stephen, rebuilt by Queen Maria Theresa, was completed by 1771, which became the Cathedral of the Diocese of Székesfehérvár from 1777.
The committee, operating until 1857, ensured the urban design of new construction sites and the style unit, thereby facilitating the civil approach to the Classical music.
Hild's operation defined the Classicist image of the emerging capital (Lloyd's palace, Tänzer House) and also performed church orders (Cathedral Basilica of Eger).
After 1860, the Historicist aspirations appeared, first the Renaissance Revival (Ybl: Várkert Bazár, Hungarian State Opera House, Vámház körút; Gusztáv Petschacher and Alajos Hauszmann).
Frigyes Schulek (1841-1919) and Imre Steindl (1839-1902) were involved in resurrecting the styles of Gothic and Romanesque Revivals (Fisherman's Bastion, Hungarian Parliament Building).
The first modern Hungarian architect Béla Lajta (1873-1920) started from Lechner's aspirations, who, at the same time as the experiments in Western Europe and America, sought new ways.
Its operation was manifested in the propagation of modern architecture, related social criticism and the design of buildings in line with the Bauhaus principles.
The material of the exhibition is pictures, drawings and statistical data processed on cardboard, which show the poor housing and social conditions in Hungary.
Their activities were mainly localized to the designs of condominiums and private homes of financially wealthy civilian clients, representing a more modern spirit.
In addition to the given social and political framework in Hungary, this is also part of the fact that the group's unity was gradually broken down, the joint work was cancelled and even the Hungarian material could not be compiled for CIAM's 1938 Congress.
In social policy, dictatorial arbitrariness, inspiring, but lost revolution, retaliation, and the escalating crisis phenomena of the one-party, top-controlled socio-economic formation, political system change, a faltering democracy, leading to today's globalisation problems.
But the equipment and tools of the architect have also changed, from the logarithe and tusk driver, to the always-flapping graphos, the dredging pens to computer software, façades and models, to the visual image of the World Wide Web video.
